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| <p>[11] '''The Method of Parrying a Stoccata that Comes at the Face on the Outside'''</p>
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| <p>[11] '''The Method of Parrying a Stoccata that Comes''' at the Face on the Outside</p>
  
 
<p>In my first book I promised you that I would discuss how one passes with the foot in order to attempt to wound, being that in it I only spoke of the firm-foot, with which someone knows how to play well and recognize the tempo. He will do those same things when passing. Therefore, I ready myself to keep the promise. If your enemy were to throw at you, whatever blow he wishes, either thrust or cut, you can pass with the foot, knowing how to take the tempo. When you have passed, disengage the sword, throw two or three stoccate, and immediately return backward outside of measure, as you will learn in this figure, which shows you that, being in guard with your right foot forward, if your enemy were to throw a thrust on the outside of your dagger, in the same tempo you parry with the dagger, pass your left foot forward, and throw the stoccata in the same tempo, as the figure shows. Once you have thrown the stoccata, it is necessary to withdraw the ''vita'', disengage the sword, keep the dagger firm on your enemy’s sword, throw two or three stoccate, and withdraw outside of measure. Take care in leaping backward, however, to secure yourself with your sword on his so that in returning outside of measure your adversary does not throw you a stoccata where you are most uncovered, thus wounding you both, as often occurs. If in returning backward you place your sword over his, however, he will not be able to wound you. Therefore, I urge you in all passes you perform to keep your sword over the enemy’s until you are outside of measure again, because someone who knows how to perform a pass but does not know how to then disengage the sword and wound again or to escape from the enemy’s weapons can be said to be ignorant of this profession. This is for the reason that if they pass with the foot they come to grips and both end up in no small amount of danger if they do not know the method of doing so. Performing these kinds of passes, then, is not for everyone. Rather, it is only for those who are strong and dexterous, who know how to play from a firm foot well so that they recognize the tempo and measure, and who are well-practised, because it cannot be said that I wish to pass at the onset. First it is necessary to see what the enemy does, the tempo and occasion must be taken according to this, recognizing when it is time to throw from a firm foot, when from a pass, when with a stoccata, and when with a cut.</p>
 
<p>In my first book I promised you that I would discuss how one passes with the foot in order to attempt to wound, being that in it I only spoke of the firm-foot, with which someone knows how to play well and recognize the tempo. He will do those same things when passing. Therefore, I ready myself to keep the promise. If your enemy were to throw at you, whatever blow he wishes, either thrust or cut, you can pass with the foot, knowing how to take the tempo. When you have passed, disengage the sword, throw two or three stoccate, and immediately return backward outside of measure, as you will learn in this figure, which shows you that, being in guard with your right foot forward, if your enemy were to throw a thrust on the outside of your dagger, in the same tempo you parry with the dagger, pass your left foot forward, and throw the stoccata in the same tempo, as the figure shows. Once you have thrown the stoccata, it is necessary to withdraw the ''vita'', disengage the sword, keep the dagger firm on your enemy’s sword, throw two or three stoccate, and withdraw outside of measure. Take care in leaping backward, however, to secure yourself with your sword on his so that in returning outside of measure your adversary does not throw you a stoccata where you are most uncovered, thus wounding you both, as often occurs. If in returning backward you place your sword over his, however, he will not be able to wound you. Therefore, I urge you in all passes you perform to keep your sword over the enemy’s until you are outside of measure again, because someone who knows how to perform a pass but does not know how to then disengage the sword and wound again or to escape from the enemy’s weapons can be said to be ignorant of this profession. This is for the reason that if they pass with the foot they come to grips and both end up in no small amount of danger if they do not know the method of doing so. Performing these kinds of passes, then, is not for everyone. Rather, it is only for those who are strong and dexterous, who know how to play from a firm foot well so that they recognize the tempo and measure, and who are well-practised, because it cannot be said that I wish to pass at the onset. First it is necessary to see what the enemy does, the tempo and occasion must be taken according to this, recognizing when it is time to throw from a firm foot, when from a pass, when with a stoccata, and when with a cut.</p>
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| <p>[12] '''The Method of Performing a Pass with the Foot when the Enemy Throws a Thrust on the Inside at the Face'''</p>
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| <p>[12] '''The Method of Performing a Pass with the Foot when the Enemy''' Throws a Thrust on the Inside at the Face</p>
  
 
<p>This figure shows you that if you are in guard with your right foot forward and your enemy throws a thrust at your face, you must parry with the dagger and in the same tempo pass with the left foot and throw a stoccata at the flank, as the figure shows, and immediately secure yourself well over your feet and disengage your sword and throw two or three stoccate while holding your dagger firm over your enemy’s sword. If he were to try to disengage it in order to throw additional blows, it is necessary that you follow it with the dagger while continuing to throw stoccate and return backward outside of measure, securing yourself with your sword over his.</p>
 
<p>This figure shows you that if you are in guard with your right foot forward and your enemy throws a thrust at your face, you must parry with the dagger and in the same tempo pass with the left foot and throw a stoccata at the flank, as the figure shows, and immediately secure yourself well over your feet and disengage your sword and throw two or three stoccate while holding your dagger firm over your enemy’s sword. If he were to try to disengage it in order to throw additional blows, it is necessary that you follow it with the dagger while continuing to throw stoccate and return backward outside of measure, securing yourself with your sword over his.</p>
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| <p>[21] '''Another Method of Artificial Guards for Deceiving the Enemy''' When He Wishes to Pass with his Right or Left Foot</p>
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<p>These figures are another way of deceiving the enemy when he wishes to pass onto you with either the right or left foot because even though these figures are seen with the left foot forward, they can nevertheless be defended against in the same way as the passes with the right foot forward. If you see your enemy wishes to come upon you with their left or right foot forward, place yourself in guard with the right foot forward, uncover your chest, and give him an opportunity to move to wound you. In that instant, in the same tempo he throws the stoccata, parry with the sword, bring your foot and ''vita'' back, and wound like the figure. Immediately place your dagger on your enemy’s sword, throw the stoccate you wish, and return backward outside of measure and escape in the way repeatedly described.</p>
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|55|lbl=52|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|56|lbl=53|p=1}}
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| <p>[22] '''An Artificial Method of Parrying with the Single Sword'''</p>
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<p>In my First Book I showed how one must proceed with the single sword to bind the enemy, covering his sword, and, while he disengages his sword, wound him. This figure now shows you another way of wounding with artifice. It is this: Your enemy seen in a guard with the sword forward, go to bind him with yours over his in the way of the first figures of my First Book and, your enemy wishing to wound you, it is necessary that he disengage his sword. While he disengages the sword, lift your fist and drop your ''vita'' and the point of your sword so that you strike him in the flank, which he will be unable to parry because he believes you must parry with your fist low and point high. Doing it as I have said, you strike him unexpectedly. The stoccata thrown, return backward outside of measure, securing yourself by placing your sword over his.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|58|lbl=55}}
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| <p>[23] '''Another Artificial Method of Wounding, Going to Bind''' the Enemy on the Outside of His Sword</p>
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<p>The previous figure went to bind the enemy on the inside of the sword and wounded on the outside. The current [figure] is of going to bind on the outside of the sword. It is done in this way: Go to bind the enemy on the outside of the sword, with your sword over his, and give him occasion to disengage the sword in order to wound you. While he disengages the sword, you parry, lifting your wrist and lowering your ''vita'' and the point of the sword, as you seen in the figure, which will deceive him. The stoccata thrown, return backward outside of measure in the said way.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|60|lbl=57}}
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| <p>[24] '''The Proper Method of Defending from the Inquartata With the Void of the ''Vita'''''</p>
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<p>Everyone who desires to become perfect in this profession, in addition to knowing how to carry the ''vita'' well, parry well, and control the the sword, also needs to know how to void stoccate with the ''vita'' because it is not always possible to parry with the sword, and in case of necessity, recognizing the danger, one must void the ''vita''. I want to teach you two ways to defend from stoccate by voiding the ''vita'' and wounding the enemy. It is done in this way: Go to bind your enemy on the outside with your sword over his, stand with your ''vita'' straight, and give him occasion to wound you by inquartata. In the tempo that he disengages his sword to wound you, quickly lower your ''vita'' so that his stoccata will miss and in the same tempo disengage the sword under the enemy’s sword hand so that you wound him in the flank, as you see the figure. Immediately place your left hand on the hilt of the enemy’s sword and disengage your sword so that you can wound with two or three stoccate and return immediately outside of measure, as usual.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|62|lbl=59}}
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| <p>[25] '''The Method of Defending from the Stoccata by Voiding the ''Vita'', Going to''' Bind the Enemy on the Inside</p>
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<p>This other figure shows you that if you bind the adversary on the inside of the sword, with your sword over his and your ''vita'' straight, if he wishes to wound you it is necessary that he disengage the sword and turn his wrist in order to secure himself from your sword. Whence you, as soon as he disengages the sword to wound you in the face, disengage your sword under his and lower your ''vita'' so that you strike him in the flank and his stoccata misses, and immediately place your left hand over the furnishings of his sword, wound, and escape as above.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|64|lbl=61}}
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| <p>[26] '''A Method Which Can Parry and Give a ''Riverso''''' or Thrust to the Face</p>
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<p>This figure shows you an artificial method of parrying and giving a ''riverso'' or, instead, a safe thrust, to the face in this way: If your enemy were eager to wound with a thrust and you stood in a guard with the sword forward, uncover your chest a little so that he comes to throw a stoccata. Parry with the ''forte'' of your sword and extend with the right foot, going to meet his sword and taking it to the ground with your extended arm, the ''forte'' of your sword, and your ''vita'', as you see the figure, so that the enemy’s face is completely uncovered. Whence you can immediately give him a ''riverso'' to the face and return outside of measure, being aware that while the adversary throws the stoccata at you it is necessary that you parry in the above way and go forward, and while you throw the ''riverso'' you return backward, and you do these two things in the same tempo. Parrying in this manner, you can wound with a thrust and return backward outside of measure.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|66|lbl=63}}
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| <p>[27] '''An Artificial Way to Parrying and Giving a ''Mandritto''''' or Thrust to the Face</p>
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<p>This figure shows you how to strike with a ''mandritto'' or thrust in the face. It is done in this way: It is necessary to place yourself in a guard and uncover your right side a little in order to embolden the enemy so that he throws at that uncovered side with a thrust. Alternatively, if you see that the adversary is in guard with the sword forward, bind him on the inside with your sword and, while he disengages his sword, parry in the above way. While he disengages the sword, extend with your foot and, with your arm extended and the strength of your shoulder and your entire ''vita'', take the enemy’s sword to the ground as the figure shows, whence his face will then be uncovered and you will therefore be able to throw a ''mandritto'' or, instead, a thrust at his face and then return backward outside of measure, taking care to do these things in the same tempo.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|68|lbl=65}}
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| <p>[28] '''The Method of Defending from the Pass of the Left Foot at a Distance''' with the Counterdisengage</p>
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<p>These figures that you see, one with his left foot forward in order to pass, the other with his right foot forward in order to defend and wound, are very useful, as you will learn. If the enemy were to place himself with his left foot forward in order to wound you and comes to bind you in order to seize the tempo to pass, place yourself in guard with your right foot forward and your sword forward, uncover your right shoulder, and give him a tempo so that he passes because he thinks that you will parry with the edge of your sword and trusts the quickness of throwing a stoccata—that is, that his stoccate will arrive before you have time to parry. He will succeed every time he is at or inside measure, hence be careful not to let him come inside measure, and when you see he wishes to pass, in the same tempo disengage your sword under his hilt and withdraw the ''vita'' slightly, accompanied by the sword, so that you parry and wound in the same tempo as you see the figure has, and immediately return backward outside of measure with your sword over his.</p>
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|71|lbl=68|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|72|lbl=69|p=1}}
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| <p>[29] '''The Method of Safely Wounding the Leg with the Single Sword'''</p>
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<p>The safe wound to the leg is performed in many ways, which is to say, feigning throwing a cut to the head and while the enemy moves to parry, throwing at the leg. It is necessary that you do not throw at the leg if the enemy’s sword is not seen to pass your ''vita''. Otherwise, you would both strike each other or, if your enemy were to throw over your leg in that tempo, he would strike you in the face and escape, as I said in my First Book. Wishing to safely strike the leg with a ''mandritto'' or ''riverso'', it is necessary to feign throwing naturally at the head with a ''mandritto'' or thrust. If you see that he does not parry resolutely, throwing additional blows to either the leg or elsewhere does not transpire. If you see that he parries, however, let his sword pass your ''vita'' with its point and immediately throw at his leg as you see the figure has, taking care that the feint of either thrust or cut, wounding, and returning backward and escaping are done in the same instant. One can feign in the same way on the outside of the sword and throw a ''riverso''.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|74|lbl=71}}
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| <p>[30] '''The Method of Coming to Grips and Wounding the Chest with a Thrust'''</p>
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<p>We have shown many ways of parrying and wounding with the single sword, in my First just as in this Second Book. It is necessary that we show in what way one fights, coming to grips, and how a man must escape. In this, my Second Book, I wish to teach you only four methods, from which intelligent men can extract many. The proper and safe method of passing at the enemy in order to come to grips is passing, to the inside or outside of the sword, or via the inquartata, as I mentioned in my First Book. By passing on the outside you can come to grips when you like, as you know well, I said in my First Book how to throw a firm-footed thrust on the inside and, as your enemy parries it, disengage the sword to the outside at the enemy’s chest and pass with the left foot in the same tempo. If your enemy is a valiant man he will parry it and you will therefore be with your weapons equal. Whence, I advise you to immediately disengage the sword under the furnishings of his sword while withdrawing your ''vita'' slightly and wound in the chest, as you see the figure has. Holding the enemy’s arm in place with your hand, you can withdraw your ''vita'', disengage your sword, wound two or three times, and return backward outside of measure, securing yourself with your sword over his.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|76|lbl=73}}
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| <p>[31] '''A Method of Coming to Grips''' and Giving a Cut to the Head</p>
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<p>This grip you see is similar to the previous as far as passing, because this is also done with the same pass. After you have passed, then, and you are both with your swords equal, place your left hand on the furnishings of the enemy’s sword, pressing his sword arm with your hand as the present figure shows you, and in the same tempo strike him with a cut to the head that he will doubtless be unable to parry. Give two or three cuts, withdrawing your ''vita'', holding the enemy’s arm in place with your hand. You can give two or three stoccate and then return backward outside of measure in the above way. Performing these grips consists in knowing well how to seize the tempo to pass safely. It can be seized in many ways, such as uncovering the right side, giving the enemy an opportunity to throw a thrust, and immediately parrying with the ''forte'' of the sword, passing with the foot, straightening the point of the sword at the enemy’s face which, if he does not parry it, will land a thrust on his face and thus nothing further is done. Even if he parries it, though, you will be with your swords equal, and you will come to grips so that the furnishings of your sword make contact with his. Then you will be able to perform all four kinds of grips that I placed in this book. You can also go to bind your enemy on the outside of his sword and pass with the foot, seizing the tempo in the said way, since as long as you have your swords equal you perform one of these four grips—whichever most pleases you. You can also pass safely in this other manner: Go to bind your enemy on the inside with your sword over his and give him occasion to disengage in order to wound you. Then, while he disengages the sword, parry the enemy’s sword with the ''forte'' of your weapons and pass with the foot. Thus, if he does not defend from it, you strike him in the face, and, if he parries, you will be with your weapons equal. Given that, therefore, I said performing these grips consists in knowing how to choose the tempo to pass safely.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|78|lbl=75}}
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| <p>[32] '''A Method of Grip for Taking the Sword with the Left Hand''' and Striking with a Thrust in the Face</p>
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<p>This figure shows you that, having seized the safe tempo in any of the mentioned ways, come to grips, and passed with the foot, being with the weapons equal you must disengage the sword under the furnishings and place your left hand on the inside of the furnishings, turning your arm and hand, seizing the furnishings of your enemy’s sword with your hand as the figure shows. Turning your arm toward his necessitates him to let go of the sword, because while you turn his arm you give him a stoccata in the face, as you see the figure has, and he loses the strength of his arm from the fear of your sword, whence he is forced to let go of his sword.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|80|lbl=77}}
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| <p>[33] '''A Method of Grip for Taking the Enemy’s Sword''' and Striking him with the Pommel in the Face</p>
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<p>Having come to grips with the weapons equal, wishing to seize the sword from the enemy’s hand and strike him with the pommel in the face, you must do thus: Disengage the sword under the hilt of the enemy’s sword and in the same tempo pull your left arm inside the enemy’s sword and place your left hand on its furnishings, turning your arm toward the enemy’s sword under the left flank as you see the figure has. In the same tempo, strike him with the pommel in the face and, holding the enemy’s sword strongly with your arm, immediately turn your ''vita'' to the right so that the force necessitates him to let go of his sword or have his hand broken, because the force of turning the ''vita'' is very great. For this reason, if your enemy were to have twice your strength, you would take the sword from his hand. These four kinds of grips are only useful to someone who has practised them well, nor should anyone who has only known how to play for a month or two attempt to perform them, because they would not be successful and they would then say that they are not good. I say that these grips are good for those who know how to play firm-footed and with the pass, who recognize tempo and measure, and who are practised with these grips.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|82|lbl=79}}
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| <p>[34] '''Preface to the Lord Readers'''<p>
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<p>In this Second Book, I do not wish to discuss cuts that can be performed with the single sword any further, but you are able to make use of the cuts described for the sword and dagger, such as parrying a cut that comes at the head with the sword and throwing a ''riverso'' at the head or instead at the leg. You can also parry a ''riverso'' to the head and throw a ''mandritto'' at the head or leg. You can even defend against these cuts by voiding the ''vita'', letting the cut pass, and then throwing a thrust or cut, as described in the lessons of the sword and dagger. In contentions with the single sword, it is very safe and good to do it in this way: One stands in a guard with the sword high as if to throw a ''mandritto''. While the adversary throws a stoccata, it is necessary to throw a ''mandritto'' at his sword, and his stoccata parried thus, it is necessary to immediately throw a ''mandritto'' at his head or leg and return backward outside of measure. It is necessary to parry strongly and then throw as many times as the adversary throws a thrust, so that he is therefore unable to offend. I wish to teach you to throw a stoccata, ''mandritto'', or ''riverso'' with resolute thrusts. It is done in this way: If your enemy were in guard waiting for you, go to bind him where he is uncovered until you are at measure and throw a stoccata, turning your wrist toward the enemy’s sword in order to secure yourself, and if your enemy parries this thrust, throw a ''mandritto'' or ''riverso'' according to how you find yourself—if you throw the stoccata on the inside, a ''riverso'' will emerge, if you throw on the outside, a ''mandritto''. It is necessary to throw the thrust so that your enemy parries it and throw the ''mandritto'' or ''riverso'' according to how you find yourself in one tempo, because in throwing quickly you will wound, parry, and escape by going out of measure.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|83|lbl=80}}
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| <p>[35] '''Preface to the Lord Readers'''</p>
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<p>All men who know how to play with the single sword and sword and dagger or, rather, who have learned from a good master to carry their ''vita'' and control the sword, and know what tempo and measure are, also know how to play with all types of arms that are in this book, because there is no difference aside from knowing how they are held in the hand and becoming practised with them. Rather, all those things that are done with the sword and the dagger, both thrust and cut, can be very easily performed with sword and rotella, sword and targa, and sword and buckler. As I have said, having learned the single sword is useful for understanding how to defend with the sword. Therefore, I want to show you how these kinds of arms are held in the hand and what properties those who hold them have because, after all, as I said, all that you have learned with the sword the sword and dagger you can do with the sword and rotella, sword and targa, and sword and buckler.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|84|lbl=81}}
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| <p>[36] '''The Proper Method of Holding the Rotella'''</p>
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<p>These four figures show you how the rotella must be held in the hand. The first two teach how one must stand in guard, and the other two show how one must defend and wound. The rotella is held with the fist upward, as you see in the figure, so that it burdens you less and so that you can more easily defend from all kinds of blows, either thrust or cut. If you were to hold the rotella with the arm extended, as many believe it must be held, you would tire your arm and be endangered. The rotella has wonderful characteristics for someone who knows how to hold it in hand and who is practised because, due to the great size of the rotella, it is easy to defend from both ''mandritto'' and ''riverso'' cuts with it. Every stoccata that touches it even slightly is defended from and, defended, it is then easy to wound. The ''mandritto'' is defended from with the surface of the rotella, the ''riverso'' with its edge, and the imbroccata with its surface. Other thrusts are defended against with its edge. As soon as one has defended, it is necessary to return to having the fist upward so that, while you defend on either the outside or inside, you partially watch your enemy to observe what he wishes to do. If you were to hold the rotella forward in parrying, you would be in danger because you would not see what your enemy is able to do. Stoccate that come underneath the rotella at the flank are parried with the sword, and then one wounds. I have produced these four figures: One stands in high guard and the other in low guard. The other two are he who is in high guard throwing imbroccata, the other who defends with the rotella and wounds in the same tempo, as described with the sword and dagger. The rotella is good at night when assaulted by more than one.</p>
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|87|lbl=84|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|88|lbl=85|p=1}}
  
 
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| <p>[37] '''The Proper Method of Holding the Targa'''</p>
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<p>The targa is an arm for defending which came from the Greeks, who still use it. Now it is in much use not only in Venice but in many cities in Lombardy, and it is quite useful in contentions because it easily defends from all ''mandritti'' and ''riversi''. Defending with the targa is little different from defending with the dagger because thrusts are defended with the edge of the targa which, due to having four sides, finds the enemies thrusts easily, and as soon as the sword is touched at all with the targa, they are defended. The targa is held in the way you see these first figures do. The ''mandritto'' and imbroccata are parried with the surface of the targa, and the stoccate that come on the inside or outside are parried with the edge, turning the targa as the dagger is. With the targa you can produce all guards and artifices that you learned to perform with the sword and dagger, but you must be experienced. These are four figures: Two in guard who teach you how the targa is held, while the other two show you how one parries and wounds. It may be positioned in many ways in parrying and wounding, but, as I said, those that you learned to do in sword and dagger can by done with sword and targa, although it is necessary to practise it.</p>
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|91|lbl=88|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|92|lbl=89|p=1}}
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| <p>[38] '''The Method of Holding the Buckler'''</p>
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<p>The iron buckler is an arm very suited for defending and is quite common in some parts of Europe, particularly Spain, Italy, Sicily, and the Kingdom of Naples. Blows are defended in the same way as with the targa, but not as safely on account of those corners that stop the enemy’s sword. The buckler is round, and therefore you cannot stop the enemy’s sword well. The buckler is held as you see these first figures do. One stands with the sword forward in order to be able to make use of it in many ways. You hold the buckler to one side, nor will I ever advise you [92, marked 43] to hold it directly in front because you would be unable to see what your adversary does. As for the rest, all that you know how to do with sword and dagger you know how to do with sword and buckler. It is necessary to practise with it, however, and become experienced. Here I placed two guards with which you will learn to hold the buckler. The other two are: If your enemy were to throw a cut at your head, parry it with the buckler and in the same tempo throw a cut at his leg as the figure shows you. You could also throw a thrust as it is done in sword and dagger, but I made this one throwing at the leg for variety.</p>
 
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|95|lbl=92|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|96|lbl=93|p=1}}
  
 
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| <p>[39] '''Method of Holding the Cape, and the Method of Wounding'''</p>
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<p>To contend safely using sword and cape, first it is necessary to know how to play with the single sword, being that all cuts, and likewise all stoccate, are parried with the sword. Additionally, it is very useful to know how the cape must be held and what qualities it has, because there are many countries in which it is not permitted to carry the dagger and, therefore, everyone takes up the cape for defence. In occasions some are even found who, despite having the dagger at their side, by natural inclination deem it much better to take up the cape when suddenly attacked, and let the dagger be. There are many ways of holding the cape, just as there are men of many different temperaments. For brevity, in this Second Book I will teach you only two manners, being that it would produce two books if I wished to say all that can be said on this subject. From these two figures intelligent people will be able to learn many other manners. Firstly, to be well-made, the cape must be of cloth, given that if you had a cape of silk, you would receive harm in exchange for usefulness because you would not be able to defend against a cut at your head or legs as it approaches. Hence, I deem it better to make use of the single sword than the sword and silk cape. It should be of cloth, therefore. When you are attacked by the enemy, unfurl the cape with your left hand on the edge of the collar, let it fall over the arm to the elbow, and turn it once over the arm, as you see the two figures have, one with the right foot forward, the other with the left foot forward. After you have taken up the cape, it is necessary to position yourself forward with the sword rested on the cape as you see the figures do. In these guards you can defend against all types of blows that a man can throw. Being in a guard like you see, with the sword forward and either the right or left foot forward, if your enemy were to throw a thrust or imbroccata at you, go to parry with the sword, resting the cape hand on the sword so that you have greater strength in parrying the enemy’s stoccata, then wound from a firm foot or with a pass, as you deem most convenient. When you have wounded, return backward outside of measure and escape, securing yourself with your sword of that of the enemy in the way mentioned above. If your enemy were to throw a cut at your head, you can defend in this way: While he throws the cut, go to parry with the sword, accompanied and fortified by the cape arm, so that you thus cause the enemy’s sword to fall, as you see in the figure. The blow thrown, return backward outside of measure in the above way. Being in a guard as you see, your cape draped down, your enemy throwing a cut at your leg, you can go to parry it with the cape and throw a thrust at his face, as I will describe below.</p>
 
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|99|lbl=96|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|100|lbl=97|p=1}}
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|-
 
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| <p>[40] '''Another Method of Holding the Cape, Turning it Twice Around the Arm'''</p>
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<p>This is another way of holding the cape. It is seized in the same way as above and wrapped twice around the arm so that it can withstand the strikes of cuts. Because most people do not know how to play at arms, they throw many cuts. Therefore, this way of holding the cape is quite necessary. With it, it is possible to wound safely as you see the figure has, who has parried the cut and in the same tempo throws a thrust. Parrying the cut, you can do many things, like throw a ''mandritto'' at him, or a ''riverso'' at his leg, or, in short, everything you will have learned to do with the sword and dagger. The cuts toward the leg are defended against in the way described with the sword and dagger and the stoccate are parried with the sword, as the imbroccate also are. One wounds with cut or thrust, as appears most appropriate.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|102|lbl=99}}
  
 
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| <p>[41] '''The Method of Defending Against [Cuts] to the Leg with the Cape'''</p>
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<p>This is the third manner of holding the cape that I promised to teach you, and in this way it is possible to defend against cuts toward the leg. The cape is seized by the collar and held suspended, as you see. If your enemy throws a thrust or cut at your head it is necessary to parry with the sword and wound, as described with the sword and dagger. Fighting with your enemy and knowing how to play with the single sword well, you will be able to do this: Parry stoccate and cuts with the sword and, while you parry, throw the cape at the adversary’s weapons or face so that you will obstruct it a way that it will be easy to then strike him where he is most uncovered before the cape has fallen from his weapons. The figure you see is two men desirous to throw at the leg. Hence, fighting with your enemy, when you stand with the sword advanced in order to parry and wound and the enemy throws a cut at your leg, go to meet your enemy’s cut with your cape so that in the same tempo you remove the strength from the and strike him in the face with a thrust, as you see the figure has, because while he throws at your leg it is necessary that he come forward, whence, you throwing at his face, it will be easy for you to wound it. The stoccata thrown, return backward outside of measure as usual.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|104|lbl=101}}
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|-
 
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| <p>[42] '''Preface to the Lord Readers'''</p>
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<p>I cannot imagine why playing with the dagger alone is not done every day. Perhaps such occurs due to masters who do not know how to teach it, or rather, who do not wish to teach it, or it occurs due to the negligence of men who, ignorant of the importance of playing with the dagger alone, skip learning it. I am of the opinion that it is just as necessary for a gentleman to know playing with the dagger alone as every other kind of weapon, and the reason is this: Most great men and captains are murdered with the dagger or other equivalent weapon. Furthermore, in countries where it is permitted to carry the dagger, if a gentleman were to have words with some enemy of his that has another dagger, if he does not know how to defend and wound with a dagger, he will be in great danger, as will his adversary. Additionally, if an enemy of yours were to come to murder you with a dagger and you found yourself without one, in what way can you save yourself if you do not know how to defend yourself from a dagger? Given that, I urge every gentleman that he should seek to learn the unaccompanied dagger. In this book I will speak a little on how the dagger must be held in the hand against another dagger, and show in what way you can defend yourself and end up superior if you were to have a single dagger and are assaulted by your enemy who has sword and dagger or a polearm. Next year, if it pleases the Lord, I will publish a book dedicated to the single dagger against many kinds of weapon, which will be quite useful to all kinds of people.</p>
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|105|lbl=102|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|106|lbl=103|p=1}}
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| <p>[43] '''Method of Standing in Guard with the Dagger, and How One Must Defend with It'''</p>
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<p>After you have drawn, it is held as you see the figures do—that is, advanced and guarding against the contrary’s dagger. Be advised, however, that the single dagger must never wound if the dagger of the enemy has not been acquired, as you see these three figures. The first stands in guard. The second shows how one parries. The third how one wounds, as you will learn. When you have the dagger in hand and see your enemy uncovered somewhere, it is necessary that you not throw if you have not first gained the enemy’s dagger, given that you would both be struck because everyone would attempt to perform his blow. Gaining the dagger is done in this way: When you are in guard with your dagger advanced and the enemy throws a thrust at your face or chest, parry with the edge of your dagger and immediately strongly affront his furnishings with yours. Affront them strongly so that the force strikes him in the face with a thrust if he does not also affront strongly. If he also affronts strongly, you can place your left hand over the furnishings of his dagger as you see in the third figure, because it is not possible to do less than strike his face with a thrust when you have affronted furnishings to furnishings.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|110|lbl=107}}
  
 
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| <p>[44] '''A Method of Safely Defending with the Dagger against the Dagger'''</p>
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<p>The present figure teaches you to defend safely with the dagger against the dagger in another manner. It is done in this way: It is necessary to hold the dagger as if to throw a ''mandritto'' and uncover the chest a little in order to give the enemy occasion to throw at either your chest or face. In the same tempo that he throws, throw a ''mandritto'' at his hand as you see the figure has. If your enemy has a glove of mail, however, parry the thrust and in the same tempo throw a thrust at his face. Then return outside of measure in the above way. Thus, it is easy to strike him in the face with your dagger because, him throwing a thrust, it is necessary that he come forward with his head, whence it comes to meet your dagger, with which you parried the enemy’s thrust. If your enemy’s hand were bare, though, you will doubtless cut it and cast his dagger to the ground. Without throwing at his hand, in this way you can safely parry as many thrusts as your enemy can throw, throwing at his dagger blade while he throws the thrust and immediately [throwing] the thrust at his face, then returning outside of measure as usual.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|112|lbl=109}}
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| <p>[45] '''Method of Defending with the Single Dagger against Sword and Dagger'''</p>
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<p>If, by chance, someone with only a dagger were attacked by someone who had sword and dagger, he would doubtless find himself dead if he did not know how to take action to defend himself. Now, for understanding how to defend oneself, I produced the present figure. If your enemy were to attack you, you must draw your dagger, and if he throws a thrust or cut, parry with your dagger, withdrawing slightly and making a show of being afraid so that he comes forward more boldly and, therefore, more disconcertedly. If you stilled yourself in order to wait for him and get within measure, you would not succeed because he is alert and would hold you at the length of his sword and not throw while he saw you collected. Parrying and making a show of being afraid as I said, however, he would pursue you with thrusts and cuts because, being at such an advantage of arms, he will come resolutely, believing you unable to do anything. Then, when you have parried four or six stoccate, place yourself in guard as you see the figure has, uncover your right side and, when your enemy throws at you resolutely and disconcertedly, parry with the dagger, throw your ''vita'' to the left side, pass with the foot, and place your hand on the hilt of his sword, so that your enemy cannot wound you with either sword or dagger. Whence, you can stab him as many times as you wish. All lies in knowing how to seize the tempo to pass and giving the enemy an opportunity to throw resolutely. The more strongly he throws, the worse for him.</p>
 
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|115|lbl=112|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|116|lbl=113|p=1}}
  
 
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| <p>[47] '''The Method of Defending Against Polearms with the Dagger Alone'''</p>
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<p>These two figures show you that if you were to find yourself with a dagger and are attacked by your enemy with a long weapon—that is, with a corseque or polearm—you must employ the deception used against the sword and dagger: When your enemy throws a thrust, parry with the dagger and withdraw a step backward. When he comes forward resolutely, place yourself in guard as you see the in the figure, uncovered on the right side, and when your enemy throws at you, parry with the dagger and pass with the foot, putting your left hand on the haft as you see the figure has, and you will be able to stab him as many times as you wish. Be aware that these things I write are to be learned in case of necessity, and that in order to do them it is necessary to be bold of heart and not to fear the enemy at all. If you were to lose spirit they would not be successful for you. These things are useful to those who know how to play at sword, dagger, and other kinds of weapons, and who are skilled and know how to recognize tempo and measure, and when the tempo to pass is.</p>
 
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|119|lbl=116|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|120|lbl=117|p=1}}
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| <p>[48] This last figure shows that I wish to produce, if it pleases the Lord, an entire book on the left foot forward, because all that can be done with the right foot forward can be done with the left foot forward, firm-footed as well as passes and cuts. The firm-footed stoccata standing with the right foot forward is just as long as that with the left foot, and they are no different other than in practice—because some are practised with one foot, and some the other, as I will discuss in other books I plan to publish, if it pleases the Lord.</p>
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<p>'''The End'''</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|122|lbl=119}}
  
 
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Revision as of 01:16, 27 May 2024

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

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

In 1606, Giganti published a treatise on the use of the rapier (both single and with the dagger) titled Scola, overo teatro ("School, or Theater"). It is dedicated to Cosimo II de' Medici. This treatise is structured as a series of progressively more complex lessons, and Tom Leoni opines that this treatise is the best pedagogical work on rapier fencing of the early 17th century.[3] It is also the first treatise to fully articulate the principle of the lunge.

In 1608, Giganti made good on the promise in his first book that he would publish a second volume.[4] Titled Libro secondo di Niccoletto Giganti ("Second Book of Niccoletto Giganti"), it is dedicated to Christofano Chigi, a Knight of Malta, and covers the same weapons as the first as well as rapier and buckler, rapier and cloak, rapier and shield, single dagger, and mixed weapon encounters. This text in turn promises additional writings on the dagger and on cutting with the rapier, but there is no record of further books by Giganti ever being published.

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

Treatise

Giganti, like many 17th century authors, had a tendency to write incredibly long, multi-page paragraphs which quickly become hard to follow. Jacob de Zeter's 1619 dual-language edition often breaks these up into more manageable chunks, and so his version is used as the template for these concordances.

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

The only known copy of Giganti's Libro Secondo is in the Howard de Walden Library, currently hosted by the Wallace Collection, and their policies prevent anyone from publicly releasing the illustrations from the book. The best we can do at the moment is attempt to recreate the book's illustrations by combinind elements from other books from the same time period.

Additional Resources

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

References

  1. 1.0 1.1 Terminiello et al. 2013, p 9.
  2. That he eventually became a Venetian citizen is indicated on the title page of his 1606 treatise.
  3. Leoni, p xi.
  4. This treatise was considered lost for centuries, and as early as 1673 the Sicilian master Giuseppe Morsicato Pallavicini stated that this second book was never published at all. See La seconda parte della scherma illustrata. Palermo, 1673. p V.
  5. This accusation was first made by Johann Joachim Hynitzsch, who attributed the edition to Giganti rather than Zeter and was incensed that he gave no credit to Fabris.
  6. Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.
  7. Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.
  8. Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly, the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.
  9. This lesson’s text refers to Figure 6.
  10. The two fencers.
  11. The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.
  12. This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.
  13. Camillo Agrippa (1553), for example, recommends turning the face away.
  14. The two preceding figures.
  15. The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text.
  16. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.
  17. 17.0 17.1 17.2 Figure 21.
  18. The guard Giganti refers to here is unclear.
  19. 19.0 19.1 Figures 21–26.
  20. The original text uses the words “in varia”, or “in varying”. This is likely an error in the text which should read “in aria”, or “in the air”, and has been corrected here.
  21. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.
  22. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.
  23. Scannare—to slaughter or cut the throat of.
  24. en or on