Alfonso Falloppia

Alfonso Falloppia
Born	Lucca
Occupation	Fencing master
Patron	Ranuccio Farnese
Genres	Fencing manual
Language	Italian
Notable work(s)	Nuovo et brieve modo di schermire (1584)

Alfonso Falloppia was a 16th century Italian soldier and fencing master. Little is known about his life, but he identifies himself as a native of Lucca, and describes himself as "Ensign of the Fortress of Bergamo".

In 1584, he published a treatise on the use of the rapier entitled Nuovo et brieve modo di schermire ("New and Brief Method of Fencing"). It was dedicated to Ranuccio Farnese, who was 15 years old at the time of publication and would become Duke of Parma, Piacenza, and Castro.

It has been suggested the Falloppia may be the student of Silvio Piccolomini in Brescia mentioned in 1580 by the French diarist Michel De Montaigne during his tour of Italy.

On Monday I dined at the house of Sir Silvio Piccolomini, very well known for his virtue, and in particular for the science of fencing. Many topics were put forward, and we were in the company of other gentlemen. He disdains completely the art of fencing of the Italian masters, of the Venetian, of Bologna, Patinostraro (sic), and others. In this he praises only a student of his, who is in Brescia where he teaches certain gentlemen this art.

He says there is no rule or art in the common teaching, he particularly denounces the practice of pushing your sword forward, putting it in the power of the enemy; then the passing attack; or repeating another assault and stopping, because he says this is completely different to what you see by experience from combatants.

While the timeframe is plausible there is no further evidence to corroborate this theory, and it remains speculation. Furthermore there are no marked similarities between the treatises of Falloppia and Federico Ghisliero (a self-declared student of Piccolomini) although curiously they both dedicate their respective treatises to the same patron, Ranuccio Farnese, within three years of each other.

Treatise

Dedication

Draft Translation by Piermarco Terminiello	Transcription by Steven Reich
NEW AND BRIEF METHOD OF FENCING OF ALFONSO FALLOPPIA OF LUCCA, Ensign in the Fortress of Bergamo. TO THE MOST ILLUSTRIOUS, ETC. HIS MASTER, THE SIR RAINUCCIO FARNESE, Prince of Parma. With Permission from the authorities IN BERGAMO, 1584, Printed by Comin Ventura.	[Ttl] NVOVO ET BRIEVE MODO DI SCHERMIRE DI ALFONSO FALLOPPIA LVCCHESE, Alfiere nella Fortezza di Bergamo. ALL’ILLVSTRISSIMO ET ECC. SVO SIGNORE, IL SIG. RAINVTIO FARNESE Prencipe di Parma. Con licenza de’ Superiori IN BERGAMO Ⅿ Ⅾ ⅬⅩⅩⅩⅡⅡ Appresso Comin Ventura.
To My MOST ILLUSTRIOUS AND EXCELLENT Sir. Wishing to make myself known to the world as a most devoted servant of Your Excellency; and to find myself respected wherever I go, as any young doe would be who heralds no longer the name of Caesar, but that of Rainuccio Farnese, I could think of no better means, than by dedicating this slight work on gentlemanly arts. It is composed for the universal benefit of all gallant men, and to confound those fencers who do not know, or who wish to teach naught but certain things that nature teaches by itself, and furthermore whose prices are set, much like the mechanics they use. I say gentlemanly, in contrast to those who teach tricks and abuses. They are not ashamed to suggest arms that are never seen except in premeditated cases and blatant murders, such as rotellas, targas, bucklers, balls of iron, spadones, and polearms of whichever name or type. These are all distant from me, because by the term arms I include only those that are proper, both in defence and attack, that every day and by all are commonly carried. These are the sword, and dagger, chain shirt, and cape (since for now we are allowed to call the cape a defensive arm). Of these alone I intend to write, as those appropriate to a gentleman, one who must undertake the profession of a soldier, and to a gentleman of honour. And I shall be succinct, condensing everything into seven guards, or rules, however you wish to call them. Of which three shall relate to the sword alone, one to the sword and cape, with the other three to the sword and dagger. Nonetheless I shall not overlook anything, because these seven guards shall encompass the substance of any others. It shall also be straightforward, such that it can be understood without figures. As for the usefulness of this art, as she regards the preservation of honour and of life, there is no one who is not aware of it. May Your Excellency enjoy it, not because it is useful to princes of your rank, who are defended by their own authority, but because it stands in eternal testimony of my devotion and servitude towards your most joyous and sublime house.	[1] ILLVSTRISSIMO ET ECCELLENTISSIMO Mio Signore. DEsiderando io di farmi conoscere dal mondo per seruidore deuotissimo di Vostra Eccellenza & quindi qual noua cerua, che porti in fronte non piu il nome di Cesare, ma quello di Rainutio Farnese, venirne ouunque io mi troui rispettato; non ho saputo farlo con miglior mezo, che co’l dedicarle questa mia operetta Caualieresca, composta à beneficio vniuersale de’ galant’huomini, & à confusione di quegli schermidori; i quali ò non fanno, ò non vogliono insegnare, se non certe cose, che la natura insegna da se; & queste ancora con pattuito mercato, come delle mecaniche s’vsa. Dissi Caualieresca, à distintione di quelli, che insegnano fraudi, & soperchierie, ne si vergognano di proporre arme, che non si veggono mai, se non in casi pensati, & assassinamenti manifesti, come sono rotelle, targhe, brocchieri, palle di ferro, spadoni, & arme in hasta, siano di qual si voglia nome, ò sorte; le quali tutte siano lontane da me; che io con tal nome non intendo di comprendere altra [1] sorte d’arme, che quelle proprie, cosi da diffesa, come da offesa, che tutto dì, & da tutti communemente s’usano di portare; che sono Spada, & pugnale, & maglia, & cappa, (che cappa per hora siami lecito domandarla arme da diffesa.) Di queste sole adunque è mio proposito di trattare, come di quelle, che s’acconuengono ad ogni gentil’huomo, & di cui deue fare professione vn Soldato, & persona d’honore: Et sarò in modo brieue, che ridurrò ogni cosa à sette guardie, ò regole, che dir ci gioui; delle quali tre versaranno intorno alla spada sola, vna intorno a cappa e spada; & l’altre tre saranno per lo pugnale e spada: Nè però sarò manco in cosa alcuna; perche in queste sette si raccoglieranno quelle di ciascun’altro. Sarò ancora facile in maniera, che senza figure sarò inteso. Quanta poi sia l’vtilità di quest’arte, trattando ella la conseruatione dell’honore e della vita, niuno è che no’l sappia, Piaccia dunque à Vostra Eccellenza di gradirla, non perche possa profittar a Prencipi pari vostri che da la propria autorita sono diffesi; ma perche pure farà eterna fede della diuotione & seruitù mia verso la felicissima, & eccelsa sua casa.

Sword Alone

Draft Translation by Piermarco Terminiello	Transcription by Steven Reich
I will start by briefly discussing the sword alone, being the foremost among all the other arms, in the manner that follows. Firstly, a man who wishes to employ this sort of weapon should settle his body with this method: with his right foot forward, standing in profile, somewhat bending his left knee, in a half-pace. His sword arm should be extended, with his hand a palmo above his head, and his point perpendicular towards the chest of his enemy. He can perform thrusts and cuts as he sees fit, in tempo, taking care to deliver the blows quickly, and to return quickly into his starting posture, ensuring the blows are long, stretching out his body, and extending his step as far as he can. Having acquired this habit with much practice, he will do the same in anger, no differently than when in his natural state. From this guard he can practice beats with the hand, voids of the body – either backwards, or to the sides, as the tempo takes him; and this first form can serve in many instances in the play of the sword.	[3.1] ET prima, parlando de la Spada sola, la qual’è principale di tutte l’altre arme, ne comincierò à discorrere brieuemente in questo modo: Principalmente l’huomo, che vuol adoperar questa sorte d’arme, bisogna accommodar la vita in questa forma: cioè il piede dritto auanti, stando in profilo, piegando alquanto il ginocchio dritto in mezzo passo, con il brazzo della spada disteso, facendo che il pugno stia alto sopra la testa vn palmo, & che la punta della spada guardi perpendicolare verso il petto del nimico, tirando stoccata, ò cortellata secondo gli parerà, che porti il tempo, & auuertire di tirare presto il colpo, et esser presto à tornar nella sua prima postura & far che li colpi vadano longhi, stendendo la vita, et allongando il passo quanto più si può; & hauendo preso quest’habito per molto essercitio, gli auerrà di far il simile anche in colera, non altrimenti che naturale gli fosse. Et potrà appresso in questa guardia essercitare il batter della mano, lo scanso della vita, ò indietro, ò per fianco, secondo che gli porterà il tempo. et questo può seruire in piu occasioni nel giuoco della spada per questa prima forma.
There is also a second, lower form, which demands the centre line, which it governs, keeping your arm extended in line with your shoulder, such that your hilt faces your enemy’s shoulder, while your face is covered by the hilt. By leaning your head towards your sword-shoulder, while standing in this fashion, if your enemy delivers a mandritto cut to your head, you can parry it inside, meeting him to the face in that same tempo. If he attacks you with a roverso to the head you can parry to the outside and meet him to the face. If he attacks your legs while you are in this said posture, you can meet him to the face, or lower, pulling your leg back toward the other. Reason dictates that with the sword alone, if someone attacks the legs, they will run onto the point of your sword with their face, without you having to parry; which many do, parrying at their legs with the sword. If two play with the sword alone, maintaining the centre line, and one drops to the legs, he always brings his head forward, and if he meets his enemy’s sword (which is easily done), he will find that his own sword does not reach. While I do not approve of attacks to the legs while the sword is in presence, because it carries great risk, you can quite well wound to the leg with the sword alone, but look for the tempo where enemy’s sword moves out of presence, or else parry a cut with cover, and quickly respond to the legs, quickly jumping back to avoid clashing, which can happen with the sword in your face, when you drop to the legs.	[3.2] Vi è anco la seconda forma più bassa, che si dimanda retta linea, qual si gouerna, tenendo il braz- [4] zo disteso per linea della spalla, facendo che li fornimenti della spada guardino la spalla del nemico, coprendosi alle volte la faccia sotto li fornimenti, chinando la testa verso la spalla della spada: & stando in questa forma, se l’inimico ti tira vna coltellata di man dritto alla testa, puoi pararla di dentro, incontrando verso la faccia di quel medesimo tempo; se ti tira colpo di rouerso per testa, puoi parar di fuori, & incontrar per faccia: & se ti tira alla gamba, mentre che tu stai in detta forma, puoi incontrar per faccia, ò piu baßo, tirando indietro la gamba presso l’altra: & auuertire, che la ragion vuole, che di spada sola se vno ti tira alla gamba, si può incontrare nella punta della tua spada con la faccia, senza che tu vadi à parare, come fanno molti, che fanno parar alla gamba con la spada. Doi, che giuochino di spada sola, che siano in retta linea, et l’vno cali alla gamba, egli porta sempre auanti la testa: & se s’incontra nella spada del nimico, (come è facil cosa,) trouerai che la spada di quel primo non può arriuar questo: Onde io non approbo il tirar alla gamba, quando la spada del nimico è in presentia, perche porta gran pericolo: si può ben ferire di spada sola contra à spada alla gamba, ma cercar il tempo di [5.1] leuarsi di presenza la spada del nimico, ouero parar di coperto la cortellata, & subito risponder alla gamba, saltando presto indietro per fuggir l’incontro, che può far la spada nel viso, quando cala alla gamba.
You can attack to the legs with a void to the sides, but note carefully the position of your enemy’s sword, because with a void of the body to the side, if you are not quick to defend well, you can be struck on the head by a mandritto, or roverscio depending on which side you move to. However, I say that attacking the legs with the sword alone is highly dangerous. If you do not have a great tempo, or great quickness of body, it is not beneficial. If you parry a cut to the legs with your sword, it carries great risk, that by a turn of the wrist you are struck to the head. Therefore, you should not parry in this manner. It is better to extend your point in a straight line, pulling your leg a little towards yourself, turning your body, thereby striking your enemy with ease. While two play with the sword alone, you should also be advised that when one delivers a thrust, you can meet it with your sword and wound in the same tempo, and do so easily. This is because it is greatly advantageous to wait for the other to strike. Because in attacking you first he brings his debole onto your forte. While you hold the centre line, however the attacks, either inside or outside, you can easily meet him, turning your hand to the side where your enemy moves to strike. If he strikes to the inside, you can meet it with your forte, turning your hand somewhat, such that the enemy’s sword remains out of presence, while yours wounds first, in that tempo. If he strikes to the outside, towards your sword-shoulder, you can meet it with the forte of your sword, bringing your body slightly to the outside, towards his face. I advise that the forte of your sword is from the hilt to within one braccio of the point. If your enemy wishes to gain your sword, keep watch, so that when he moves his sword, before he has an advantage over yours, you do not disengage with a wide tempo, but to free your sword and enter in one tempo. While he takes two tempos, one to gain your sword and another to attack, you only perform the motion of not letting your sword be found and wounding in that same tempo. If it happens that you cannot execute this with diligence and speed, and he gains your sword, do not try and force it free. This would have no effect whatsoever, you can however free it in this manner: by retreating back somewhat, with a void of your body, which will free your sword. You can then follow-up by attacking, or finding your enemy’s sword, or waiting in guard – to enter when the tempo arises. If your enemy delivers a great cut, meet it with your forte and enter in that same tempo, since you will easily parry and wound in one tempo. If he delivers a thrust, and you have the sword alone, you must watch his sword, to understand where his point may land, and how close you are. Because if you are close to the enemy, you must be aware of where his sword moves. If the point arrives low, you must meet it with your forte, fleeing with a small void to the side, that is to say dodging the point. Take care however not to void such that your point leaves the centre line, and your enemy’s presence, because you can easily attack in that same tempo, applying this skill. If your enemy delivers a thrust, and you are not very close, you must judge the distance, and void your body back, not shifting your sword from the centre line or from your enemy’s presence, since you can easily meet his sword with your forte and attack. Because by voiding backwards you bring the enemy’s debole onto your forte, and he cannot wound you without first gathering his step, taking another longer tempo, as follows. Having delivered the thrust, which fell short, the enemy can recover in this way: keeping his arm on the centre line, with a quick eye to recover his sword which finds itself at your forte, he then gathers his left foot towards his right, with either a long or short step, depending on how you moved. However, you must be quick with your eyes and legs, and have resolve in your play, and not act as many do, who having delivered their blow, which the enemy defended, remain disordered, not knowing how to take further actions, not considering that the other has hands with which to defend and attack. For this reason take great care not to rush into hands of the enemy, consider also what he might do, you will find many various approaches: one who waits for the enemy to attack first, one who circles to find the tempo, one who plays short, one who plays long, however I wish to advise you on all of these circumstances. If your enemy circles around you, I do not want you to walk similarly, encircling, as many do, but to stay firmly in your stance. As he takes three or four steps to gain an advantage, to one side or the other, and as he moves his body, ensure that the point of your sword is always watching him. When you know that your body is thereby encircled, and that you are not in presence of the point of his sword, take only one step in the circle, small or large, depending on the tempo you find, that is whether the enemy circles you quickly, or slowly. When the enemy wishes to take advantage of you to steal the tempo, he will take three or four steps, however you will only move the foot that you find in front, in the manner I described above, therefore with this rule no one will be able to steal the tempo from you. You also have another advantage: while the enemy wishes to encircle you, you can attack him advantageously in that tempo, because he thinks to steal the tempo from you, but in that instant you can attack and steal it from him, and furthermore wound in just that single tempo, where you please, depending on the area that is uncovered. Be quick in delivering your attack, and in recovering your body. You must take note of the tempo I describe below, which is very advantageous, governing yourself in the manner that follows. Every time you hold the centre line, and your enemy wishes to initiate an attack in the form of a cut, I want you to push your sword directly forward, while he raises his arm to attack you. Before his blow comes down you will be able to wound him, with great advantage. If you consider carefully, your eye watching his sword in this action, you will find that when your enemy brings down his sword, he brings it onto your forte. The same occurs when the enemy commences, wishing to deliver certain wrist-cuts to your head, I want you to meet him to his face, and you will easily land in one single tempo. Pay attention to whether your enemy attacks to the inside or the outside, because you can meet him and parry and wound either to the inside or the outside, depending on where he attacks. But if it happens that your enemy cannot make headway with his plays of the wrist, he might easily retreat in guard. In this case you must push your thrust forward down the centre line, and be quick, before he takes the tempo to settle into guard. The reason is because when your enemy is in presence, and wishes to change guard, you can attack in that tempo, and can hit him easily. Now let us suppose he retreats such that you cannot wound him, take care to be quick with your legs moving forward, always keeping your sword in presence against your enemy. If he performs a feint to the outside, or the inside, take care not to move with your sword, in the belief you will parry. If you do, he can easily disengage to the other side and wound you in that tempo. Observe instead this rule: every time someone performs a feint against you, meet him in that first tempo. Because your enemy employs two tempos, one to feint and the other to wound, while you need only one tempo to wound. I praise feints in this manner: while you are on the centre line, I want you to motion an entry to the face, whereby it is likely your enemy will move to parry. You should watch where he moves his sword, which will be near the area you motioned, or rather feinted towards; without disengaging your sword you will then find a tempo in which to enter. Meaning, by managing your forte, you shall save yourself from his sword if he attacks in that tempo, which will be as follows. As you make the motion, and your sword begins to travel, clearly your enemy will move his sword to parry and wound. With an attentive eye, you will enter on the line where your enemy extends to parry your blow, and you can enter with a single tempo, without certain disengages, as many do when performing feints. These instructions are called contra tempi, and are so subtle they are not considered by everyone. Similarly, if you make the motion to enter, and your enemy does not move in belief, feel free to follow through, entering with the same motion. When you perform the action, take care always to target the area that is most uncovered. This forces the enemy to parry, and you will make him take two tempos, while you only take one; however check with your eyes, taking note of whether he stands firm, or else moves in belief of your feint.	[5.2] Con il scanso di vita per fianco puoi tirar alla gamba, ma auuertir bene doue si troua la spada del nimico, perche co’l scanso di vita per fianco se non sei presto a paßar via, puoi esser percosso in su la testa di man dritto, ò di rouerscio secondo da qual parte tu passerai: però io dico, che il tirar alla gamba di spada sola è molto pericoloso, se l’huomo non ha gran tempo di farlo, ouero gran prestezza di vita no’l serue. Se l’huomo para vna coltellata, che vada alla gamba, con la spada, porta pericolo, che gli sia dato vn nodo di man in testa, però non cosi parerà, ma il meglio è spingere la punta per retta linea, tirando vn poco la gamba à se, & votando il corpo, che facilmente colpirà il nimico. Due, che giuochino anche di spada sola, bisogna auuertire, che mentre vno tirerà vna stoccata, puoi incontrare con la spada, & in vn medesimo tempo ferire, & facilmente: perche egli è grande auantaggio aspettar che l’altro tiri, & la causa è, che tirandoti prima, ti porta il debole nel tuo forte: onde tu essendo in retta linea, comunque [6] egli ti tiri, ò dentro, ò per di fuora, puoi ageuolmente incontrarlo, voltando il pugno secondo la parte doue vien à ferire il nimico; cioe, se ti tira per la parte di dentro, puoi incontrare con il forte, voltando il pugno alquanto, che la spada del nimico restarà fuori di presenza, & la tua potrà ferire di quel tempo primo: se ti tira di fuora dentro la spalla della spada, puoi incontrare con il forte della spada, portando vn pochetto la vita in fuori verso la faccia Auuertendo io, che il forte della spada è dalli fornimenti andando verso la punta vn brazzo di misura. Et se il nimico ti volesse guadagnar la spada, habbi l’occhio presto, che quando si parte con la spada, prima che ti habbi auantaggiato la tua, non cauar di tempo largo, ma libera la spada in quel medesimo tempo, et entra, perche egli ti fa due tempi, vno à guadagnar la spada, & l’altro à ferire, & tu non fai altro, che il moto di non lasciari guadagnar la spada, & di quello istesso tempo ferisci: et se per sorte non potesti tu vsare quella diligenza, et prestezza, che ti guadagnasse la spada, auuertisci non voler sforzarnela, che non faresti cosa alcuna, ma sì te ne potrai liberare in questa forma, cioè tirandoti vn poco adietro, con lo scanso della vita, et la tua spada [7] sarà libera, & cosi potrai poi seguitar nel ferire, ò con guadagnar l’inimico, ò fermarti in guardia: per entrar secondo che ti porterà il tempo: oue se ti tiraße vna gran coltellata, incontra con il forte la sua spada, & entra in quel medesimo tempo, che facilmente parerai, & ferirai di vn tempo solo: se ti tira vna stoccata, oue tu habbi la spada sola, bisogna hauer l’occhio alla spada, per conoscere doue può calar la punta della spada del nimico, et come ti troui appreßo: perche se ti trouerai appreßo il nimico, bisogna auuer tire da qual parte cala la spada: & mentre che la punta vien à basso, bisogna incontrarla con il forte, fuggendo con vn poco di scanso per fianco, cioè schifando la punta, ma auuertire di non scansare in maniera, che la tua spada con la punta esca fuori di retta linea, e di presenza del nimico, che facilmente puoi ferire di quel tempo medesimo, oßeruando questa destrezza: se il nimico ti tira vna stoccata, che non ti sia tanto appreßo, bisogna conoscer la distanza, & far il scanso di vita indietro, et non leuar la tua spada di retta linea, nè di presenza al nimico, che facilmente puoi incontrare col forte della tua spada, & ferire; perche facendo il scanso indietro, il nimico ti porta il suo debole nel tuo forte, & non ti può ferire se prima non raccoglie il paßo, ouer faccia vn’altro tempo [8] piu lungo, cioè in questa maniera: hauendo tirata la stoccata, et essendo andata vota, il nimico può di nuouo ricuperarsi in questa forma, cioè tener saldo il braccio in retta linea, & esser presto con l’occhio per ricuperar la sua spada, che si troua nel forte, & poi crescer il piede sinistro auanti il destro, facendo il passo lungo, ò corto, secondo che ti mouesti: però bisogna esser presto con l’occhio, et con la gamba, & pigliar partito nel giuoco, & non fare, come di molti che com’hanno tirato vna sua botta, & il nimico la pari, restano imprefetti, & non sanno pigliar altri partiti, et non considerano, che l’altro habbi le mani da poter parare et ferire; & per questo bisogna hauer grandißimo riguardo di non andare à precipitare nelle mani del nimico, considerando quello che possa fare anch’egli; & si trouaranno molti variati giuochi, come chi stà aspettando, che’l nimico tiri prima, & chi và girando per guadagnar il tempo; chi giuoca corto, & chi longo, però ti voglio auuertire da tutte que ste cose. Se il nimico ti và girando attorno, non voglio che tu ti metti à passeggiare similmente, girando, come fanno molti, ma che tu stia saldo nel tuo passo, & secondo che egli farà tre, ò quattro paßi per auantaggiarti, ò dall’vna parte, ò dall’altra, et quando si muoue con la sua vita, fà che la punta della tua [9] spada sempre lo guardi, et quando conoscerai, che la tua vita sia in tal modo circondata, che tu non gli stia in presenza con la punta della spada fa vn passo solo in circolo picciolo, ò grande, secondo il tempo che trouerai, cioè se il nimico ti aggira presto, ò tardi. che quando il nimico ti vuole auantaggiare per rubarti il tempo, farà tre, ò quattro paßi, all’hora tu mouerai solo il piede, che si trouerà auanti in quella forma che ho detto di sopra, & cosi niuno con questa regola non ti potrà rubar il tempo: & hai vn’altro auantaggio, che mentre che il nimico ti vuole aggirare, gli puoi tirare con auantaggio di quel tempo, perche pensa egli di rubarti il tempo, & tu in quello instante puoi ferire, rubandogliele à lui, & anco ferir di quel tempo solo, doue ti parerà che la parte sia scoperta, & sii presto nel tirare il colpo, et presto nel raccoglier la vita. Bisogna auuertire à questo tempo, che io dirò di sotto, il qual è auantaggiosißimo, gouernandoti in questa maniera. Ogni volta che tu sii in retta linea, et che il nimico voglia cominciare a tirarti, come sarebbe in questa forma; se vuol tirare vna cortellata, voglio che tu spinga la tua spada direttiua, mentre che alza il brazzo per tirarti, che facilmente inanzi i che habbia calato il colpo, tu’l potrai ferire & con auantaggio grande, et se consideri bene con l’oc- [10] chio gouernando la spada in questa forma trouerai che quando il nimico cala la sua spada, te la porta nel tuo forte, e medesimamente quando il nimico comincia, à voler far certi nodi di mano per testa, voglio che tu incontri per faccia, e facilmente ferirai di vno tempo solo, auertendo alla spada del nimico se ferisce per dentro, ò per di fuora, perche tu potrai parare e ferire incontrando, ò dentro, ò di fuora secondo doue ti tira. Ma accadendo che il nimico non possa far niente col’giuocar di nodo di mano facilmente si potrebbe ritirare in guardia, & tu all’hora bisogna che spingi la stoccata per retta linea, & esser presto innanzi che pigli quel tempo di accommodarsi in guardia, & questa è la ragione, che quando il nimico è in presentia, et che si voglia mutar di guarda tu gli puoi tirar di quel tempo, che facilmente si puo colpire. Hor mettendo che quegli si ritirasse in maniera, che tu non lo poteßi ferire, auuertisci d’essere presto con la gamba à tornar su, tenendo sempre la spada in presenza a contra il nimico. Et s’egli ti facesse vna finta di fuora, ò di dentro, auuertisci non ci andare con la spada alla credenza per voler parare, che se ci vai, facilmente potra cauar dall’altra parte, e ferirti di quel tempo, ma osserua questa regola. Ogni volta che vno ti fà vna finta, incontra di [11] quel primo tempo, perche il nimico fa due tempi, vno à fingere, & l’altro à ferire, & tu non fai se non vn tempo di ferire. Io laudo la finta in questo modo, mentre che tu sei in retta linea, voglio che tu facci un motto d’entrar per faccia, che è facil cosa, che il nimico vada per parare, & tu vedendo doue và à poner la sua spada, che sarà verso quella parte, che tu accenni, ouer fingi, all’hora senza cauar la tua spada, trouerai vn tempo solo da entrare, cioè gouernandoti col forte per saluarti dalla sua spada, se ti tirasse in quel tempo, come sarebbe in questa forma: mentre che tu fai il motto, et che la tua spada comincia à caminare, chiara cosa è, che il nimico metterà la sua spada per parar, e ferire, & tu con l’occhio auuertendo entra per quella drittura, doue il nimico si slarga per parar la tua botta, & puoi entrar di vn tempo solo, senza far certe cauate, come fanno molti, che fanno le finte: & questi auuertimenti si dimandano contra tempi sottilißimi tanto che non caggino sotto la consideratione di tutti. Et se medesimamente farai il motto d’entrare, & che il nimico non vadi alla credenza, seguita pure intrando col medesimo motto, & auertisci che quando tu fai il motto, di farlo sempre doue la parte si ritroua piu scoperta, perche tu metti il nimico in neceßità di parare, et gli fai fare [12.1] due tempi, doue tu ne fai vn solo, pero gouernandoti con l’occhio, & con l’auertire se egli si ferma, ouero se và alla credenza della tua spada.
I now wish to inform you how to gain advantage over your enemy’s sword, and its benefits. When you wish to find the sword, clearly your forte is superior to his debole. However, you must have a good awareness of how your enemy holds his body and sword, to know the tempo in which to move your body, and begin to dominate his debole with your forte, executing the action, and moving slowly till you reach the debole of his sword. Because if you move quickly, he can disengage and wound you as I described above, and you will not be able to find his sword, but if you go slowly you will find it easily. Take care, however you found it: either to the inside or the outside, not to let him recover; because he will be forced to disengage. As he disengages, you should find him again, or attack in that single tempo. If you apply reason to the sword, as you found him once, you can do so again, such that he can no longer recover. Having found the sword, with your enemy unable to disengage, wound him in the same tempo of finding, always using your forte, so he cannot recover.	[12.2] Hor ti voglio auuertire dell’auantaggiar la spada al nimico con li suoi auantaggi, quando che tu vuoi guadagnar la spada, chiara cosa è, che il tuo forte superi il suo debole: però bisogna hauere grande conoscenza per sapere in che modo stà il nimico con la vita, & con la spada, acciò conosci il tempo del mouerti, & poi cominciarai à superar il suo debole con il forte, vsando il motto, & calando piano tanto che tu sia arriuato al debole della sua spada: perche se ci corri in fretta, come ho detto di sopra, può cauare, e ferirti, & tu non gli puoi guadagnar la spada, ma se ci vai piano, facilmente la guadagnerai: & auuertisci, come l’hai guadagnata, ò di dentro, ò per di fuora di non lasciargliela ricuperare: perche sarà sforzato à cauare, & mentre che caua, tu lo seguiterai col guadagno, ouero con il ferire di quel tempo solo: & se vsarai la ragione della spada, come l’hai guadagnata vna volta, lo seguitarai in maniera, che non la potrà piu ricuperare, et come hauerai guadagnato la spada, & che il nimico non eaui, ferisci senza altro di quel tempo, del guadagno, & adopera sempre il tuo forte, acciò non la poßi ricuperare.
When you have found his sword, you can employ your left-hand glove to grab it, with a grapple, that is by grasping it, which you will accomplish easily. Take care not to act as many do, who having delivered a thrust wish to grab his sword with their left hand in that same tempo. This is difficult to perform, therefore those who employ this approach often miss the sword, that is they cannot grasp it, and are often struck either in the chest or face. The reason is that the fencer with the sword alone switches, by putting his left side forward. Since you can vary the sword, you can easily wound one who stands like this, in several ways. I judge a bold cut towards that side as the best of these, which cannot fail to hit and disorder him.	[13.1] Et quando che hauerai guadagnato la spada, puoi seruirti del guanto manzino nel pigliar quella del nimico con la presa cioè stringendolo, & facilmente lo farai, & auertirci di non far, come e vsanza di molti, che quando vno tira vna stoccata vogliono afferar la spada del nimico con la man manca di quel tempo; percioche egli è difficilißimo à farlo: onde quelli che si seruiranno di questa regola, facilmente fallaranno la spada, cioè che non la potranno afferar, et possono essere incontrati, ò nel petto, ò nella faccia, & la ragion è, che colui che ha la spada sola, fà alla rouerscia à metter la parte stanca auanti; perche si può variar la spada in piu modi, & quindi per poco ferir quel tale, che cosi stà; fra quali reputo io il meglio il coltellare verso di quella parte gagliardamente, che non potrà essere, che no’l colpisca, et metta in confusione.
There is also a rushing play, which most Frenchmen employ. When confronted by this, I want you always to hold the centre line. Your enemy therefore comes running to wound you, open, and you stop him by setting yourself in a strong posture, such that he crashes into your sword. Watch the distance, meaning when he gets close to effect his crash, and at the same time keep your eyes on his sword. Note that in wishing to crash into you he will take a long tempo, whereupon you can meet him with your sword where he is most open, and with a void of the body, avoiding his sword, you will surely hit him. The crash could be in this form: he arrives with the false-edge of his sword to disorder you. In that instant you can meet him, meaning when he is close, and you can reach him, you can easily free your own sword to anticipate his. Because he arrives with impetus, persuading himself that in one tempo he can impede your sword, which you show in presence, and either deliver a cut to your leg and retreat back, or unleash a thrust and step to the side. However observe the rule I described, wounding him when he arrives to find the tempo, and note that you will easily hit him in that single tempo, standing with your body firm and nimble. Although you see someone come at you with impetus, you should not fear, because when afraid you make a thousand wrong movements, whereby the enemy can easily enact what he intended. If you stand in the form I described above, keeping your sword in presence, he will be disordered on his approach, your sword in presence watching him; and if by chance he runs without consideration, he could also easily meet it, and you will stop him in his tracks.	[13.2] Vi è anco il giuoco di correre, come il più de’ Francesi fanno, nel che voglio, che tu ti gouerni di retta linea sempre che ciò t’accada: viene adunque il nimico correndo per ferirti, & tu il raffrena co’l porgliti in postura saldo in linea retta scoperto, che venga per sbarattarti la tua spada, conosci la distanza, cioè quando ti arriua appresso per far esso sbaratto, & habbi adun tempo medesimo l’occhio alla sua spada, [14] auuertendo che nel volerti sbarattare farà vn tempo largo, doue incontrando tu con la tua spada alla parte, doue più si scoprirà, & con lo scanso della vita fuggendo la sua, sicuramente l’offenderai. Il sbaratto potrebbe essere in questa forma: venire con il falso della sua spada per sconcertarti di modo, che in quello instante il puoi incontrare, cioè quando ti sarà appresso, che lo poßi arriuare, & facilmente liberando vn poco la spada tua potrai precipitare la sua, perche viene con impeto et si persuade d’impedirti in un tempo medesimo la spada che gli mostri di presenza, et tirarti o coltellata alla gamba tornando indietro, ouero cacciar la stoccata contrapassandoti, però osserua la regola, che ti ho detto di ferirlo quando viene per trouar il tempo et auertisci, che facilmente lo incontrarai di quel tempo solo, stando saldo, et lesto su la vita. Pero se bene ti vedi venire vn’adosso con impito non bisogna temere, perche temendo sai mille mouimenti cattiui, doue il nemico facilmente puote fare quello che prima ha dissegnato, ma se tu stai nella forma che io ho detto di sopra, tenendogli la spada inpresenza resta imperfetto per strada vedendo, che la tua spada sempre lo guarda inpresenza, et se per sorte corresse senza considerare alla tua spada anco facilmente lo incontrarai, & [15.1] & lo fermarai à mezza strada.
Now if your enemy does not rush, but sets himself in a low posture, enter on the centre line, but over his debole such that when attacking you in that same tempo, as I discussed, he cannot injure you. His blow will come to nothing, as it will necessarily meet your forte, as you previously ensured. In this manner he will not anticipate you, and hereby reason staunches those in haste. Although many say that reason does not matter with the sword, as is beaten by rage, I do not agree, and I defer to the judgement of knowledgeable men. It is true that reason with arms, this is to say play, does not count for those who allow themselves to lose heart, to not do their duty, whereupon they lose to those who know and those who do not. There is also much else to say over this centre line, which for the sake of brevity I will leave to the judgement of the prudent reader, it being very advantageous. However, I wish to discuss it no further, having spoken of useful and necessary matters, we will now speak of the third guard, and how it is formed.	[15.2] Hor se il nimico non corresse, & che si mettesse in postura bassa, entra di retta linea; ma superandogli il suo debole in maniera, che tirandoti di quel medesimo tempo, come ho detto, che non possa offenderti, ma vada il colpo voto, come anderà per neceßità, incontrando nel tuo forte, al che di prima hauerai auuertito, et cosi non andarai à precipitarti, osseruando questo: & ecco la ragione di stagnar questi frettolosi: & benche molti dicano, che la ragion della spada non vale, & che la collera supera, io però non l approuo, & mi rimetto al giudicio de gli huomini intendenti. E ben vero, che la ragion dell’arme, cioè il giuoco non vale à quelli, che si lasciano mancar il cuore di non fare il debito suo; onde perdono con quelli che sanno, et che non sanno. Vi sono ancora molte altre cose sopra questa retta linea, le quali rimetto per breuità al giudicio del prudente lettore, essendo auantaggiosißima: però non voglio dir altro sopra di questo, hauendo parlato delle cose piu vtili, & necessarie, ma trattaremo della terza guardia, & come si gouerna.
The third guard is as follows: you must extend your right arm towards your right knee, keeping your hand approximately half a braccio from your knee, and your point up towards your enemy’s face. Lean your body slightly, but not so you fall, that is make yourself somewhat small, with your right heel facing the middle of your left foot, in a half-pace stance; or more, or less depending on what you find comfortable and strong. Standing in this posture, if the enemy thrusts a point at your face, be sure to catch it with your sword’s forte, either to the inside or the outside, depending on which side he attacks. Thrust all in one tempo, raising your back, and you will easily parry and wound in that tempo. If he delivers a cut, whether a dritto or a roverscio, parry with your forte, and enter to his face; meaning whether he aims at your head, or if he strikes lower, in either case respond in that direction. If he feints towards your face, or to another part of your body, do not move in belief to parry, instead push your sword forward in that tempo, catching his debole with your forte. If he aims at your leg, pull it back a little, and meet him by raising the hilt of your sword and lowering the point. Be quick, and in this manner you can defend yourself again such blows. If you deliver the attack I described, and when he attacks your legs you remove your body, he will not be able to harm that part of you, if having attacked the legs he then wished to deliver a thrust. Judgement also matters, which teaches you to take decisions as required, when observing this and similar forms, permitting you to defend against many attacks. Now I wish to discuss passing steps, and to demonstrate how dangerous they are, and when they are useful. You should understand that passing steps require feints, and be aware that they pose great risk to those who do not employ them with great tempos, agility, and quickness of body. If you find yourself in the first form of the sword alone, and someone wishes to pass at you, seeing your sword high, it is probable he will move to find you, in order to perform it. Note carefully that if the enemy feints to your face in order to pass, as reason dictates, I do not want you to respond to the feint except as follows. Lean your body somewhat to void, where you see fit to avoid the point of his feint, then all in one same tempo beat with your hand, and deliver a thrust down perpendicular with his body. You will easily meet him if he bends down well with his stomach towards the ground, and you will stop him, since he will not be able to pass. The reason is as follows: you do not move in belief of the impetus his feint. You have time to beat the point of his sword with your hand, and employ the methods I described above, breaking his designs, because he arrives at great speed to perform the feint and passing step in that tempo.	[15.3] La terza guardia è questa: Bisogna che distendi il brazzo dritto verso il ginocchio dritto, tenendo il pugno discosto dal ginocchio mezzo braccio in circa, [16] facendo che la punta della spada guardi alto verso la faccia del nimico, inchinando vn pochetto la vita, ma non per cascare, cioè farsi picciolo alquanto, facendo che il calcagno dritto guardi per mezzo il piè manco in mezzo passo, ò più, ò manco secondo che ti parerà trouarti commodo, e più forte. Et stando in questo modo, se il nimico ti tirasse per faccia vna pun ta, guarda di coglierla col forte della spada, ò per dentro, ò per di fuora, secondo da qual parte ti tirarà, & spingi à tutto vn tempo, leuandoti di schena, che facilmente parerai, et ferirai di quel tempo. Se ti tira cortellata ò dritto, ò di rouerscio, para con il forte, et entra per faccia, cioè se ti tira alla testa; & se ti tira piu basso, incontra medesimamente per quel la drittura, & se ti facesse vna finta al viso, ò in altra parte del corpo, non andar alla credenza per parare ma spingi la tua spada di quel tempo, cogliendo il suo debole col tuo forte: se ti tira alla gamba, tira la gamba indietro vn pochetto, & incontra, alzando li fornimenti della spada, et abbassando la punta, & sii presto, che per questa forma ti diffenderai da questi colpi, e se tu cali quella botta ch’io ho detto, cioè quando ti tira alla gamba, se voterai il corpo, il nimico non ti potrà offendere per quella parte del corpo, dico se lui hauendo tirata la gamba volesse spinger poi [17] la stoccata. Vi è poi il giudicio, che t’insegna pigliar partito di mano in mano, osseruando questa forma, et similmente ti difenderai da molti colpi. Hora voglio, che parliamo delle passate, e mostrarti di quanto danno sono, & doue sia l vtile: Perciò intenderai che le passate vogliono le sue finte; et auuertisci bene, che sono molto pericolose a chi non le fa con grandissimi tempi, & agilità & prestezza di vita, et se tu ti troui nella prima forma di spada sola, & che vno venisse per farti vna passata, che facilmente vedendoti la su alto, ti verrà à ritrouar per fartela, auuertisci bene, se il nimico ti facesse vna finta alla faccia per passar via, come la ragion vuole, non voglio che tu vadi alla finta altramente, ma che tu pendi vn pochetto di scanso con la vita, doue ti pare di poter schifare la punta della finta, et tutto à vn tempo poi batter di mano, e calar la stoccata perpendicolar giù al corpo, che facilmente lo potresti incontrare, se si chinasse bene con la panza in terra, & lo fermarai, che non potrà passare: perche la ragion è questa: mentre che non vai alla credenza dell’impeto, che ti fa della sua finta, hai tempo di batter di mano la punta della sua spada, & vsar li termini ch’io ho detto di sopra, & gli rompi il suo dissegno, perche vien di tutta corsa per far la finta, e la passata di quel tempo.
If you find yourself on the centre line in the second form, and the enemy comes at you with a feint to execute a passing step, void with your body to the side, evading his sword’s point. While he passes you can catch him to the head, by voiding, playing somewhat with your body, equally you can thrust him to the face. When your enemy performs the feint, and all in one tempo wishes to pass, void from the left side. That is, if he feints to the inside, and you reverse your point towards his face, you will stop him easily. You can also meet him lower on the body, because in keeping your point low, it is difficult for him to pass. If he feints to the outside, bring your left foot forward, opening yourself with a half circle, your right food following the left to meet it, and you will easily exit from presence, and you can deliver a thrust, or else a roverso cut. If you wish to perform a passing step, observe the following: when you wish to pass, execute the feint, and the movement of passing, but do not run. It is likely that your enemy, seeing the movement, that is carrying your body out of your sword’s presence, will turn his sword’s point to side on which you perform the action of passing. In that tempo, you can cover his debole with your forte, and enter to the face without performing another pass. If you wish to pass freely, observe this rule: first find his sword, then enter to the face. He will be forced to parry, and thereby will remove his sword, such that you can pass without danger; equally if he does not parry, you will catch him to the face. If you are in the third guard, and someone feints at you to pass to the body with their sword low, I want you to void your body, pushing your thrust with the point perpendicular, closely watching your enemy’s sword, so that you can void your body to one side or the other. However, you must pay great attention to your enemy’s body, see the manner in which he moves, understand the tempo, and most of all be aware of his sword; that is consider with your eye, and judgement, where his sword might land. This will suffice on this subject matter. Although there are many other things, these are very useful, and very natural, such that you can employ them. Furthermore there are many who suggest other sorts of guards beyond these, which I in fact do not esteem, condensing them all to mine here.	[18] Et se ti troui in retta linea nella seconda forma, & che il nimico venghi con vna finta per farti la paßata scansa di vita per fianco, schifando la punta della sua spada, doue mentre che passa lo puoi cogliere su la testa, e votando il corpo, giuocando vn pochetto di vita, puoi spingere la tua spada per faccia medesimamente: et quando il nimico ti fa la finta, e tutto à vn tempo vuol paßare, scansa dalla parte stanca; cioè se ti fà la finta per dentro, et tu riuersa la punta per faccia, & facilmente lo fermarai, & anco lo puoi incontrare più basso alla parte del corpo; perche tenendo la punta della tua spada bassa, difficilmente puo passare: & se ti fa finta per di fuora, potra il piede manco inanti, allargandoti di mezzo circolo, giungendo il piede destro sequente il stanco, che facilmente vscirai di presenza, e potrai tirar vna stoccata, ouero cortellata di rouerso: et se tu vuoi far vna passata, osserua questo: Quando che vuoi passare, fà la finta, et il motto di passare, ma non correre, et facilmente il nimico vedendoti fare il motto, cioè di portar la tua vita fuori della presenza de la sua spada, potrebbe riuersare la punta della sua spada per la strada doue tu fai il motto di passare, et tu di quel tempo puoi coprire il suo debole con il forte, et entrar per faccia senza far altra passata; et se tu voi far [19] passata libera, osserua questa regola: guadagnali prima la sua spada, e poi entra per faccia, che lui bisogna che pari, et nel parare porterà la sua spada fuora in maniera, che tu potrai passare senza pericolo, & se non pararà, medesimamente lo coglierai nella faccia: Se tu sei nella terza guardia, et vn ti faccia finta per passare al corpo con la spada bassa, voglio che tu facci il scanso di vita, spingendo la stoccata con la punta perpendicolare, & hauer ben l’occhio alla spada del nimico, acciò ti poßi seruir del scanso di vita, ò dall’vna, ò dall’altra parte: però bisogna hauer grandißimo riguardo alla vita del nimico: & veder in che modo si muoua, et conoscer il tempo, & auuertir sopra tutto alla spada del nimico, cioè considerar con l’occhio, & con il giudicio da qual parte può calar la sua spada. & tanto basti d’hauer detto in questa materia, benche vi siano molte altre cose, ma queste sono molto vtili, & naturalißime, doue l’huomo se ne può seruire. Vi sono molti ancora, che mettono altre sorti di guardie oltre queste, le quali io non stimo punto, potendosi ridurle tutte à queste mie.

Sword and Cape

Draft Translation by Piermarco Terminiello	Transcription by Steven Reich
I will now discuss the sword and cape, or cloak, as quickly and briefly as possible. You can employ the cape in two circumstances. One is when you cannot carry a dagger. The other when you are attacked by surprise, and it is easier to wrap your cape than put your hand to your dagger, that is when you have your dagger at the back and not at your side. Because most people without quarrels carry them almost always, then when the time comes to reach for their swords, cannot find them, because they cannot reach with their left hand. You should therefore wear it on your right side, to have full control over it. However, I will speak no more of the dagger now, being enough merely to have indicated to carry the weapon at your side. Finding yourself therefore in a place where you cannot carry daggers, it is likely that employing the cape or cloak will be useful. I say that wishing to wrap the cape or cloak, you should let the part of the cape over your right shoulder drop behind you, then turn your left hand (that is the palm) upwards, grabbing the hem with your hand half a braccio under the shoulder, or less, depending on what you find comfortable. When you let the cape or cloak fall from your left shoulder onto your left arm, which will remain completely covered, you will perform one turn only, to the right towards your hand, letting the other part of the cape fall low towards your leg. You will execute this wrap very quickly, and not act as many do, who wrap all of it around their arm, because by letting it hang low brings you have many advantages, which I will describe.
Having wrapped the cape, as I discussed, I want you to bring your left side a half-pace forward, keeping your sword to the outside, below your hand. Standing in this manner, if your enemy delivers a cut to your head, either a dritto or roverso, I want you to parry with your sword’s forte, meeting him to the face in that tempo, bringing your right foot forward with a long and resolute pass forward. However, if he cuts to your leg with a roverso, while you are in the above position, raise your sword-hand a little and deliver a perpendicular imbroccata, bringing your right leg forward with your arm extended. Take care to void somewhat, but not by much, to enter with less danger. If he cuts a mandritto to your legs, I want you to defend immediately with the hanging portion of your cape, in the meantime turning your hand with a thrust in the centre of his chest, where you find him most uncovered.
Take note never to cover your face with your cape-arm, because your enemy could deliver a point to your body, or cut to your leg while you cover your face. Even if he cuts to your head with a dritto o roverscio, I do not wish you to move to parry with your cape, but to meet him to the face, controlling with the forte of your sword as I described above. If the enemy attempts these tempos, you can respond, making decisions step by step, depending on the tempo that arises, taking note of what your enemy can accomplish. Here I will end the rule of the sword and cape, it suffices that you know how to wrap it, and how you conduct yourself. We will now speak of the sword and dagger, on the advantages of a gauntlet, and also on using it without a gauntlet with as little danger as possible.

Sword and Dagger

Draft Translation by Piermarco Terminiello	Transcription by Steven Reich
You will understand how play with the sword and dagger is governed best and with the least risk possible, conducting yourself in the manner that I will explain in this discussion. Firstly, you must take care to carry your body well. I want to observe only three forms to place yourself in, although there are many guards which many have written of, and which I will discuss somewhat, however I do not observe them, since everything can be accomplished with three guards. It is very true, that at times in play or combat you find yourself performing many things in many forms, but if you consider carefully you will find that it is all the same, comprising of the three guards I will describe. Even if they seem to be different things. When concluding, that is in wounding, you will find that the three forms I observe contain every blow you can perform. Furthermore those I describe, I hold to be the most expedient and least dangerous, from which you can wound in just one tempo the most, also without disordering your body. For this reason, there are no movements that are contrived or forced – which arise only for entertainment, but only very natural ones, which are not lost to the force of rage. Those who teach should be take careful note of this, since confrontations do not occur if not in anger. It is true that you should train your body in every way, since agility counts for much in this art, but recognising the tempo is much more important, as you have already seen, and as you will see, you cannot act rashly.
The first form is very useful and is observed in this manner: place yourself with your sword-arm extended in a straight line, with your dagger-arm long, covering your face with it, keeping it somewhat extended, with the point up. Stand sideways in line with your right side, keeping your weapons close together.
Standing in this form, if the enemy delivers a cut to your head, I do not want you to parry with your dagger, but to meet it with the forte of your sword, as you would with the sword alone, towards the face. If in this instant he wishes to parry with his dagger, beating your sword, disengage underneath and wound him to the face along the centre line; or else raise your hand, landing the point perpendicular over the dagger, freeing your sword as he moves to beat it.
Standing in this form, equally if he wishes to deliver a dritto cut to your head, you can parry with the forte of your sword and in the same tempo put your dagger to his sword, allowing the point of your sword to land under the enemy’s right flank, in that same tempo pushing the thrust forward by stepping your right foot forward. If the enemy disengages underneath, towards your left flank, be alert, beating his sword away with your dagger, from the wrist, wounding him to the face, then withdrawing into the same posture. If your enemy thrusts at you during the withdrawal, void your body a little, and catch your enemy’s sword between your sword and dagger, that is with your dagger above and your sword below, and attack him to the face.
If your enemy delivers a roverso to your head, meet it with your weapons accompanied together, taking care to parry with your sword’s forte quickly accompanied by your dagger. Since your enemy attacks with a great blow to your head, parry with your sword as he has the advantage, and if you parried with your dagger you would come off worse. Many incidents have shown that the dagger wielded poorly is the death of a man. It is extremely hard to parry a great cut with the dagger, because if it does not catch the sword with its forte, it can easily become dislodged from your hand, or you are struck on the hand. Therefore, those without great tempos with the help of voids of the body, should not move to parry the cut with their dagger, but with the forte of their sword.
If your enemy wants to catch your sword with his dagger, to attack your legs, note that you must execute the following action. With his body low he will cover himself under his dagger. Given that he wants to find your sword with his dagger, be quick to free it with a small void of the body back, while all in the same tempo wounding him under his dagger. If you free your sword quickly, you will find a very large tempo in which to enter, with his blow remaining half-finished. In other words, he cannot reach your legs, because he brings his head forward, such that he cannot land, while you maintain your sword unhindered. I have explained the reason why previously, when discussing the sword alone.
It is true that even in this clash you can wound him to the leg, but in this manner: you must pressure your enemy such that he cannot disengage underneath, if not to the outside where your dagger could not impede him. Having pressed him in this manner, you can attack with little danger. However, for a greater advantage, I want you to follow a different rule: that is having pressured your enemy, to enter strongly with a thrust. You will move with little risk of being wounded, and you will wound quickly. But as I said I do not observe these methods, as they are very dangerous.
Let us return to our subject matter, the centre line, in the first guard. Suppose someone is in a well-covered guard, in whatever form he wishes. Move to press him, and note carefully how he holds his sword: whether high or low. Then in tempo move to press him (as I said), and look to wound him where he is most uncovered. Be quick in attack, and quick in recovering back; so if by chance you enter and he follows up, the quick withdrawal will defend you, taking care as you attack to meet his debole with your forte. In executing this, you have time to defend and attack within the same tempo, as you see fit, which you will perform as follows. That is, if while the enemy attacks you find your step forward, having delivered your attack, the tempo will permit you to gather and defend simultaneously; if you are gathered, I want you to defend and enter in that same tempo.
If your enemy keeps his sword low, I want you to press him, with one foot gathering behind the other, and as you find yourself in distance to land, to enter covering his debole with your forte without touching his sword. If during this action he beats your sword from high to low, disengage with your wrist, and wound him to the face over his dagger. If he beats your sword with his dagger to the outside, return inside with your sword and wound him underneath. Note that you must have a quick eye, to see where your enemy brings his dagger, and that many will give you a large tempo in which to enter. They disorder themselves with the dagger, and make a thousand movements, which are harmful, whereas you can always enter on the centre line.
In this first form you do not have to use your dagger to beat your enemy’s sword, except in cases where you have delivered a blow and you sword remains out of presence, then your enemy attacks so quickly that you cannot reset your sword; whereupon I want you to beat with your dagger, gathering your step to recover your sword. But avoid reducing yourself to these conditions, which are dangerous. It suffices that I teach you this solution, so that in such cases not all is lost, and in some manner you can take decisions in combat.
Standing in this form, you can perform feints in the following manner: if you feint to the face, your enemy must bring up his dagger to parry. If he does not go for the feint, enter in that tempo. If he does go for the feint disengage to the other side. If while you perform the feint your enemy wishes to parry and enter, employ your dagger, beating his sword, and enter with a disengage, not letting your sword become impeded, understanding your advantages. This is as much as I want to say on this first form.
Here is the second form, in which you place yourself with your sword high, and your arm extended, keeping your sword’s point high, so that your enemy cannot discern where your sword will fall. Here beating with the dagger is beneficial, and I would keep it with the arm extended, a gauntlet being very useful in this instance. While you are in this form, always try to stay with your step as narrow as possible, meaning in the form you find most strong and comfortable, keeping your right shoulder forward as much as you can, positioning yourself somewhat to your left on the side of your dagger, that is over your left leg. Keep your dagger extended, covering your face. Positioned over your left side, you will deliver thrusts with less effort, and recover more quickly.
In this second form I encourage you to deliver a long thrust, extending your arm well, and keeping your body in profile. While you are in this form, watch how your enemy sets himself, because how he sets himself will determine how to conduct yourself from the rules I will describe. Firstly, if your enemy delivers a thrust, I want you to beat with your dagger, and in that same tempo enter where he is most uncovered, noting whether the thrust arrives low and perpendicular, or if it comes along the centre line. If the thrust arrives perpendicular, I want you to beat it to the outside with your dagger towards the right side, because it is quickest and easiest, and in that same tempo bring down your sword, likewise delivering a thrust, quickly returning back with your step.
If the enemy thrust along the centre line, you can defend in three ways. The first is from high to low, when he thrusts at the middle of your chest, entering in that same tempo, voiding your body as much as you can, passing, and always keeping your dagger over his sword to stop him raising his sword. If he does so, it will easily return to your dagger, or else he will be forced to disengage to one side or the other.
You can parry in the second way when his sword falls towards your left side, beating it to the outside to the left side; and if he delivers his thrust to your right side, beat his sword to the outside towards your right flank. Here beat with your wrist, always entering in that tempo, both beating and delivering the blow.
You can also beat in this third way. When your enemy delivers his thrust, bring your left side somewhat out of the presence of your enemy, gathering your right step, so that with any minimal help from the dagger you will parry his thrust and can wound him.
Now I wish to talk about pressing the enemy in this same guard. Take careful note of how the enemy positions himself, because it is very useful for recognising this tempo, which is as follows. If the enemy keeps his sword long, press it in this manner: move forward with a half-step, until you arrive with your dagger two palmi above your enemy’s sword. Be alert, if he attacks in this tempo, beat it, and enter. If he does not attack you can enter likewise by beating, or rather finding his sword with your dagger.
If your enemy keeps his sword short, move to press him in this manner. Advance enough so you know you can reach him without budging your foot, keeping your body in guard. When you are at the tempo where you can reach him, deliver a thrust freely, quickly returning into guard. You need not worry if you are well covered by the enemy’s dagger, just that his sword is withdrawn. Standing in this posture the enemy can easily deliver a free thrust, which you can defend returning the attack in that single tempo. Take care not to leave your body too far forward, such that you lack time to quickly withdraw. You must be aware of all of these matters, so as not to disorder yourself, so you are in control recovering quickly.
There is another tempo from this guard, which is certainly difficult, but resolute. It is by pressing your enemy so much that your sword is a palmo from his body, keeping your dagger-arm as extended as possible, voiding your body, keeping your sword (meaning your point) in the enemy’s presence. In that tempo you will beat, and enter with a thrust. As I say this is difficult, but resolute and good where you can secure yourself, wearing a mail shirt, and you must deal with those who set themselves in guard, waiting for the other to attack first. It takes great judgement to know the distance, and also to see if you enemy will attack in that tempo, while standing in this form. If your enemy attacks with a cut, either a dritto or roverso, you can parry with your dagger, entering in that same tempo. If he attacks the legs you can meet him to the face, since you will have a great advantage, as I described above. Here I will end on the second guard.
I will now discuss the third guard, or rather posture, and how you govern yourself with the sword and dagger, with all the advantages that it brings. The third guard is in this form: you should put your left foot forward, in a moderate pace, with your left arm extended, ensuring your hand is in line with the face, with the dagger-point high, keeping your right-arm somewhat bent, and your sword-hand away from your body somewhat. Your sword point should be level with your dagger-hand about one palmo apart. In this form you will be very well-covered, and you can conduct yourself depending on the tempo and motion of your enemy. For example if your enemy attacks you with a dritto to the head, I want you to simply beat it with your dagger. But meet it with your dagger’s forte, and in that tempo enter with a thrust, putting your right foot forward, as feels natural, then quickly bring it back behind. However keep your dagger-arm in place, so if your enemy then redoubles his blow you can defend it, which will be in the following manner.
If your enemy delivers a mandritto, parry and enter in that tempo. If in stepping you abandon your dagger-arm, and the enemy redoubles his attack with a roverso or dritto, he could easily hit you. But if you hold firm with your dagger you can parry the second blow, and return an attack in the same tempo. If he delivers a roverso cut to your head, I want you to parry with your dagger, performing a slight void of the body, and bringing your right foot back a little; also delivering your attack in that tempo, and quickly retreating into guard.
If he attacks your legs with a dritto or roverso, you can defend in one of two ways. One is, as he attacks you, to gather your left leg next to your right. When your enemy’s sword passes you can enter with a thrust, or cut, as you desire. In truth, in this defence of withdrawing the leg you must carefully watch the distance of the enemy’s sword. If the middle of it approaches when attacking your leg, you will not be able to withdraw it enough to avoid being hit; and I do not wish you to use it if it arrives rapidly.
The second method is this. If the enemy attacks your leg, you can parry with the dagger and enter in that same tempo, resolutely before the enemy can recover. Note however that this entry is only for one who is armoured, and would be very difficult and dangerous if you are not armoured, and I do not recommend you use it. But when armoured it is excellent, because it has the advantage of the step, delivering a longer and more powerful blow. In this form you can also press your enemy so much that you come to dominate his sword with your dagger. Observe, once you have begun to gain it, not to abandon it, but to follow it always forward, since possessing it is beneficial. Having executed this, your sword will always be free, to strike liberally where you please. However if you allow him to recover it, he will have a great advantage over you.
Here I find that I have satisfied my promise, and what I have judged necessary for this profession. Nor should anyone object, saying I have not written anything in particular for those who are left-handed or sinister as it is commonly called. Because having taught how to attack and parry, depending on the guards, the art can be adapted to the left-handed as much as the right. There is no difference between them except in relation. May everyone understand me well, and practice well, because I am sure of the benefits to those who praise my efforts, and perhaps one day I will give them something more. THE END.

Copyright and License Summary

Work	Author(s)	Source	License
Translation	Piermarco Terminiello	Private communication
Transcription		Index:Nuovo et brieve modo di schermire (Alfonso Falloppia)

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.

• Falloppia, Alfonso (2009). AlfonsoFalloppia. Ed. by Steven Reich. Self-published.