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Difference between revisions of "Philippo di Vadi"
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| [[File:Cod.1324 15r.png|300px|center]] | | [[File:Cod.1324 15r.png|300px|center]] | ||
− | | <p>I am callipers, that divide into parts,<br/> | + | | <p>I am callipers, that divide into parts,<br/>O fencer heed my principle,<br/>Thus [the callipers] measure the tempo similarly.<ref>This means that the tempo is measured by dividing it into parts.</ref></p> |
− | O fencer heed my principle,<br/> | ||
− | Thus [the callipers] measure the tempo similarly.<ref>This means that the tempo is measured by dividing it into parts.</ref></p> | ||
<p>The nature of the bear is to turn<br/> | <p>The nature of the bear is to turn<br/> | ||
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<section begin="sourcebox"/>{{sourcebox header}} | <section begin="sourcebox"/>{{sourcebox header}} | ||
{{sourcebox | {{sourcebox | ||
− | | work = | + | | work = Illustrations |
| authors = [[Biblioteca Nazionale Centrale di Roma]] | | authors = [[Biblioteca Nazionale Centrale di Roma]] | ||
− | | source link = http:// | + | | source link = http://digitale.bnc.roma.sbn.it/tecadigitale/manoscrittoantico/BNCR_Ms_VE_1324/BNCR_Ms_VE_1324/1 |
− | | source title= | + | | source title= Biblioteca Digitale |
− | | license = | + | | license = noncommercial |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
| work = Translation | | work = Translation | ||
− | | authors = [[Guy Windsor]] | + | | authors = [[translator::Guy Windsor]] |
| source link = http://www.scribd.com/doc/141095594/De-Arte-Gladiatoria-translation | | source link = http://www.scribd.com/doc/141095594/De-Arte-Gladiatoria-translation | ||
| source title= The School of European Swordsmanship | | source title= The School of European Swordsmanship | ||
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== Additional Resources == | == Additional Resources == | ||
− | + | {{bibliography}} | |
− | |||
− | |||
− | |||
== References == | == References == |
Revision as of 21:54, 25 June 2023
Philippo di Vadi Pisano | |
---|---|
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Born | 1425 Pisa, Italy |
Died | 1501 Urbino, Italy (?) |
Occupation | Fencing master |
Nationality | Pisa, Italy |
Ethnicity | Ligurian |
Citizenship | Pisan |
Patron | Guidobaldo da Montefeltro |
Influences | Fiore de'i Liberi |
Genres | Fencing manual |
Language | |
Notable work(s) | De Arte Gladiatoria Dimicandi |
Manuscript(s) |
|
First printed english edition |
Porzio and Mele, 2002 |
Translations |
Philippo di Vadi Pisano was a 15th century Italian fencing master. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.[1] Some time after this, Vadi composed a treatise on fencing entitled De Arte Gladiatoria Dimicandi ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,[2] and gifted to him between 1482 and 1487,[3] but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.
Vadi was probably an initiate of the tradition of Fiore de’i Liberi, as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise Fior di Battaglia, Vadi would have had ample opportunity to study his writings.
Contents
- 1 Treatise
- 1.1 Preface
- 1.2 Introduction
- 1.2.1 Chapter 1
- 1.2.2 Chapter 2 - Measure of the two-handed sword
- 1.2.3 Chapter 3 - Theory of the sword
- 1.2.4 Chapter 4
- 1.2.5 Chapter 5 - Of thrusts and cuts
- 1.2.6 Chapter 6 - The seven blows of the sword
- 1.2.7 Chapter 7 - Of the thrust
- 1.2.8 Chapter 8 - The dispute of the cuts and thrusts
- 1.2.9 Chapter 9 - Of the Cross
- 1.2.10 Chapter 10 - Theory of the half sword
- 1.2.11 Chapter 11 - Theory of swordplay
- 1.2.12 Chapter 12 - Theory of the feints of the sword
- 1.2.13 Chapter 13 - Theory of the half sword
- 1.2.14 Chapter 14 - Theory of the half tempo of the sword
- 1.2.15 Chapter 15 - Theory of the sword against the rising blow
- 1.2.16 Chapter 16 - Instruction of the sword
- 1.2.17 Diagrams
- 1.3 Sword
- 1.4 Ax in Armor
- 1.5 Sword in Armor
- 1.6 Spear
- 1.7 Dagger
- 1.8 Miscellaneous Plays
- 1.9 Copyright and License Summary
- 2 Additional Resources
- 3 References
Treatise
Illustrations |
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[IIv] GVI.V. .DVX. VR. | ||
To my most illustrious Prince Guido di Montefeltro Duke of Urbino |
[1r.1] Ad illustrissimus Principem meum Guidum Feretranum Ducem Urbinatem | |
This little book I dedicate to you, most honourable prince Guido, |
[1r.2] Hunc tibi do princeps dignissime guide libellum | |
Philippo Vadi offers this book on the Art of fencing in earnest[5] to the illustrious Prince Guido di Montefeltro Duke of Urbino. |
[1r.3] Philippi Vadi servi Liber de Arte Gladiatoria Dimicandi, ad illustrissimus Principem Guidum Feretranum Ducem Urbini. | |
[6]Just as my earnest mind, devoid of all cowardice and spurred by an outpouring of natural desire in my earliest thriving years, moved me towards warlike deeds and matters; so did it move me, as time progressed and as I grew in strength and knowledge, to learn more of those warlike deeds, matters, styles and skills through hard work, such as how to play with the sword, lance, dagger and pollax. |
[1r.4] HAvendomi mosso per appetito naturale quale producea fuori el mio franco animo alieno da ogni viltade nelli mei primi e floridi anni ad acti e cose bellicose: cussì per processo di tempo cre- [1v.1] sendo in forze et in sapere mi mosse per industria ad volere inparare più arte e modi de ingiegno de dicti acti et cose bellicose, come è giuchare di spada de lanza di daga e azza. | |
Of these things, through the guidance of almighty God, I acquired a good deal of knowledge and this through the practical experience and instruction of many teachers from various different countries, all masters and utterly proficient and knowledgeable in this art. |
[1v.2] De le qual cose medi ante lo aduito de summo idio ne ò acquistato assai bona notitia e questo per pratica experientia e doctrina de molti maestri de varii e diversi paesi amaestrati e docti in perfectione in tale arte. | |
And not to diminish but instead to increase this doctrine so that it will not perish from my negligence, because from it comes no small help in battles, wars, riots and other warlike tumults: instead it gives all men trained and instructed in this material immediate and unique help: it has been suggested and required that I compile a booklet concerning these things by people I have surpassed in the art, and am more long winded than: adding to this various figures and placing various examples so that any man versed in this material can use if for assaults at arms, and can defend himself intelligently and be advised of all the types and styles. |
[1v.3] Et per non minuire anzi volendo acrescere tal doctrina acioché per mia negligentia epsa non perisca per che da epsa non procede pocho alturio ne’ bataglie, guerre, rixe e altri tumulti bellicosi: Immo dona agli omini instruti e periti in tale materia uno prestantissimo e singulare sussidio. Ho proposto e statuido nella mente mia de compillare uno libretto concernente cosse le qualle sono più oltra e più prolixe de tale arte: depingendo in quello varie figure e ponendoli exempli diversi, per li quali qualunqua homo instructo in tal materia, possa usare ne l so asaltare e nel so diffendere, astucie, calidità e avisi di più ragione e manere. | |
Therefore, anyone with a generous spirit will see this little work of mine as a jewel and a treasure and will keep it in memory deep within their heart, so that this art and discipline should never fall into the hands of peasants and low-born men. |
[1v.4] Adunque ciascuno di generoso animo vederà questa mia op ereta, ammi epsa sì come uno gioiello e texauro e recordansello ne lo inti mo core, a ciò che mai, per modo alcuno, tale industria arte e dotrina non perve- [2r.1] nga a le mane de homini rusticali e di vile condizione. | |
Because Heaven has not made these rough-hewn men, ignorant and beyond all cleverness and diligence and wholly bereft of bodily agility, but instead they were made like animals without reason, just to carry heavy burdens and do base and rustic work; and because I declare them to be in every way alien to this science; everyone of perspicacious intelligence and lively limbs such as courtiers [l.10], scholars, barons, princes, dukes and kings, should on the contrary be welcomed into this noble science according to the principle of the Instituta which states: not only should the Imperial Majesty be honoured with Arms, but it must also be armed with sacred laws. |
[2r.2] Perché el cielo non à generato tali homini indocti, rozi et fuori de ogni ingiegno et industria et omnino alieni da la agilità del corpo, ma più tosto sono stati generati a similitudine de animali inragionevoli a portare carichi et fare opere vile e rusticale. E perché debitamente io vi dico loro essere per ogni modo alieni da tal scientia e per l’opposito al mio parere, ciascuno di perspicace ingegno e ligiadro de le membra sue, come sono cortegiani, scolari, baroni, principi, Duchi et Re, debeno essere invitati a questa nobile scientia, secondo el principio de la “Instituta” quale parla e dice così: el non bixogna solo la maestà inperiale essere honorata di arme ma ancora è necesario epsa sia armata de le sacre legge. | |
Nobody should think that there is anything false or any kind of error in my book, because I have omitted and carved out anything unsure, and included only things that I have seen and tested. Let us begin then to explain our intention, with the aid and grace of the omnipotent God, blessed be His name. |
[2r.3] Né sia alcuno quale creda che in questo mio volume sia posta cosa falsa o invelupata de alcuno errore, perché tollendo e rescecando via le cosse dubiose, solo li metterò cose vedute e provate da me: comenzando ad unque ad exprimere la intentione nostra, con l’adiuto e grazia de lo omnipotente dio del qualle el nome sia benedetto in eterno. | |
Some animals, lacking reason, ply their skills naturally without any knowledge. Man, instead, naturally lacks skills and his body lacks weapons. Nature compensates for this deficiency of weapons by giving man his hands, and for his lack of natural skills by offering him the virtues of intelligence and thought. Even if a man were born with some level of skill, he would not be able to acquire the remainder naturally, that is, learn to use all weapons and know each skill. He was therefore not endowed by nature with either skill or weapon. Consequently, among all animals, man needs intelligence and reason, through which art and ingenuity flourish and in which he overtakes and surpasses all other animals. Just so every trained and clever man of good intelligence overtakes and surpasses any other who is stouter and stronger than him. |
[2r.4] Et perché alcuni animali inrationabili fano li loro artificii naturalmente, senza alcuna doctrina de l’homo [2v.1] manca de artificio naturalmente sì come il corpo de quello manca de arme debitamente li presta la natura per lo mancamento de dite arme le mane et in loco de quello che ‘l manca de artificij naturali, li presta la virtù de intellecto e cogitatione, e come si lui avesse avuto alcuni artificii naturalmente non poria acquistare artificii per lo resto; e per lo meglio a lui ad usare tutte le arme e tutti li artificii, però non li fo prestato da dita natura né arme né artificio. Have adoncha bixogno tra li altri animali lo intelletto e ragione, ne le qual cosse fiorisce arte et ingiegni, de’ quali due cosse non solo avanza e supera tutti gli animali: ma ciascuno homo docto e adoctato de bono ingiegno avanza a supedita qualunqua sia più robusto di lui e più pieno di forze. | |
As the famous saying goes: cleverness overcomes strength. And what is greater still and almost incredible: the wise rules the stars. An art that conquers all, and dominates anyone who would fight you or stand against you, is born from the aforesaid cleverness and other piercing thinking. And not only can just one man prevail against another, but also a way and possibility exists for one man to overcome many. Not only do we show the way and the theory of combating the adversary as well as to defend yourself against him, but we also teach methods on how to take the weapon from his hand. |
[2v.2] Iusta illud preclare dictum: ingenium superat vires, et quod maius est et quasi incredibile, sapiens dominabitur astris: nasce da dito ingiegno e da altri e penetrative cogitatione, una arte de vincere superare e debbelare qualunque vol conbatere e contrastare; e non solo adviene che uno homo vinca l’altro, ma ancora nasce modo et posibilità che uno solo superi più persone, e non se mostra solo el modo e documento de assaltare lo adversario e repararsi e deffendersi da lui, ma etiam se insegna advi [3r.1] si de togliere l’arme sue di mano: | |
Oftentimes in these texts, a small person of little strength overcomes, prostrates and throws a big, tough and brave man to the ground; just so, you will see how the humble can overtake the proud, and the unarmed the armed. And many times it happens that someone on foot defeats and conquers someone on horseback. |
[3r.2] per li quali documenti, spese fiate uno de poche forze e picolo sottomete prosterne et sbate uno grande robusto, e valoroso e cusì adviene che anche uno humile avanza el superbo e uno disarmato lo armato. Et molte volte accade che uno a piedi vinci e sconfigie uno da cavallo. | |
But because it would be very inconvenient if this noble doctrine were to wilt and die through negligence, I, Philippo di Vadi from Pisa having studied this art ever since my first flourishing years, having travelled to and practiced in many different countries, lands, castles and cities to collect the teachings and examples of many perfect masters of the art, having acquired and obtained (by the Grace of God) a sufficient portion of the art, I have decided to compose this little work, in which I have organised and shown at least the main points of four types of weapon: the lance, sword, dagger and axe. |
[3r.3] Ma perché el seria cossa molto inconveniente che così nobile doctrina per negligentia perise e venise meno, Io philippo di vadi da pisa, havendo ateso a tale arte insino a li mei primi et floridi anni havendo cercato e praticato più et diversi paesi et terre castelle e citade per racogliere amaestramenti et exempli da più maestri perfecti nell’arte, per la dio gratia havendomi acquistato et conseguito una particella assai sufficiente, ho deliberato de conponere questo mio libreto nel qualle ve si ponerà e dimostrarà almeno la noticia di quatro manere d’arme, cioé lanza, spada, daga e aza. | |
And in this book, I will describe the rules, the methods and the actions of this art, with examples illustrated with various figures, so anyone new to the art can understand and learn how to fight, and by which trick and ploy he can fend off and beat aside the opponent’s attacks and counters. I have only included in the aforesaid book the good and true doctrine, which I have received from the most perfect masters, with great pains, efforts, and sleepless nights. And I have also included things that I have discovered and often tested. |
[3r.4] Et in epso libro per mi si descrivirà regole, modi et atti de talle arte, metendo li exempli con varie figure, aciò che ciascheduno, novo ne l’arte, comprehenda e cognosca li modi de assaltare, e per le qualle astutie e calidità lui expella et rebuti da sé le contrarie e i nimici colpi; ponendo solo nel dicto libro quella doctrina [3v.1] vera e bona la qualle io con grandissimi affanni et fatiche e vigilie ho inparato da più perfectisimi maistri metandoli ancho cosse per mi atrovate e spesso provate. | |
Let me remind and admonish all not to be rashly presumptuous, nor to be so bold as to interfere in this art and discipline unless one is high-minded and filled with gallantry. That is because whoever is thick-brained, pusillanimous and cowardly must be banished from such nobility and refinement. To this doctrine should only be invited such men as soldiers,[7] men at arms, scholars, barons, lords, dukes, princes and kings of the land, and any of those whose task is to govern the state, and to any of these who defend widows and orphans (both of which are pious and divine works). |
[3v.2] Ricordando et amonendo ogniuno non prosumma temerariamente né habia ardire de intermeterse in tale arte e scienzia, se lui non è magnanimo e pien de ardire: perché qualuncha homo grosso d’inzegno, pusilanimo e ville, debbe essere caciato e refudato da tanta nobilità e gientileza: perché solo a questa dottrina se debeno invitare sacomani, homini d’arme, scolari, baroni, Signori, Duchi, Principi e Re di terre de le qualli ad alcuni de loro apertene a governare la repubblica; et ad alcuni de loro apertene deffendere pupili e vedoe: et tute due sono opere divine e pie. | |
And if this little work of mine finds its way into the hands of anyone versed in the art, and appears to him to have anything redundant or wrong, may it please him to cut, take away or add to it as he pleases. Because in the end I place myself under his correction and judgement. |
[3v.3] Et se questa mia opereta pervenisse a mane de alcuno docto nella arte e paresseli che in epsa fosse alcuna cossa superflua o manchevole piazali de resecare minuire e acrescere quello li parerà, perché insino da mò io mi sottopono a sua correctione e censura. |
Illustrations |
||
---|---|---|
[1] You are guards with your names |
[16r-a] Voii seti guardie con li nomi vostre
| |
[2] I am the strong middle iron gate
|
[16r-c] Son mezana porta di ferro forte [16r-d] Io son posta di donna e non son vana | |
[4] I am the flat ground iron door,
|
[16v-a] Son porta di fero piana terrena [16v-b] Son posta di falcon superba e altera | |
[6] I am the short guard of the extended sword,
|
[16v-c] Son posta breve di spada longeza [16v-d] Son posta sagitaria per ingiegno | |
[8] I am the guard of the true window
|
[17r-a] Io son la posta di vera finestra [17r-b] Io son corona e son fatta maestra | |
[10] With the deadly guard of the boar’s tooth
|
[17r-c] Con mortal posta de denti cinghiare [17r-d] Son posta lunga con la spada curta | |
[12] I am the frontal guard, so reliable,
|
[17v-a] Son posta frontal tanto sicura [17v-b] Son posta posta di cingiaro e son di fora | |
[14] I have made a roverso fendente on the left foot, |
[17v-c] El reverso fendente ho tratto sul pè stanco | |
[15] By this grip of your arm that I have made, |
[18r-a] Per sto pigliare di brazo chio t’ò fato | |
[16] By this turn that I quickly make to my sword |
[18r-c] Per la volta fata a mia spada presta | |
[17] I have bound you from the roverso side, |
[18v-a] Io t’ò per parte riversa ligato | |
[18] In this way I hold you with my left hand, |
[18v-c] Per tal modo tengo con la man stanca | |
[19] By this turn that I have given to my sword |
[19r-a] Per tale volta ch’i’ ò a mia spada data | |
[20] You will go to the ground with this technique |
[19r-c] Tu anderaii per terra a tal partito | |
[21] I do not wish to make war with my sword, |
[19v-a] Con la mia spada non voglio far guerra | |
[22] I have turned you inevitably and without difficulty,[58] |
[19v-c] Io t’ò volto per forza e senza inpazo | |
[23] With skill I have placed you in this position, |
[20r-a] Con destreza t’ò posto a simil atto | |
[24] In this way I’ll put you in the lock |
[20r-c] Per questa forma t’ò messo in la chiave | |
[25] By this turn of the pommel I have bound you, |
[20v-a] Per sto voltar di pomo io t’ò ligato | |
[26] By this turn of the blade that you have done, |
[20v-c] Per sto voltar de mella che tu hai fatto | |
[27] By the turn given to my quick sword, |
[21r-a] Per la volta data a mia spada presta | |
[28] If I put my hilt to your sword |
[21r-c] S’io metto el mio mantener a la tua spada | |
[29] This is a grip that I do from below,[61] |
[21v-a] Questo è una presa ch’io facio de fora | |
[30] You believed I would strike with a roverso blow, |
[21v-c] Tu credesti ch’io tresse el man riverso | |
[31] By the turn that my handle has given, |
[22r-a] Per la volta ch’el mio mantener ha dato | |
[32] This is a disarm that is above,[62] |
[22r-c] Questo è un tor de spada ch’è soprano | |
[33] I made a feint of striking a fendente, |
[22v-a] La vista feci di trar un fendente | |
[34] From the roverso strike that I have done, |
[22v-c] Nel trar d’il man riverso ch’io t’ò fato | |
[35] This is a grip that I do on the inside, |
[23r-a] Questa è una presa ch’io te facio dentro | |
[36] I have hit you with my sword in the head, |
[23r-c] Io t’ò dato de la spada mia in la testa | |
[37] I beat your sword aside at the middle of the blade, |
[23v-a] De meza mella rebatto tua spada | |
[38] Turning a roverso you parried badly,[63] |
[23v-c] Voltando el man riverso mal parasti |
Illustrations |
||
---|---|---|
Guards of the pollax in armour [1] I am the guard of the woman, of great offence,
|
[24r] GUARDIE D’AZA IN ARME [24r-a] Son posta di dona de grande offesa [24r-b] So in posta di cingiaro con il dir sona | |
[3] I am called the archer’s guard,
|
[24r-c] Io mi chiamo posta sagitaria [24r-d] Son posta di croce così chiamata | |
[5] I was in boar’s tooth with the axe, |
[24v-a] Io era in dente de cinghial con l’aza | |
[6] I have lifted the visor from your face, |
[24v-c] Levata la visera io t’ò nel volto | |
[7] I’ve got my hand under your right arm |
[25r-a] T’ò la mano sotto el brazo drito | |
[8] This is the grip that I do to you, |
[25r-c] La presa ch’io ti facio serà questa |
Illustrations |
||
---|---|---|
Guards of the sword in armour [1] I am the lower snake guard,
|
[26r] GUARDIE DI SPADA IN ARME [26r-a] Io son sotana posta serpentina [26r-b] Son posta de leopardo sereno | |
[3] I am the snake, and am held high,
|
[26r-c] Io sum serpentino e sto di sopra [26r-d] Son coda di leopardo sopra el brazo | |
[5] I am the first wounder of the art, |
[26v-a] Io son il primo feritore de l’arte | |
[6] I push my point into your face, |
[26v-c] Io spingo al volto tuo la mia punta | |
[7] I want you to drop your sword to your chagrin, |
[27r-a] La spada vo’ che lasci al tuo dispetto | |
[8] If I can’t stick a point in your face, |
[27r-c] Se non posso al volto tuo meter punta | |
[9] By my pass out of the way, |
[27v-a] Per lo passare mio for de strada | |
[10] Shape of the sword in armour The sword for fighting in armour should be shaped as follows, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. Its handle should be of a span.[66] The crossguard should be as long as the handle of the sword, and it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these [parts]. |
[27v-c] FORMA DE SPADA IN ARME La spada da conbatere in arme vole avere la sotoscrita forma cioé la sua longeza vole arivare el pomo sotto el bracio, tagliare quatro dita in punta, el suo manico vole eser de una spana. L’elzo vol esere longo qua(n)to è il manico de la spada: e vol esere aguzo da ogni lato, e similmente vol esere aguz o il pomo per possere ferire con ognuno de questi. |
Illustrations |
||
---|---|---|
Play of the long lance [1] With the shortened lance I’ll wait in this way,[67] |
[28r] GIOCO DE LANZA LONGA [28r-a] Per corta lanza aspetto a sto partito | |
[2] From the way I wait for you with a lance |
[28r-c] Per lo modo con la lanza t’aspeto | |
[3] By the half turn that my lance has made, |
[28v-a] Per meza volta che mia lanza à dato | |
[4] Here end the blows of the lance, |
[28v-c] Qui finiscono i ferir de lanza |
Illustrations |
||
---|---|---|
[1] This counter that I do to you, |
[29r-a] Questo contrario che io te facio | |
[2] With the hand that you have on my shoulder, |
[29r-c] Per la man che tu hai sopra la spalla | |
[3] I can take the dagger from you and strike you |
[29v-a] La daga tor te posso e ferire | |
[4] I’ll make you drop the dagger on the ground |
[29v-c] La daga in terra ti farò cadere | |
[5] This thrust is done immediately |
[30r-a] Questa punta sie subito fataa | |
[6] I have placed this thrust in your hand, |
[30r-c] Questa ponta in la man t’ò metuta | |
[7] I’ll make this cover very quickly, |
[30v-a] Questa coverta io farò ben tosto | |
[8] I will leap to a play using my cover, |
[30v-c] A un gioco saltarò per mi coverta | |
[9] By this cover that you want to do, |
[31r-a] Per questa coverta che tu voi fare | |
[10] Thus I can take the dagger from you and also strike, |
[31r-c] Si posso tor la daga ancho ferire | |
[11] If I push the dagger towards the ground, |
[31v-a] S’io carco la daga verso terra | |
[12] Here I look for your hand to strike it |
[31v-c] Qui cerco la tua man per lei feri(ri) | |
[13] With this crossing that I make against you |
[32r-a] Questo incrociare che verso te i’ facio | |
[14] I make this strike with my fist, |
[32r-c] Questo ferire con lo pugno faccio | |
[15] I make the cover with one hand, |
[32v-a] I’ facio la coperta d’una mano | |
[16] From the way I have grabbed you I do not doubt |
[32v-c] Per lo modo ch’io t’ò preso non dubito | |
[17] By the way that I have got you I’m ready |
[33r-a] Al modo ch’io te tengo so’ disposto | |
[18] You clearly see by the way that I hold you, |
[33r-c] Tu vedi bene a modo ch’io te tegno | |
[19] I see this play does not fail me. |
[33v-a] Io vedo questo gioco non me falla | |
[20] By this way that I want to grab the arm, |
[33v-c] Per questo modo el bracio vo pigliare | |
[21] You saw that you are bound and going to the ground, |
[34r-a] Vedi che sei astretto e in terra vai | |
[22] In this way I hold [you] and press down, |
[34r-c] A questo modo tengo e facio carco | |
[23] I come at you with crossed arms, |
[34v-a] Io vengo a te con le braci incrociate | |
[24] You’ll go to the ground by the backhand, |
[34v-c] Andarai in terra per man riversa | |
[25] I say you are so poorly trained in this art; |
[35r-a] Tu sei ne l’arte dico asai mal dotto | |
[20] By this grip I say I have you, |
[35r-c] Per questa presa io disse co’ io t’ave | |
[27] I press down on this elbow of yours; |
[35v-a] Io farò un carco a cquesto tuo cubbito | |
[28] This is a very strong destruction of the arm, |
[35v-c] Questo è un guastare di bracio molto forte | |
[29] I have put you in the lock in spite of you, |
[36r-a] Io t’ò messo in la chiave al tuo dispeto | |
[30] With my right hand I have made this move; |
[36r-c] Co’ la man drita ò fato cotal mossa | |
[31] When you’re on the ground you will say, |
[36v-a] Quando in terra serai ti porai dire | |
[32] TThis is a way to throw someone to the ground that is quite strong; |
[36v-c] Questo è un metere in terra ch’è assai forte | |
[33] I have you, in the way that I like; |
[37r-a] Io te tengo in modo al mio parere | |
[34] You must simply go to the ground, |
[37r-c] El ti bixogna puro andar in terra | |
[35] By the pass that I do under the arm, |
[37v-a] Per lo passare fato soto el bracio | |
[36] The measure of the dagger The length of the dagger should reach the elbow, with an edge and two corners. The grip should be the width of the fist,[70] as the shape is shown depicted here below. |
[37v-c] MESURA DE DAGA La longeza de la daga vol esere fin a el gomito con un taglio e dui cantoni, el manico vol esser d’uno somesso como apare la forma d’essa dopent a qui di sotto. |
Illustrations |
||
---|---|---|
[1] I defend myself just as much as I can, |
[38r-a] Io mi difendo puro quanto poso | |
[2] As you throw, the blow will for naught; |
[38r-c] Como tu lance el colpo serà perso | |
[3] I am in guard with a good mandritto, |
[38v-a] Io sono in guardia col bon man dirito | |
[4] Continuing the work, some dagger techniques will follow. It is necessary to consider the act, the grip, the start and the finish in order to understand the way. Knowing how clever human nature is, everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, first of the sword, the axe, the spear and the dagger. |
[38v-c] Seguitando l’opra precede alcuni partiti de daga como seguita: bixogna considerare l’ato la presa el principio el finire, per volere intendere el modo: avixo e quanto sia l’ingiegno de l’humana natura e però ognuno che sia pratico nell’arte porà intendere tutti gli altri dopinti e posti in questa mia opereta e prima de spada, aza, lanza e daga. | |
[5] Dagger technique. |
[39r-a] Partito de daga | |
[6] End of technique. |
[39r-c] Finiri del partito | |
[7] Dagger technique. |
[39v-a] Partito de daga | |
[8] End of technique. |
[39v-c] Finiri del partito | |
[9] Dagger technique. |
[40r-a] Partito de daga | |
[10] End of technique. |
[40r-c] Finiri del partito | |
[11] Dagger technique. |
[40v-a] Partito de daga | |
[12] End of technique. |
[40v-c] Finiri del partito | |
[13] Dagger technique. |
[41r-a] Partito de daga | |
[14] End of technique. |
[41r-c] Finiri del partito | |
[15] Dagger technique. |
[41v-a] Partito de daga | |
[16] End of technique. |
[41v-c] Finiri del partito | |
[17] Dagger technique. |
[42r-a] Partito de daga | |
[18] End of technique. |
[42r-c] Finiri del partito | |
[19] Dagger technique. |
[42v-a] Partito de daga | |
[20] End of technique. |
[42v-c] Finiri del partito |
For further information, including transcription and translation notes, see the discussion page.
Work | Author(s) | Source | License |
---|---|---|---|
Illustrations | Biblioteca Nazionale Centrale di Roma | Biblioteca Digitale | |
Translation | Guy Windsor | The School of European Swordsmanship | |
Transcription | Marco Rubboli and Luca Cesari | Index:De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324) |
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.
- Deacon, Jacob Henry (2016). "Prologues, Poetry, Prose and Portrayals: The Purposes of Fifteenth Century Fight Books According to the Diplomatic Evidence." Acta Periodica Duellatorum 4(2): 69-90. doi:10.36950/apd-2016-014.
- Vadi, Filippo (2002). Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi. Trans. by Gregory Mele and Luca Porzio. Union City, CA: Chivalry Bookshelf. ISBN 978-1891448164.
- Vadi, Filippo (2005). L'arte Cavalleresca del Combattimento. Ed. by Marco Rubboli and Luca Cesari. Rome: Il Cerchio Iniziative Editoriali. ISBN 88-8474-079-7.
- Vadi, Philippo; Connor Kemp-Cowell (2021). Wielding the Light of Mars: A Translation and Guide to De Arte Gladiatoria Dimicandi. Trans. by Ian Davis. Self-published.
- Windsor, Guy (2013). Veni Vadi Vici. A Transcription, Translation and Commentary of Philippo Vadi's De Arte Gladiatoria Dimicandi. Self-published. ISBN 978-952-93-1686-1.
- Windsor, Guy (2018). The Art of Sword Fighting in Earnest. Spada Press. ISBN 978-952-7157-37-4.
References
- ↑ For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "Interesting information on the Vadi family (Philippo Vadi)". HEMA Alliance Forum. 06 June 2012. Retrieved 09 October 2012.
- ↑ Vadi, Philippo di. De Arte Gladiatoria Dimicandi [manuscript]. MS Vitt. Em. 1324. Rome, Italy: Biblioteca Nazionale Centrale di Roma, 1480s.
- ↑ Rubboli, Marco and Cesari, Luca. The Knightly Art of Combat of Filippo Vadi. Document circulated online.
- ↑ The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.
- ↑ The title that the manuscript is known by comes from this line of the book: de arte gladiatoria dimicandi. Dimicare means to fight in earnest against your enemies; l’arte gladiatoria is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.
- ↑ I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.
- ↑ The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.
- ↑ I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. E mostrallo con breve eloquenza./La geometria che divide e parte. F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.
- ↑ Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.
- ↑ This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.
- ↑ si tu averai nel cervel tuo sale, lit. “if you have salt in your brain”.
- ↑ Passi o torni, lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing accrescere and discrescere, passare and torrnare, it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.
- ↑ This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.
- ↑ This number is written out (quarto), and does not have a roman numeral in the ms, so I have written it out here.
- ↑ The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.
- ↑ Advantage of the sword is presumably length, especially in a duelling context.
- ↑ Lit. “You will make everyone scratch their own mange”
- ↑ This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.
- ↑ Che l’aer nostro fa spesso serena, lit. “that often makes our skies serene”.
- ↑ This line reads “io metterò la punta spesso a l’archo”. “I will place the thrust” is clear. Spesso a l’archo is literally “often at a bow”. But just as bistecca alla fiorentina is steak in the manner of Florence, so a l’archo can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.
- ↑ This means the fendente strike us. In this last stanza, rota blows are defeating volante blows; they are parrying them and returning with a fendente to the face.
- ↑ As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.
- ↑ That is, in theory and in practice.
- ↑ I read this to mean that when cutting, your point should remain in line (in the strada), unless you deliberately allow it to fall, to parry up from below.
- ↑ Tempi here is clearly ‘motions’, rather than ‘times’.
- ↑ This line is ambiguous; it could also read “And when a weapon finds me extended”.
- ↑ The word Vadi uses here is ‘inprexa’. It is the same word as the French ‘emprise’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.
- ↑ This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.
- ↑ At this point there menando, (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).
- ↑ A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.
- ↑ This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The stramazzone is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)
- ↑ Largo tempo, literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.
- ↑ Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.
- ↑ punto divixo: lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say poco e punto to say “a few and not at all”. So punto could be intended as affatto that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”
- ↑ This is indicating a vertical downwards blow.
- ↑ This line actually reads “Because it is closer to it”; I have expanded on it for clarity.
- ↑ There appears to be a correction to the text: pigliare (to grab) has been modified to pighare (to bend). Rubboli has it as the former. (51)
- ↑ This detailed explanation of mechanics, with the head being “connected” (atacata) to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.
- ↑ The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: Della finta dichiaratione (“Explanation of the feints”), which is subtitled Far vista di cavar la Spada con il nodo della mano. (“Make a feint of disengaging the sword with the wrist.”)
- ↑ The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.
- ↑ “It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a roverso from below.
- ↑ Mustaccio is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.
- ↑ The line “voltandoli atraverso” is inserted in the margin.
- ↑ Porzio and Mele (81) read this line as mal separa chi non na la praticha, or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe separa as one word. I read it as mal se para, or “will get into trouble”, which seems to me to fit the context better.
- ↑ Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of gonfaloniere, “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one gonfaloniere at a time. Guidobaldo’s father Federico was gonfaloniere from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.
- ↑ The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.
- ↑ This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.
- ↑ This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘carta’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.
- ↑ Sinestre is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.
- ↑ This means that the tempo is measured by dividing it into parts.
- ↑ These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.
- ↑ This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”
- ↑ Erased.
- ↑ I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
- ↑ ‘It’ here refers to the guard, so having struck, you recover into this position.
- ↑ I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
- ↑ Con la spada curta, lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the lanza curta.
- ↑ Per forza literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.
- ↑ Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.
- ↑ Per questa fiada – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”
- ↑ Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as fora, which would be “outside”. Fora does not rhyme with botta, and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.”
- ↑ ‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.
- ↑ The original text is ambiguous as to who is turning the roverso; I believe it is the player who also parries badly.
- ↑ The word used here is ‘impresa’, which has the connotation of emprise d’armes, or “feat of arms”.
- ↑ “Che de ferire de ponte son pur pina.” Rubboli and Cesari transcribe the last word as purpina, which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have purpurina (porporino in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ne plus ultra of guards to thrust from.
- ↑ A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.
- ↑ This section is called Gioco de Lanza Longa, the play of the long lance. In this guard position, the lance is described as curta, short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.
- ↑ It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.
- ↑ This is a reference to giocco largo and giocco stretto. Vadi means that from here he can do whatever kind of technique he likes.
- ↑ Sommesso can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.