View source for Fiore de'i Liberi

{{Infobox writer
| name                 = [[name::Fiore Furlano de’i Liberi]]
| image                = File:Fiore delli Liberi.jpg
| imagesize            = 300px
| caption              = This man appears sporadically throughout both the Getty and Pisani Dossi MSS, and may be a representation of Fiore himself.

| pseudonym            = 
| birthname            = 
| birthdate            = 
| birthplace           = Cividale del Friuli
| deathdate            = 
| deathplace           = 
| resting_place        = 
| occupation           = {{plainlist
 | [[Fencing master]]{{#set: occupation=Fencing master }}
 | [[occupation::Mercenary]]
}}
| language             = {{plainlist
 | [[language::Middle Italian]]
 | [[language::Renaissance Latin]]
}}
| nationality          = Friulian
| ethnicity            = 
| citizenship          = 
| education            = 
| alma_mater           = 
| patron               = {{plainlist
 | Gian Galeazzo Visconti (?)
 | Niccolò Ⅲ d’Este (?)
}}

| period               = 
| genre                = {{plainlist
 | [[Fencing manual]]
 | [[Wrestling manual]]
}}
| subject              = 
| movement             = 
| notableworks         = ''The Flower of Battle''
| manuscript(s)        = {{collapsible list
 | [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]] (1400s)
 | [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] (1400s)
 | [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] (1409)
 | [[Florius de Arte Luctandi (MS Latin 11269)|MS Latin 11269]] (1410s?)
 | [[Fior di Battaglia (MS XXIV)|MS XXIV]] (1699)
}}
| principal manuscript(s)=
| first printed edition= 
| wiktenauer compilation by=[[Michael Chidester]]

| spouse               = 
| partner              = 
| children             = 
| relatives            = Benedetto de’i Liberi (father)
| influences           = {{plainlist
 | [[Johannes Suvenus|Johane Suveno]]
 | [[Nicholai de Toblem]]
}}
| influenced           = [[Philippo di Vadi]]
| awards               = 
| signature            = 
| website              = 
| translations         = {{collapsible list
 | {{English translation|http://www.fioredeiliberi.org/morgan/}}
 | {{English translation|https://wiktenauer.com/wiki/File:Getty_MS_Ludwig_XV_13_Scans_with_English_Translation.pdf}}
 | {{English translation|http://www.fioredeiliberi.org/getty/}}
 | {{English translation|https://www.aemma.org/onlineResources/liberi/wildRose/fiore.html}}
 | {{English translation|http://www.the-exiles.org.uk/fioreproject/}}
 | {{French translation|{{fullurl:{{PAGENAMEE}}/French}}|1}}
 | {{Hungarian translation|http://www.middleages.hu/magyar/harcmuveszet/vivokonyvek/liberi.php|1}}
 | {{Spanish translation|http://www.salafenix.eu/docs/biblio/tratados/Fiore_Dei_Liberi.Flos_Duellatorum.1410.es.pdf|1}}
}}
| below                = 
}}
'''Fiore Furlano de’i Liberi de Cividale d’Austria''' (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; fl. 1381 - 1409) was a late [[century::14th century]] knight, diplomat, and [[fencing master]]. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.<ref name="de’i Liberi Morgan">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]]. New York City: [[Morgan Library & Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Getty">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] (ACNO 83.MR.183). Los Angeles: [[J. Paul Getty Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Pisani Dossi">[[Fiore de'i Liberi]]. ''Flos Duellatorum'' [manuscript]. [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]]. Italy: Private Collection, 1409. f 1rv.</ref> The term ''Liberi'', while potentially merely a surname, more probably indicates that his family had Imperial immediacy (''Reichsunmittelbarkeit''), either as part of the ''nobili liberi'' (''Edelfrei'', "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.<ref>He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.</ref><ref name="Mondschein 11">Mondschein, p 11.</ref><ref>Howe, Russ. “[http://ejmas.com/jwma/articles/2008/jwmaart_howe_0808.htm Fiore dei Liberi: Origins and Motivations]”. [[Journal of Western Martial Art]]. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2015-11-23.</ref> It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Heinrich V,<ref>Giusto Fontanini. {{Google books|929Oruf2qScC|Della Eloquenza italiana di monsignor Giusto Fontanini|page=274}}, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.</ref><ref>Gian Guiseppe Liruti. {{Google books|swCiIpD6UeIC|Notizie delle vite ed opere scritte da' letterati del Friuli|page=27}}, vol. 4 (in Italian). Alvisopoli, 1830. p 27.</ref><ref>Novati, pp 15-16.</ref> but this has yet to be proven.<ref>Malipiero, p 80.</ref>

Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref name="de’i Liberi Pisani Dossi"/> He had ample opportunity to interact with both, being born in the Holy Roman Empire and later traveling widely in the northern Italian states. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student.<ref name="de’i Liberi Pisani Dossi"/> He further mentions that on five separate occasions he was forced to fight [[duel]]s for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp swords, unarmored except for gambesons and chamois gloves, and he won each without injury.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref>15th century jurist [[Paride del Pozzo]], in discussing Italian dueling customs, dismisses unarmored duels as the ignoble domain of the rash and the hot-headed, contrasted with honorable dueling done in armor with the full range of military weapons. This might provide insight into Fiore's disposition as a young man. See Leoni 2012, pp ⅹⅹⅳ-ⅹⅹⅴ.</ref>

Writing very little on his own career as a commander and master at arms, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one [[Johannes Suvenus|Johane dicto Suueno]], who he notes was a disciple of [[Nicholai de Toblem]];<ref name="de’i Liberi Pisani Dossi"/> unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well known in Fiore's time. He further offered an extensive list of the famous ''condottieri'' that he trained, including Piero Paolo del Verde (Peter von Grünen),<ref>[http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Niccolo Unricilino (Nikolo von Urslingen),<ref>Leoni, p 7.</ref> Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),<ref name="Galeazzo">[http://www.condottieridiventura.it/index.php/lettera-m/1450-galeazzo-da-mantova “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Lancillotto Beccaria di Pavia,<ref>[http://www.condottieridiventura.it/index.php/lettera-b/630-lancillotto-beccaria “LANCILLOTTO BECCARIA  (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Giovannino da Baggio di Milano,<ref name="Malipiero 9496">Malipiero, pp 94-96.</ref> and Azzone di Castelbarco,<ref name="Jens">[https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' Retrieved 2015-11-23.</ref> and also highlights some of their martial exploits.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/>

The only known historical mentions of Fiore appear in connection with the Aquileian War of Succession, which erupted in 1381 as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly appointed Patriarch (prince-bishop of Aquileia), Philippe Ⅱ d'Alençon. Fiore seems to have supported the secular nobility against the Cardinal; he traveled to Udine in 1383 and was granted residency in the city on 3 August.<ref>Malipiero, p 84.</ref> On 30 September, the high council tasked him with inspection and maintenance of city's weapons, including the [[artillery]] pieces defending Udine (large crossbows and catapults).<ref name="Mondschein 11"/><ref>Malipiero, p 85.</ref><ref name="Easton">[[Matt Easton|Easton, Matt]]. “[http://www.fioredeiliberi.org/fiore/ Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum]”. London: Schola Gladiatoria, 2009. Retrieved 2015-11-23.</ref> In February of 1384, he was assigned the task of recruiting a mercenary company to augment Udine's forces and leading them back to the city.<ref>Malipiero, p 86.</ref> This task seems to have been accomplished in three months or less, as on 23 May he appeared before the high council again and was sworn in as a sort of magistrate charged with keeping the peace in one of the city's districts. After May 1384, the historical record is silent on Fiore's activities; the war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records four times in 1383-4, it would be quite odd for him to be completely unmentioned over the subsequent five years if he remained,<ref name="Mondschein 11"/><ref>Malipiero, pp 85-88.</ref> and since his absence from records coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.

Based on his autobiographical account, Fiore traveled a good deal in northern Italy, teaching fencing and training men for duels. He seems to have been in Perugia in 1381 in this capacity, when his student Peter von Grünen likely fought a duel with Peter Kornwald.<ref>This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See [https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students], ''Hans Talhoffer ~ as seen by Jens P. Kleinau'', in English and [http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”] and [http://www.condottieridiventura.it/index.php/lettera-c/971-pietro-della-corona “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”], ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550'', in Italian. Retrieved 2015-11-23.</ref> In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean Ⅱ le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. Both Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua, were in attendance. The duel was to begin with [[spear]]s on [[:category:Mounted Fencing|horseback]], but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.<ref>Malipiero, pp 55-58.</ref><ref name="Easton"/><ref name="Galeazzo"/>

Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on 24 June and attended by Gian Galeazzo Visconti, Duke of Milan, as well as the Duchess and other nobles. The duel was to consist of three bouts of mounted lance followed by three bouts each of dismounted [[poleaxe]], [[estoc]], and [[dagger]]. They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor (and the fact that all of the weapons were blunted), both combatants reportedly emerged from these exchanges unharmed.<ref name="Malipiero 9496"/><ref name="Mondschein 12">Mondschein, p 12.</ref>

Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco and Giovanni degli Ordelaffi, as the latter is known to have died in 1399.<ref>Malipiero, p 97.</ref> After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career.<ref name="Easton"/> Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as ''Fior di Battaglia'', ''Florius de Arte Luctandi'', and ''Flos Duellatorum''). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort;<ref name="de’i Liberi Pisani Dossi"/> as evidence suggests that at least two longer versions were composed some time before this,<ref>Fiore states in the preface to the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] that he had studied combat for fifty years, whereas the comparable statement in the [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]] and [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] mention the slightly shorter "forty years and more".</ref> we may assume that he devoted a considerable amount of time to writing during this decade.

Beyond this, nothing certain is known of Fiore's activities in the 15th century. [[Francesco Novati]] and [[Luigi Zanutto]] both assume that some time before 1409 he accepted an appointment as court fencing master to Niccolò Ⅲ d’Este, Marquis of Ferrara, Modena, and Parma; presumably he would have made this change when Milan fell into disarray in 1402, though Zanutto went so far as to speculate that he trained Niccolò for his 1399 passage at arms.<ref>Zanutto, pp 211-212.</ref> However, while the records of the d’Este library indicate the presence of two versions of "the Flower of Battle", it seems more likely that the manuscripts were written as a diplomatic gift to Ferrara from Milan when they made peace in 1404.<ref name="Mondschein 12"/><ref name="Easton"/> C. A. Blengini di Torricella stated that late in life he made his way to Paris, France, where he could be placed teaching fencing in 1418 and creating a copy of a [[fencing manual]] located there in 1420. Though he attributes these facts to Novati, no publication verifying them has yet been located and this anecdote may be entirely spurious.<ref>In 1907, fencing master C. A. Blengini di Torricella mentioned that “In 1904, a historical work by [[Francesco Novati]], Director of the Academy in Milano and Gaffuri, Director of the graphical institute in Bergamo was published… These two prominent scholars uncovered documents, found in different archives, …''Rules for Fencing'' were printed by Fiore dei Liberi in 1420… And how could then dei Liberi have taught fencing lessons in Paris in 1418?” (translated from Norwegian by [[Roger Norling]]). See Blengini, di Torricella C. A. ''Haandbog i Fægtning med Floret, Kaarde, Sabel, Forsvar med Sabel mod Bajonet og Sabelhugning tilhest: Med forklarende Tegninger og en Oversigt over Fægtekunstens Historie og Udvikling.'' 1907. p 28.{{full}}</ref>

The time and place of Fiore's death remain unknown.

Despite the extent and complexity of his writings, Fiore de’i Liberi does not seem to have been a very significant master in the evolution of fencing in Central Europe. That field was instead dominated by the traditions of two masters of the subsequent generation: [[Johannes Liechtenauer]] in the Holy Roman Empire and [[Filippo di Bartolomeo Dardi]] in the Italian states. Even so, there are a number of later treatises which bear strong resemblance to his work, including the writings of [[Philippo di Vadi]] and [[Ludwig VI von Eyb]]. This may be due to the direct influence of Fiore or his writings, or it may instead indicate that the older tradition of Johane and Nicholai survived and spread outside of Fiore's direct line.
{{TOC limit|3}}
== Treatise ==

The d'Este family owned at least three manuscripts by Fiore during the 15th century,<ref>There are two records in the [https://archive.org/details/giornalestoricod14toriuoft/page/18/mode/2up 1436 catalog] and two records in the [https://books.google.com/books?id=yz5FAAAAYAAJ&pg=PA219 1467 catalog], but only one of the manuscript descriptions is similar between the catalogs. The 1436 catalog lists one unbound Latin manuscript and one Italian manuscript in red leather; the 1467 catalog lists two Latin manuscripts, one of which was only 15 unbound folia (probably the same as the one from 1436) and one of which was 58 folia bound in white leather. From this, we might speculate that the Getty manuscript was present in 1436, the Paris manuscript in 1467, and the third (very short) manuscript is currently unknown to us. If there were an error in the 1467 catalog, then the unknown manuscript could be the Pisani Dossi, which currently consists of 35 unbound folia.</ref> and a total of four copies survive to the present. Of these, the [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] (Getty) and the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] (Novati) are both dedicated to Niccolò Ⅲ d'Este and state that they were written at his request and according to his design. The [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]] (Morgan), on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence, while the [[Florius de Arte Luctandi (MS Latin 11269)|MS Latin 11269]] (Paris) lost any dedication it might have had along with its prologue. Each of the extant copies of the ''Flower of Battle'' follows a different order, though each of these pairs contains strong similarities to each other in order of presentation. 

In addition, Philippo di Vadi's manuscript from the 1480s, whose second half is essentially a redaction of the ''Flower of Battle'', provides a valuable fifth point of reference when considering Fiore's teachings. (These is also a 17th century copy of the Morgan's preface, transcribed by Apostolo Zeno, but it contributes little to our understanding of the text.)

The major sections of the work include: ''abrazare'' or [[grappling]]; ''[[dagger|daga]]'', including both unarmed defenses against the dagger and plays of dagger against dagger; ''spada a un mano'', the use of the [[longsword|sword]] in one hand (also called "the sword without the buckler"); ''spada a dui mani'', the use of the sword in two hands; ''spada en arme'', the use of the sword in [[armor]] (primarily techniques from the [[halfsword|shortened sword]]); ''azza'', plays of the [[poleaxe]] in armor; ''lancia'', [[spear]] and staff plays; and mounted combat (including the spear, the sword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as ''bastoncello'', or plays of a [[club (weapon)|small stick or baton]] against unarmed and dagger-wielding opponents; plays of sword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the [[spear|chiavarina]] against a man on horseback.

The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters (or Teachers), figures in golden crowns who each demonstrate a particular guard for use with their weapon. These are followed by a master called ''Remedio'' ("Remedy") who demonstrates a defensive technique against some basic attack (usually how to use one of the listed guards to defend), and then by his various Scholars (or Students), figures wearing golden garters on their legs who demonstrate iterations and variations of this remedy. After the scholars there is typically a master called ''Contrario'' ("Counter" or "Contrary"), wearing both crown and garter, who demonstrates how to counter the master's remedy (and those of his scholars), who is likewise sometimes followed by his own scholars in garters. In rare cases, a fourth type of master appears called ''Contra-Contrario'' ("Counter-counter"), who likewise wears the crown and garter and demonstrates how to defeat the master's counter. Some sections feature multiple master remedies or master counters, while some have only one. While the crowns and garters are used across all extant versions of the treatise, the specific implementation of the system varies; all versions include at least a few apparently errors in assignation of crowns and garters, and there are many cases in which an illustration in one manuscript will only feature a scholar's garter where the corresponding illustration in another also includes a master's crown (depending on the instance, this may either be intentional or merely an error in the art). Alone of the four versions, the Morgan seeks to further expand the system by coloring the metallic portions of the master or scholar's weapon silver, while that of the player is left uncolored; this is also imperfectly-executed, but seems to have been intended as a visual indicator of which weapon belongs to which figure.

The concordance below includes Zeno's transcription of the Morgan preface for reference, and then drops the (thereafter empty) column in favor of a second illustration column for the main body of the treatise. (The Zeno transcript is in the first transcription column even though it's the youngest source so that the others can remain in the same position throughout.) Generally only the right-side column will contain illustrations—the left-side column will only contain additional content when when the text describes an illustration that spans the width of the page in the manuscripts, or when there are significant discrepancies between the available illustrations (in such cases, they sometimes display two stages of the same technique and will be placed in "chronological" order if possible). The illustrations from the Getty, Morgan, and Paris are taken from high-resolution scans supplied by those institutions, whereas the illustrations of the Pisani Dossi are taken from Novati's 1902 facsimile (scanned by Wiktenauer). There are likewise two translation columns, with the the two manuscripts dedicated to Niccolò on the left and the two undedicated manuscripts on the right; in both columns, the short text of the PD and Paris will come first, followed by the longer paragraphs of the Getty and Morgan.

{{master begin
 | title = Preface
 | width = 100%
}}
{{master subsection begin
 | title = First Italian Preface
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>{{rating|B|Completed Translation (from the Getty)}}<br/>by [[translator::Colin Hatcher]]</p>
! <p>{{rating|B|Completed Translation (from the Morgan)}}<br/>by [[translator::Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699)<br/>by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| rowspan="4" | [[File:MS Ludwig XV 13 01r.jpg|400px|center]]
| <p>I, Fiore the Friulian,<ref>Fiore ''Furlan'' means “Fiore the Friulian”, i.e. “Fiore of Friuli”. Friuli is an area in the extreme north-eastern corner of Italy, to the 
north-east of Venice, with Austria to the north and Slovenia to the east.</ref> born in Cividale D’Austria, was the son of Sir Benedetto of the noble order 
of the free knights of Premariacco,<ref>Fiore the Friulian, of the free knights of Premariacco is usually referred to as Fiore dei Liberi (one translation would be “Fiore of the Free Knights”). We don’t know for sure whether “Fiore” (“Flower”) was his real name or a pen-name. “Fiore” certainly existed as a real name for a man in medieval Italy—it was a common unisex medieval Christian name derived from the Italian word for flower. Alternately “Flower of the Free Knights” also makes sense, meaning “The best of the free knights.” As to the question of whether “Liberi” is a family name or simply refers to the class of free knights, since the word is spelled in Fiore’s manuscripts, in Getty (“liberi”), Pisani-Dossi (“liberorum”) and Morgan (“liberi”), with a small “l” for “liberi”, I am translating this word not as a family name (“Liberi”) but as “free knights” (“milites liberi”).</ref> in the diocese of the Patriarchate of Aquileia.</p>

<p>As a young man I<ref>I have translated the entire Prologue into the first person “I”, rather than use the third person “Fiore”, so as to make it more friendly and direct to read.</ref> desired to learn armed fighting,<ref>“Armiçare” or “Armizare” means the art of armed fighting or fighting with weapons. Fiore refers to his martial art as both “L’Arte d’Armizare” (Art of Armed Combat) and “La Scientia d’Armizare” (Science of Armed Combat). However, you should note that the words ''Arte'' and ''Scientia'' do not necessarily have their modern meanings. ''Arte'' may mean simply “skill” and the word “''Scientia''” may mean simply “knowledge”. Thus “the skill and knowledge of armed fighting”.</ref> including the art of fighting in the lists<ref>Fiore is comparing the two kinds of fighting: sport/tournament (“combatter a sbarra”—“in the lists”) and mortal combat (“combatter adoltrança”—“to the death”). To fight “in the lists” was not however without serious risks of injury and/or death. Medieval knights took these tournaments very seriously as matters of honor, and renown was won and lost in such events. Fiore also appears to include duels of honor in his term “in sbara”. The fights he describes below include duels of honor.</ref> with spear, poleaxe, sword, dagger and unarmed grappling, on foot and on horseback, armored and unarmored.</p>
| <p>Fiore Friulano de Cividale d'Austria, the son of Sir Benedetto of the noble house of the Liberi of Premariacco in the diocese of the Patriarchate of Aquileia, in his youth wanted to learn fencing and the art of combat in the barriers (that is, to the death); of lance, ax, sword, and dagger, and of wrestling, on foot and on horse, in armor and without armor.</p>
| {{section|Page:MS XXIV 783r.jpg|2|lbl=783r}}
| {{section|Page:MS M.383 1r.jpg|1r.1|lbl=1r}}
| {{section|Page:MS Ludwig XV 13 01r.jpg|1r.1|lbl=1r}}
| 
| 

|- 
| <p> In addition I wanted to study how weapons were made,<ref>“tempere di ferri” means literally “the tempering of iron”. I have translated this liberally to “the construction of weapons” to more clearly reflect what I believe Fiore means here. See also fn. 37 below.</ref> and the characteristics of each weapon for both offense and defense, particularly as they applied to mortal combat.</p>
| <p>Also he wanted to know of the temper of iron, and the qualities of each weapon, as much for defense as for offense, and most of all matters of mortal combat.</p>
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| <p>I also desired to learn the wondrous secrets of this art known only by very few men in this world.</p>

<p>And these secrets will give you mastery of attack and defense, and make you invincible, for victory comes easily to a man who has the skill and mastery described above.</p>
| <p>Also other marvelous and occult things that are apparent to few men in the world, and are very true things and very great for offense and defense, and things that cannot fail you, so easy are they to do, which art and mystery is described above.</p>
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| <p>I learned these skills from many German and Italian<ref>It is important to remember that when Fiore refers to “Germans” and “Italians” he is referring to language/cultures and not referring to nation states. Neither “Germany” nor “Italy” existed at this time.</ref> masters and their senior students, in many provinces and many cities, and at great personal cost and expense.</p>
| <p>And the aforesaid Fiore did learn the aforesaid things from many German masters. Also from many Italians in many provinces and in many cities, with great fatigue and with great expense, and by the grace of God from so many masters and scholars.</p>
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| <p>And by the grace of God I also acquired so much knowledge at the courts of noblemen, princes, dukes, marquises, counts, knights and squires, that increasingly I was myself asked to teach. My services were requested many times by noblemen, knights and their squires, who wanted me to teach them the art of armed combat<ref>Here is where Fiore names his martial art: “Arte d’Armizare”—“the Art of Armed Combat”.</ref> both for fighting at the barrier<ref>“in Sbarra” means literally “at the barriers”. In many medieval sporting events the combatants would fight with longswords or spears over a fence (barrier). This prevented the combatants from closing to grapple and thus tested their long range fighting skills. Fiore uses this term to refer to sporting events as opposed to fights to the death. Fiore tells us he was asked to teach for both.</ref> and for mortal combat. And so I taught this art to many Italians and Germans and other noblemen who were obliged to fight at the barrier, as well as to numerous noblemen who did not actually compete.</p>

<p>And below are the names and a little of the history of some of the noblemen who have been my students, and who were obliged to fight at the barrier.</p>
| <p>And in so many courts of great lords, princes, dukes, marquises and counts, knights, and squires did he undertake this art, that the aforesaid Fiore was more and more times retained by many lords and knights and squires for learning from the aforesaid Fiore to do the art of fencing and of combat in the barriers to the bitter end, which art he demonstrated to many Italians and Germans and other great lords that were obliged to combat in the barriers (and also to countless that were not obliged to combat). And of some that have been my scholars that have been obliged to combat in the barriers, of these I wish to name and make here a remembrance.</p>
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| <p>The first of them was the noble and gallant knight Piero del Verde<ref>Piero del Verde (Getty), Piero dal Verde (Morgan), (lit. “Peter of the Green”), also named elsewhere as Paolo del Verde, Pietro del Verde and Pietro von Grünen, was a recorded German condottiero (mercenary) captain who died in 1384. His birth date is not known.</ref> who fought Piero della Corona.<ref>Piero della Corona (Getty), Piero dalla Corona (Morgan) (lit “Peter of the Crown”), also named elsewhere as Pietro della Corona, Peter Kornwald, Pietro Cornuald, was another recorded German ''condottiero'' (mercenary) captain who died in 1391. His birth date is not known.</ref> Both were German, and the fight took place in Perosa.<ref>Perosa/Perusia is now known as Perugia. It is situated about 100 miles north of Rome. The date of this duel is estimated between 1379 and 1381, when both knights are recorded as present in this region.</ref></p>
| <p>And the first notable and gallant knight is Sir Peter von Grünen, who was obliged to combat with Sir Peter Kornwald (who were both Germans). And the battle was required to be at Perugia.</p>
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| <p> Next was the brave knight Niccolo Voriçilino,<ref>Nicolo Voriçilino (Getty), Nicholo Vnriçilino (Morgan), is named elsewhere variously as Niccolo Voricilino, Niccolo Borialino, Niccolo Waizilino, Nikolaus Weiss , and Nicholas von Urslingen. There is no historical record, however, as to who this person was.</ref> also a German, who was obliged to fight Niccolo Inghileso.<ref>Niccolo “Inghileso” (Getty and Morgan) translates as Nicholas “the Englishman”. However, there is no historical record as to 
who this person was.</ref> The field of battle for this fight was Imola.<ref name="Imola">The city of Imola is about 120 miles south-west of Venice.</ref></p>
| <p>Also the valiant knight Sir Nikolo [illegible] (the German), who was obliged to combat with Nicolo (the English), and the field was given at Imola.</p>
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| <p>Next was the well-known, valiant and gallant knight Galeazzo de Capitani da Grimello, known as da Mantova,<ref>Galeazzo de Capitani da Grimello da Mantova (Getty), Galeaz delli capitani de Grimello chiamado da Montoa (Morgan), also named Galeazzo de Mantova (eng. Mantua), Galeazzo Cattaneo dei Grumelli, and Galeazzo Gonzaga, was an Italian condottiero captain who died in 1406. We do not know his birth.

Significantly Galeazzo fought two duels against Buzichardo de Fraza, also known as Boucicault, one in 1395 that was stopped by the supervising Lord where the parties were evenly matched, and one in 1406, where Galeazzo defeated Boucicault. To be able to say that one of his students defeated the mighty Boucicault in single combat would have looked very impressive on Fiore’s resume.</ref> who was obliged to fight the valiant knight Buçichardo de Fraca.<ref>Buçichardo de Fraca (Getty), Briçichardo  de Franza (Morgan), named elsewhere as Buzichardo de Fraza, also known as Boucicault, or Jean Ⅱ Le Maingre (1364-1421), was a French military general who was honored by King Charles VI as Marshall of France in 1391, and was a knight of great renown for his military skill, and his strength and athleticism in single combat. Apparently at a dinner at which both Boucicault and Galeazzo were present, Boucicault insulted Italians claiming he could beat any Italian knight in single combat. Galeazzo accepted the challenge, and the two fought with spears on foot in 1395, a duel that was a draw, when it was halted by the supervising lord, Francesco Gonzaga, Lord of Mantova. The enmity was not forgotten however, and the two repeated their duel in 1406, this time on horseback with lances, at which time Boucicault was defeated by Galeazzo.</ref> The field of battle for this fight was Padova.<ref>Padova (Padua) is about 20 miles west of Venice.</ref></p>
| <p>Also the notable, valiant, and gallant knight Sir Galeazzo Cattaneo dei Grumelli, called da Mantua, who was obliged to combat with the valiant knight Sir Boucicault (Jean Ⅱ le Maingre) of France, and the field was at Padua.</p>
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| <p>Next was the valiant squire<ref>A squire was a nobleman who was trained and skilled in the knightly arts, but who had not yet been knighted. Note the fighting abilities of the squire were not necessarily any different from the knight proper.</ref> Lancillotto da Becharia de Pavia,<ref>Lancillotto da Becharia de Pavia (Getty), Lanzilotto de Boecharia da Pavia (Morgan), also called Lancilotto Beccaria was an Italian condottiero captain who died in 1418. We do not know his birthdate.</ref> who exchanged six strikes with a sharpened steel lance<ref>Notice that although these are “sporting events” they were using real spears.</ref> against the valiant German knight Baldassarro,<ref>Baldassarro (Getty), Baldesar (Morgan) refers to the German knight Balthasar von Braunschweig-Grubenhagen (1336-1385)</ref> in a fight that took place in the lists at Imola.<ref name="Imola"/></p>
| <p>Also the valiant squire Lancillotto Beccaria of Pavia. That was 6 thrusts of soft-iron lance on horseback against the valiant knight Sir Balthasar von Braunschweig-Grubenhagen (a German), and also obliged to combat in the list, and this was at Imola.</p>
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| <p>Next was the valiant squire Gioanino da Bavo,<ref>Gioanino de Bavo (Getty), Zohanni de Baio (Morgan), also named Giovannino da Baio likely refers to the French knight Jean de Bayeux, who is recorded as being in the area at this time.</ref> from Milan, who, in the castle in Pavia,<ref>The city of Pavia is 20 miles south of Milan.</ref> fought three passes with a sharpened steel lance, against the valiant German squire Sram.<ref>The identity of the German squire named Sram (Getty and Morgan), Schraam, or Schramm, is not known.</ref> And then on foot he fought three passes with the axe, three with the sword and three with the dagger, in the presence of the very noble prince and lord the Duke of Milan, and his lady the Duchess, and numerous other lords and ladies.</p>
| <p>Also the valiant squire Giovannino da Baggio of Milan, who in the castle in Pavia, with the valiant squire Sirano (the German), struck three thrusts of soft-iron lance on horseback. And then on foot he made three blows of axe, and three blows of sword, and three blows of dagger, in the presence of the most noble lord Duke of Milan, and of the lady Duchess, and of countless other lords and lady.</p>
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| <p>Next was the cautious knight Sir Açço da Castell Barcho,<ref>Açço da Castell Barcho (Getty), Azo da Castelbarcho (Morgan), refers to Azzone Francesco di Castelbarco, an Italian condottiero captain who died in 1410. We do not know his birthdate.</ref> who was obliged to fight one pass against Çuanne di Ordelaffi,<ref>Çuanne di Ordelaffi (Getty), Zohanni di li Ordelaffig (Morgan) refers to Giovanni Ordelaffi, an Italian condottiero captain (1355-1399).</ref> and another pass against the valiant and good knight Sir Jacomo di Boson,<ref>Jacomo di Boson (Getty), Jacomo de Besen (Morgan), or Giacomo da Boson, likely refers to the German nobleman Jakob von Bozen.</ref> the location chosen by his eminence the Duke of Milan.</p>
| <p>Also the cautious knight Sir Azzone di Castelbarco, who once was obliged to combat with Sir Giovanni di Ordelaffi. And another time with the valiant and virtuous knight Sir Giacomo da Boson, and the field was set at the pleasure of the lord Duke of Milan.</p>
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| <p>Of these and of others whom I, Fiore, have taught, I am very proud, because I have been well rewarded, plus I earned the respect and the affection of my students and also of their relatives.</p>

<p>Also, I should tell you that I always taught this art secretly, and so no one was  present at my lessons except for the student and occasionally a close relative of his, and if anyone else was there by my grace or favor, they were only allowed to watch after swearing a sacred oath of secrecy, swearing by their faith not to reveal any of the techniques they saw me, Master Fiore, demonstrate.</p>
| <p>These and others have I, Fiore, taught, and I am very content because I have been well-remunerated and I have had the honor and the love of my scholars and of their relatives.</p>

<p>Also I say that to whom I have taught this art, I have taught secretly, that there was no person other than the scholar and some close relative of his. Also that those who were present had sworn with sacrament that they would not reveal any play that they had seen from me, Fiore.</p>
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| <p>More than anyone else I was careful around other Masters of Arms and their students. And some of these Masters who were envious of me challenged me to fight<ref>These were duels of honor, and were taken very seriously in these times.</ref> with sharp edged and pointed swords<ref>Fiore actually says that the swords are “di taglo e di punta” meaning literally “for cutting and thrusting”, or “sharp edged and 
pointed”.</ref> wearing only a padded jacket,<ref>A “çuparello darmare” or “zuparello d’armare” is an arming jacket, that is, a cloth padded jacket worn underneath armour as 
a foundation garment.</ref> and without any other armor except for a pair of leather gloves; and this happened because I refused to practice with them or teach them anything of my art.</p>
| <p>And most of all have I been wary of fencing masters and of their scholars. And they (that is, the masters), out of envy, challenged me to play at swords of sharpened edge and point, in arming jacket but without any other armor save for a pair of chamois gloves, and all of this was because I did not wish to practice with them, nor did I wish to teach them anything of my art.</p>
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| <p>And I was obliged to fight five times in this way. And five times, for my honor, I had to fight in unfamiliar places without relatives and without friends to support me, not trusting anyone but God, my art, myself, and my sword. And by the grace of God, I acquitted  myself honorably and without injury to myself.<ref>We don’t know if this means he won all five duels, or simply acquitted himself well. But he says he was not 
injured.</ref></p>
| <p>And this incident, that I was so required, occurred 5 times. And 5 times, for my honor, I convened to play in strange places, without relatives and without friends, having no hope in anything other than in God, in the art, and in me, Fiore, and in my sword. And by the grace of God, I, Fiore, remained with honor and without lesions in my person.</p>
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| <p>I tell my students who have to fight at the barrier that fighting at the barrier is significantly less dangerous than fighting with live swords wearing only padded jackets, because when you fight with sharp swords, if you fail to cover one single strike you will likely die.</p>
| <p>Also I, Fiore, said to my students that were obliged to combat in the barriers that combat in the barriers is a far lesser peril than combat with sword of sharp edge and point in arming jackets. Because for him that plays at sharp swords, on a single cover that fails, that blow gives him death.</p>
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| <p>On the other hand, if you fight at the barrier and are well armored, you can take a lot of hits, but you can still win the fight. And here is another fact: at the barrier it is rare that anyone dies from being hit. So as far as I am concerned, and as I explained above, I would rather fight three times at the barrier than one time in a duel with sharp swords.</p>
| <p>And one that combats in the barriers and is well-armored, he can receive several such strikes and can still win the battle.</p>

<p>Also, there is another thing: that only on rare occasions does someone perish because of grabs and holds. Thus I say that I would sooner combat three times in the barriers than just one time with sharp swords, as I said above.</p>
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| <p>Now I should add that a man may fight at the barrier well armored, with a knowledge of the art of combat,<ref>In addition to “L’Arte d’Armizare” (the art of armed fighting), L’Arte del Combattere (the art of combat) is a second name Fiore gives to his art.</ref> and may have all the advantages possible to have, but if he lacks courage he may as well just go ahead and hang himself. Having said that, I can say that by the grace of God none of my students have ever lost at the barrier. On the contrary, they have always acquitted themselves honorably.<ref>If they never lost and always acquitted themselves honorably, then presumably they always either won or drew.</ref></p>
| <p>And I say that a man being well-armored for combat in the barriers, and knowing the art of combat, and having all the advantages that he can take, if he is not valiant then he will wish to hang himself. Well can I say that, for the grace of God, none of my scholars in this art have been lost—that always they remained with honor is this art.</p>
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| <p>I should also point out that the noble knights and squires to whom I showed my art of combat have been very satisfied with my teaching, and have never wanted any other instructor but me.</p>
| <p>Also I say that I predict that these lords, knights, and squires to whom I have demonstrated this art of combat are content with my teachings, and did not wish any other master than the aforesaid Fiore.</p>
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| <p>In addition let me just say that none of my students, including those mentioned above, have ever owned a book about the art of combat, except for Galeazzo da Mantova. And he put it well when he said that without books you cannot be either a good teacher or a good student of this art. And I can confirm it to be true, that this art is so vast that there is no one in the world with a memory large enough to be able to retain even a quarter of it. And it should also be pointed out that a man who knows no more than a quarter of the art has no right to call himself a Master.</p>
| <p>Also I say that none of these scholars here named had any book about the art of combat other than Sir Galeazzo di Mantua. Well did he say that without books no one will ever be a good master nor scholar in this art. And I, Fiore, confirm it: this art is so long that there is no man in the world with such a great memory that he can hold in mind, without books, even a fourth part of this art. And I grant that not knowing more than the fourth part of this art, I would not be a master.</p>
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| <p>Now I, Fiore, although I can read and write and draw, and although I have books about this art, and have studied it for 40 years and more, do not myself claim to be a perfect Master in this art, (although I am considered so by some of the fine noblemen who have been my students). But I will say this: if, instead of studying the Art of Armed Combat for 40 years, I had spent 40 years studying law, papal decrees,<ref>The word is decretali (Decretals). A Decretal is a Papal Constitution in letter form, i.e., a written decree from a Pope stating the Church’s legal position on a specific legal or moral issue.</ref> and medicine, then I would be ranked a Doctor in all three of these disciplines. And you should also know that in order to study the science of arms<ref>''Scientia d’Armizare'' is Fiore’s other term for his ''Arte d’Armizare''. ''Scientia'' means science or knowledge. Thus ''Scientia d’Armizare'' could translate as “Knowledge of Armed Combat” or “Science of Armed Combat.”</ref> I have endured great hardship, expended great effort and incurred great expense, all so as to be a perfect student of this art.</p>
| <p>Thus I, Fiore, knowing how to read and to write and to draw, and having books on this art, and having studied it for 40 years and more, yet I am not a very perfect master in this art. (Though I am well-held, by the great lords that have been my students, to be a good and perfect master in this art.) And I do say that if I had studied 40 years in civil law, in canon law, and in medicine, as I have studied in the art of fencing, then I would be a doctor in those three sciences. But in this science of fencing I have had great contentions and strain and expenses just to be a good scholar (as we said of others).</p>
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| <p>It’s my opinion that in this art there are few men in the world who can really call themselves Masters, and it is my goal to be remembered as one of them. To that end I have created this book all about this martial art and the things related to it, including weapons, their applications,<ref>Fiore writes ''di ferri e di tempere'' which literally means “of iron and of tempering”, i.e., hardening of steel. However, since Fiore’s manuscript clearly does not show anything about blacksmithing or how weapons are actually made, this literal translation does not serve me. Thus I changed it to “weapons and their applications”.</ref> and other aspects too.</p>

<p>In doing this I have followed the instructions given to me by the nobleman I respect the most, who is greater in martial virtue than any other I know, and who is more deserving of my book because of his nobility than any other nobleman I could ever meet, namely, the illustrious and most excellent noble, the all-powerful prince, Sir NICCOLO, Marquis of Este, Lord of the noble cities of Ferrara, Modena, Reggio, Parma and others, and to whom may God grant long life and future prosperity, and victory over all of his enemies. AMEN.</p>
| <p>Considering, as I said before, that in this art I could find few masters in the world, and wishing that there be made a memory of me in this art, I will put all the art (and all things that I know of iron and of temper and of other things) in a book, following that which we know how to do for the best and for the most clarity.</p>
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| <p>I am going to lay out this book according to the preferences of my lord Marquis, and since I will be careful to leave nothing out, I am sure that my lord will appreciate it, due to his great nobility and courtesy.<ref>It is not clear here whether Fiore is saying he actually consulted with Niccolo Ⅲ of Este prior to the creation of the book, that Niccolo indicated how he wants the book laid out, and that Fiore has decided to lay it out exactly as Niccolo has asked for it to be done, or simply that he knows what Niccolo likes.</ref></p>
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| <p>I will begin with grappling,<ref>I translate ''Abrazare'' or ''Abracare'' as “grappling” rather than “wrestling”, since wrestling suggests ground-fighting, and there is no ground fighting in Fiore’s system.</ref> of which there are two types: grappling for fun,<ref>The word ''solaço''  means “pleasure”. Fiore means grappling for sport. Fiore is distinguishing between fighting for fun and fighting to the death.</ref> or grappling in earnest,<ref>The expression ''da ira'' means “in anger”. Fiore is contrasting this with grappling for fun. Thus I have translated ''ira'' as “earnest”.</ref> by which I mean mortal combat, where you need to employ all the cunning, deceit<ref>Both ''ingano'' and ''falsita'' mean “deceit”. It is not clear why Fiore uses both, but any difference in these two words are lost in translation. I therefore translated ''ingano'' as “cunning” so that there were still three words as in the original.</ref> and viciousness<ref>The word ''crudelita'' means “cruelty”. I prefer the word “viciousness” here.</ref> you can muster. My focus is on mortal combat, and on showing you step by step how to gain and defend against the most common holds when you are fighting for your life.</p>
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| <p>If you wish to grapple you should first assess whether your opponent is stronger or bigger than you, as well as whether he is much younger or older than you. You should also note whether he takes up any formal grappling guards<ref>The taking of guards would suggest he has some training and thus some skill in grappling.</ref> Make sure you consider these things first.</p>
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| <p>And whether you are stronger or weaker than your opponent, be sure in either case that you know how to use the grapples and binds<ref>The words are ''prese'' (“holds”, “grips” or grapples”) and ''ligadure'' (“locks” or “binds”).</ref> against him, and how to defend yourself from the grapples your opponent attacks you with.</p>
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| <p>If your opponent is not wearing armor, be sure to strike him in the most vulnerable and dangerous places, for example the eyes, the nose, the larynx,<ref>''inle femine sottol mento'' means literally “in the soft part below the chin”. Fiore means the throat/larynx.</ref> or the flanks.<ref>The ''fianchi'', the “flanks”, are the unprotected (“soft”) areas of the side of the torso, below the lower ribs but above the hips.</ref> And whether fighting in or out of armor, be sure that you employ grapples and binds that flow naturally together.</p>
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| <p>In addition, to be a good grappler you need eight attributes,<ref>''ⅷ'' chose means literally “eight things”.</ref> as follows: [1] strength, [2] speed, [3] knowledge, by which I mean [3] knowing superior holds; [4] Knowing how to break  apart  arms  and  legs; [5] Knowing locks, that is how to bind the arms of a man in such a way as to render him powerless to defend himself and unable to escape; [6] Knowing how to strike to the most vulnerable points; [7] Knowing how to throw someone to the ground without danger to yourself. And finally [8] Knowing how to dislocate arms and legs in various ways.<ref>Note: attributes numbers 4 and 8 seem to be the same attribute. This is noted especially because in the earlier Pisani Dossi manuscript Fiore tells us there are {{dec|u|seven}} attributes (not eight as here in the Getty). ''Roture'' (“breaking”), ''Romper'' (“tearing apart”) and ''Dislogar'' (“dislocating”) arms and legs appear here to be duplicative.</ref></p>

<p>As required, I will address all of these things step by step through the text and the drawings in this book.</p>
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| <p>Now that I have discussed some general rules for grappling, I will discuss the grappling guards. There are a variety of grappling guards, some better than others. But there are four guards that are the best whether in or out of armor, although I advise you not to wait in them for too long, due to the rapid changes that take place when you are grappling.</p>
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| <p>The first four Masters that you will see with crowns on their heads will show you these four superior grappling guards. The first two are named “The Long Guard” and “The Boar’s Tooth” and they can be used to counter each other. The second two are named “Iron Gate” and “The Forehead Guard”,<ref>''Frontale'' means the front of the head, i.e., the forehead. Elsewhere Fiore comments that this guard is often named (by others) as ''Posta Corona'' (“The Crown Guard”), the “crown” referring to the top of the head.</ref> and they can also be used to counter each other. From these four guards, whether in or out of armor, you can do all of the eight things I listed earlier, namely holds, binds, dislocations, etc.</p>

<p>You will need to learn the guards of the Masters, how to distinguish the Students from the Players and the Players from the Masters, and finally the difference between the Remedy and the Counter. While a Counter will usually be presented after<ref>''Dredo'' means “Behind” but in this context it translates better as “after”, be cause we can see from the way the manuscript is laid out that the remedies are shown first, and the counters later.</ref> the Remedies are shown, sometimes there will be a special “Remedy”<ref>The “Special” Remedy that comes at the very end, that Fiore is referring to is a Counter to the Counter, which, as you will see below, Fiore calls ''Contra-contrario'' or the “Counter-counter”.</ref> that comes last of all. But let me make this clearer for you.</p>
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| <p>The four guards or “posts” are easy to learn. Sometimes you’ll take a guard and face your opponent without making contact, waiting to see what your opponent will do. These are called the posts or guards of the first Masters of Battle.<ref>Literally “Masters of the Battle” or “Masters of the Fight”.</ref> And these masters wear a golden crown on their head, to signify that the guards they wait in provide them with a superior defense. And these four guards are best suited to apply the principles of my art of armed fighting, which is why these Masters choose to wait in these particular guards.</p>
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| <p>Whether you call it a “post” or a “guard”, you are referring to the same stance. As a “guard” it is used defensively, that is you use it to protect yourself and defend yourself from the strikes of your opponent. As a “post” it is used offensively, that is, you use it to position yourself in such a way in relation to your opponent that you can attack him without danger to yourself.</p>
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| <p>The next Master who follows the four guards comes to respond to these guards and to defend himself against a Player who makes attacks that flow from the four beginning guards shown earlier. And this Master also wears a crown, but he is named the Second Master of Battle.<ref>Fiore just calls him the “Second Master”, but Fiore means by this that he is the Second Master of Battle.</ref> He is also known as the Remedy Master, because he carefully selects his response to attacks flowing from the posts referred to above, and makes remedies that prevent him from getting struck.</p>
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| <p>This second or Remedy Master has a group of Students<ref>Fiore here calls them ''Zugadori'' (Players) rather than ''Scolari'' (Students), but that is confusing, because the way the manuscript is visually structured, the students of the Remedy Master who wear the golden garter are named ''Scolari'' (Students), not ''Zugadori'' (Players). The ''Zugadori'' are drawn without any garter at all. Therefore here I translate ''zugadori'' as Students (''Scolari''), so as to be consistent with what is drawn.</ref> under him, who demonstrate the plays taught by the Remedy Master that follow the cover or grapple that he shows first as his remedy. And these Students wear a garter<ref>''Divisa'' means literally “device” but also refers to a uniform or insignia that marks a person's rank or position. I have chosen to translate the word ''divisa'' as “garter”. In the PD, Fiore refers to the golden ribbon worn around one leg by the Students as a ''lista doro''. A ''lista'' is a strip of material, like a ribbon, garter or scarf. ''Doro'' means ''D’oro'' -  “of gold.”</ref> under their knee, to identify themselves. These Students will demonstrate all the remedies of the Remedy Master, until a third Master of Battle appears, who will show the Counters to the Remedy Master and his Students.</p>
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| <p>And because he can defeat the Remedy Master and his students, this Third Master wears both the symbol of the Remedy Master—a golden crown, and the symbol of his students—a golden garter below the knee. And this King is named the Third Master of Battle, and he is also named the Counter Master, because he makes counters to the Remedy Master and his students.<ref>Fiore actually writes “The Remedy Master and his plays, but since the Counter Master also defects the Remedy Master’s students, who show all the plays, I decided to translate it as above.</ref></p>
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| <p>Finally let me tell you that in a few sections of this Art we will find a Fourth Master (or King) who can defeat the Third Master of Battle (the Counter to the Remedy). And this King, the Fourth Master, is named the Fourth Master of Battle. He is also known as the Counter-Counter Master. Be aware however that in this Art few plays will ever go past the Third Master of Battle, for to do so is very risky. But enough about this.</p>
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| <p>As I have explained above, the guards of the Abrazare (shown by the First Master of Battle), the Second Master of Battle (the Remedy Master) and his Students, the Third Master of Battle (the Counter Remedy, that is the counter to the Second Master of Battle and his Students), and the Fourth Master of Battle (named the Counter-counter Master), represent the foundation of my Art of Grappling whether in and out of armor. Furthermore, these four Masters of Battle and their Students are also the foundation of the Art of the Spear, which has its own guards, Masters and Students. The same is true for the Art of the Pole-axe, the Sword in One Hand, the Sword in Two Hands and the Dagger.</p>
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| <p> In summary, these Masters of Battle and their Students, identified by their various devices, although first presented as governing principles of my Art of Grappling, are actually the foundation of my entire Art of Armed Fighting, whether on foot or on horseback, and whether in or out of armor.<ref>I’ve rearranged the sentences here to make my translation clearer. Thus the red and blue letters in the original don’t match up at all in my translation.</ref></p>
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| <p>And my purpose in structuring my art in this way is to make my system<ref>Fiore actually says ''libro'' (“book”), but I’ve changed it to “system”.</ref> easier to learn, by using the same principles of the guards, the Master, the Remedy and the Counter throughout it, just as you see first in the section on Grappling.</p>
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| <p>And the text,<ref>The word ''Rubriche'' means writing in red ink. I chose to translate this word simply as “text”.</ref> the drawings and the plays will so clearly show you my art, that you will have no trouble understanding it.</p>
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| <p>Now let’s move on to study the actual drawings, the plays and the text, and you will see that I have spoken truly.</p>
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| <p>We commence this book following my intellect, in such a way that anyone can know to understand easily. And we make comparison of five things. That is, 1) of masters that stand in guard, and 2) of masters (and of masters) that are remedy, and 3) of scholars, and 4) of players, and 5) of contraries to masters and to scholars. The masters stand in positions, that is, guards—that which are called both positions and guards. Positions are called such because they position one, and guards are called such because they guard one from an enemy, and as such, they are called positions and guards for their strength, that poorly will one be able to break the positions on purpose without coming to danger.</p>
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| <p>The masters that stand in guard stand one against the other without touching one weapon against the other, and here the masters will bear crowns on their heads. The other crowned masters that will be after them also bear crowns, and they are called Masters Remedy. Those that here play with these masters and with their scholars are called players. And the scholars of these Masters Remedy bear a device under the knee, and initiate the cover and holds following what the Master Remedy does, and doing such plays that the Master Remedy knows how to do. At the end will be found the counter of the Master Remedy and of his scholars. And this counter bears a crown on his head and a device under the knee because he is the counter of the Master and of the scholars, and as such he bears the devices of both the Master Remedy and all his scholars. In some plays the counter will be found immediately after the remedy, and in some plays the counter will be found after all the plays of the Master Remedy. Know that here the counter which is made to the Master Remedy, that the counter breaks all of the plays of that cover or grip that he makes. In the following, you will find them well-depicted and -written so that can be easily understood.</p>
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| class="noline" | 
| class="noline" | 
| class="noline" | <p>And we will commence first on horse with lance and with sword and with wrestling. And afterward with lance on foot, and then with sword in armor, and with sword in two hands in wide and narrow plays. Then the play of the axe, and then certain special matches, and then sword in one hand, and finally wrestling on foot and the play of the dagger.</p>

<p>And in this way you can see all the art of fencing in this book, that cannot ever fail you, so well-worded are the explanations about the depicted figures.</p>
| class="noline" | 
| class="noline" | {{section|Page:MS M.383 2r.jpg|2r.7|lbl=-}}
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{{master subsection end}}

{{master subsection begin
 | title = Latin Preface
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>{{rating|C|Draft Translation (from the Pisani Dossi)}}<br/>by [[translator::Michael Chidester]]</p>
! <p>[Paris does not contain Preface]</p>
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699)<br/>by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| rowspan="3" | [[file:Pisani-Dossi MS 01r.jpg|400px|center]]
| <p><ref>This was translated from an Italian translation of the Latin, and needs to be checked against the original language to be promoted to B-class.</ref>''Here begins a book on dueling and combat, and it is called the Flower of Battles armed and unarmed, on horse and on foot, composed by me, Fiore de'i Liberi of Cividale de Austria, in the diocese of Aquileia, born of Sir Benedetto of the noble ancestry of the Liberi.''</p>
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| <p>Fiore Friulano de'i Liberi of Cividale de Austria in the diocese of Aquileia, son of Sir Benedetto, wishes health in the name of the Lord and a prosperous realization of their desires to all who want to learn the play of arms on foot or on horse.
</p>
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| <p>Being inclined from my early youth to warlike actions by a natural appetite, I applied myself very diligently with the passing years to my desire to comprehend the many abilities of this art, such as with the sword, the lance, the dagger—and no less the play of grappling—on foot or on horse.</p>
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| <p>All of which, thanks to God, I have received knowledge of through various examples of expert masters and the doctrines of Italians and Germans, and above all from Master Johane, called “Suveno”, who was a student of Nicholai of Toblem in the Mexinensis diocese, and also from many princes, dukes, marquises, counts, and from countless others in diverse places and provinces.</p>
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| <p>Even so, my desire for this exercise declining, and so that so much military experience (which furnishes a most valid sustenance to expert men in warfare or in any other tumult)  be not lost negligently, I have decided to compose a book regarding the most useful elements of this splendid art, putting in it various figures with examples, by which methods of attack and defense and parries can an astute person be served in fencing or pugilism.</p>
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| <p>Every man of generous soul loves and conceals this work of ours as though it were a treasure, and therefore does not divulge it in any way among the country folk (which, in fact, Heaven created of obtuse sense and inadequate of agility, to carry loads like beasts of burden). Therefore, I decree that they should reject those for this precious arcana, and on the contrary they should invite kings, dukes, princes, and barons, and also men of court and others of high ability in the duel, following that which said "It is not meet that the Imperial Majesty be decorated in arms alone", etc.<ref>The full statement, as given by [[Philippo di Vadi]], is "It is not meet that the Imperial Majesty be honored in arms alone, but it is necessary also that it be armored in sacred laws". (''El non bixogna solo la maestà inperiale essere honorata di arme ma ancora è necesario epsa sia armata de le sacre legge.'')</ref></p>
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{{section|Page:Pisani-Dossi MS 02a.jpg|2a.6|lbl=-|p=1}} {{section|Page:Pisani-Dossi MS 02a.jpg|2a.7|lbl=-|p=1}}
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| <p>And so that no one believes that in the present volume there be some false thing or error, I have eliminated the ambiguities and I have described only things that I have seen or which were discovered and tested by me. Accordingly, we begin to explain our purpose with the help of the Omnipotent, whose Name be blessed and praised through the centuries. Amen.</p>
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| class="noline" | <p><em>If you want to learn the deeds of arms, my friend,<br/>See that you bear all that that this poem teaches.<br/>Be audacious in violence and young at heart.<br/>Have no fear in your mind, only then can you perform.<br/>Take the woman as an example: fearful,<br/>Taken by panic, never will she face the naked sword.<br/>Thus, a frightened man, like a woman, cannot prevail.<br/>If your heart lacks audacity, everything else is wanting;<br/>Audacity and virtue: of such consists the art.</em></p>
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|}
{{master subsection end}}

{{master subsection begin
 | title = Second Italian Preface
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>{{rating|B|Completed Translation (from the Pisani Dossi)}}<br/>by [[translator::Michael Chidester]]</p>
! <p>[Paris does not contain Preface]</p>
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699)<br/>by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| rowspan="2" | [[File:MS M.383 1r.png|400px|center]]
| <p>'''Other Prologue'''</p>

<p>On the 10th day of the month of February in 1409, I, Fiore Friulano de'i Liberi of Cividale de Austria, who am son of Sir Benedetto of the house of the Liberi of Premariacco, begin this gloss, the which treats in facts of fencing and of hand-to-hand combat—that is, lance, axe, sword, and dagger, and grappling, on foot and on horse, in armor and without armor, and of other things that pertain to fencing. And we will make the remedy and the counter for all these things so that one follows the other.</p>
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| <p>And this present gloss will recite all our knowledge and our understanding of all that we have experienced from many masters and scholars and fencers, and from dukes, princes, marquises, counts, knights, and squires, and from countless other men of diverse provinces, and also things that we discovered ourself. There will also be guards of all weapons, and plays, and covers, and strikes, and holds, and binds, and breaks, and dislocations of arms and legs, and torsions and lesions—in the most perilous places—following that which the master of this art wishes.</p>

<p>So poorly can one keep in mind without books and writing this large art that there will never be a good student without books. How, then, could there be a good master? I, the aforementioned Fiore, have seen a thousand men calling themselves masters, though not four among them were good students, and of those four none would be a good teacher.</p>
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| <p>For this reason, the aforementioned gloss is made with all our knowledge and set into a book filled with painted figures, over which march this gloss and rubrics, number by number. And the aforementioned painted figures will be devised with such signs as this: the master that commences the plays bears for an insignia a crown of gold upon his head, and his students who will follow with his plays bear a band of gold under the knee, and the master that will be the counter to the other masters will have both a crown of gold on his head and a device of gold under his knee. And over every play will be its gloss, which aforementioned gloss, and likewise its book set with painted figures, is made by the petition of the Illustrious and Excellent Sir Niccolò, Lord Marquis of the city of Ferrara, and of the city of Modena, and of Parma, and of other cities.</p>
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| <p>In which gloss we will speak with all our knowledge, and first we will speak of the grappling on foot, and then of the other matters of fencing, following that which you will see painted and ordered by the foresaid Fiore.</p>

<p>And we will commence with grappling in the name of God and Sir Saint George, the Good Knight.</p>
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| <p>Grappling wants 7 things—that is, 1) strength, 2) quickness of foot and of arms, 3) advantageous holds, and 4) breaks, and 5) binds, and 6) strikes, and 7) lesions, following that which you will see in the painted figures, and especially in plays that will gain holds, each one with its knowledge and with its malice. Because in plays that are taken in agreement, the holds are made with love and do not give ire, whereas in the above art of grappling that is made to gain holds, sometimes it is from ire and sometimes for life, and these are holds and plays that cannot be practiced with courtesy, and these are also perilous plays to practice.</p>

<p>And after those we will treat the advantageous and stronger plays, that are better in armor than without for more defense of man and more security, and we will swiftly do that which he would attempt by the inscribed words and painted figures. And we first begin grappling on foot to gain holds, and also holds that are made in accordance.</p>
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| <p>Then there will be 4 crowned masters, who will be masters of the dagger and of the art that pertains to the dagger.</p>
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| <p>Then find 4 with seven swords about them that signify the 7 blows of the sword.</p>
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| <p>Then find one master against 3 scholars who make the plays of the sword in one hand (without buckler).</p>
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| <p>Then find one with a staff and with a dagger that is the master that makes a counter to the lance.</p>
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| <p>Then find another master with two sticks and with a dagger against one that has a lance.</p>
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| <p>Then find the guards of the lance that are 6 masters: the first 3 masters play from the right side, the other three that follow play from the left side.</p>
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|- 
| 
| <p>Then find two kings with two swords that await others with javelins,  lances, and swords, and they wait in their own guards of waiting.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.20|lbl=-}}
| 

|- 
| 
| <p>Then find two for two methods by which can be defeated one with a lance who is inferior.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.21|lbl=-}}
| 

|- 
| 
| <p>Then find a man with seven swords and 4 figures about him, and one can see that which they signify, the aforementioned figures and the aforementioned swords.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.22|lbl=-}}
| 

|- 
| 
| <p>Then find 6 crowned masters with 6 swords, and one does not carry a sword like the others do, and see the reason one is divided from the other.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.23|lbl=-}}
| 

|- 
| 
| <p>Then find 12 crowned masters, one after the other, which masters stand in the guards of the sword.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.24|lbl=-}}
| 

|- 
| 
| <p>Then find two masters crossed that commence the wide play with a strike into the throat of the companion.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.25|lbl=-}}
| 

|- 
| 
| <p>Then find two other crowned masters that have three plays of the wide play.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.26|lbl=-}}
| 

|- 
| 
| <p>Then find another crowned master that has twelve students that make his plays, and the first is the Villain's Strike.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.27|lbl=-}}
| 

|- 
| 
| <p>Then, after these 12 plays, find a counter that thrusts the point into the face of the companion.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.28|lbl=-}}
| 

|- 
| 
| <p>Then find 2 crowned masters that are crossed at the mid-sword, which masters can make all the plays that follow after unto each other until another king is not found—and that which one master does the other one can do, the one like the other, according to which one has more speed than the other—except that after these plays of these two masters crossed, find 5 contrary masters, and they say to the two crossed masters that they make counters to their plays closely, and most of all against any taking of the sword, and they are worth more in armor than without, though they are good in the one art and in the other (that is in armor and without).</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.29|lbl=-}}
| 

|- 
| 
| <p>Then find a crowned master that is crossed with another from the backhand side, and after are two of his plays.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.30|lbl=-}}
| 

|- 
| 
| <p>Then find a crowned master that makes a counter.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.31|lbl=-}}
| 

|- 
| 
| <p>Then find a master that has one under his arm to throw him to the ground, sword and all.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.32|lbl=-}}
| 

|- 
| 
| <p>Then find four scholars that make four takings of the sword, and there finishes the play of the sword in two hands.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.33|lbl=-}}
| 

|- 
| 
| <p>Then find 6 crowned and armored masters with swords in hand, which masters stand in their guards, one against the other, to come to the holds in the plays that follow (which plays are 10).</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02a.jpg|2a.34|lbl=-}}
| 

|- 
| 
| <p>Then find four masters with 4 axes in guard, and one guard against the other, which masters can make five plays (and other plays that are in the play of the sword, which I will mention).</p>
| 
| 
| 
| 
| 
{{section|Page:Pisani-Dossi MS 02a.jpg|2a.35|lbl=-|p=1}} {{section|Page:Pisani-Dossi MS 02b.jpg|2b.1|lbl=2b|p=1}}
| 

|- 
| 
| <p>Then find thrusts of the lance, and one lance against another on horse (one lance withdrawn with one extended), and other matches also of lance against lance in diverse ways.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.2|lbl=-}}
| 

|- 
| 
| <p>Then find sword at sword, and the striking of the swords the one man against the other, and taking the sword, and throwing the horse in diverse ways, the method and the counter.</p>

<p>Also see plays of the arms in diverse ways.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.3|lbl=-}}
| 

|- 
| 
| <p>Also see one that wants to thrown another to the ground, horse and all.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.4|lbl=-}}
| 

|- 
| 
| <p>Also see one that wants to take the reins from the hand of the other.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.5|lbl=-}}
| 

|- 
| 
| <p>Also see a crowned master on foot with a spear in hand, and that which he can do with the spear could be done with a lance, with a staff, and also with a sword—that is, this master awaits 3 on horses: the first caries a lance underhand, the second carries it in rest, and the third wants to throw his lance against the master, which master is sufficient to do his plays that follow (that is, two plays).</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.6|lbl=-}}
| 

|- 
| 
| <p>Then find a crowned master on horse with a lance in rest that goes against another to make a thrust of the lance, which aforesaid master has a cord that is tied to his lance, and the aforesaid cord enters the saddle of his horse (which cord is quite long—four fathoms or more), and with this lance he wants to strike his companion, or throw the aforesaid lance to the neck of his companion in order to drag him from his horse.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.7|lbl=-}}
| 

|- 
| 
| <p>Then find a crowned master with a dagger in hand that awaits two companions with swords who go against him one by one, and see their plays.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.8|lbl=-}}
| 

|- 
| 
| <p>Then see matches of sword against dagger that are done well, which could easily be understood by the discussion written above them (that is, the gloss).</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.9|lbl=-}}
| 

|- 
| 
| <p>Then find a single axe, very cunning and laborious; by means of it, when the first blow is struck in the face, the companion receiving the blow quickly loses his vision (such that he will have great trouble to ever see anything again).</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.10|lbl=-}}
| 

|- 
| 
| <p>Also see a crowned master with an axe in hand that has thrown a cord (which has a weight a pound or more heavy, with a hard binding to his axe) around the legs of his companion; yanking on his ax, he will throw his companion to the ground.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.11|lbl=-}}
| 

|- 
| 
| <p>And for all these plays named above will be set their glosses with their drawings, so they can well be easily understood.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.12|lbl=-}}
| 

|- 
| 
| <p>I, the aforementioned Fiore, plead to my Lord Marquis that the book be recommended, because he cannot find another one equal to this, nor would he find a master that knew how to make such a book (nor even knowing much that is in the book), and also because of the long time that I have spent making it. And I am not able to make another so great as this one—for by my faith I have spent half a year making it—such that I do not want more of this trouble, for old age now pursues me.</p>

<p>God watch over Lord Marquis Niccolò d'Este, Lord of the city of Ferrara, of the city of Modena, of the city of Parma, and of the city of Reggio.</p>
| 
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.13|lbl=-}}
| 

|- 
| class="noline" | 
| class="noline" | <p style="font-style:italic;">Whoever wants to see fencing as one beautiful song<br/>Should study this book that the scholar Fiore has made:<br/>Which book is called the Flower of Battle.<br/>It will recite about every type of fencing—<br/>That is, of lance, ax, sword, and dagger—and of grappling,<br/>On horse, on foot, in armor and without, as it should be done;<br/>And you will see holds, covers, binds, and breaks,<br/>And the plays and measures for combat in the barriers.<br/>And having examined the book, you can easily believe<br/>The importance of the things that you will see in it.<br/>For fifty years I have studied in these arts:<br/>Who learns more in less time will have a good deal.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 02b.jpg|2b.15|lbl=-}}
| class="noline" | 

|}
{{master subsection end}}

{{master subsection begin
 | title = Seven Swords
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|PD}} by [[translator::Michael Chidester]]''<br/>{{rating|B|Getty}} by [[translator::Colin Hatcher]]</p>
! <p>''{{rating|C|Paris}} by [[translator::Kendra Brown]] and [[translator::Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| rowspan="11" | [[File:MS Ludwig XV 13 32r.jpg|400px|center]]
| rowspan="11" | [[File:Pisani-Dossi MS 16r.jpg|400px|center]]
| class="noline" | <p>''We are four animals with these features:<br/>Whoever wants to fence makes comparisons to us;<br/>&nbsp;''</p>
| class="noline" | <p>''Behold! we are four distinguished animals with these [traits]<br/>Who, for instance, strongly reminds [that] he is able in arms;<br/>He wants to be clear/bright and even shining brightly with honesty.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 17a.jpg|17a-c|lbl=17a}}
| class="noline" | {{section|Page:MS Latin 11269 1v.jpg|1v-c|lbl=1v}}

|- 
| class="noline" | <p>''And whoever will have a good portion of our virtues<br/>Will have honor in weapons, as bespeaks the art.<br/>&nbsp;''</p>
| class="noline" | <p>''He undertakes the lessons for himself, [and] determines which [are for] harming.<br/>Impress the evidence made known upon your spirit. Thenceforth<br/>That [evidence] of arms will have been taught before among friends.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 17a.jpg|17a-d|lbl=-}}
| class="noline" | {{section|Page:MS Latin 11269 1v.jpg|1v-d|lbl=-}}

|- 
| <p>This Master with these swords signifies the seven blows of the sword. And the four animals signify four virtues, that is prudence, celerity, fortitude, and audacity. And whoever wants to be good in this art should have part in these virtues.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 32r.jpg|32r-t|lbl=32r}}
| 
| 

|- 
| class="noline" | <p>{{red|b=1|Prudence/Wisdom}}</p>

<p>''No creature sees better than me, the Lynx.<br/>And I always set things in order with compass and measure.''</p>
| class="noline" | <p>{{red|b=1|Prudence}}</p>

<p>''Everything born under the sky will be discerned with [my] eyes; I, the lynx,<br/>I conquer [by] measurement whatever it pleases [me] to attempt.</p>
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 32r.jpg|32r-1|lbl=-}}
| class="noline" | {{section|Page:Pisani-Dossi MS 17a.jpg|17a-tttl|lbl=-}}

{{section|Page:Pisani-Dossi MS 17a.jpg|17a-t|lbl=-}}
| class="noline" | {{section|Page:MS Latin 11269 1v.jpg|1v-tttl|lbl=-}}

{{section|Page:MS Latin 11269 1v.jpg|1v-t|lbl=-}}

|- 
| <p>No creature sees better than I the Lynx,<ref>“Lovo cerviero” (Lupo Cerviere) translates literally as “sharp-eyed wolf”. Fiore means the Eurasian Lynx that was said to have not only astonishing eyesight and the ability to see in the dark, but also the ability to see around corners and even see into the future. The choice of the Lynx to represent the ability to “read” the fight and proceed carefully is thus meaningful. The lynx has been used to symbolize the search for knowledge, or the search for the truth. In 1603, for example, the Accademia dei Lincei (Academy of the Lynxes) was founded in Italy, dedicated to providing a sharp and penetrating insight into science and nature. For its emblem, the academy chose the lynx, and its symbol, the lynx passant is remarkably similar to Fiore’s lynx. The great Galileo himself was inducted into the Accademia dei Lincei in 1609, and published papers under the Accademia dei Lincei name. In fact, after joining the Accademia dei Lincei, Gailieo thereafter signed his name ''Galileo Galilei Linceo'' (“Galileo the Lynx”).</ref> and I proceed always with careful calculation.<ref>“A sesto e misura” - Fiore’s Lynx represents the intelligence and scientific application of knowledge. Hence it proceeds literally holding a “sesta” which is a pair of compasses or dividers. Note “sesta” is the pair of dividers, used for drawing circles and arcs and for measuring distance, not a nautical compass showing north south east west. A “misura” is a measure or rule, also used for measuring and drawing. The symbol of freemasonry is the “compass and square” (the square being a type of rule, namely two rules at right angles to each other). “A misura” means “with measure”, i.e. carefully. See, for example, [[wikipedia:Compass-and-straightedge construction|Compass-and-straightedge construction]].</ref></p>
| 
| 
| {{section|Page:MS Ludwig XV 13 32r.jpg|32r-2|lbl=-}}
| 
| 

|- 
| class="noline" | <p>{{red|b=1|Celerity/Speed}}</p>

<p>''I, the tiger, am so swift to run and to wheel<br/>That even the bolt from the sky cannot overtake me.''</p>
| class="noline" | <p>{{red|b=1|Quickness}}</p>

<p>''I am quick in the hunt and roll the quick ones back in their orbit,<br/>Nor in my running will the lightning overcome the tiger.</p>
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 32r.jpg|32r-3|lbl=-}}
| class="noline" | {{section|Page:Pisani-Dossi MS 17a.jpg|17a-attl|lbl=-}}

{{section|Page:Pisani-Dossi MS 17a.jpg|17a-a|lbl=-}}
| class="noline" | {{section|Page:MS Latin 11269 1v.jpg|1v-attl|lbl=-}}

{{section|Page:MS Latin 11269 1v.jpg|1v-a|lbl=-}}

|- 
| <p>I am the Tiger,<ref>Fiore’s Tigro is not the black and orange striped tiger (cat family), but is a mythical creature from the medieval Bestiaries that resembles a giant wolfhound (dog family). The tiny mouse-like creature drawn in the Getty does not do justice to this mighty mythical Tiger that was said to be as big as a horse and was attributed incredible speed. There is [http://www.abdn.ac.uk/bestiary/comment/8rtiger.hti a most beautiful painting] of a medieval Tiger in the Aberdeen Bestiary.</ref> and I am so quick to run and turn, that even the thunderbolt from heaven<ref>“la sagitta del cielo” means literally “the arrow from the sky”. Fiore means of course a bolt of lightning.</ref> cannot catch me.<ref>“Avanzare” means to excel or surpass. I understand Fiore to be saying that the Tiger is faster than lightning.</ref></p>
| 
| 
| {{section|Page:MS Ludwig XV 13 32r.jpg|32r-4|lbl=-}}
| 
| 

|- 
| class="noline" | <p>{{red|b=1|Audacity/Daring}}</p>

<p>''None carries a more ardent heart than me, the lion,<br/>But to everyone I make an invitation to battle.''</p>
| class="noline" | <p>{{red|b=1|Courage}}</p>

<p>''I am the quadruped, the strong crown; my brave things,<br/>For instance, are the foundation of every axis. Now conquers the lion of the heart;<br/>[...] Therefore, we call whomsoever to arms.</p>
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 32r.jpg|32r-5|lbl=-}}
| class="noline" | {{section|Page:Pisani-Dossi MS 17a.jpg|17a-bttl|lbl=-}}

{{section|Page:Pisani-Dossi MS 17a.jpg|17a-b|lbl=-}}
| class="noline" | {{section|Page:MS Latin 11269 1v.jpg|1v-bttl|lbl=-}}

{{section|Page:MS Latin 11269 1v.jpg|1v-b|lbl=-}}

|- 
| <p>No one has a more courageous heart than I, the Lion, for I welcome all to meet me in battle.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 32r.jpg|32r-6|lbl=-}}
| 
| 

|- 
| class="noline" | <p>{{red|b=1|Fortitude/Strength}}</p>

<p>''I am the elephant and I carry a castle as cargo,<br/>And I do not kneel nor lose my footing.''</p>
| class="noline" | <p>{{red|b=1|Strength}}</p>
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 32r.jpg|32r-7|lbl=-}}
| class="noline" | {{section|Page:Pisani-Dossi MS 17a.jpg|17a-ettl|lbl=-}}

{{section|Page:Pisani-Dossi MS 17a.jpg|17a-e|lbl=-}}
| class="noline" | {{section|Page:MS Latin 11269 1v.jpg|1v-ettl|lbl=-}}

{{section|Page:MS Latin 11269 1v.jpg|1v-e|lbl=-}}



|- 
| <p>I am the Elephant and I carry a castle in my care, and I neither fall to my knees nor lose my footing.<ref>“Ne perdo vargo” means literally “I do not lose my way”. From the Bestiaries however we understand that what the Elephant never does is fall over. In the Bestiaries we are told the Elephant has no knees and if it once lies down can never get up again. Thus Fiore’s Elephant stands for stability and sure-footedness. The Aberdeen Bestiary reads as follows: “[Of the elephant] ... no larger animal is seen. The Persians and Indians, carried in wooden towers on their backs, fight with javelins as from a wall. ...The elephant has this characteristic: if it falls down, it cannot rise. But it falls when it leans on a tree in order to sleep, for it has no joints in its knees. A hunter cuts part of the way through the tree, so that when the elephant leans against it, elephant and tree will fall together.”</ref></p>
| 
| 
| {{section|Page:MS Ludwig XV 13 32r.jpg|32r-8|lbl=-}}
| 
| 

|- 
| class="noline" | 
| class="noline" | [[File:MS Latin 11269 1v.jpg|400px|center]]
| class="noline" | <p>'''Stance of the Queens on the right<br/>Stance of the Queens on the left'''</p>

<p>'''Stance of the Windows on the right<br/>Stance of the Windows on the left'''</p>

<p>'''Extended Stance'''<br/>'''Shortened Stance'''</p>

<p>'''Full iron gate'''<br/>'''Half Iron Gate'''<br/>'''Boar's Tusk'''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 17a.jpg|17a-f|lbl=-}}
| class="noline" | {{section|Page:MS Latin 11269 1v.jpg|1v-f|lbl=-}}

|}
{{master subsection end}}
{{master end}}

{{master begin
 | title = Grappling
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| 
| style="text-align:center; vertical-align:middle;" | [No illustration]
| <p>[1] In the name of God and Saint George, we begin our system with Grappling on foot, seeking to gain superior holds. Holds are not superior unless they give you an advantage. Thus we four Masters seek to achieve advantageous holds through the techniques you see depicted here.</p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 04a.jpg|4a-t}}
| 

|- 
| rowspan="3" | 
| rowspan="3" | [[File:Pisani-Dossi MS 04a-a.png|400px|center]]
| class="noline" | <p>[2] {{red|b=1|[The Long Guard]}}</p>

<p>''I am ready to show you how I win with my holds,<br/>And if I don’t leave you wondering what happened, you can count yourself lucky.''</p>
| class="noline" | <p><br/></p>

<p>''Even if you capture me, I would win; I am truly prepared.<br/>If I do not deceive you, you will be able to benefit for a short while.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | <p><br/></p>

{{section|Page:Pisani-Dossi MS 04a.jpg|4a-a}}
| class="noline" | <p><br/></p>

{{section|Page:MS Latin 11269 38v.jpg|38v-a}}

|- 
| class="noline" | <p>I am ''Posta Longa'' and I seek you like this. And in response to the first grapple that you attempt on me I will bring my right arm up under your left arm. And I will then execute the first play of Grappling. And with that lock I will force you to the ground. And if that lock looks like it will fail me, then I will switch to one of the other locks that follow.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 06r.jpg|6r-a}}
| class="noline" | 
| class="noline" | 

|- 
| 
| 
| 
| 
| 
| 

|- 
| rowspan="3" | 
| rowspan="3" | [[File:Pisani-Dossi MS 04a-b.png|400px|center]]
| class="noline" | <p>[3] {{red|b=1|[The Boar's Tooth]}}</p>

<p>''I seek to reverse the fight,<br/>And from this position I will force you to the ground.''</p>
| class="noline" | <p><br/></p>

<p>''I seek to shift, <for> which reason I would be able to deceive you well.<br/>Henceforth, I would turn you, using the speeding chest, through the dirt.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | <p><br/></p>

{{section|Page:Pisani-Dossi MS 04a.jpg|4a-b}}
| class="noline" | <p><br/></p>

{{section|Page:MS Latin 11269 38v.jpg|38v-b}}

|- 
| class="noline" | <p>I counter you with ''Dente di Zenghiaro''. And with this move I am sure to break your grip. And from this guard I can transition to ''Porta di Ferro'', which will force you to the ground. And if my plan fails me because of your defense, I will seek other ways to hurt you, for example with breaks, binds and dislocations, as you see depicted in these drawings.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 06r.jpg|6r-b}}
| class="noline" | 
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| class="noline" | <p>[4] {{red|b=1|[The Iron Gate]}}</p>

<p>''If you fail to beat me with your skill, I believe<br/>That with my power I will hurt you, or worse.''</p>
| class="noline" | <p><br/></p>

<p>''If you do not conquer with a trick, I can, of course, believe [that]<br/>By my strength, that one &lt;that is, you&gt; will suffer many calamities.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | <p><br/></p>

{{section|Page:Pisani-Dossi MS 04a.jpg|4a-c}}
| class="noline" | <p><br/></p>

{{section|Page:MS Latin 11269 38v.jpg|38v-c}}

|- 
| class="noline" | <p>I wait for you without moving in ''Porta di Ferro'', ready to grapple with all of my skill. And this guard can be applied not only in the art of grappling, but also in the art of the Spear, the Poleaxe, the Sword, and the Dagger. For I am ''Porta di Ferro'', full of danger. Those who oppose me will always end up in pain and suffering. And as for those of you who come against me trying to get your hands on me, I will force you to the ground.</p>
| class="noline" | 
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| class="noline" | {{section|Page:MS Ludwig XV 13 06r.jpg|6r-c}}
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| rowspan="3" | 
| rowspan="3" | [[File:Pisani-Dossi MS 04a-d.png|400px|center]]
| class="noline" | <p>[5] {{red|b=1|[The Guard of the Forehead]}}</p>

<p>''I advance upon you with my arms well forward<br/>To lay hands on you in a variety of ways.''</p>
| class="noline" | <p><br/></p>

<p>''Behold!  I am coming, eager to overcome by means of the stretched shoulder,<br/>In order that I gain for myself a powerful capturing during the playing.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | <p><br/></p>

{{section|Page:Pisani-Dossi MS 04a.jpg|4a-d}}
| class="noline" | <p><br/></p>

{{section|Page:MS Latin 11269 38v.jpg|38v-d}}

|- 
| class="noline" | <p>I am ''Posta Frontale'', used to get my hands on you. Now if I come against you in this guard, you may lay hands on me. But I will then move from this guard, and with skill I will take you down to ''Porta di Ferro''. Then I will make you suffer as if you had fallen into the depths of hell. And I will serve you so effectively with locks and dislocations, that you will quickly acknowledge my superiority. And as long as I don’t forget my skills, I will gain my superior holds.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 06r.jpg|6r-d}}
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| rowspan="3" | [[File:Pisani-Dossi MS 04b-a.png|400px|center]]
| class="noline" | <p>[6] ''With this move I will either force you to the ground<br/>Or else your left arm will be dislocated.''</p>
| class="noline" | <p>''In this way, I, using a capturing, would make you touch the earth.<br/>I will dislocate your left shoulder, or perhaps the other.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 04b.jpg|4b-a}}
| class="noline" | {{section|Page:MS Latin 11269 39r.jpg|39r-b}}

|- 
| class="noline" | <p>This is the first play of ''Abrazare'' and from every grappling guard you can arrive at this play, and from this position, proceed as follows: jam his right inside elbow with your left hand, and bring your right hand up behind and against his left elbow as shown. Now quickly make the second play, that is to say, having gripped him like this, turn your body to the left, and as a result he either goes to the ground or his arm will be dislocated.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 06v.jpg|6v-a}}
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| rowspan="3" | [[File:Cod.1324 29r-c.jpg|400px|center]]
| rowspan="3" | [[File:Pisani-Dossi MS 04b-b.png|400px|center]]
| class="noline" | <p>[7] ''Either I will make you kiss the ground with your mouth,<br/>Or I will force you into the lower lock.''</p>
| class="noline" | <p>''I would compel you, ugly, to lick the ground with your mouth;<br/>Not to mention I would even make you, wretched, enter the lowest key.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 04b.jpg|4b-b}}
| class="noline" | {{section|Page:MS Latin 11269 39r.jpg|39r-d}}

|- 
| class="noline" | <p>As the Scholar of the First ''Abrazare'' Remedy Master says, I am certain to put this man to the ground, either by breaking or dislocating his left arm. And if the ''Zugadore'' who fights with the First ''Abrazare'' Remedy Master takes his left hand off the shoulder of the Remedy Master in order to make a defense, then I will quickly let go of his right arm with my left hand and instead seize his left leg with my left hand, and grip his throat with my right hand in order to throw him to the ground, as you see depicted in the third play.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 06v.jpg|6v-b}}
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|- 
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| <p>[In the Paris, the Scholar wears a crown.]</p>
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| rowspan="3" | [[File:Pisani-Dossi MS 04b-c.png|400px|center]]
| class="noline" | <p>[8] ''And I will put you on the ground on your back,<br/>And I will not let you back up again without injury.''</p>
| class="noline" | <p>''I would throw you, without pause, into the farthest earth up to the kidneys.<br/>Without you being able to rise from ominous punishment at all.''<ref>''Nec sine'' is an emphatic, not a negation.</ref></p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 04b.jpg|4b-c}}
| class="noline" | {{section|Page:MS Latin 11269 39v.jpg|39v-b}}

|- 
| class="noline" | <p>The scholar that came before me speaks truly that from his hold he will force his opponent to the ground or dislocate his left arm. As he told you, if the ''Zugadore'' takes away his left hand from the shoulder of the Remedy Master, then the Remedy Master transitions to the Third Play, as you see depicted here. Thus, the First play and the Second play are really one single play, where the Remedy Master forces the ''Zugadore'' to the ground with a turn of his body, while in this Third play the ''Zugadore'' is thrown to the ground onto his back.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 06v.jpg|6v-c}}
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| rowspan="3" | [[File:Pisani-Dossi MS 04b-d.png|400px|center]]
| class="noline" | <p>[9] ''Even if you were a master of grappling,<br/>I will force you to the ground with this technique.''</p>
| class="noline" | <p>''In this way, I would make you sink down to the earth using a capturing,<br/>If you were being better during the entire playing by the masters.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 04b.jpg|4b-d}}
| class="noline" | {{section|Page:MS Latin 11269 39v.jpg|39v-d}}

|- 
| class="noline" | <p>This is the Fourth Play of ''Abrazare'', by which the ''Scholaro'' [Student] can easily force the ''Zugadore'' to the ground. And if he cannot force him to ground like this, he will seek other plays and techniques and use other methods, as you will see depicted below. You should know that the plays and the techniques will not always work in every situation, so if you do not have a good hold, you should quickly seek one, so as not to let your opponent gain any advantage over you.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 06v.jpg|6v-d}}
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| <p>[In the Paris, the Scholar wears a crown.]</p>
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| rowspan="3" | [[File:Pisani-Dossi MS 04b-e.png|400px|center]]
| class="noline" | <p>[10] ''With the grips that I have on you above and below,<br/>I will break open your head on the ground.''</p>
| class="noline" | <p>''Because of capturing, &lt;by&gt; wrestling above and below<br/>You will pound the earth with the top of your head. The fates will not refuse.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 04b.jpg|4b-e}}
| class="noline" | {{section|Page:MS Latin 11269 40r.jpg|40r-b}}

|- 
| class="noline" | <p>This grip that I make with my right hand at your throat will bring you pain and suffering, and with it I will force you to the ground. Also let me tell you that if I seize you under your left knee with my right hand, I will be even more certain of driving you into the ground.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07r.jpg|7r-a}}
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| <p>[In the Paris, the Scholar wears a crown.]</p>
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| rowspan="3" | [[File:MS Ludwig XV 13 07r-b.jpg|400px|center]]
| class="noline" | <p>[11] ''Your hand in my face is well placed,<br/>But I will now show you some other moves.''</p>
| class="noline" | <p>''I served up the palms to the face.<ref>''Apposui'' is clearly “I served up,” but with the convention that the captions are spoken by the wearer of the crown or garter, this makes little sense (as the palms are in the face of that person). Further, the Pisani Dossi text reverses the speaker.</ref> But still I cheerfully moved<br/>Those [palms] from that place, &lt;in order that&gt; I would therefore be able to<br/>Bury you using the other capturing.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 04b.jpg|4b-f}}
| class="noline" | {{section|Page:MS Latin 11269 40r.jpg|40r-c}}

|- 
| class="noline" | <p>I am the counter of the Fifth Play [10] that is shown earlier. And let me explain that if with my right hand I push up the elbow of his hand that seeks to harm me, I will turn him in such a way that either I will force him to the ground, as you see here depicted, or I will gain a hold or a lock, and so I will have little concern for his grappling skills.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07r.jpg|7r-b}}
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|- 
| <p>[In the Pisani Dossi, the Master is missing his crown.]</p>
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| rowspan="3" | [[File:Pisani-Dossi MS 05a-a.png|400px|center]]
| class="noline" | <p>[12] ''By putting my head under your arm,<br/>I will easily throw you to the ground.''</p>
| class="noline" | <p>''You, confused one, will be spread on the ground (like a tarp) in sadness and disorder;<br/>This, because I am holding [your arm] on the left &lt;and put&gt; the head of this person &lt;that is, me&gt; under the shoulder.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05a.jpg|5a-a}}
| class="noline" | {{section|Page:MS Latin 11269 40v.jpg|40v-a}}

|- 
| class="noline" | <p>From this hold that I have gained, and by the way I hold you, I will lift you off the ground with my strength and throw you down under my feet head first with your body following. And as far as I am concerned, you will not be able to counter me.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07r.jpg|7r-c}}
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| rowspan="3" | [[File:Pisani-Dossi MS 05a-b.png|400px|center]]
| class="noline" | <p>[13] ''Because of my thumb pressing under your left ear,<br/>Your hold on me is failing, as you can see depicted here.''</p>
| class="noline" | <p>''{{highlight|I but hold}} this finger to the left ear during wrestling,<br/>In order that you destroy the capturing by which you were keeping the upper hand on me.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05a.jpg|5a-b}}
| class="noline" | {{section|Page:MS Latin 11269 40v.jpg|40v-d}}

|- 
| class="noline" | <p>When I press my thumb under your ear you will feel so much pain that you will go to the ground for sure, or I will make other hold or lock that will be worse than torture for you. The counter that can be made is the Sixth play [11] made against the Fifth Play [10] when he puts his hand underneath his opponent’s elbow. This counter can certainly be done to me here.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07r.jpg|7r-d}}
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| <p>[In the Paris, the Scholar wears a crown.]</p>
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| rowspan="3" | [[File:Pisani-Dossi MS 05a-c.png|400px|center]]
| class="noline" | <p>[14] ''With great cunning you grabbed me from behind,<br/>But this move will throw you to the ground without fail.''</p>
| class="noline" | <p>''&lt;If you&gt;, Traitor, by your art have seized me from behind,<br/>This capturing nevertheless puts &lt;and buries&gt; you in the deepest ground.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05a.jpg|5a-c}}
| class="noline" | {{section|Page:MS Latin 11269 41r.jpg|41r-a}}

|- 
| class="noline" | <p>You seized me from behind in order to throw me to the ground, and I turned like this. And if I fail to throw you to the ground you will have a lucky escape. This play is a good finishing move, but unless this is done quickly, this remedy will fail.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07v.jpg|7v-a}}
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| rowspan="3" | [[File:Pisani-Dossi MS 05a-d.png|400px|center]]
| class="noline" | <p>[15] ''This is a grappling move that involves the ''Gambarola'',<br/>But be aware that this move will not always work.''</p>
| class="noline" | <p>''Here, meanwhile, the play of turning of legs is discussed.<br/>{{highlight|However, it}} is not suitable; it often fails at holding.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05a.jpg|5a-d}}
| class="noline" | {{section|Page:MS Latin 11269 41r.jpg|41r-c}}

|- 
| class="noline" | <p>This is a play that involves a throw over the leg [''Gambarola''] which is a risky move in grappling. So if you want to make this leg throw successfully, you will need to do it with power and speed.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07v.jpg|7v-b}}
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| rowspan="3" | [[File:Pisani-Dossi MS 05a-e.png|400px|center]]
| class="noline" | <p>[16] ''This is a good hold to practice,<br/>For I can hold you without you being able to harm me.''</p>
| class="noline" | <p>''By the joint, thought and mind, the capturing is called Outsider.<br/>In this way, at last, I will force you, gloomy one, to endure.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05a.jpg|5a-e}}
| class="noline" | {{section|Page:MS Latin 11269 41v.jpg|41v-a}}

|- 
| class="noline" | <p>This is a finishing move and it is a good way to hold someone, because they cannot defend themselves. For the counter, the one who is being held should move as quickly as he can over to a wall or a post and drive himself backwards against it so that the man holding him breaks his head or his back against the aforementioned wall or post.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07v.jpg|7v-c}}
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| rowspan="3" | [[File:Pisani-Dossi MS 05a-f.png|400px|center]]
| class="noline" | <p>[17] ''I will strike you so hard in the groin<br/>That all of your strength will be taken away.''</p>
| class="noline" | <p>''In this way, &lt;I&gt; myself would destroy your testicles with a hard<br/>Knee, so that no strength will be present in the heart.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05a.jpg|5a-f}}
| class="noline" | {{section|Page:MS Latin 11269 41v.jpg|41v-d}}

|- 
| class="noline" | <p>This student strikes his opponent with a knee to the groin to gain advantage in order to throw him to the ground. To make the counter, when your opponent comes in quickly to strike you in the groin with his knee, seize his right leg under the knee with your right hand, and throw him to the ground.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 07v.jpg|7v-d}}
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| rowspan="3" | [[File:Pisani-Dossi MS 05b-a.png|400px|center]]
| class="noline" | <p>[18] ''I'll give you so much pain and suffering to your nose<br/>That I will immediately make you let go of me.''</p>
| class="noline" | <p>''I will redouble so many<ref>''Tot'': so many, such a number.</ref> pains which your nose is suffering<br/>That I believe you will quickly release me [who {{highlight|am}}] fighting with you.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05b.jpg|5b-a}}
| class="noline" | {{section|Page:MS Latin 11269 42r.jpg|42r-a}}

|- 
| class="noline" | <p>If you seize me with both your arms underneath mine, I will strike with both my hands into your face. And even if you were well armored this would still make you let go. The counter of this play is to place your right hand under the left elbow of your opponent and push hard upwards, and you will be able to free yourself.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08r.jpg|8r-a}}
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| rowspan="3" | [[File:Pisani-Dossi MS 05b-b.png|400px|center]]
| class="noline" | <p>[19] ''No doubt about it, with this move I will free myself<br/>And with this counter you will be thrown to the ground.''</p>
| class="noline" | <p>''I set up your limbs using a similar capturing (and so we demonstrate).<br/>Nevertheless, &lt;you&gt;, miserable ruined one, will depart<br/>By means of the counter, as you will duly see if you examine [it] by the light of day.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05b.jpg|5b-b}}
| class="noline" | {{section|Page:MS Latin 11269 42r.jpg|42r-d}}

|- 
| class="noline" | <p>This shows how I make the counter to the thirteenth play [18]. As you can see his hands have been removed from my face. And from this hold, if I fail to throw him to the ground I will be worthy of your disdain.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08r.jpg|8r-b}}
| class="noline" | 
| class="noline" | 

|- 
| <p>[In the Getty, the master grabs the scholar's right elbow rather than his left wrist.]</p>
| <p>[In the Paris, the Master is missing his crown.]</p>
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|- 
| rowspan="3" | 
| rowspan="3" | [[File:Pisani-Dossi MS 05b-c.png|400px|center]]
| class="noline" | <p>[20] ''I will hurt you under your chin so badly<br/>That you will quickly find yourself thrown onto your back.''</p>
| class="noline" | <p>''And I drag many pains to you below your chin,<br/>So that I touch the farthest earth with the sorrowful kidneys.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05b.jpg|5b-c}}
| class="noline" | {{section|Page:MS Latin 11269 42v.jpg|42v-a}}

|- 
| class="noline" | <p>If you come to grips with both your arms underneath your opponent's, then you can attack his face as you see depicted, especially if his face is not protected. You can also transition from here into the third play of grappling.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08r.jpg|8r-c}}
| class="noline" | 
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| rowspan="3" | 
| rowspan="3" | [[File:MS Ludwig XV 13 08r-d.jpg|400px|center]]
| class="noline" | <p>[21] ''With your hands in my face you can cause me trouble,<br/>But with this counter to your eyes, I will cause you even more trouble.''</p>
| class="noline" | <p>''Here, by this twin play, you press the face with the hand.<br/>But the counter, thenceforth, will injure the eye more greatly.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05b.jpg|5b-d}}
| class="noline" | {{section|Page:MS Latin 11269 42v.jpg|42v-d}}

|- 
| class="noline" | <p>This is the counter to the fourteenth play [20], and to any other play where my opponent has his hands in my face while grappling with me. If his face is unprotected, I push my thumbs into his eyes. If his face is protected, I push up under his elbow and quickly move to a ''presa'' or a ''ligadura''.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08r.jpg|8r-d}}
| class="noline" | 
| class="noline" | 

|- 
| class="noline" | <p>[In the Pisani Dossi, the Master is missing his crown.]</p>
| class="noline" | <p>[In the Paris, the Master is missing his crown.]</p>
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | 

|}
{{master end}}

{{master begin
 | title = Baton
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| rowspan="3" | 
| rowspan="3" | [[File:Pisani-Dossi MS 05b-e.png|400px|center]]
| class="noline" | <p>[1] ''With a short staff I bind your neck,<br/>And if I fail to put you into the ground, you can count yourself lucky.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05b.jpg|5b-e}}
| class="noline" | 

|- 
| class="noline" | <p>See how with a short staff I hold you bound by your neck. And from here if I wish to throw you to the ground I will have little trouble doing so. And if I choose to do worse to you I can keep this strong bind applied. And you will not be able to counter this play.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08v.jpg|8v-a}}
| class="noline" | 
| class="noline" | 

|- 
| 
| 
| 
| 
| 
| 

|- 
| rowspan="3" | 
| rowspan="3" | [[File:Pisani-Dossi MS 05b-f.png|400px|center]]
| class="noline" | <p>[2] ''If this short staff play does not put you on the ground,<br/>Then I will have no faith in the effectiveness of this art.''</p>


| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:Pisani-Dossi MS 05b.jpg|5b-f}}
| class="noline" | 

|- 
| class="noline" | <p>If you were well armored then I would prefer to make this play against you than the previous one. Now that I have caught you between your legs with the short staff, you are stuck riding it like a horse, but you won't be trapped like this long before I turn you upside down onto your back.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08v.jpg|8v-b}}
| class="noline" | 
| class="noline" | 

|- 
| <p>[In the Getty, the Scholar steps between his opponent's legs.]</p>
| 
| 
| 
| 
| 

|- 
| rowspan="2" | 
| rowspan="2" | [[File:MS Ludwig XV 13 08v-c.jpg|400px|center]]
| class="noline" | <p>[3] I am the Student of the Sixth Remedy Master of the Daga, who counters in this way with his dagger. And it is in his honor that I make this cover with my short staff. And from here I will rise quickly to my feet and I will make the plays of my Master. And this cover that I have made with a short staff can also be done with a hood. And the counter to this move is the same counter shown by my Master [in the dagger section].</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08v.jpg|8v-c}}
| class="noline" | 
| class="noline" | 

|- 
| <p>[Based on the description, the placement of this illustration is probably an error and it more likely belongs to the following play.]</p>
| 
| 
| 
| 
| 

|- 
| rowspan="3" | 
| rowspan="3" | [[File:MS Ludwig XV 13 08v-d.jpg|400px|center]]
| class="noline" | <p>[4] I have taken this remedy from the Eighth Remedy Master of the Dagger, and I can defend myself armed only with this short staff. And having made this cover I rise to my feet, and I can then make all of the plays of my Master. And I could defend myself in this way equally well with a hood or a piece of rope. And the counter to this move is the same counter shown by my Master.</p>
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Ludwig XV 13 08v.jpg|8v-d}}
| class="noline" | 
| class="noline" | 

|- 
| class="noline" | <p>[Based on the description, the placement of this illustration is probably an error and it more likely belongs to the previous play.]</p>
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | 

|}
{{master end}}

{{master begin
 | title = Dagger
 | width = 100%
}}
{{master subsection begin
 | title = Introduction
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| 
| style="text-align:center; vertical-align:middle;" | [No illustration]
| <p>[1] These five figures are the guards of the dagger; and some are good in armor; and some are good without armor; and some are good both in or out of armor; and some are good in armor but not good without armor; and all these are displayed below.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 09r.jpg|9r-t}}
| 
| 

|- 
| 
| [[File:MS Ludwig XV 13 09r-a.jpg|400px|center]]
| <p>[2] {{red|b=1|[Full Iron Gate, Single]}}</p>
<p>I am Full Iron Gate Single. And I am good in armour and without armour, because I can ward off an attack with or without moving to grapple. And I can play with or without a dagger when I make my covers.</p>
| 
| 
| 
<br/>
{{section|Page:MS Ludwig XV 13 09r.jpg|9r-a}}
| 
| 

|- 
| 
| [[File:MS Ludwig XV 13 09r-b.jpg|400px|center]]
| <p>[3] {{red|b=1|[Full Iron Door, Doubled]}}</p>

<p>I am Full Iron Gate Doubled, and I am good in armour and without armour, but in all situations I am better in armour than without armour, and with a guard like this I cannot use a dagger.</p>
| 
| 
| 
<br/>
{{section|Page:MS Ludwig XV 13 09r.jpg|9r-b}}
| 
| 

|- 
| 
| [[File:MS Ludwig XV 13 09r-e.jpg|400px|center]]
| <p>[4] {{red|b=1|[Middle Iron Gate, Doubled]}}</p>

<p>I am Middle Iron Gate with dagger in hand and I am doubled, and I am better and more strong than any of the others, and I am good in armour and without armour, and I can cover low and high on either side.</p>
| 
| 
| 
<br/>
{{section|Page:MS Ludwig XV 13 09r.jpg|9r-e}}
| 
| 

|- 
| 
| [[File:MS Ludwig XV 13 09r-f.jpg|400px|center]]
| <p>[5] {{red|b=1|[Full Iron Door, Doubled and Crossed]}}</p>

<p>And I am Full Iron Gate with the arms crossed and doubled. And I am like a mighty fortress, and in armour I am especially strong. But without armour I am not sufficient, because I cannot cover long.</p>
| 
| 
| 
<br/>
{{section|Page:MS Ludwig XV 13 09r.jpg|9r-f}}
| 
| 

|- 
| 
| [[File:MS Ludwig XV 13 09r-c.jpg|400px|center]]
| <p>[6] {{red|b=1|[Middle Iron Gate, Doubled and Crossed]}}</p>

<p>And I am Middle Iron Gate doubled and crossed [with dagger]. And I am good in armour but not without armour, because I cannot cover long, but I can cover above and below, from the right and the left, with or without a dagger.</p>
| 
| 
| 
<br/>
{{section|Page:MS Ludwig XV 13 09r.jpg|9r-c}}
| 
| 

|- 
| rowspan="2" | 
| style="text-align:center; vertical-align:middle;" rowspan="2" | [No illustration]
| <p>[7] I am the noble weapon named the dagger who plays at very close range, and he who understands my malice and my art will also gain a good understanding of many other weapons. And since I finish my fight fiercely and quickly, there is no man who can stand against my method. Whoever witnesses my deeds of arms will see me make covers and thrusts as I move to grapple, and will see me take away the dagger by dislocating and binding arms, and against me neither weapons nor armour will be of any use.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 09v.jpg|9v-f}}
| 
| 

|- 
| <p>[8] Everyone should take care when facing the perilous dagger, and your arms, hands and elbows must go quickly against it, to do these five things, namely: take away the dagger; strike; dislocate the arms; bind the arms; and force your opponent to the ground. And never fail to do one or the other of these five things; And may he who seeks to defend himself protect himself in this way.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 09v.jpg|9v-a}}
| 
| 

|- 
| rowspan="4" | 
| rowspan="4" | [[File:MS Ludwig XV 13 09v-a.jpg|400px|center]]
| <p>[9] With the ''fendente'' I can strike to the head and the body from the elbow up to the top of the head. But below the elbow I cannot be sure that I can make this strike without danger, and therefore I am reluctant to strike lower.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 09v.jpg|9v-b}}
| 
| 

|- 
| <p>[10] From the left (reverse) side, you can strike from the elbow to end at the temple of the head. And these are called the ''colpi mezani'' (middle strikes). And these reverse strikes from the left cannot be delivered if you are still waiting to make cover against your opponent’s attack.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 09v.jpg|9v-c}}
| 
| 

|- 
| <p>[11] From the right side you can strike or cover if needed, and your target ranges from the elbows to the temples of the head. And this strike is more safely made from the right side than made from the left side.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 09v.jpg|9v-d}}
| 
| 

|- 
| <p>[12] The dagger that goes through the middle towards the head strikes below the chest and never higher. And while striking you should at all times make cover with your left hand.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 09v.jpg|9v-e}}
| 
| 

|- 
| 
| [[File:MS Ludwig XV 13 10r-a.jpg|400px|center]]
| <p>[13] ''After taking away your dagger, to signify my victory<br/>I hold it in my raised hand in this manner.''</p>

<p>In my right hand I hold your dagger, and I gained it through my skill, which is so good that if you draw a dagger on me, I will take it from your hand. And I know well how to strike to finish you, no matter what advantage you might have.</p>
| <p>''Now sealed with the palm, thus I carry the safe dagger.<br/>With my hands I would lift [the dagger] itself, all having been carried.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 10r.jpg|10r-a}}
| {{section|Page:Pisani-Dossi MS 06a.jpg|6a-a}}
| {{section|Page:MS Latin 11269 21r.jpg|21r-a}}

|- 
| 
| [[File:MS Ludwig XV 13 10r-b.jpg|400px|center]]
| <p>[14] ''Because I triumph over those who fight with me,<br/>I carry torn-off broken arms as a decoration.''</p>

<p>I choose to symbolize my skill with the broken arms I carry. And I do not lie when I tell you that I have broken and dislocated many arms in my life. And whoever chooses to go against my art, will find me always ready to use that art against him.</p>
| <p>''Whereas I would overcome all which can war with me;<br/>Distinguished, I carry before me broken arms in [my] hands.</p>

| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 10r.jpg|10r-b}}
| {{section|Page:Pisani-Dossi MS 06a.jpg|6a-b}}
| {{section|Page:MS Latin 11269 21r.jpg|21r-b}}

|- 
| 
| [[File:MS Ludwig XV 13 10r-c.jpg|400px|center]]
| <p>[15] ''Locking the arms of all opponents<br/>In such a way that none can safely extend their right hand,<br/>To show my success I carry a pair of keys in my hand.''</p>

<p>I am the Master of the unlocking and locking of the arms of those who choose to oppose me. I will cause them great pain and suffering with my techniques of binding and dislocating. And therefore I carry these keys to signify the value of my art.</p>
| <p>''Nailing together the arms of all fighting in the region<br/>In such a way that they would not be able to extend the safe right,<br/>Now happily I thus collect two keys in my hands.''</p>
| 
| 
<br/><br/><br/>
{{section|Page:MS Ludwig XV 13 10r.jpg|10r-c}}
| {{section|Page:Pisani-Dossi MS 06a.jpg|6a-c}}
| {{section|Page:MS Latin 11269 21r.jpg|21r-c}}

|- 
| class="noline" | 
| class="noline" | [[File:MS Ludwig XV 13 10r-d.jpg|400px|center]]
| class="noline" | <p>[16] ''You ask how I force others to the ground under my feet with such prowess,<br/>I tell you that because I grapple each man and throw him down;<br/>The victory palm is appropriately held in my right hand.''</p>

<p>You ask how it is that I have this man held under my feet. Thousands have suffered this fate because of my art of Abrazare. And I carry the victory palm in my right hand, because no one can stand up to my grappling skills.</p>
| class="noline" | <p>''You ask why I, boasting, ruined so great [a person] with [my] feet:<br/>Because by wrestling men of courage, I assert to lay them all low;<br/>Certainly the palm is extended to stand on our right.''</p>
| class="noline" | 
| class="noline" | 
<br/><br/><br/>
{{section|Page:MS Ludwig XV 13 10r.jpg|10r-d}}
| class="noline" | {{section|Page:Pisani-Dossi MS 06a.jpg|6a-d}}
| class="noline" | {{section|Page:MS Latin 11269 21r.jpg|21r-d}}

|}
{{master subsection end}}

{{master subsection begin
 | title = 1st Master
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| 
| [[File:Pisani-Dossi MS 06a-e.png|400px|center]]
| <p>[17] ''I am the First Master of the Dagger, full of guile,<br/>And with my left hand I will wind the dagger around your arm,<br/>And truth to tell I can make many other plays,<br/>And my students will do them cunningly.''</p>

<p>I am the first master and I am called Remedy, because I know how to remedy so well that you cannot harm me whereas I on the contrary can strike you and hurt you. And I cannot make a better play against you than to make your dagger go to the ground, by turning my hand to the left.</p>
| <p>''The first master of the dagger, I am called caution itself;<br/>At any time, the left hand having been extended to lift the dagger away.''</p>
| 
| 
<br/><br/><br/><br/>
{{section|Page:MS Ludwig XV 13 10v.jpg|10v-a}}
| {{section|Page:Pisani-Dossi MS 06a.jpg|6a-e}}
| {{section|Page:MS Latin 11269 21v.jpg|21v-a}}

|- 
| 
| [[File:Pisani-Dossi MS 06a-f.png|400px|center]]
| <p>[18] ''If I make a turn around your arm with my dagger,<br/>I will strike you in the chest, and it will not be taken from me.''</p>

<p>I will turn my dagger around your arm. And because of this counter you will not be able to take the dagger from me. And also with this turn I can drive it into your chest without a doubt.</p>
| <p>''Truly I sweep the dagger away around your shoulder.<br/>Not wasting that [attack], I would pulp you, miserable, in the chest.''</p>

| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 10v.jpg|10v-b}}
| {{section|Page:Pisani-Dossi MS 06a.jpg|6a-f}}
| {{section|Page:MS Latin 11269 21v.jpg|21v-d}}

|- 
| 
| [[File:Pisani-Dossi MS 06b-a.png|400px|center]]
| <p>[19] ''With your right arm locked under my left,<br/>I can cause you much harm while keeping you trapped.''</p>

<p>I will lock your arm in the middle bind, and I will do it in such a way that you will not be able to give me any trouble. And if I wish to put you to the ground I will do so with little effort, and you will have no chance of escaping.</p>

''[In the Getty, the Scholar steps with his left foot in front of his opponent's right, not behind.]''
| <p>''And behold your right [arm] confined under my left<br/>Shoulder. Far too many misfortunes delay you, the imprisoned one.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 10v.jpg|10v-c}}
| {{section|Page:Pisani-Dossi MS 06b.jpg|6b-a}}
| {{section|Page:MS Latin 11269 24r.jpg|24r-a}}

|- 
| 
| [[File:Pisani-Dossi MS 06b-b.png|400px|center]]
| <p>[20] ''If you wind around my arm and try to lock it in this way,<br/>I will put you in the lower bind and this hold will make things hard for you.''</p>

<p>I make the counter to the play that came before me. You can see the kind of position that I have put him in. I will break his arm or quickly throw him to the ground.</p>
| <p>''It is permitted that you hold me pressed hard inward, the lower key having been retained [and]<br/>Then pressed hard, [which] will harm the shoulder.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 10v.jpg|10v-d}}
| {{section|Page:Pisani-Dossi MS 06b.jpg|6b-b}}
| {{section|Page:MS Latin 11269 24r.jpg|24r-d}}

|- 
| 
| [[File:Pisani-Dossi MS 06b-c.png|400px|center]]
| <p>[21] <em>If I can turn this arm of yours,<br/>I will make you suffer with a middle bind.</em></p>

<p>This is a good cover from which to take the dagger from your hand, and with this grip I will be able to bind you well. And this art is so effective that if I place my right hand under your right knee, then I will put you to the ground.</p>
| <p>''If I myself can now turn the shoulder using the hands,<br/>You, sad, will remain eternally in that middle key.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 11r.jpg|11r-a}}
| {{section|Page:Pisani-Dossi MS 06b.jpg|6b-c}}
| {{section|Page:MS Latin 11269 24v.jpg|24v-a}}

|- 
| 
| [[File:Pisani-Dossi MS 06b-d.png|400px|center]]
| <p>[22] <em>You will not make me suffer in the middle bind<br/>When I meet you with this counter and make you let go.</em></p>

<p>I make the counter to the play that came before me, so that you will not be able to throw me to the ground, nor take the dagger from me, nor bind me either. You will have to let go, or else you will be quickly stabbed by my dagger.</p>
| <p>''You will not make [me] endure in the middle key. But now,<br/>By means of that my<ref>Possibly a scribal error—the first sentence seems to be missing a “me” and the second has one it doesn’t need.</ref> counter, it is convenient for you if you will yield to me.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 11r.jpg|11r-b}}
| {{section|Page:Pisani-Dossi MS 06b.jpg|6b-d}}
| {{section|Page:MS Latin 11269 24v.jpg|24v-d}}

|- 
| 
| [[File:MS Ludwig XV 13 11r-c.jpg|400px|center]]
| <p>[23] This is a play with no counter, and it is inevitable that the player will go to the ground and lose his dagger if the student performs this technique as depicted. And when the player is thrown to the ground, the student can finish him in various ways.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 11r.jpg|11r-c}}
| 
| 

|- 
| 
| [[File:MS Ludwig XV 13 11r-d.jpg|400px|center]]
| <p>[24] This play is rarely used in the art of the dagger, yet it is an additional defense to know. For after beating aside the attack in this way, the scholar can then strike with a counter to the ribs or the stomach.</p>
| 
| 
| {{section|Page:MS Ludwig XV 13 11r.jpg|11r-d}}
| 
| 

|- 
| [[File:Pisani-Dossi MS 08a-d.png|400px|center]]
| [[File:MS Ludwig XV 13 11v-a.jpg|400px|center]]
| <p>[25] <em>This bind is easy for me to do<br/>And from it I will be able to strike you in the back.</em></p>

<p>I am a counter to the First Dagger Remedy Master. Woe to he who remedies with techniques that allow his left hand to be seized. And from this hold I will be able to drive the dagger into his back.</p>

''[These two illustrations seem to show the beginning and end of the technique.]''
| <p>''It is neither labor nor pain to me to make a persistent bind,<br/>By which route now I will be able to injure you,<br/>And possibly I will strike your kidneys with a great wound.''</p>

<p>''[The Paris resembles the Getty.]''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 11v.jpg|11v-a}}
| {{section|Page:Pisani-Dossi MS 08a.jpg|8a-d}}
| {{section|Page:MS Latin 11269 44r.jpg|44r-b}}

|- 
| 
| [[File:Pisani-Dossi MS 08a-e.png|400px|center]]
| <p>[26] <em>I make the counter-counter to the First Master,<br/>For the counter-counter is a fine master.</em></p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 08a.jpg|8a-e}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 08a-f.png|400px|center]]
| <p>[27] <em>I make the counter-counter against the First Master,<br/>And I will be first to take away the dagger every time.</em></p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 08a.jpg|8a-f}}
| 

|- 
| 
| [[File:MS Latin 11269 43v-a.png|400px|center]]
| <p>[28] <em>I counter the First Dagger Master<br/>And I will strike your arm from above.</em></p>

<p>''[In the Pisani Dossi, the Master is missing his crown.]''</p>
| <p>''I am of the first king; you retain the dagger, openly<br/>I make the counter. This is well known [to] strike the shoulder.''<ref>The illustration clearly shows a thrust to the arm, not the shoulder.</ref></p>

| 
| 
| {{section|Page:Pisani-Dossi MS 08a.jpg|8a-a}}
| {{section|Page:MS Latin 11269 43v.jpg|43v-b}}

|- 
| 
| [[File:Pisani-Dossi MS 08a-b.png|400px|center]]
| <p>[29] <em>I make the counter to the First Master<br/>With this cover I will hurt him and worse.</em></p>

<p>I am also the counter of the First Dagger Remedy Master, and when his student grips me like this [10], I will strike him, and make him let go. And if he tries to do other plays against me, I will counter him without hesitation.</p>
| <p>''I certainly keep the counter of the first master,<br/>And I will now prove this covering using many bad things.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 11v.jpg|11v-b}}
| {{section|Page:Pisani-Dossi MS 08a.jpg|8a-b}}
| {{section|Page:MS Latin 11269 43r.jpg|43r-d}}

|- 
| 
| [[File:Pisani-Dossi MS 08a-c.png|400px|center]]
| <p>[30] <em>In the previous counter I told you that you could hurt him and worse;<br/>Here I show you how this can be done.</em></p>

<p>This flows from the counter referred to in the previous play. It also flows from the counter referred to two plays back [10], where the Counter Remedy Master has trapped the hand of his opponent with his dagger, and where he told you that he can drive the dagger into his opponent’s back. My play comes from that play, but where he says you drive the dagger into your opponent’s back, I drive it into his chest. But this still flows from the previous play, even though I choose to finish it differently.</p>

''[In the Getty, the Master's right foot is outside (in front) of his opponent's left foot.]''
| <p>''Using a counter to the former, which threatens many evils,<br/>I direct myself in these circumstances so that I would strike the associate with a deadly wound.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 11v.jpg|11v-c}}
| {{section|Page:Pisani-Dossi MS 08a.jpg|8a-c}}
| {{section|Page:MS Latin 11269 43v.jpg|43v-d}}

|- 
| [[File:MS Latin 11269 25r-a.png|400px|center]]
| [[File:Pisani-Dossi MS 06b-e.png|400px|center]]
| <p>[31] <em>I am well placed and positioned to force you to the ground;<br/>If you do not know the counter, I will throw you down immediately.</em></p>

<p>I am the student of the first Master of [Dagger] Remedies. And with this grip I seek to take your dagger and bind your arm, and since I do not believe that you know how to counter me, I will do this to you without delay.</p>

''[The Getty resembles the Paris. These two illustrations may show progressive stages of the technique.]''
| <p>''I am ready now to beat you, gloomy, into the ground.<br/>And if the counter would miss, I would do this to you readily.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 11v.jpg|11v-d}}
| {{section|Page:Pisani-Dossi MS 06b.jpg|6b-e}}
| {{section|Page:MS Latin 11269 25r.jpg|25r-a}}

|- 
| 
| [[File:Pisani-Dossi MS 06b-f.png|400px|center]]
| <p>[32] <em>I make the counter like this,<br/>And I know well how to strike you from here.</em></p>

<p>I counter you like this, so that you will neither take my dagger nor bind my arm, and my dagger and I will remain at liberty. And then I will be able to strike you when you let go of me in such a way that you will have no defense.</p>
| <p>''Now I do this counter quickly; you see duly just as it were.<br/>The spirit becoming enflamed, I would then beat your limbs.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12r.jpg|12r-a}}
| {{section|Page:Pisani-Dossi MS 06b.jpg|6b-f}}
| {{section|Page:MS Latin 11269 25r.jpg|25r-d}}

|- 
| 
| [[File:Pisani-Dossi MS 07a-a.png|400px|center]]
| <p>[33] <em>To make a much stronger cover I cross my arms in this manner;<br/>And from here I can do all the previous remedies.</em></p>

<p>This cover is known to be much stronger and I make it so as to be able to obstruct you with various plays. And you cannot overcome such a strong cover, because two arms can easily oppose one arm.</p>
| <p>''I cover myself using great bodily strength, as you see the movements.<br/>I attack in this way before anyone can bring about anything.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12r.jpg|12r-b}}
| {{section|Page:Pisani-Dossi MS 07a.jpg|7a-a}}
| {{section|Page:MS Latin 11269 25v.jpg|25v-a}}

|- 
| 
| [[File:Pisani-Dossi MS 07a-b.png|400px|center]]
| <p>[34] <em>With this counter the previous cover will meet with failure;<br/>After I have made you turn I will strike you with my dagger.</em></p>

<p>This is the counter to the cover that came before, that I told you was much stronger. And I will turn him with my left hand. Having turned him, I will not fail to strike him.</p>
| <p>''Now, by means of this counter, I cheat the earlier plays<br/>In such a way, and I would turn you behind in order to wreck you <that is, bring you to ruin> with wounds.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12r.jpg|12r-c}}
| {{section|Page:Pisani-Dossi MS 07a.jpg|7a-b}}
| {{section|Page:MS Latin 11269 25v.jpg|25v-d}}

|- 
| 
| [[File:Pisani-Dossi MS 07a-c.png|400px|center]]
| <p>[35] <em>Since my Master’s technique will not fail me,<br/>I will break your arm over my shoulder.</em></p>

<p>With this excellent presa that I have made against you, I will not fail to break your arm over my left shoulder. And afterwards I can strike you with your own dagger, since this play will not fail me.</p>
| <p>''Because of how that master now brings about the taking,<br/>I believe you will not withdraw without shoulders having been broken.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12r.jpg|12r-d}}
| {{section|Page:Pisani-Dossi MS 07a.jpg|7a-c}}
| {{section|Page:MS Latin 11269 23r.jpg|23r-a}}

|- 
| 
| [[File:Pisani-Dossi MS 07a-d.png|400px|center]]
| <p>[36] <em>You will not break my arm over your shoulder,<br/>For with my counter I will throw you to the ground.</em></p>

<p>I make this counter to you who in the previous play intended to break my arm over your shoulder. I will throw you to the ground to your death with great force and you will cause me no further injury.</p>
| 
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12v.jpg|12v-a}}
| {{section|Page:Pisani-Dossi MS 07a.jpg|7a-d}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 07a-e.png|400px|center]]
| <p>[37] <em>Your dagger will quickly be taken from you,<br/>When I twist it upwards close by your elbow.</em></p>

<p>I am in a good position to take the dagger from your hand, and to do it I push the point upwards, close to your elbow. And you will lose it, and I will quickly strike you with it. I took the dagger in this way because I was not able to bend your arm.</p>
| <p>''I seize the dagger using a sudden violent whirling motion near the elbow;<br/>Yet before [that], I strongly turn the lower arms.''<ref>Alternative with accusatives in opposite order: “I would seize the arm(s) in front suddenly / &lt;I&gt; the strong one would bring the dagger around in a violent whirling motion close by the elbow.”</ref></p>

| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12v.jpg|12v-b}}
| {{section|Page:Pisani-Dossi MS 07a.jpg|7a-e}}
| {{section|Page:MS Latin 11269 23r.jpg|23r-c}}

|- 
| 
| [[File:Pisani-Dossi MS 07a-f.png|400px|center]]
| <p>[38] <em>My dagger will not be taken by your turning it,<br/>And I will strike you with it without fail.</em></p>

<p>I make the counter of the play that came before, so that you will not be able to take my dagger in that way. I will press my dagger into your hand, to make you let go, and with the cruel point I will strike you for your trouble.</p>
| 
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12v.jpg|12v-c}}
| {{section|Page:Pisani-Dossi MS 07a.jpg|7a-f}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 07b-a.png|400px|center]]
| <p>[39] <em>I will have no problem making you fall to the ground,<br/>But you will have a major problem trying to get up.</em></p>

<p>In this way you will be driven into the ground, and you will not be able to make any defense or counter. And I will quickly make the dagger that you hold in your hand go far from you, because of my skillful knowledge of this art.</p>

''[In the Getty and Paris, the Scholar steps outside of his opponent's right leg.]''
| <p>''It is not any work to me, laying you out fallen.<br/>You will not be able to rise free[ly] without a large wound.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 12v.jpg|12v-d}}
| {{section|Page:Pisani-Dossi MS 07b.jpg|7b-a}}
| {{section|Page:MS Latin 11269 23v.jpg|23v-a}}

|- 
| class="noline" | 
| class="noline" | [[File:MS Ludwig XV 13 13r-a.jpg|400px|center]]
| class="noline" | <p>[40] <em>I do not want to fall to the ground with the previous play,<br/>So with this grip I will take away all of your strength.</em></p>

<p>What you plan to do cannot always be done. I am the counter of the scholar who came before, and this counter will make him look very foolish, because in this way I will make him let go my leg. And I will drive the dagger into his face to demonstrate that he is indeed a great fool.</p>

''[In the Pisani Dossi, the Master is missing his crown.]''
| class="noline" | 
| class="noline" | 
| class="noline" | 
<br/><br/>
{{section|Page:MS Ludwig XV 13 13r.jpg|13r-a}}
| class="noline" | {{section|Page:Pisani-Dossi MS 07b.jpg|7b-b}}
| class="noline" | 

|}
{{master subsection end}}

{{master subsection begin
 | title = 2nd Master
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| 
| [[File:Pisani-Dossi MS 07b-c.png|400px|center]]
| <p>[41] ''And I make cover with arms crossed,<br/>And I can make all the previous remedies,<br/>Nor will I fail to cover any of the backhand strikes,<br/>For I can do them all, one by one.''</p>

<p>I play with my arms crossed, and can make all the remedies that were previously shown. And if we were both armoured, you could not make a better cover. No other crowned [Dagger] Remedy Master makes a stronger cover than I, for I can play both to the right and to the left, and I can cross from both underneath and from above.</p>
| 
| 
| <p><br/><br/><br/><br/></p>

{{section|Page:MS Ludwig XV 13 13r.jpg|13r-b}}
| {{section|Page:Pisani-Dossi MS 07b.jpg|7b-c}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 07b-d.png|400px|center]]
| <p>[42] ''You won’t be able to make the plays that came before, nor the plays from the backhand strikes [that follow],<br/>Because with this counter, your cover will be completely lost.''</p>

<p>I counter the [Dagger] Remedy Master who made the cross before me, so he will not be able to cause me any problems with his crossing. I will give a push to his elbow to make him turn, and then I will quickly strike him.</p>
| 
| 
| <p><br/><br/><br/></p>

{{section|Page:MS Ludwig XV 13 13r.jpg|13r-c}}
| {{section|Page:Pisani-Dossi MS 07b.jpg|7b-d}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 07b-e.png|400px|center]]
| <p>[43] ''Take the dagger, dislocate your arm, bind you,<br/>Or throw you to the ground–I can do all of these things.''</p>

<p>I believe that this very strong grapple is fatal to anyone, because I can break your arm, throw you to the ground, or take your dagger. I can also hold you bound in the upper bind. And as a result of these four things, you will be unable to get away.</p>
| 
| 
| <p><br/><br/></p>

{{section|Page:MS Ludwig XV 13 13r.jpg|13r-d}}
| {{section|Page:Pisani-Dossi MS 07b.jpg|7b-e}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 07b-f.png|400px|center]]
| <p>[44] ''As for the four plays you mentioned, you won’t be able to do any of them to me,<br/>And with this counter I will throw you to the ground.''</p>

<p>I know the counter to the previous play. And with this grapple I will counter all four of the plays he said he could do before. And as soon as he sees me, I will throw him to the ground, for this grapple is strong and fierce.</p>
| 
| 
| <p><br/><br/></p>

{{section|Page:MS Ludwig XV 13 13v.jpg|13v-a}}
| {{section|Page:Pisani-Dossi MS 07b.jpg|7b-f}}
| 

|- 
| 
| [[File:MS Latin 11269 23v-c.png|400px|center]]
| 
| <p>''I certainly cover myself during wrestling using arms as in the cross.<br/>And I can make sport with all the first rules.<br/>&nbsp;''</p>
| 
| 
| 
| {{section|Page:MS Latin 11269 23v.jpg|23v-c}}

|- 
| class="noline" | 
| class="noline" | [[File:MS Latin 11269 22r-b.png|400px|center]]
| class="noline" | 
| class="noline" | <p>''By this counter your covering is refuted; and behold:<br/>Neither the play of the reversed palm, nor the prior [plays]<br/>Accomplish. Then you, miserable one, will die lying on your back.''</p>
| class="noline" | 
| class="noline" | 
| class="noline" | 
| class="noline" | {{section|Page:MS Latin 11269 22r.jpg|22r-b}}

|}
{{master subsection end}}

{{master subsection begin
 | title = 3rd Master
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| 
| [[File:Pisani-Dossi MS 08b-a.png|400px|center]]
| <p>[45] <em>Here begin the powerful plays of the backhand attack,<ref>Or "backhand cover"</ref><br/>Through which many have been killed.<br/>And the plays of my scholars will follow,<br/>And so we begin the defense to the backhand attack.<ref>Or "of the backhand cover"</ref></em></p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 08b.jpg|8b-a}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 08b-b.png|400px|center]]
| <p>[46] <em>With this play of the Master, your dagger will be taken<br/>And I will strike you a mortal blow.</em></p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 08b.jpg|8b-b}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 08b-c.png|400px|center]]
| <p>[47] <em>Here I believe I will throw you to the ground.<br/>First I will do this to you, and then I will do worse to you.</em></p>

<p>Here begin the plays of the reverse strikes,<ref>Or "reverse cover"</ref> through which countless men have lost their lives. And the plays of my scholars will follow, demonstrating the cover made with the right hand. This play depicted is easy to do, and in this way I will throw this man into the ground.</p>

<p>''[In the Getty, this Scholar is the Master.]''</p>
| <p>''I believe you, treacherous one, will now indeed touch the earth.<br/>And itself <read: I> would do worse to you, henceforth lying dead.''</p>

<p>''[In the Paris, this Scholar is the Master.]''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 13v.jpg|13v-b}}
| {{section|Page:Pisani-Dossi MS 08b.jpg|8b-c}}
| {{section|Page:MS Latin 11269 22r.jpg|22r-c}}

|- 
| 
| [[File:Pisani-Dossi MS 08b-d.png|400px|center]]
| <p>[48] <em>You will go to the ground because of your lack of knowledge,<br/>And in armour this is a particularly safe throw.</em></p>

<p>With this method you will be driven into the ground. And I could not make a safer throw, being armoured. But even without armour, there is nothing you can do. And even if you were strong and powerful, I would still be able to do this to you.</p>
| <p>''You, incautious one, will touch the earth with [your] chest prostrated.<br/>This armor-wearer will more safely impart the play.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 13v.jpg|13v-c}}
| {{section|Page:Pisani-Dossi MS 08b.jpg|8b-d}}
| {{section|Page:MS Latin 11269 22v.jpg|22v-a}}

|- 
| 
| [[File:Pisani-Dossi MS 08b-e.png|400px|center]]
| <p>[49] <em>This leads to a broken ruined arm,<br/>As you will find out when I have you in this hold.</em></p>

<p>You will go to the ground and your arm will be dislocated by the skill of my crowned Master. And there is not one counter that you can do to me, for I hold you like this…</p>
| <p>''Each is able to break the shoulder of the associate in wrestling, as I comprehend.<br/>It will be pleasing to know whatever has been imparted.''</p>
| 
| rowspan="2" | 
<br/><br/>
{{section|Page:MS Ludwig XV 13 13v.jpg|13v-d}}
| {{section|Page:Pisani-Dossi MS 08b.jpg|8b-e}}
| {{section|Page:MS Latin 11269 22v.jpg|22v-c}}

|- 
| 
| [[File:Pisani-Dossi MS 08b-f.png|400px|center]]
| <p>[50] <em>I will have no trouble dislocating your arm<br/>And I will easily take your dagger from you.</em></p>

<p>…and will make you suffer greatly.</p>
| 
| 
| {{section|Page:Pisani-Dossi MS 08b.jpg|8b-f}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 09a-a.png|400px|center]]
| <p>[51] <em>This is another powerful dislocation<br/>From which I will be able to kill you with your own dagger.</em></p>

<p>This is a lock that has no counter and no defense. And in this way I can take your dagger, and it will be no trouble to bind or dislocate your arm. You will not be able to get away without my permission. And I can ruin your arm if I choose.</p>
| <p>''He was able to dislocate<ref>''Denodare'' appears to be a technical term for breaking or dislocating limbs; appears only in Ducange.</ref> the shoulder of any companion for himself,<br/>And sentence him to death with the point of the dagger.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 14r.jpg|14r-a}}
| {{section|Page:Pisani-Dossi MS 09a.jpg|9a-a}}
| {{section|Page:MS Latin 11269 31r.jpg|31r-a}}

|- 
| 
| [[File:Pisani-Dossi MS 09a-b.png|400px|center]]
| <p>[52] <em>I take your dagger as I wish,<br/>And now if I choose, I can bind you in the lower lock.</em></p>

<p>You will lose your dagger by the way I hold you. And after taking your dagger I can bind you. and make you suffer in the lower lock, which is one of the key binds, and which I will use on you. And whoever is put into this lock cannot escape, because of the great pain and suffering they will be forced to endure.</p>
| <p>''I now take hold of your dagger, nor can I be mistaken.<br/>And if I want, I am able to bind you, who is [sic] being overthrown <read: thrown back> in the key.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 14r.jpg|14r-b}}
| {{section|Page:Pisani-Dossi MS 09a.jpg|9a-b}}
| {{section|Page:MS Latin 11269 31r.jpg|31r-c}}

|- 
| 
| [[File:Pisani-Dossi MS 09a-c.png|400px|center]]
| <p>[53] <em>I will turn your dagger upwards with my right arm,<br/>And I will quickly bind you in the lower lock.</em></p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 09a.jpg|9a-c}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 09a-d.png|400px|center]]
| <p>[54] <em>This is called the strong lower lock,<br/>And it is a bind with a great risk of death<br/>But this lock, truth to tell,<br/>If not properly applied can be escaped from.</em></p>

<p>This is called the lower lock, also known as the “strong key”, and from this bind I can kill you, whether you are armoured or unarmoured, because from here I can strike you in all of your most vulnerable places. And no one can escape from this bind. And if you are put into it, as depicted in the drawing, there you will remain enduring much pain and suffering.</p>
| <p>''The lower key is brought under the strong name;<br/>It is the bind of death by means of excessive distinction.<br/>If any enters into this, he will hardly prevail to escape this.''</p>
| 
| 
<br/><br/><br/><br/>
{{section|Page:MS Ludwig XV 13 14r.jpg|14r-c}}
| {{section|Page:Pisani-Dossi MS 09a.jpg|9a-d}}
| {{section|Page:MS Latin 11269 31v.jpg|31v-a}}

|- 
| class="noline" | [[File:MS Latin 11269 31v-c.png|400px|center]]
| class="noline" | [[File:Pisani-Dossi MS 09a-e.png|400px|center]]
| class="noline" | <p>[55] <em>This is how to do the counter to the Master's cover to the reverse strike,<ref>Or "Master's reverse cover"</ref><br/>And with this bind I will make you drop to the ground on your knees.</em></p>

<p>This is the counter to the Third Daga Remedy Master, who covers the reverse attack.<ref>Or "with the reverse cover"</ref> I have made this bind against him. Whether he is armoured or unarmoured, this bind is strong and secure. And if I trap a man who is unarmoured in this way, I will ruin his hand and dislocate it. And the pain will be so great I will make him kneel at my feet. And should I wish to strike him, this I can also do.</p>

<p>''[In the Getty, the Master's left foot is forward.]''</p>
| class="noline" | <p>''I, the efficient counter of the master, during this wrestling<br/>Finish whomever by means of the reverse palm of the hand;<br/>And you will sink down on bended knee by means of this taking.''</p>
| class="noline" | 
| class="noline" | 
<br/><br/><br/>
{{section|Page:MS Ludwig XV 13 14r.jpg|14r-d}}
| class="noline" | {{section|Page:Pisani-Dossi MS 09a.jpg|9a-e}}
| class="noline" | {{section|Page:MS Latin 11269 31v.jpg|31v-c}}

|}
{{master subsection end}}

{{master subsection begin
 | title = 4th Master
 | width = 240em
}}
{| class="master"
|- 
! <p>Illustrations</p>
! <p>Illustrations</p>
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>

|- 
| 
| [[File:Pisani-Dossi MS 09b-a.png|400px|center]]
| <p>[56] ''I am a Master who covers with both hands,<br/>And I can hurt you from above or below.<br/>If I give a turn to your shoulder without releasing your arm,<br/>Then in this way I and my students will put you in great pain.''</p>

<p>I am the Fourth [Dagger Remedy] Master, and I play from this grip. From covers like this my students will hurt many…</p>
| <p>''Using both hands, &lt;I&gt; the master now take hold of the associate.<br/>From above and beneath, I am able to injure you with a weapon.''</p>
| 
| rowspan="2" | 
<br/><br/><br/><br/>
{{section|Page:MS Ludwig XV 13 14v.jpg|14v-a}}
| {{section|Page:Pisani-Dossi MS 09b.jpg|9b-a}}
| {{section|Page:MS Latin 11269 32r.jpg|32r-a}}

|- 
| 
| [[File:Pisani-Dossi MS 09b-b.png|400px|center]]
| <p>[57] <em>My Master spoke truly and unerringly:<br/>I can take your dagger, while you cannot escape.</em></p>

<p>…And if I turn to the right without releasing your arm, I will take your dagger and put you in great pain.</p>
| 
| 
| {{section|Page:Pisani-Dossi MS 09b.jpg|9b-b}}
| 

|- 
| [[File:MS Ludwig XV 13 14v-b.jpg|400px|center]]
| [[File:Pisani-Dossi MS 09b-c.png|400px|center]]
| <p>[58] ''I am well positioned to force you to the ground,<br/>And if you don't end up with a broken head, you can count yourself lucky.''</p>

<p>This is an upper bind that locks you up very well. I will take your dagger from you and throw you to the ground. And I can also dislocate your arm. If however you grip your right hand with your left hand, then you can counter me and make me let go of you.</p>

<p>''[These two illustrations may show the beginning and end of the technique.]''</p>
| <p>''I am certainly prepared in order to cast you down into the earth.<br/>And I will give many evils to your head, if it remains because of courage.''<ref>''Demittere mentem'' is recorded (by Bantam dictionary) as an idiom meaning “to lose heart”. Possibly ''mente sedebit'' is referencing this, in a pun (e.g., ''demittere'' in the sense of depose, and ''sedeo'' in the sense of hold court).</reF></p>

<p>''[In the Paris, the Scholar's left foot is forward, but inside (in front) of his opponent's leg.]''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 14v.jpg|14v-b}}
| {{section|Page:Pisani-Dossi MS 09b.jpg|9b-c}}
| {{section|Page:MS Latin 11269 32r.jpg|32r-c}}

|- 
| 
| [[File:Pisani-Dossi MS 09-d.png|400px|center]]
| <p>[59] ''This is another lock that will throw you to the ground,<br/>And against such a hold no one is safe.''</p>

<p>This is another upper bind that is very powerful. And with this I am certain to throw you to the ground. And if I wish I can dislocate your arm. To counter me, you grip your right hand with your left hand. Then your grip will be strong and mine will be weak.</p>

''[In the Getty and Paris, the Scholar's right foot is forward.]''
| <p>''This movement is another to strike down the associate to the earth.<br/>Nevertheless, it is not safe because he attempts a similar playing.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 14v.jpg|14v-c}}
| {{section|Page:Pisani-Dossi MS 09b.jpg|9b-d}}
| {{section|Page:MS Latin 11269 32v.jpg|32v-a}}

|- 
| 
| [[File:Pisani-Dossi MS 09b-e.png|400px|center]]
| <p>[60] ''As I see this you will quickly go to the ground,<br/>Of this I am certain, and you won't be getting back up.''</p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 09b.jpg|9b-e}}
| 

|- 
| 
| [[File:Pisani-Dossi MS 09b-f.png|400px|center]]
| <p>[61] ''I can also throw you to the ground like this,<br/>And once you are on the ground it will go badly for you.''</p>

<p>After I made the cover of my Master, I put my left hand under your right elbow. And my right hand quickly gripped you under your knee in such a way that I could throw you to the ground, and there was no counter that you could do to me.</p>
| <p>''Certainly in this way I can send you a second time<br/>To the ground. Hereafter, &lt;I&gt; myself will approve worse things to you.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 14v.jpg|14v-d}}
| {{section|Page:Pisani-Dossi MS 09b.jpg|9b-f}}
| {{section|Page:MS Latin 11269 32v.jpg|32v-c}}

|- 
| 
| [[File:Pisani-Dossi MS 10a-a.png|400px|center]]
| <p>[62] ''I will give a turn to your dagger,<br/>And in that way it will be quickly taken from you.''</p>

<p>With my right hand I will make a horizontal turn to your dagger, pushing it round close to your arm that I am holding. And your dagger will be mine to control. And then I will deal with you as you deserve.</p>
| <p>''In this way, &lt;I&gt; myself coil your dagger up using the whirlwind,<br/>Because I would capture you, whether you would prevent or you would fight back.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 38r.jpg|38r-a}}
| {{section|Page:Pisani-Dossi MS 10a.jpg|10a-a}}
| {{section|Page:MS Latin 11269 33r.jpg|33r-a}}

|- 
| 
| [[File:Pisani-Dossi MS 10a-b.png|400px|center]]
| <p>[63] ''If I raise your dagger upwards close to your elbow,<br/>You will feel it instantly taken from you.''</p>

<p>If I raise your dagger upwards close to your elbow, I will keep it in my hand and strike you for certain. But I will need to make this play very quickly, to make sure that you cannot counter me with your left hand.</p>
| <p>''Now if I attempt to lift your elbow [and] very own dagger,<br/>You yourself certainly will see it has been suddenly freed.''</p>
| 
| 
<br/><br/>
{{section|Page:MS Ludwig XV 13 38r.jpg|38r-b}}
| {{section|Page:Pisani-Dossi MS 10a.jpg|10a-b}}
| {{section|Page:MS Latin 11269 33r.jpg|33r-c}}

|- 
| [[File:Cod.1324 36r-c.jpg|400px|center]]
| [[File:Pisani-Dossi MS 10a-d.png|400px|center]]
| <p>[64] ''I moved my right hand like this,<br/>And I will make you strike yourself in your thigh with your own dagger.''</p>
| 
| 
| 
| {{section|Page:Pisani-Dossi MS 10a.jpg|10a-d}}
| 

|- 
| class="noline" | [[File:MS Ludwig XV 13 38r-c.jpg|400px|center]]
| class="noline" | [[File:Pisani-Dossi MS 10a-c.png|400px|center]]
| class="noline" | <p>[65] ''Against the Master who covers with both hands<br/>I make this counter as my defense.<br/>&nbsp;''</p>

<p>I am the Counter-remedy against the Fourth [Dagger] Remedy Master. And I counter all his plays that came before me. And with one quick wrench like this I will ruin this student’s hand and his master’s too. And if they are well armored the ruin of their hands will be all the more certain.</p>
| class="noline" | <p>''By this means I will now seek the opponent, using both palms<ref>Literally “the two palms”.</ref><br/>In order to defend myself, just as the master does<br/>Who seizes the companion with both hands during wrestling.''</p>

<p>''[The Paris resembles the Getty illustration.]''</p>
| class="noline" | 
| class="noline" | 
<br/><br/><br/>
{{section|Page:MS Ludwig XV 13 38r.jpg|38r-c}}
| class="noline" | {{section|Page:Pisani-Dossi MS 10a.jpg|10a-c}}
| class="noline" | {{section|Page:MS Latin 11269 33v.jpg|33v-b}}

|}
{{master subsection end}}

{{master subsection begin
 | title = 5th Master
 | width = 240em
}}
{{:Fiore de'i Liberi/Dagger/5th master}}
{{master subsection end}}

{{master subsection begin
 | title = 6th Master
 | width = 240em
}}
{{:Fiore de'i Liberi/Dagger/6th master}}
{{master subsection end}}

{{master subsection begin
 | title = 7th Master
 | width = 240em
}}
{{:Fiore de'i Liberi/Dagger/7th master}}
{{master subsection end}}

{{master subsection begin
 | title = 8th Master
 | width = 240em
}}
{{:Fiore de'i Liberi/Dagger/8th master}}
{{master subsection end}}

{{master subsection begin
 | title = 9th Master
 | width = 240em
}}
{{:Fiore de'i Liberi/Dagger/9th master}}
{{master subsection end}}
{{master end}}

{{master begin
 | title = Dagger vs. Sword
 | width = 240em
}}
{{:Fiore de'i Liberi/Sword vs. Dagger}}
{{master end}}

{{master begin
 | title = Sword in One Hand
 | width = 240em
}}
{{:Fiore de'i Liberi/Sword in One Hand}}
{{master end}}

{{master begin
 | title = Sword in Two Hands
 | width = 100%
}}
{{master subsection begin
 | title = Introduction
 | width = 240em
}}
{{:Fiore de'i Liberi/Sword in Two Hands}}
{{master subsection end}}

{{master subsection begin
 | title = Wide Plays
 | width = 240em
}}
{{:Fiore de'i Liberi/Sword in Two Hands/Wide Play}}
{{master subsection end}}

{{master subsection begin
 | title = Close Plays
 | width = 240em
}}
{{:Fiore de'i Liberi/Sword in Two Hands/Narrow Play}}
{{master subsection end}}
{{master end}}

{{master begin
 | title = Sword vs. Spear
 | width = 240em
}}
{{:Fiore de'i Liberi/Sword vs. Spear}}
{{master end}}

{{master begin
 | title = Sword in Armor
 | width = 240em
}}
{{:Fiore de'i Liberi/Sword in Armor}}
{{master end}}

{{master begin
 | title = Axe in Armor
 | width = 240em
}}
{{:Fiore de'i Liberi/Poleaxe}}
{{master end}}

{{master begin
 | title = Spear
 | width = 240em
}}
{{:Fiore de'i Liberi/Spear}}
{{master end}}

{{master begin
 | title = Spear vs. Other Weapons
 | width = 240em
}}
{{:Fiore de'i Liberi/Spear vs. Other Weapons}}
{{master end}}

{{master begin
 | title = Mounted Fencing
 | width = 240em
}}
{{:Fiore de'i Liberi/Mounted Fencing}}
{{master end}}

{{master begin
 | title = Copyright and License Summary
 | width = 100%
}}
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].

<section begin="sourcebox"/>{{sourcebox header}}
{{sourcebox
| work        = Illustrations (Getty)
| authors     = [[J. Paul Getty Museum]]
| source link = 
| source title= Digital images courtesy of the Getty's [http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=1706 Open Content Program]
| license     = getty
}}
{{sourcebox
| work        = Illustrations (Morgan)
| authors     = [[Morgan Library & Museum]]
| source link = 
| source title= [[Tratt‍ato della sch‍erma (MS M.383)/Images|Princeton Institute of Christian Art]]
| license     = public domain
}}
{{sourcebox
| work        = Illustrations (Novati)
| authors     = [[Francesco Novati]]
| source link = 
| source title= [[:File:Flos Dvellatorvm in Armis, sine Armis, Eqvester, Pedester (Novati).pdf|''Flos Dvellatorvm in Armis, sine Armis, Eqvester, Pedester'']]
| license     = public domain 0
}}
{{sourcebox
| work        = Illustrations (Paris)
| authors     = [[Bibliothèque Nationale de France]]
| source link = http://gallica.bnf.fr/ark:/12148/btv1b8514426f
| source title= Bibliothèque Nationale de France
| license     = permission
}}
{{sourcebox
| work        = Translation
| authors     = [[Colin Hatcher]]
| source link = 
| source title= Private communication
| license     = noncommercial
}}
{{sourcebox
| work        = Translation
| authors     = [[Michael Chidester]]
| source link = 
| source title= Wiktenauer
| license     = noncommercial
}}
{{sourcebox
| work        = Translation
| authors     = [[Kendra Brown]] and [[Rebecca Garber]]
| source link = http://wiktenauer.com/images/1/17/Florius_Translation_-_Kendra_Brown_and_Rebecca_Garber.pdf
| source title= Cambridge HEMA Society
| license     = copyrighted
}}
{{sourcebox
| work        = [[Tratt‍ato della sch‍erma (MS M.383)|Morgan Version]]
| authors     = [[Michael Chidester]]
| source link = 
| source title= [[Index:Tratt‍ato della sch‍erma (MS M.383)]]
| license     = noncommercial
}}
{{sourcebox
| work        = [[Fior di Battaglia (MS Ludwig XV 13)|Getty Version]]
| authors     = Open for editing
| source link = 
| source title= [[Index:Fior di Battaglia (MS Ludwig XV 13)]]
| license     = noncommercial
}}
{{sourcebox
| work        = [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Version]]
| authors     = [[Francesco Novati]]
| source link = 
| source title= [[Index:Flos Duellatorum (Pisani Dossi MS)]]
| license     = public domain
}}
{{sourcebox
| work        = [[Florius de Arte Luctandi (MS Latin 11269)|Paris Version]]
| authors     = [[Kendra Brown]] and [[Rebecca Garber]]
| source link = 
| source title= [[Index:Florius de Arte Luctandi (MS Latin 11269)]]
| license     = copyrighted
}}
{{sourcebox
| work        = [[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Version]]
| authors     = [[Luigi Zanutto]]
| source link = 
| source title= [[Index:Fior di Battaglia (MS XXIV)]]
| license     = public domain
}}
{{sourcebox footer}}<section end="sourcebox"/>
{{master end}}

== Additional Resources ==

* [[user:Michael Chidester|Chidester, Michael]]. ''The Flower of Battle: MS M 383.'' Somerville, MA: HEMA Bookshelf, 2021. ISBN 978-1-953683-07-6
* Deacon, Jacob Henry. "Prologues, Poetry, Prose and Portrayals: The Purposes of Fifteenth Century Fight Books According to the Diplomatic Evidence". ''[[Acta Periodica Duellatorum]]'' '''4'''(2): 69-90. 2016. {{doi|10.36950/apd-2016-014}}
* [[Colin Hatcher|Hatcher, Colin]]. ''The Flower of Battle: MS Ludwig ⅩⅤ 13''. Ed. Tracy Mellow. Tyrant Industries, 2017. ISBN 978-0-9847716-8-4
* Hayes, Sean. "Memory and Performance: Visual and Rhetorical Strategies of Il Fior di Battaglia". ''Can These Bones Come to Life? Insights from Reconstruction, Reenactment, and Re-creation'' '''1'''. Wheaton, IL: Freelance Academy Press, 2014. ISBN 978-1-937439-13-2
* Leoni, Tom. ''Fiore de’ Liberi’s Fior di Battaglia''. 1st ed. Lulu.com, 2009. 2nd ed. Wheaton, IL: [[Freelance Academy Press]], 2012.
* Leoni, Tom and Mele, Greg. ''Flowers of Battle Volume 1: Historical Overview and the Getty Manuscript''. Wheaton, IL: Freelance Academy Press, 2017. ISBN 978-1-937439-18-7
* Lodà, Francesco (in Italian). ''Florius. De arte luctandi. Traduzione e cura del testo di Francesco Lodà.'' Rome: Bonanno Editore, 2014. ISBN 978-88-96950-86-9
* Malipiero, Massimo (in Italian). ''Il Fior di battaglia di Fiore dei Liberi da Cividale: Il Codice Ludwing ⅩⅤ 13 del J. Paul Getty Museum''. Udine: Ribis, 2006. ISBN 978-887-44503-5-0
* Marsden, Richard. ''The Flower of Battle: MS Latin 11269''. Trans. Benjamin Winnick. Tyrant Industries, 2019. ISBN 978-0-9847716-3-9
* Mondschein, Ken. ''The Knightly Art of Battle''. Los Angeles: [[J. Paul Getty Museum]], 2011. ISBN 978-160-60607-6-6
* Mondschein, Ken. "Notes on Bibliothèque Nationale MS Lat. 11269, ''Florius de Arte Luctandi''". ''Arms & Armour'' '''8'''(2):117-22. October 2011. {{doi|10.1179/174962611X13097916223163}}
* Mondschein, Ken. "On the Art of Fighting: A Humanist Translation of Fiore dei Liberi’s Flower of Battle Owned by Leonello D’Este". ''[[Acta Periodica Duellatorum]]'' '''6'''(1): 99-135. 2018. {{doi|10.2478/apd-2018-0004}}
* Mondschein, Ken and Mele, Greg. ''Flowers of Battle, Volume 3: Florius de Arte Luctandi''. Wheaton, IL: Freelance Academy Press, 2017. ISBN 978-1-937439-19-4
* [[Francesco Novati|Novati, Francesco]] (in Italian). ''[[:File:Novati (Full).pdf|Flos Duellatorum, Il Fior di Battaglia di Maestro Fiore dei Liberi da Premariacco]]''. Bergamo: Instituto Italiano d'Arte Grafiche, 1902.
* Палій, Людмила Іванівна (in Ukrainian). "Витоки художнього стилю ілюстрацій «Квітки Битви» майстра Фіоре Фріулано деі Лібері". ''Науковий вісник Ужгородського університету'' '''2'''(43): 84-102, 2020. {{doi|10.24144/2523-4498.2(43).2020.217366}}
* Rapisardi, Giovanni (in Italian). ''Fiore de’ Liberi Flos Duellatorum - in armis, sine armis equester et pedesta''. Gladitoria Press, 1998. ISBN 978-888-94041-6-4
* [[Marco Rubboli|Rubboli, Marco]]; [[Luca Cesari|Cesari, Luca]] (in Italian). ''Flos Duellatorum. Manuale di Arte del Combattimento del ⅩⅤ secolo''. Rome: [[Il Cerchio Iniziative Editoriali]], 2002. ISBN 88-8474-023-1
* [[Philippo di Vadi|Vadi, Filippo]]. ''Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi''. Trans. Luca Porzio and Gregory Mele. Union City, CA: [[Chivalry Bookshelf]], 2002. ISBN 978-1891448164
* [[Philippo di Vadi|Vadi, Filippo]]; [[Marco Rubboli|Rubboli, Marco]]; [[Luca Cesari|Cesari, Luca]] (in Italian). ''L’arte Cavalleresca del Combattimento''. Rome: [[Il Cerchio Iniziative Editoriali]], 2005. ISBN 88-8474-079-7
* [[Guy Windsor|Windsor, Guy]]. ''The Art of Sword Fighting in Earnest: Philippo Vadi’s De Arte Gladiatoria Dimicandi''. Spada Press, 2018. 
* [[Guy Windsor|Windsor, Guy]]. ''From Medieval Manuscript to Modern Practice: The Longsword Techniques of Fiore dei Liberi''. Spada Press, 2020.
* [[Guy Windsor|Windsor, Guy]]. ''Veni Vadi Vici. A Transcription, Translation and Commentary of Philippo Vadi's De Arte Gladiatoria Dimicandi.'' The School of European Swordsmanship, 2013. ISBN 978-952-93-1686-1
* [[Luigi Zanutto|Zanutto, Luigi]] (in Italian). ''[http://www.historicalfencing.org/PDF/Zanutto-Fiore%20da%20Premariacco.pdf Fiore di Premariacco ed I Ludi e Le Feste Marziali e Civili in Friuli]''. Udine: D. Del Bianco, 1907.

== References ==

{{reflist}}
{{DEFAULTSORT:Liberi, Fiore de’i}}
{{early Italian masters}}
__FORCETOC__

[[Category:Masters]]

[[Category:Italian]]
[[Category:Latin]]

[[Category:Armored Fencing]]
[[Category:Dagger]]
[[Category:Grappling]]
[[Category:Longsword]]
[[Category:Mounted Fencing]]
[[Category:Pole Weapons]]
[[Category:Staff Weapons]]

[[Category:New format]]