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{{infobox medieval text
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{{infobox writer
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<!----------Name---------->
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| name                 = [[name::Federico Ghisliero]]
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| name                 = “[[title::Die Blume des Kampfes]]”
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| image               = File:Ghisliero portrait.jpg
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| alternative title(s)  =
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| imagesize            = 250px
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<!----------Image---------->
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| caption              =  
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| image                 = File:Blume des Kampfes compilation.png
 
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| width                = 250px
 
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| caption               =
 
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<!----------Information---------->
 
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| full title            =
 
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| also known as        =
 
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| author(s)            = {{plainlist
 
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| [[author::Ludwig VI von Eyb]]
 
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| Unknown
 
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}}
 
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| ascribed to          =
 
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| compiled by          =
 
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| illustrated by        = Unknown
 
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| patron                =
 
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| dedicated to          =
 
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| audience              =
 
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| language             = [[language::Early New High German]]
 
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| date                  = before [[year::1420]]s
 
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| state of existence    = Original hypothetical; multiple <br/>incomplete copies exist
 
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<!----------Manuscript Information---------->
 
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| genre                = {{plainlist
 
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| [[Fencing manual]]
 
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| [[Wrestling manual]]
 
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}}
 
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| series                =
 
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| archetype(s)          =
 
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| manuscript(s)        = {{plainlist
 
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| [[Die Blume des Kampfes (Cod.5278)|Cod. 5278]] (1420s?)
 
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| [[Eyb Kriegsbuch (MS B.26)|MS B.26]] (1500)
 
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| [[Bũech von fechter Vnnd Ringstückhen zũ Ross vnnd Fuoß (Cod.10799)|Cod. 10799]] (1623)
 
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| [[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Cod. guelf. 78.2 aug.2º]] (?)<br/>&emsp;(1465-80)
 
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}}
 
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| principal manuscript(s)=
 
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| first printed edition =
 
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| wiktenauer compilation by=[[Michael Chidester]]
 
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| below                =
 
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}}
 
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'''''Die Blume des Kampfes''''' (“The Flower of Battle”) is a nickname given to a group of three German manuscripts which share a common technical syllabus and set of illustrations. It might possibly be based on the tradition of 14th century Italian master [[Fiore de'i Liberi]], from whose treatise ''Fior di Battaglia'' it derives its nickname, given that his works include considerable overlap in technique and artwork. It is equally possible, though, that they represent a separate transmission of an older tradition of which Fiore was himself an initiate; Fiore mentions in his prefaces that he owned books on the art and he also names two older masters in his tradition, [[Johane Suveno]] and [[Nicholai de Toblem]]; it is possible that either or both of those masters authored texts which inspired both this tradition as well as Fiore's own writings.
 
  
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Like ''Fior di Battaglia'', ''die Blume des Kampfes'' treats [[mounted fencing]], [[spear]], [[poleaxe]]/[[halberd]], sword (both [[long sword]] and [[short sword]]), [[dagger]] (including dagger against sword), and [[grappling]]; it also includes unique content such as armored sword and [[shield]] and dueling with [[long shield]]s. In comparison to their Italic counterparts, the Germanic works place a greater emphasis on [[short sword]] fencing, doubling the number of devices, and also dwarf Fiore's own rather brief treatment of unarmored grappling. The dagger, sword, and polearm material is all more or less consistent across both traditions, and the explanatory text, though unconnected to that of Fiore, demonstrates a similar understanding or interpretation of the techniques.
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| pseudonym            =
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| birthname            =
 +
| birthdate            =
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| birthplace          =
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| deathdate            = 1619
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| deathplace          = Turino
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| occupation          = [[occupation::Soldier]]  
 +
| nationality          =
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| ethnicity            =
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| citizenship          = Bologna
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| education            =
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| alma_mater          =
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| patron              =
  
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== Manuscripts ==
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| spouse              =  
 +
| children            =  
 +
| relatives            =  
 +
| period              =
 +
| movement            =
 +
| influences          = {{plainlist
 +
| [[Camillo Agrippa]]
 +
| [[Giovanni dall'Agocchie]] (?)
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| [[Jerónimo Sánchez de Carranza]] (?)
 +
}}
 +
| influenced          =
  
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The oldest manuscript in the ''Blume des Kampfes'' group is the [[Die Blume des Kampfes (Cod.5278)|Cod. 5278]], which dates to the 1420s and contains only simple line drawings somewhat reminiscent of the art of Fiore de'i Liberi, though differing in many details, lacking signature characteristics such as garters and crowns, and generally less organized than the Friulian master's work.
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| genre                = [[Fencing manual]]
 +
| language            = [[language::Italian]]
 +
| notableworks        = ''[[Regole di molti cavagliereschi essercitii (Federico Ghisliero)|Regole di molti cavagliereschi essercitii]]'' (1587)
 +
| archetype            =
 +
| manuscript(s)        = M.A.M. Ghisliero MS (1585)
 +
| principal manuscript(s)=
 +
| first printed edition=
 +
| wiktenauer compilation by=
  
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The second entry, included in the [[Eyb Kriegsbuch (MS B.26)|MS B.26]], was completed in ca. 1500 by [[Ludwig VI von Eyb]]; it contains a significant degree of overlap with the 5278, though both manuscripts also have a wealth of unique content. While the artwork, apart from being colored, is of similar quality, Eyb's treatise surpasses its fellow by including detailed German descriptions of the devices in most of its sections. (It cannot currently be determined whether this text was authored by Eyb or present in the sources upon which he based his work, but the rest of the material in the B.26 appears to have been unaltered from its sources.)
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| signature            =
−
 
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| translations        =
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The final manuscript, [[Bũech von fechter Vnnd Ringstückhen zũ Ross vnnd Fuoß (Cod.10799)|Cod. 10799]], is dated 1623 and is again text-less. Unlike the previous two manuscripts, however, it is illustrated with watercolors of high quality; it is also the most extensive of the three by far, encompassing nearly every device from both works as well as a number of unique devices that suggest that it was either not derived directly from the other two known manuscripts, or that it used additional sources currently unknown to us. Additionally, where the other two include [[war book]]s derived from [[Konrad Kyeser]]'s famous treatise on siege warfare ''Bellifortis'', the artist of the 10799 only included the few ''Bellifortis'' illustrations that seem to portray knights and soldiers, perhaps indicating that he did not understand what he was copying. Aside from the ''Blume des Kampfes'' material, the 10799 also has a good deal of extra content including portrayals of laying down and taking up the sword, Germanic sash wrestling, armored dagger and buckler, and the [[sword dance]].
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| below                =
 +
}}
 +
'''Federico Ghisliero''' (Ghislieri; d. 1619) was a Bolognese soldier and fencer. Little is know about his early life, but he came from a Bolognese family and studied fencing under [[Silvio Piccolomini]]. He lead a long military career that included serving under the famous commander Alessandro, Duke of Parma, in Flanders in 1582. He was also a friend of Galileo Galilei and a prolific writer, though unfortunately most of his writings were destroyed in a fire at the University of Turin in 1904.
  
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There is a fourth Germanic manuscript potentially connected to this tradition, the [[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Cod.Guelf.78.2 Aug.2º]]. This manuscript, dating to between 1465 and 1480, includes a version of [[Johannes Liechtenauer]]'s [[Recital]], a complete set of illustrations from [[Gladiatoria]], and a brief excerpt of ''Bellifortis''. Tucked away amidst these works are illustrations of fencing with sword, spear, ax, and dagger that parallel the teachings of the ''Blume des Kampfes'' but only occasionally replicate the artwork exactly. While this may simply be a case of an overambitious artist reinterpreting the illustrations he was copying, the differences are too many to include the manuscript in the concordance below.<!--
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In 1587, he published a fencing treatise called ''[[Regole di molti cavagliereschi essercitii (Federico Ghisliero)|Regole di molti cavagliereschi essercitii]]'' ("Rules for Many Knightly Exercises"); two versions of the book exist, and it's unclear which was created first. One is dedicated to Antonio Pio Bonello, a well-known soldier and distant relative of Ghisliero, and the other to Ranuccio Farnese, who was 18 years old at the time and Alessandro's heir.
  
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== Treatise ==
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Ghisliero's treatise is notable for his use of geometry in relation to fencing, using concentric circles centered on where the fencer has placed most of their weight (often, but not always, the back foot), and sometimes including multiple versions of each figure in an illustration to show the progression of the movements he describes. He also seems to be the first author to reference the ''Vitruvian Man'' in a fencing treatise. However, his treatise is unique in that it was printed without any illustrations at all, and they had to be drawn in by hand. It's unclear whether this indicates that he intended to have printing plates made but was unable to do so, or that his plan from the start was to have the books vary based on how much art each buyer was willing to pay for.
  
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Due to the fragmentary nature of the extant texts, piecing together an authoritative version of the treatise is problematic. In this concordance, the structure laid out by the Cod. 5278 will generally be followed, as it is the oldest known text. The additional plays from MS B.26 will be arranged around this structure; the sequence in B.26 will only take precedence over that of 5278 in cases where the text dictates a sequence of plays (following the principle that text always takes precedence over illustrations). Unique plays from the Cod. 10799 will appear last in each section, since their relationship to the others is unclear. -->
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Ghisliero died in Turino in 1619.
  
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([[Die Blume des Kampfes|Read more]]…)
+
([[Federico Ghisliero|Read more]]…)
  
 
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Latest revision as of 00:51, 29 March 2024

Federico Ghisliero
Died 1619
Turino
Occupation Soldier
Citizenship Bologna
Influences
Genres Fencing manual
Language Italian
Notable work(s) Regole di molti cavagliereschi essercitii (1587)
Manuscript(s) M.A.M. Ghisliero MS (1585)

Federico Ghisliero (Ghislieri; d. 1619) was a Bolognese soldier and fencer. Little is know about his early life, but he came from a Bolognese family and studied fencing under Silvio Piccolomini. He lead a long military career that included serving under the famous commander Alessandro, Duke of Parma, in Flanders in 1582. He was also a friend of Galileo Galilei and a prolific writer, though unfortunately most of his writings were destroyed in a fire at the University of Turin in 1904.

In 1587, he published a fencing treatise called Regole di molti cavagliereschi essercitii ("Rules for Many Knightly Exercises"); two versions of the book exist, and it's unclear which was created first. One is dedicated to Antonio Pio Bonello, a well-known soldier and distant relative of Ghisliero, and the other to Ranuccio Farnese, who was 18 years old at the time and Alessandro's heir.

Ghisliero's treatise is notable for his use of geometry in relation to fencing, using concentric circles centered on where the fencer has placed most of their weight (often, but not always, the back foot), and sometimes including multiple versions of each figure in an illustration to show the progression of the movements he describes. He also seems to be the first author to reference the Vitruvian Man in a fencing treatise. However, his treatise is unique in that it was printed without any illustrations at all, and they had to be drawn in by hand. It's unclear whether this indicates that he intended to have printing plates made but was unable to do so, or that his plan from the start was to have the books vary based on how much art each buyer was willing to pay for.

Ghisliero died in Turino in 1619.

(Read more…)

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