View source for Fiore de'i Liberi/Sword in Armor

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! <p><includeonly><span style="font-weight:normal; font-size:85%;">&#91;{{edit|Fiore de'i Liberi/Armored Longsword|edit}}&#93;</span> &nbsp; </includeonly>Images</p>
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! <p>''{{rating|none|Paris (Open for translation)}}''<br/>{{rating|B|Morgan}} by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS M.383)|Morgan Transcription]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Fior di Battaglia (MS M.383)|edit]]&#93;</span><br/>Open for editing</p>
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Fior di Battaglia (MS Ludwig XV 13)|edit]]&#93;</span><br/>Open for editing</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Flos Duellatorum (Pisani Dossi MS)|edit]]&#93;</span><br/>by [[Francesco Novati]]</p>
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Florius de Arte Luctandi (MS Latin 11269)|edit]]&#93;</span><br/>by [[user:Charlélie Berthaut|Charlélie Berthaut]]</p>

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| <poem>'''[1]''' <em>We are six guards for armored fencing,
Which art we know how to perform in its completeness.
And this art concludes everything in the right truth:
It applies poleax, sword, and dagger to great extremes.
And here we'll explain how the art can come:
Masters and students will do it without lying.</em></poem>
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Here begins the sword in armor, and great will be the Master who can make these plays. These Masters are six and each one is in guard; they will not delay in covering and striking. And whoever knows most in this, their art, will have a part in all of the following plays.
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'''[2] {{red|The Shortened Stance, the Serpent}}'''
<poem style="font-style:italic;">I am the Shortened Stance, the Serpent,
And I have a fine point for passing through armor.</poem>


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In the Shortened Stance, the Serpent (''Posta Breve, la Serpentina''), I want to come. If you are not well armored, I make you feel it by striking with a thrust; because of my edges, I wound better in the crossing than any other guard that I have, and you can do nothing to me. I want to prove this in armor and without.
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'''[3] {{red|The Stance of the True Cross}}'''
<poem style="font-style:italic;">I am the stance called the True Cross
And cuts and thrusts mean nothing to me.</poem>

The Stance of the True Cross (''Posta di Vera Crose'') I want to make to counter you. Your thrusts will not enter into me. I cover myself from you in the step that I will make and my thrust will injure you without fail, so that you and the other guards can do little to me. I know armored fencing so well that I can never fail in the crossing (for stepping, crossing, striking, the art wants these things without fail).
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I am the Stance of the True Cross (''Posta de Vera Crose'') which I want to make to counter you. Your thrusts will not enter into me. I cover myself from you in the step that I make and my thrust will injure you without fail, so that you and the other guards can do little to me. I know armored fencing so well that I can never fail in the crossing (for stepping, crossing, striking, the art wants these things without fail), and I break all your thrusts and I certainly will not fail: I come over and through, I go under the point and upward.
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'''[4] {{red|The Upper Serpent}}'''
<poem style="font-style:italic;">I am the Upper Serpent,
I shoot great thrusts down low.
I also cover against cuts and thrusts,
Those strikes are little trouble to me.</poem>

I am the Serpent and I am High (''Serpentino, lo Soprano'') and well armored. I make great underhand thrusts because I am high and return down low. I'll drive a strong thrust to you with a step: this is my art and I know how to do it well. I have not a care for your edges, for I know the art and I will give you the better part of my point.
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I am the Serpent and I am High (''Serpentino, lo Soprano'') and well armored. I quickly make great underhand thrusts because I am high and return down low. I'll drive a strong thrust to you with a step: this is my art and I know how to do it well. I have not a care for your edges, for I know the art and I will give you the better part of my point.
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'''[5] {{red|The Middle Iron Gate}}'''
<poem style="font-style:italic;">I am the Iron Gate in the Middle:
And I am always ready to throw great thrusts.</poem>

I am called the Middle Iron Gate (''Porta di Ferro Mezana'') because in armor or out I give strong thrusts. And I will step out of the way with my left foot and thrust my point in your face, or with my point and with the edge between your arms I have entered and I will force you into the Middle Bind (which was previously pictured and named).
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Of Iron, I am called the Middle Gate (''De ferro, mezzana porta'') because in armor or out I give strong thrusts. And I will step out of the way with my left foot and thrust my point in your face, or I will enter [with] my point and with the edge between your arms and force you into the Middle Bind (which was previously pictured and named).
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'''[6] {{red|The Archer's Stance}}'''
<poem style="font-style:italic;">I am the Archer's Stance, the sentinel,
And I am always ready to strike and cover.</poem>

The Archer's Stance (''Posta Sagittaria''), by this name I am called. Great thrusts are given while stepping out of the way. And if you come against me with a blow of the edge, I make a good cover and quickly I strike my counter. This indeed is my art, in which nothing changes.

''[The Getty resembles the Pisani-Dossi image.]''
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The Archer's Stance (''Posta Sagittaria''), by this name I am called. Great thrusts I give while stepping out of the way. And if you come against me with a blow of the edge, I make a good cover and quickly I strike my counter. This is my art and it does not change.
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'''[7] {{red|The Stance of the Bastard Cross}}'''
<poem style="font-style:italic;">Of the Stance of the Cross, I am the Bastard,
And I will not delay in making her plays.</poem>


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Of the True Cross I am the Bastard Stance (''Posta de Crose Bastarda''); that which she can do, I also choose to do. For my method, I make good covers, thrusts, and cuts, always while voiding blows out of the way, and my blows are where I make my greatest bargain.
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| <poem>'''[8]''' <em>With this cover I believe that I can waste anyone,
Following that which you see the Scholar do.</em></poem>



''[In the Pisani-Dossi, the Master is missing his crown.]''
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I came with this cover from the Stance of the True Cross, stepping out of the way to the side. And you will see what I could do from this cover; through my Scholars I could show it, because they make my complimentary plays. Without a doubt, those that fight to the death will here show art.
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| <poem>'''[9]''' <em>This thrust comes from the Master's cover,
And the other plays hereafter may well arise.</em></poem>



''[In the Getty, the Scholar's opponent's right foot is forward.]''
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I am the first Scholar of the Master that came before me, and I made this thrust from his cover. Also, I say that this thrust could quickly be made from the Stance of the True Cross and the Stance of the Bastard Cross: as the player comes with a thrust to the Master or Scholar who was in the aforesaid guards (or positions), the Master or Scholar should move lower with his body and step out of the way, crossing the sword of the [player] and thrusting upwards to his face or chest (the cross of the sword held low) as is shown here.
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'''[10]''' When I see that my thrust cannot enter into his chest nor into his face (because of his visor), I lift the visor up and then I put the point in his face. And if this does not satisfy me, I turn to other plays of greater strength.
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'''[11]''' When I come to the narrow with this player to make the previous strike and because of his armor I can do nothing, I push him strongly by his elbow so that I make him turn. I will then test the strength of his back armor.
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'''[12]''' <br/><br/>

When I see that with the sword I could do nothing to you, instantly I use this catch from grappling, so that I believe and see and feel that your armor will be worth nothing as I put you the strong Lower Bind. In this the next position, I will now show you how.
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{{section|Page:MS Ludwig XV 13 33v.jpg|33v-c}}
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'''[13]''' In the Lower Bind, a strong lock, have I closed you in such a way that you cannot escape and your strength will be worth nothing. I can make you suffer or I can give you death; I could even pen a letter and you wouldn't be able to see me. You have no sword nor headgear, you have little honor, and you will have little solace.
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| <poem>'''[14]''' <em>You go to the ground because of the point of the sword,
And if I do not do you worse you will have a bargain.</em></poem>

This play is from our first master, the Guard of the True Cross and [also] of the Bastard. When one enters with a thrust, the scholar awaits it in his guard and instantly passes out of the way while covering, and puts a thrust in [the player's] face and then advances the left foot to outside [the player's] forward foot and, in this way that is illustrated, throws him to the ground as the point of the sword has advanced past his neck.
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When the Scholar that came before me [9] cannot make his play with a thrust, he advances his left foot behind [the player's] right. And the point of his sword he thrusts under [the player's] throat to throw him to the ground as is depicted here.
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| <poem>'''[15]''' <em>You feel the sword that I have set at your neck
And I will show you death on the ground.</em></poem>


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This Scholar that came before me [14], if he cannot throw the player to the ground with the point of his sword and with his left foot outside of [the player's] right, he steps with his right foot in front of [the player's] left and throws his sword to his neck. And this play I make on his behalf.
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'''[16]''' When I come out of the guard into the narrow cover, if I cannot strike with the edge then I attack with the point; and if I cannot strike with either of these two, I strike with the hilt or the pommel according to my will.

And when I am in the narrow and the player believes I want to use the sword, I can switch to grappling if I see that it benefits me, and if not, I strike him with my hilt in his face as I said earlier, according to what seems best.
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'''[17]''' As you can see, the scholar from before has struck the player in the face with the hilt of his sword, and quickly thereafter he can strike with the pommel into his face as you can see here below.
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'''[18]''' Also I say that this scholar before me that attacked the player with the pommel of the sword in the face [17], that he was able to do like I do, that is to advance his right foot behind [the player's] left, and stick the guard of his sword to [the player's] neck in order to throw him to the ground like I do.
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| <poem>'''[19]''' <em>If I turn myself close on your left side,
Your sword will be lost from your right hand.</em></poem>


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Again I, who am the fourth Scholar, say that our Master can make this play from the cover that he has made, that is, that he should step with his right foot forward, and he should thrust the point of his sword under [the player's] right arm, and then follow the sword with his left arm. And when he has passed the [player's] right arm with his left arm behind the [player's] elbow, he will twist him into the Under Bind without a doubt. That which he has not done, I do for him—he will have the honor, and I the trouble.
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'''[20]''' This play is also of the Stance of the True Cross, in this way: that is that when a scholar is in that guard, and a player comes against him and suddenly attacks, that the scholar should step out of the way and stick the point in his face as you see here done.
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| [[File:MS Latin 11269 16v-b.jpg|300px|center|link=http://gallica.bnf.fr/ark:/12148/btv1b8514426f/f36.item]]
| <poem>'''[21]''' <em>I have wasted your hand, you can feel it well,
And I could strike your face with my pommel.</em></poem>



''[In the Pisani-Dossi, the player is wearing the garter.]''
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My Master has shown me that when I am armored and one wants to thrust his point in my face in this way, I should thrust the edge of my sword under his left hand and I should step with my right foot behind his left, and in this fashion I can strike his face with my pommel or with my elbow, as can do this Scholar that is after me. If I can perform such a play, it would not fail me.

''[In the Morgan, both figures wear garters. Unclear if this is more properly a Master or a Scholar.]''
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| <poem>'''[22]''' <em>Here I waste your hand by coming to a bind
Which is so strong that I care nothing for your armor.</em></poem>
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Again, as the Scholar that came before [21] said, I will not fail in that I could make these two plays that are after me, that is, the first play strikes with the pommel to the face and slams you to the ground; the other which is the second follows, that if I can advance my right foot and the cross of my sword, then with that, I strike you in the ear and in the cheek, and in that way you will go to the ground without fail.
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| <poem>'''[23]''' <em>I will send you to the ground with my hilt,
And I will then waste you with my point.</em></poem>
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The previous Scholar of the Master [22] is well informed. With my pommel, I strike you in the face and then I throw you to the ground, in such a way that neither your breastplate nor your helmet will save you.

''[In the Morgan, the Scholar's sword is behind his opponent's.]''
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| <poem>'''[24]''' <em>You will either lose the sword from your left hand,
Or you will go to the ground because of this entry I make.</em></poem>
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This play has not failed, as said the second scholar that came before [22], because I could come to this play and strike you in the ear and in the cheek, and I hold myself certain of sending you to the ground. You will go to the ground and I will remain upright.

''[In the Morgan, the player faces away from the scholar as in the previous play.]''
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| [[File:MS M.383 11v-d.jpg|300px|center|link=http://ica.princeton.edu/images/morgan/m383.011vd.jpg]]
| <poem>'''[25]''' <em>This catch makes me safe from your sword:
Mine is free and yours is imprisoned.
And the fourth play that is in the art of the poleax,
Troubles the sword in armor with this play.</em></poem>
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I have little concern for the Master nor for his Scholars. I do this counter against him with good measure, that is, when he comes with the cover, I beat the elbow of his left arm with my left arm, and because of this he cannot make a defensive grapple and he can be harmed.

Again another counter I could make: I could turn his elbow with my left hand. Such a play is well-done both armored and unarmored.
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'''[26]''' This is a good and strong grapple: while making the catch, the scholar puts his left foot behind the left foot of the player, and the point of his sword he puts in his face. Also you can throw him to the ground opposite the right hand.
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'''[27]''' This is the counter of the master that is remedy and of those who are his scholars. It is a fact that every counter that comes against a master remedy which counter breaks the play of the master remedy also counters all of his scholars. And this is said of lance, poleax, sword, dagger, and wrestling, and of all the art.

Returning to speak of the master remedy, this master contrary sticks his left hand behind the right elbow of the player that makes the cover of the master remedy, and gives it a forceful turn in order to strike him in the back as you see after.
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'''[28]''' I am the scholar of the master contrary that is before me and I complete his play. When the player turns, instantly I strike from behind under his right arm, or under his coif in the base of his head, or in his buttocks (with reverence), or under his knee, or in other places that I find uncovered.
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'''[29]''' This sword passes for a sword and for an ax, and should not be edged from the guard down to one ''somesso''<ref name="somesso">A ''somesso'' is the following measure: having all the fingers extended and the hand wide open, open the thumb to form an “L”: the ''somesso'' is that measure, i.e. four fingers plus the length of the thumb.</ref> from the point, and the point should be fine and the edge should be one ''somesso'' in length. And the rondel below the hilt wants to be able to run down to one ''somesso'' from the point and not further, and the hilt wants to be well tempered and have a good point, and the pommel wants to be heavy. And that point wants to well tempered and quite sharp. And the sword wants to be as heavy in the back is it is in the front, and wants to weigh from 5 to 7 pounds, following how large and strong the man is and how he wants to be armed.
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'''[30]''' This other sword wants to be fully edged, from the hilt all the way to the point, save for a part in the middle of the last third which should not be edged at all, a span big enough for one hand with a large gauntlet to enter. And similarly it wants to be fine of edge and of point, and the hilt wants to be strong and sharp and well-tempered, and the pommel wants to have a good point and wants to be heavy.
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