View source for Francesco Fernando Alfieri/Nitya Dal Pra R2 2025

<section begin="1"/>''OF THE SWORD.''

''CHAPT. I''

The length of the Sword must be proportionate to the build of the one who bears it; nevertheless, it is always considered well-suited when it reaches comfortably beneath the arms. It must be light, so that it may strike with greater speed and less effort, and it should possess a proper guard to protect the hand, which is the principal instrument of Fencing.
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<section begin="2"/>
In the present Figure, the Sword is divided into three parts. The number 2 marks the end of the Strong part by nature, 4 denotes the Weak part, and 3 the end of the Temperate part, that is, the center of the Blade.
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<section begin="3"/>
Two are its Edges, True marked as B, False as A, it has likewise two Flat sides, True Flat which marked by C, and, False Flat on the opposite side, not seen.
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<section begin="4"/>
From these two Edges and two Flats are derived the four Guards. The First Guard arises from the True Edge, the Second from the True Flat, the Third from the False Edge, and the Fourth from the False Flat. 
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<section begin="5"/>
The Strong part of the blade is intended for parrying, while the Weak is meant for wounding. The Cut should be made between the points marked D and E, to the tip of the Sword.
<section end="5"/>

<section begin="6"/>''HOW THE FIRST AND SECOND GUARDS ARE FORMED''

''CHAPT. II''

As previously stated, there are four Guards. The First Guard precedes the others by both order and nature. It is formed by fully extending the arm above the head. The step must be moderate, and the body should rest upon the the knee, bent enough to allow for lightness in the act of wounding. The left hand is to be held withdrawn above the left shoulder, or left free and relaxed.
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<section begin="7"/>
This First Guard may be of two kinds: High and Low. The High is shown in Figure 2. The Low is formed by bringing the hand to point B and aligning the Sword according to the line shown in the drawing.
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<section begin="8"/>
The Second Guard does not differ from the First in the posture of the body and legs. The only distinction lies in the position of the arm, hand, and Sword, which are lowered so as to form a straight line with the shoulder. This Guard also comes in two sorts: High and Low. The High is depicted in Figure 3, the Low is drawn in A. Both variations are stronger and more protective than the First Guard.
In the course of a duel, depending on the nature of the place and the quality of the combatants, one may ordinarily shift from one Guard to another, making use of whichever is deemed more advantageous and fitting to the occasion.
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<section begin="9"/>''HOW THE THIRD AND FOURTH GUARDS ARE FORMED''

''CHAPT. III''

To form the Third Guard, the body must be positioned so as to be ready to advance without violence. The weight should rest on the left leg, the arm must be extended, and the hand kept nor inward or outward, which in Fencing terms is called the Adequate position of the hand.
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<section begin="10"/>
This Guard appears in three varieties: the Third Natural, High and Low. The Natural Third is illustrated in Figure 5. The High is achieved by narrowing the feet stance, straightening the waist, and bringing the hand to position D, a manner commonly used by the Spaniards. 
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<section begin="11"/>
The Low is obtained by placing the hand at point C, as used by the French. In all these forms, the inner side of the body remains exposed. The Natural variation is considered the best, being both strong and well-defended, and superior to the First and Second Guards.
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<section begin="12"/>
The Fourth Guard is similar to the Third in the positioning of body, feet, and arm. However, the hand is now placed inside the knee, thus exposing the outward side of the body. This Guard, like the Third, is divided into three forms: Natural, High, and Low so called from the variations they admit. The Natural precedes the others and is shown in Figure 4. The High in A, and the Low in B. 
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<section begin="13"/>
This Guard is convenient for attacking and defending, waiting, and assaulting.
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<section begin="14"/>''OF THE MIXED GUARD''

''CHAPT. IV''

Now I come to the Mixed Guard, rediscovered by myself, and of which mention I made in the first part. Its nature lies in partaking of both the Third and Fourth Guards, and it consists in knowing how to arrange the hand and arm that wield the Sword. The position of the feet must be more wide than narrow, with the right foot held light and ready to move, while the weight of the body remains upon the left leg. The tip of the Sword should be directed toward the center of the enemy’s body. In this manner, both the Strong and Weak parts of the Sword are closer at hand to defend or wound, as is shown in the opposite Figures 6 and 7
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<section begin="15"/>
In this Guard, one may endure for an extended period in combat, requiring little force from either the body or the weapon, and it proves advantageous against all other Guards
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<section begin="16"/>
From this position, one may form Counterguards, both High and Low. The High is executed by raising the Sword toward points A and B, while the Low is formed by moving it toward C and D. In all cases, the posture must adapt to the position of the enemy, whether he stands in the First, Second, or any other Guard.
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<section begin="17"/>''HOW TO PERFORM THE LONG THRUST AND THE TWO MAIN CUTS''

''CHAPT. V''

Figure 8 teaches how to perform a long and gallant thrust, upon which a great part of Fencing is founded. To execute it correctly, one must be positioned in the Mixed Guard and, in a single movement, advance the hand, the Sword, the arm, the foot, and the shoulder. With these conditions fulfilled, the thrust is delivered swiftly and becomes almost unstoppable. Such effectiveness is not attained when thrusting from the First or Second Guard, which are weaker and slower by nature.
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<section begin="18"/>
A serious error is often committed by those who, desiring to deliver a forced thrust, lower their body almost to the ground and, being unable to recover their position, place themselves in mortal danger should the blow be parried by the opponent. The enemy who wounds without securing himself is lost, and he can only save himself by swiftly returning to his Guard after having stepped out of measure with speed and precision.
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<section begin="19"/>
There are two principal cuts: the Mandritto and the Rivercio, both of which wound in descending motion from above. Two others, of lesser significance, are the Montante and the Sottomano, which wound ascending from below. 
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<section begin="20"/>
The Mandritto is of two kinds: the Fendente and the Oblique, or Sgualembro. The Mandritto Fendente is illustrated in Figure 8, where the Sword is shown to move from point G through A and down to F. The Mandritto Oblique proceeds from B and descends toward D.
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<section begin="21"/>
The Rivercio also comes in two forms: the Fendente and the Oblique or Sgualembro. The Rivercio Fendente follows the same motion as the Mandritto, from G through A and down to F, whereas the Oblique proceeds from C downward to E.
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<section begin="22"/>
The Montante and Sottomano originate from line H to F and ascend toward A. The Mandritto and the Montante begin from the left side; the Rivercio and the Sottomano begin from the right, as is demonstrated in Figure 9.
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<section begin="23"/>''ABOUT THRUSTING IN FOURTH WITHOUT MOVING THE FOOT''

''CHAPT. VI''

From Figure 11 we learn how to execute the thrust in Fourth, as previously described. He begins in the Mixed Guard, carefully observing the exposed parts of the opponent and once reached the correct measure, he strikes swiftly and directly. In the example, the blow is aimed at an adversary who stands in the Third Guard. When this thrust is executed with proper caution and timing, it is difficult to evade, and thus often used in duels.
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<section begin="24"/>
Besides the long thrust in Fourth, the adversary can be wounded in three further manners.
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<section begin="25"/>
The first consists in raising the Sword along line A and thrusting in Third from the outside. 
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The second is to feign a high attack along A, then lower the Sword to B and thrust in Second while lowering the body. 
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<section begin="27"/>
The last is to perform the same feint along A, but instead deliver a Rivercio to the right leg following the path of line C.
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<section begin="28"/>
There are some who, in delivering the thrust, approve pull the head back as they strike. These are deceived in their belief, for in doing so they lose sight of the target and cannot observe the movements of the enemy. The eyes are our sentinels, and they must remain fixed upon the source of danger. The head must accompany the thrust, pressing forward with the shoulder, for if it is withdrawn during the blow, the thrust becomes weak, short, and ineffective.
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<section begin="29"/>''ABOUT THRUSTING IN SECOND WITHOUT MOVING THE FOOT''

''CHAPT. VII''

Here is explained how to thrust in Second to hit the face. In this action, resolution is required, along with knowledge of how to dominate the adversary’s blade and exploit the advantage, which lies in time, speed, and measure.
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<section begin="30"/>
Knight 12 is shown in the Third Guard. He allows the adversary to engage, letting the Strong part of his opponent's blade overcome the Weak of his own. In doing so, he relinquishes the threat of his Sword and permits the enemy to enter into perfect measure. Knight 13, more shrewd than his opponent, is then able to wound him in four distinct manners.
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<section begin="31"/>
The first is thrusting in Second, to the face,as is shown in the Figure, and it may be done in two ways: either by thrusting after having overcome the opponent’s Sword, or by parrying and wounding at the same time.
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<section begin="32"/>
The second way consists in raising the hand to point A and thrusting in Fourth from the inside. 
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<section begin="33"/>
The third way is to feign an attack along A, then lower the hand to B and thrust into the chest. The success of this action lies in executing the long thrust both with speed and strength.
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<section begin="34"/>
The fourth and final method is to feign once more along A, whether from the Third or another Guard, and deliver a Rivercio to the right leg along line C, before immediately withdrawing out of measure.
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<section begin="35"/>''OF WOUNDING THE ENEMY FROM THE OUTSIDE AND OVER THE SWORD BY PASSING WITH THE LEFT FOOT''

''CHAPT. VIII''
Thrusting without moving the foot is very common and offers great security in duels. I commend the practice of this stroke, as it develops agility of the feet and teaches how to deliver a Stoccata farther than the natural motion. Yet, Passate are not to be despised, for they disrupt and disorient the enemy and allow to strike with greater force—provided they are executed in a straight line, without displacement or retreat. An example of this may be observed in the accompanying Figure.
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<section begin="36"/>
Knight 15, finding Knight 14 in the Fourth Guard, advanced decisively to gain control with the Strong of his Sword over the Weak of his opponent’s. The latter, seeking to disengage and strike preemptively, was instead wounded from the outside, over his Sword, by a thrust in Second, by the adversary having passed with the left foot at the very moment of the disengagement.
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<section begin="37"/>
The same attack may be carried out with a feint, striking beneath the right arm along line B with a thrust in Second. It is also possible to beat the enemy’s Sword outward, not giving him time to disengage, and from point A deliver a Mandritto or Rivercio Tondo to the head.
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<section begin="38"/>''OF WOUNDING THE ENEMY FROM THE OUTSIDE AND BELOW THE SWORD BY PASSING WITH THE LEFT FOOT''

''CHAPT. IX''

From this Figure we learn how, in the course of a fight, a single error or misstep allows the enemy to wound in different ways.
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<section begin="39"/>
Knight 16, standing in the Third Guard in a defensive posture, faced an opponent who adopted the Mixed Guard. The latter, advancing with great caution to reach the proper measure, feinted a blow from the outside and over the Sword. The defender, instead of counterattacking during the feint, reacted at once and obediently moving to parry the expected strike. At that moment, adversary 17, who had led him there with deliberate artifice, found himself with three opportunities to wound:
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<section begin="40"/>
The first, and safest, is a thrust in Second from the outside into the chest, delivered below the enemy’s Sword by extending the arm and passing with the left foot, having disengaged precisely when the opponent obediently moved to parry.
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<section begin="41"/>
The second, without moving the feet, follows the direct line marked A.
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<section begin="42"/>
The third begins with a feint from the outside at point A and concludes with a Mandritto from point B, slashing to the enemy’s right leg, as shown in the drawing.
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<section begin="43"/>''OF THRUSTING IN FOURTH WITHOUT MOVING THE FOOT AGAINST A CUT''

''CHAPT. X''

When one is within measure with the enemy, throwing cuts is often dangerous, for in raising the hand, the target is left exposed. This is demonstrated clearly in the present Figure, where Knight 19 is struck in the face by a long thrust in Fourth position.
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<section begin="44"/>
The Guard in which he stood was the Second, more suited to delivering cuts. Once in measure, he displaced the enemy’s Sword with a strike, turning his hand into Third to raise the cut.
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<section begin="45"/>
The adversary, however, standing in the Mixed Guard, withdrew both body and blade upon receiving the hit on his Sword. Having thus broken the measure of the enemy, he wounded him with speed, extending the arm forward without moving the foot.
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<section begin="46"/>
This same blow can be delivered when the enemy, with fury, raises his Sword into the air to strike with a Mandritto or a Rivercio to the head, as shown in Figure 19. To wound in such timing, is required to be bold and not afraid of the enemy’s Sword.
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<section begin="47"/>
The thrust is better and more deadly than the cut. Nevertheless, I believe it should not be neglected that one may also throw a Mandritto along line A, or a Rivercio to the leg as in line B, wounding the enemy either with a thrust or a cut, whether High or Low, then rapidly withdrawing out of measure.
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<section begin="48"/>''HOW TO WOUND AN ENEMY ATTEMPTING TO STRIKE THE LEGS WITH MANDRITTO OR RIVERCIO''

''CHAPT. XI''

As shown already in the First Part, a circular motion is traced by the hand turning until it returns to the same place from which it began. In such motion, the extremities always move farther apart. It is upon this principle that the present illustration is built, where we demonstrate the advantage gained by parrying with a void of the body while thrusting at the same time. It must also be noted that it is a rule of the art to feint a cut to strike with a cut, and feint a thrust to strike with a thrust. Those who feint a cut to wound with a thrust place themselves in danger, for the long time this motion requires.
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<section begin="49"/>
The Figure itself requires little commentary. Knight 20, standing in Third, may strike with a Mandritto in three ways, as depicted.
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<section begin="50"/> 
The first is to feint a blow to the outside and, finding no reaction from the enemy, turn the strike downward toward the leg. 
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<section begin="51"/>
The second is to displace the enemy’s Sword and, finding that the tip does not reach the target, choose instead to deliver a cut, or feint a Rivercio and follow with a Mandritto.
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<section begin="52"/>
Yet Knight 21, by withdrawing his foot, bending the waist, and extending the arm in each of the aforementioned situations, retains the advantage. He may land a direct blow to the chest, or strike the head along line A with a Mandritto, and the arm along line B with a Rivercio.
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<section begin="53"/>''OF WOUNDING THE FURIOUS AND RESOLVED ASSAILANT''

''CHAPT. XII''

Fury in combat is, for the most part, disorderly and often brings about unfortunate consequences. Against such an assailant, one must control his blade by adopting Counterguards. If it is not possible to gain advantage in this way, then it becomes necessary to break measure by retreating. When the attacker advances, he must be met with a Stoccata to the head, delivered without moving the foot.
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<section begin="54"/>
The furious Knight is depicted in Figure 22, wounded after attacking with too much resolution and having passed through several Guards before committing to the assault from the Fourth.
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<section begin="55"/>
His adversary, Knight 23, sought to benefit from this fury by feigning fear, thereby inflaming it further. With cunning, he retreated as he was pursued, waiting for the right timing. Then, withdrawing his right leg, he launched a Stoccata, as illustrated in Figure 23.
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<section begin="56"/>
It is also possible to thrust from the outside, over the Sword, along line A, wounding either with a Passata or without moving the foot. Alternatively, one may feint along line A, then strike along line B by passing with the left foot and lowering the body.
<section end="56"/>
<section begin="57"/>''HOW TO WOUND WITHOUT MOVING THE FOOT AN ENEMY WHO SEEKS ADVANTAGE BY WALKING AROUND''

''CHAPT. XIII''

This Stoccata is delivered by extending the body without moving the foot, striking in Second from the inside, below the arm that holds the Sword. It must be reaffirmed that it is always dangerous to attack while circling or straying from the straight line in search of positional advantage. The one who remains stationary sees more clearly the openings and finds the right timing to prevail.
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<section begin="58"/>
Knight 24, standing in Third Guard, attempted several circular steps in hope of delivering a direct strike. But his adversary, having followed him with the tip of the Sword, prevented him from entering measure by thrusting decisively, as seen in Figure 24.
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<section begin="59"/>
This same thrust can also be executed from Fourth position, along line A. One may likewise feint from the inside and wound on the outside, over the Sword, along the same line A, or along line C, by lowering the hand and delivering a Mandritto to the right leg.
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<section begin="60"/>
The same wound may be inflicted if Knight 25, in moving to attack, feints from the outside over the Sword, or will to parry and disengage. Furthermore, the strike can be successfully delivered with correct timing, having forced the opponent to disengage by controlling his Sword, or while parrying with the left hand, exploiting the openings he reveals in attempting to wound.
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<section begin="61"/>''OF WOUNDING WITH THE VOID OF THE BODY WITHOUT PASSING''

''CHAPT. XIV''

Here is shown how, by dodging a strike with a void of the body, one may take the life of another.
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<section begin="62"/>
Knight 26 stood in the Fourth Guard, and with steadfast resolve sought to gain control of the enemy’s Sword from the inside. As soon as he dominated the enemy’s Weak with his own Strong, he thrust forward without moving his foot. Yet the adversary, carefully observing the movement and seizing the proper timing, withdrew his body out of line, and in the same instant, delivered a swift thrust.
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<section begin="63"/>
He may also extend a thrust to the face along line B, meeting the adversary’s Weak with the Strong of his own Sword, again without moving the foot. Should the enemy strike first, he will form a low Second Guard at point C, and from there, along line A, deliver a Mandritto, as depicted in the drawing.
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<section begin="64"/>
Finally, I conclude that Knight 27 may deliberately expose his chest to the inside part of his Sword outward. If the enemy chooses to thrust, it is then possible to obtain the same effect by voiding the body and avoiding the blow without injury.
<section end="64"/>
<section begin="65"/>''OF WOUNDING WITH THE VOID OF THE BODY''

''CHAPT. XV''

Worthy of careful attention is the act of wounding by voiding the body, both for the subtlety of the maneuver and for the skill required in judging the true intent behind the enemy’s Sword. 
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<section begin="66"/>
This way of prevailing arises from three principal causes.
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<section begin="67"/>
The first: if Knight 28 is found in the Third Guard, and the enemy, upon reaching measure, strikes by beating with the Strong of his Sword against the Weak of the other, then in the same motion, the Knight turns his body aside and discharges a blow, voiding at the proper moment.
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<section begin="68"/>
The second: if the wounded, being the first to come into measure, will be prevented without touching his Sword.
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<section begin="69"/>
The third: if his Sword is controlled by the adversary, may disengage toward the inside. When the adversary then performs a counter-disengagement, the Knight re-disengages a second time and simultaneously thrusts in Fourth, while turning his body away, as is taught in Figure 29.
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<section begin="70"/>
He may still wound by lowering his hand in point B and delivering a thrust, or by cutting along line A. However, the true and effective strike is that which is shown in the drawing.
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<section begin="71"/>''HOW TO WOUND WHILE LOWERING THE BODY, WITHOUT PARRY''

''CHAPT. XVI''

To execute this blow, we must suppose that Knight 30 has placed himself in Third Guard. Once the adversary gained control over his Sword, he disengaged and thrust; yet, at that very instant, the adversary wounded him by lowering the body, thus evading the attack.
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<section begin="72"/>
The same action can be accomplished when one seeks to gain control of the enemy’s Sword from the outside. By feinting a thrust to provoke a parry, one may then disengage and wound in Second, as illustrated in the Figure.
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<section begin="73"/>
To vary the blow, one may also thrust in Fourth along line A, without moving the foot, or feint a strike to the face and wound by lowering the hand along line B. In either case, the intended result will be achieved.
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<section begin="74"/>
However, it must be noted that in wishing to lower the body, one must be in perfect measure. If performed in large measure, the enemy may readjust the point of his Sword before the attacker succeeds in bringing his body beneath it. What is proposed in the following chapter applies both to blows executed without stepping, as well as those performed with a Passata.
<section end="74"/>

<section begin="75"/>''OF WOUNDING A LEFT-HANDED MAN''

''CHAPT. XVII''

Some hold the opinion that the Left-handed possesses an advantage over the Right-handed; however, such a view is born of experience, not of reason. It is true that Right-handed seldom train against Left-handed ones in Schools. Nevertheless, it is the rules and precepts of the art that must prevail. Let it be remembered: the Right-handed must always seek to gain control with his Strong over the Weak of the adversary’s Sword, particularly from the outside, thereby forcing him to disengage, at which point he may wound him. If instead the Left-handed attacks without moving the foot, it becomes necessary to parry and wound in a single motion, thereby remaining in advantage. One must always remember: against a Left-handed opponent, thrust in Fourth from the outside, and in Second from the inside.
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<section begin="76"/>
The wound illustrated occurs because Knight 32, being in Third Guard, was faced by an opponent who, once in measure, feinted from the inside. As the Knight moved to parry, the adversary disengaged and extended a thrust from the outside of the Sword.
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<section begin="77"/>
A similar result will follow if the attacker moves to gain control of the adversary’s Sword from the inside, provoking a disengagement, and knowing how to seize the right time wounds him as depicted in Figure 3.
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<section begin="78"/>
One may also wound in Second by changing the attack along line C, or, should the enemy strike first, one may turn the hand into Second, lower the tip along line B, and raise a Stramazzone or Mandritto along line A, landing the blow above the head of the wounded.
<section end="78"/>

<section begin="79"/>''OF WOUNDING THE ENEMY PASSING WITH THE LEFT FOOT''

''CHAPT. XVIII''

No action demands greater circumspection than a duel, not only for the gravity of risking one’s life, but also because even the smallest motion or briefest instant may yield advantage. Those who, with excessive boldness, repeatedly assault their enemy often pay for their recklessness with death.
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<section begin="80"/>
To illustrate this, we have the example drawn in the present Figure.
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<section begin="81"/>
Knight 34 stood in Mixed Guard and artificiously exposed his openings outside the Sword. Knight 35, who stood in Fourth, unaware of the ruse, hastened to wound, passing forward with his left foot. But the former, knowing his adversary’s intentions, swiftly disengaged and struck him with precision.
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<section begin="82"/>
He may also, as the enemy passes with the left foot, parry with the left hand, and along line A deliver a Mandritto or Rivercio, or disengage and wound in Second along line B, under the arm while lowering the body.
<section end="82"/>

<section begin="83"/>''OF WOUNDING, AND TAKING THE SWORD''

''CHAPT. XIX''

Though to wound in primo tempo is a most refined action, to disarm the enemy is likewise no vulgar skill. Both shall now be demonstrated.
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<section begin="84"/>
Knight 36, found in Third Guard, had his outside parts exposed. The attacker, sought the advantage, entered measure and thrust to wound. In that moment also used his left hand to disarm him, twisting the adversary’s arm while pressing forward with the Sword.
<section end="84"/>
<section begin="85"/>
This same technique may also be performed by feinting from the inside, and when the enemy moves to parry, one may disengage and thrust in Third, as shown in Figure 37.
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<section begin="86"/>
Should one wish to change his resolution, he may also wound in Fourth to the chest or head, attacking along the inside of the Sword. Alternatively, one may thrust in Second along line B, under the arm, by lowering the body.
And if one wished to change the resolution it is also possible to wound in Fourth in the chest or the head on the inside of the Sword, or along line B thrusting in Second under the arm and lowering the body.
With this, I conclude what I have judged worthy of being presented, those things which, in my experience gathered over many years, I have observed concerning the use of only the Sword.
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<section begin="87"/>
I reserve, however, to speak separately of certain matters that require more exact knowledge, and which do not deserve to be printed for the common view of all. These are:
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<section begin="88"/>
How to defend oneself unarmed against a Dagger, disarming the enemy and wounding him.
<section end="88"/> 
<section begin="89"/>
How, in a narrow place, to draw the Sword and strike an adversary armed with a Dagger and Stiletto.
<section end="89"/>
<section begin="90"/>
How to recover one’s Sword, and take the enemy’s, when fighting with a Sword alone against an opponent wearing an armored glove.
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<section begin="91"/>
And lastly, how to take a Targa or Buckler from an opponent with great strength, or how to turn a Cloak around the enemy to obstruct his sight and deliver the blow.
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