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Difference between revisions of "Salvator Fabris"
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− | '''Salvator Fabris''' (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – [[century::17th century]] [[nationality::Italian]] knight and [[fencing master]]. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.{{cn}} The French master [[Henry de Sainct Didier]] recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s | + | '''Salvator Fabris''' (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – [[century::17th century]] [[nationality::Italian]] knight and [[fencing master]]. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.{{cn}} The French master [[Henry de Sainct Didier]] recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s<ref>[[Henry de Sainct Didier|Didier, Henry de Sainct]]. ''[[Les secrets du premier livre sur l'espée seule (Henry de Sainct Didier)|Les secrets du premier livre sur l'espée seule]]''. Paris, 1573. pp 5-8.</ref>, although that piece of evidence is [https://blog.subcaelo.net/ensis/sainct-didier-fabris/ particularly slim]. In the 1580s, Fabris corresponded with Christian Barnekow, a Danish nobleman with ties to the royal court as well as an alumnus of the university.<ref name="Leoni">[[Salvator Fabris|Fabris, Salvator]] and Leoni, Tom. ''Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606''. Highland Village, TX: [[Chivalry Bookshelf]], 2005. pp XVIII-XIX.</ref> It seems likely that Fabris traveled a great deal during the 1570s and 80s, spending time in France, Germany, Spain, and possibly other regions before returning to teach at his alma mater.{{cn}} |
It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as ''Supremus Eques'' ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.<ref>[[Salvator Fabris|Fabris, Salvator]] and Leoni, Tom. ''Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606''. Highland Village, TX: [[Chivalry Bookshelf]], 2005. p XXIX.</ref> It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership. | It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as ''Supremus Eques'' ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.<ref>[[Salvator Fabris|Fabris, Salvator]] and Leoni, Tom. ''Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606''. Highland Village, TX: [[Chivalry Bookshelf]], 2005. p XXIX.</ref> It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership. | ||
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What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled ''Scientia e Prattica dell'Arme'' ([[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868 4040]]).<ref name="Leoni"/> | What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled ''Scientia e Prattica dell'Arme'' ([[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868 4040]]).<ref name="Leoni"/> | ||
− | In 1601, Fabris was hired as chief [[rapier]] instructor to the court of Christianus Ⅳ, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title '' | + | In 1601, Fabris was hired as chief [[rapier]] instructor to the court of Christianus Ⅳ, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title ''De lo Schermo, overo Scienza d’Arme'' ("On Defense, or the Science of Arms") or ''Sienza e Pratica d’Arme'' ("Science and Practice of Arms"). Christianus funded this first edition and placed his court artist, [[Jan van Halbeeck]], at Fabris' disposal to illustrate it; it was ultimately published in Copenhagen on 25 September 1606.<ref name="Leoni"/> |
Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo. | Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo. | ||
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ||
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ||
− | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica | + | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> |
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| [[File:Scienza d’Arme (Fabris) Title 1.png|400px|center]] | | [[File:Scienza d’Arme (Fabris) Title 1.png|400px|center]] | ||
| <p>[1] '''Fencing''', or '''the Science of Arms''' by Salvator Fabris.</p> | | <p>[1] '''Fencing''', or '''the Science of Arms''' by Salvator Fabris.</p> | ||
− | | | + | | {{paget|Page:GI.kgl.Saml.1868.4040|1r|jpg}} |
− | | {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf| | + | | {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|3|lbl=I}} |
− | | {{pagetb|Page:Sienza e pratica | + | | {{pagetb|Page:Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf|6|lbl=I}} |
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| <p>[2] </p> | | <p>[2] </p> | ||
| | | | ||
− | | {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf| | + | | |
+ | {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|1|lbl=*|p=1}}<ref>This second title page is an interesting anomaly. It was not printed as part of the main book the way the other title page was, and is instead printed on a single sheet that was glued into the binding. Of 24 copies surveyed by Michael Chidester, 14 had only the first title page, 3 had only the second title page, 16 had both title pages, and 1 had neither (instead, a second copy of page 151 was glued into the beginning of the book to serve as a title page). It's unclear what these anomalies indicate about the process of printing the book.</ref> | ||
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| [[File:Scienza d’Arme (Fabris) Heraldry.jpg|400px|center]] | | [[File:Scienza d’Arme (Fabris) Heraldry.jpg|400px|center]] | ||
− | | <p>[4] To His Serene Majesty, the most Powerful Christian IV., King of Denmark, Norway, Gothland and Vandalia, Duke of Schleswig Holstein, Stormarn and Ditmarsch, Count of Oldenburg and Delmenhorst, &c. | + | | <p>[4] To His Serene Majesty, the most Powerful Christian IV., King of Denmark, Norway, Gothland and Vandalia, Duke of Schleswig Holstein, Stormarn and Ditmarsch, Count of Oldenburg and Delmenhorst, &c.</p> |
− | <p>I am confident that all who read this work of mine will recognise that the many benefits received from your Serene Highness are the cause, which has urged and impelled me to publish to the world these my labours. I have wished also to help professors of the science of arms by showing them those instructions and rules, which after long use and continual practice and from observing the errors of others I have found to be good. I hope then that a work based on such principles will find merit, especially as it is under the protection of your Serene Highness - a work as worthy by reason of the excellence of its subject as it is glorious through the approval of your high judgment. To you, therefore, my benefactor, my king and a prince of incomparable valour as much in civil government as in the practice of arms, a true hero of our times, I have dared to dedicate my work; for since its inception is due to you, I am bringing it forth to the sight of men under the same protection. I know moreover how useful to the world and necessary to good men this art is, bringing honour to anyone who practises it aright either in the defence of his prince, his country, the laws, his life or his honour. Will your Serene Majesty therefore deign to receive into your favour not only the work, but the devotion with which, your humble and obedient servant, dedicate it. Meantime I will pray the Divine grace that long life may be granted you for the well-being of your blessed subjects and the good of the world, and that by grace you may obtain salvation in the world to come. | + | <p>I am confident that all who read this work of mine will recognise that the many benefits received from your Serene Highness are the cause, which has urged and impelled me to publish to the world these my labours. I have wished also to help professors of the science of arms by showing them those instructions and rules, which after long use and continual practice and from observing the errors of others I have found to be good. I hope then that a work based on such principles will find merit, especially as it is under the protection of your Serene Highness - a work as worthy by reason of the excellence of its subject as it is glorious through the approval of your high judgment. To you, therefore, my benefactor, my king and a prince of incomparable valour as much in civil government as in the practice of arms, a true hero of our times, I have dared to dedicate my work; for since its inception is due to you, I am bringing it forth to the sight of men under the same protection. I know moreover how useful to the world and necessary to good men this art is, bringing honour to anyone who practises it aright either in the defence of his prince, his country, the laws, his life or his honour. Will your Serene Majesty therefore deign to receive into your favour not only the work, but the devotion with which, your humble and obedient servant, dedicate it. Meantime I will pray the Divine grace that long life may be granted you for the well-being of your blessed subjects and the good of the world, and that by grace you may obtain salvation in the world to come.</p> |
<p>Your Serene Majesty's</p> | <p>Your Serene Majesty's</p> | ||
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ||
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ||
− | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica | + | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Alex Kiermayer]]</p> |
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− | | <p>[4] '''Method of forming the counter-positions,''' showing '''The position of the arms and the body, and when they are to be formed.'''</p> | + | | <p>[4] '''Method of forming the counter-positions,''' showing '''The position of the arms and the body, and when they are to be formed.'''<br/><br/></p> |
<p>If you wish to form a sound counter-position, the position of the body and arms must be such that without touching the adversary's sword you are defended in the straight line from the point of his sword to your body, so that without making any movement of the body or the sword you are sure that your adversary cannot hit you in that line, but that if he wishes to attack he must move his sword elsewhere, with the result that his ''time'' is so long, that there is every opportunity to parry. But in forming this position care must be taken that your sword is held in such a way as to be stronger than your adversary's, so that it may offer resistance in defence. This rule can be observed against all positions and changes of your adversary, whether accompanied by the dagger or any other defensive weapon, or when you use the sword alone. He who can most subtly maintain this guard will have a great advantage over his adversary.</p> | <p>If you wish to form a sound counter-position, the position of the body and arms must be such that without touching the adversary's sword you are defended in the straight line from the point of his sword to your body, so that without making any movement of the body or the sword you are sure that your adversary cannot hit you in that line, but that if he wishes to attack he must move his sword elsewhere, with the result that his ''time'' is so long, that there is every opportunity to parry. But in forming this position care must be taken that your sword is held in such a way as to be stronger than your adversary's, so that it may offer resistance in defence. This rule can be observed against all positions and changes of your adversary, whether accompanied by the dagger or any other defensive weapon, or when you use the sword alone. He who can most subtly maintain this guard will have a great advantage over his adversary.</p> | ||
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− | | <p>[5] '''Explanation of the two distances, wide and close, and how to acquire the one or the other with least danger.'''</p> | + | | <p>[5] '''Explanation of the two distances, wide and close, and how to acquire the one or the other with least danger.'''<br/><br/></p> |
<p>You are within wide distance when by advancing the rear foot to the front you can make a hit. After forming the counter-position a little out of distance, you must begin to advance the foot in order to get within the required distance. But you must be on your guard, lest your adversary, being steady, at the moment when you move your foot to advance it, should advance his too and hit at the same time. Therefore, you must move it very carefully, remembering that your adversary may effect something during the movement. After forming the counter-position you must endeavour to throw him into disorder, or at least make some feint in order to have an opportunity to hit. Thus prepared for what may happen you are more guarded and can better resist attack. When you are within wide distance and your adversary makes some movement of his foot, provided he does not break ground, you can hit him in the nearest exposed part, even if he has not moved his weapons. This could not be done if he moved his weapons and stood firm on his feet, the reason being that a movement of the foot is slower than that of the weapons, and therefore he could parry before your sword arrived, while he remained steady; if there were no other way he could protect himself by breaking ground, so that your sword could not reach. Being thrown into disorder you would then be in danger of being hit before you had recovered. Therefore whenever he gives an opportunity without moving his feet, it would be better to approach within close distance in that time. In that distance you can reach with the sword by merely bending the body, without moving the feet, and the adversary is forced to retire to get out of such danger. If he does not move you could hit him even though he retained the advantage of the counter-position. If your adversary does not move, you can sometimes make a hit by judging the distance from the point of your sword to your adversary's body and the distance from the ''forte'' of his sword. If you consider both how much you must advance the point and how far you must move it from the adversary's ''forte'', and understand that the time required for him to parry is the same as for you to hit, the sword will arrive before he has parried by the advantage of having moved first. If you see that his body is little exposed, as may happen, since one guard covers more than another, you can then attempt to hit in the exposed part, and as he moves to the defence change your line and hit in the second exposed part.</p> | <p>You are within wide distance when by advancing the rear foot to the front you can make a hit. After forming the counter-position a little out of distance, you must begin to advance the foot in order to get within the required distance. But you must be on your guard, lest your adversary, being steady, at the moment when you move your foot to advance it, should advance his too and hit at the same time. Therefore, you must move it very carefully, remembering that your adversary may effect something during the movement. After forming the counter-position you must endeavour to throw him into disorder, or at least make some feint in order to have an opportunity to hit. Thus prepared for what may happen you are more guarded and can better resist attack. When you are within wide distance and your adversary makes some movement of his foot, provided he does not break ground, you can hit him in the nearest exposed part, even if he has not moved his weapons. This could not be done if he moved his weapons and stood firm on his feet, the reason being that a movement of the foot is slower than that of the weapons, and therefore he could parry before your sword arrived, while he remained steady; if there were no other way he could protect himself by breaking ground, so that your sword could not reach. Being thrown into disorder you would then be in danger of being hit before you had recovered. Therefore whenever he gives an opportunity without moving his feet, it would be better to approach within close distance in that time. In that distance you can reach with the sword by merely bending the body, without moving the feet, and the adversary is forced to retire to get out of such danger. If he does not move you could hit him even though he retained the advantage of the counter-position. If your adversary does not move, you can sometimes make a hit by judging the distance from the point of your sword to your adversary's body and the distance from the ''forte'' of his sword. If you consider both how much you must advance the point and how far you must move it from the adversary's ''forte'', and understand that the time required for him to parry is the same as for you to hit, the sword will arrive before he has parried by the advantage of having moved first. If you see that his body is little exposed, as may happen, since one guard covers more than another, you can then attempt to hit in the exposed part, and as he moves to the defence change your line and hit in the second exposed part.</p> | ||
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| <p>[9] '''Engaging the sword'''. How it is done and when completed.</p> | | <p>[9] '''Engaging the sword'''. How it is done and when completed.</p> | ||
− | <p>To engage the sword is to gain an advantage over it; it is a kind of counter-position with some difference, because often you have engaged, the adversary's sword without completely closing the line from his | + | <p>To engage the sword is to gain an advantage over it; it is a kind of counter-position with some difference, because often you have engaged, the adversary's sword without completely closing the line from his point to your body. But it has this advantage, that your adversary cannot hit without passing your ''forte'', which is so near his point, that you can find the point while he is moving to make the lunge. The counter-position is not considered well formed except when the line from his point to your body is fully defended. But the same advantage may be obtained by relative strength, so that you are considered to have engaged, when you are sure that your sword is stronger than the adversary's and cannot be pushed aside, but can push his aside. When on guard and wishing to engage the adversary's sword, you must carry your point towards his, with the fourth part of the blade against his fourth, but rather more of your fourth part than of his, for that little more, though little, will be enough to give you the advantage, when you have engaged his sword at the weaker part. You must bear in mind that the sword is always stronger in the line in which the point is directed, and in order to advance in that line ---------- you must know how to carry your body and sword in such a way that their strength is in the same direc-<ref name="hyphen">There's no conclusion of this word on the next page, just a new sentence.</ref> This depends to a great extent on the wrist, as will be seen in the plate illustrating the guard on the inside, which is the most difficult. You must also take care, in trying to engage the fourth part, to keep your point at such a distance from the adversary's sword, that he will not have time to push forward the third or even the second part, with the result that while meaning to engage his ''faible'' you would have engaged his ''forte''. This might happen owing to the distance between the two swords, for the amount you can push your sword forward before engaging is the same as the distance. You must move at the same time as he moves, otherwise you might be hit. Moreover, although the space between the two points were small, while you were advancing to engage, the adversary might perceive this and make an angle, which would strengthen him and bring him away from your advance. If you should push on in order to hit when within distance, his ''forte'' would have penetrated so far, that if you had moved in order to engage his sword, you would be unable to defend yourself, and would be hit. Further, if while you are trying to engage, he moved his body away from your point, he could pass right on to your body, before your sword had returned into line. To prevent your adversary's doing this you must first consider the distance between your bodies, and then move forward to engage his sword, carrying your sword without constraint so as to be free to abandon your first plan, when your adversary seizes the opportunity, and drives the point on to his body, bringing the ''forte'' where you intended to put the point. In this way you will hit the adversary at the moment when he is pushing forward. You must remember that this rule applies to the guard on the inside, for, if on the outside, you must abandon your first movement and drop the point under the adversary's sword to the right side, carrying the ''forte'' where you meant to put the point. On this line too the present method is very successful if you similarly do not touch the sword in seeking to engage. The nearer the adversary is, the better and safer the method is. The advantage is in having brought your ''forte'' against his ''faible''.</p> |
<p>It often happens that the adversary, finding his sword is not molested is not aware that you have already gained the advantage, whereas if you touch his sword he more easily realises the fact, and can disengage or retreat or change his guard, in order to free himself, so that you lose your first advantage. Moreover if you touch the sword, you impede and disconcert yourself, so that if a ''time'' comes to hit, you cannot take it because of the resistance of your adversary's sword. Even when there is no resistance and the adversary disengages, you cannot prevent your point dropping a little, so that the ''time'' is lost. But if you keep your sword suspended, it is the more ready for every opportunity, there is more use made of ''time'', and there is no necessity to force his sword, which often leads to scuffling. If you do not touch swords, that cannot happen. When then you advance to engage your adversary's sword and he moves to meet you at the same time, the one who first yields with the sword and drives on to the body, can hit before the other touches swords, or in the same instant. If you do not wish to try a hit, you can lower your point towards the ground to prevent the adversary's engaging, and if he follows it you can thrust while his sword is falling. There are many other ways of preventing your adversary from engaging your sword, except when the point hits, especially if you have won the advantage of the ''forte'' against the ''faible'' and the swords are in position. In endeavouring to acquire the advantage over the adversary's sword you must take care not to advance the point so far in your desire to be the stronger, that he can pass in one line or another, before you can direct your point. If you observe these rules you will without doubt gain the control of your adversary's sword, which is the first part of victory. Though your adversary takes advantage of the ''time'' he will still be hit. To prevent your getting this advantage he will have to retreat, changing the position of his body and sword and to adopt new devices, which are countless. The one who is more subtle in his movements will maintain his sword the freer.</p> | <p>It often happens that the adversary, finding his sword is not molested is not aware that you have already gained the advantage, whereas if you touch his sword he more easily realises the fact, and can disengage or retreat or change his guard, in order to free himself, so that you lose your first advantage. Moreover if you touch the sword, you impede and disconcert yourself, so that if a ''time'' comes to hit, you cannot take it because of the resistance of your adversary's sword. Even when there is no resistance and the adversary disengages, you cannot prevent your point dropping a little, so that the ''time'' is lost. But if you keep your sword suspended, it is the more ready for every opportunity, there is more use made of ''time'', and there is no necessity to force his sword, which often leads to scuffling. If you do not touch swords, that cannot happen. When then you advance to engage your adversary's sword and he moves to meet you at the same time, the one who first yields with the sword and drives on to the body, can hit before the other touches swords, or in the same instant. If you do not wish to try a hit, you can lower your point towards the ground to prevent the adversary's engaging, and if he follows it you can thrust while his sword is falling. There are many other ways of preventing your adversary from engaging your sword, except when the point hits, especially if you have won the advantage of the ''forte'' against the ''faible'' and the swords are in position. In endeavouring to acquire the advantage over the adversary's sword you must take care not to advance the point so far in your desire to be the stronger, that he can pass in one line or another, before you can direct your point. If you observe these rules you will without doubt gain the control of your adversary's sword, which is the first part of victory. Though your adversary takes advantage of the ''time'' he will still be hit. To prevent your getting this advantage he will have to retreat, changing the position of his body and sword and to adopt new devices, which are countless. The one who is more subtle in his movements will maintain his sword the freer.</p> | ||
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| <p>[13] '''On lunging and passing'''.</p> | | <p>[13] '''On lunging and passing'''.</p> | ||
− | <p>To lunge is to hit by carrying the right foot forward towards the adversary and withdrawing it immediately after hitting, or to hit by a movement of the body, keeping the foot firm. To pass is to carry both the feet on right to the adversary's body. It is necessary to understand the lunge, as it is in the most common use, and therefore must be the first thing to practise, in order that you may learn how to advance the point accurately and to the full extent. The hand is fallible and may hit in a spot different from the one intended, according to the amount of the distance. This depends on the changed position of the wrist as it is extended more or less, causing the sword to fall short or go too far, in accordance with the angle of its direction | + | <p>To lunge is to hit by carrying the right foot forward towards the adversary and withdrawing it immediately after hitting, or to hit by a movement of the body, keeping the foot firm. To pass is to carry both the feet on right to the adversary's body. It is necessary to understand the lunge, as it is in the most common use, and therefore must be the first thing to practise, in order that you may learn how to advance the point accurately and to the full extent. The hand is fallible and may hit in a spot different from the one intended, according to the amount of the distance. This depends on the changed position of the wrist as it is extended more or less, causing the sword to fall short or go too far, in accordance with the angle of its direction. In order to learn how to drive the sword sufficiently far you must accompany it by bending the body forward and recovering it quickly after hitting, in order to save yourself from danger. Practice is required to learn how to carry yourself, and when you can do this well you will find it very profitable, for it will make the body agile, the feet quick, and give you judgment of distances. You will then certainly make a lunge longer than before practice.</p> |
<p>To make this kind of hit well you must stand with your feet not too far apart, so that you can advance further in hitting, or according to circumstances withdraw by bringing back the foot, leaning the weight of the body on the foot which is to remain steady, so that the other may be more agile and easy to lift, for these reasons it is not good to be on guard with the left foot forward, because you cannot make a long lunge without passing; whilst if you tried to pass with the rear foot and to return you would find the movement too long; besides you would go too far to be able to return in time. For these reasons and many others which we omit it is not good to be on guard with the left foot forward, unless you are waiting for your adversary to try a hit, so that you may at that moment withdraw your left foot, parry, and hit him at the same instant. This method may succeed, because the body changes its front and withdraws, the right side remaining in front for the attack. But if your adversary does not come on, you should not attack him, since it is better to have the right side in front; you can hit in shorter time and save yourself more promptly, as the foot and the body make smaller movements. After hitting it is good to carry the right foot behind the left and to continue with the left behind the right in order to rest on the right foot, for in this way you will withdraw so far that your adversary cannot hit, unless he has hit in ''counter-time''. This guard of the left foot will be more useful with the sword and dagger than with the sword alone. But it is better to stand with the right foot forward, and immediately after hitting draw it back close to the left, for in this case if your adversary follows you can advance it again, and also you can step backwards with the left, as you see an opportunity, hitting at the same time as the adversary follows.</p> | <p>To make this kind of hit well you must stand with your feet not too far apart, so that you can advance further in hitting, or according to circumstances withdraw by bringing back the foot, leaning the weight of the body on the foot which is to remain steady, so that the other may be more agile and easy to lift, for these reasons it is not good to be on guard with the left foot forward, because you cannot make a long lunge without passing; whilst if you tried to pass with the rear foot and to return you would find the movement too long; besides you would go too far to be able to return in time. For these reasons and many others which we omit it is not good to be on guard with the left foot forward, unless you are waiting for your adversary to try a hit, so that you may at that moment withdraw your left foot, parry, and hit him at the same instant. This method may succeed, because the body changes its front and withdraws, the right side remaining in front for the attack. But if your adversary does not come on, you should not attack him, since it is better to have the right side in front; you can hit in shorter time and save yourself more promptly, as the foot and the body make smaller movements. After hitting it is good to carry the right foot behind the left and to continue with the left behind the right in order to rest on the right foot, for in this way you will withdraw so far that your adversary cannot hit, unless he has hit in ''counter-time''. This guard of the left foot will be more useful with the sword and dagger than with the sword alone. But it is better to stand with the right foot forward, and immediately after hitting draw it back close to the left, for in this case if your adversary follows you can advance it again, and also you can step backwards with the left, as you see an opportunity, hitting at the same time as the adversary follows.</p> | ||
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| <p>[17] '''General discourse on the guards.'''</p> | | <p>[17] '''General discourse on the guards.'''</p> | ||
+ | |||
+ | <p><br/></p> | ||
<p>We have now reached the point when we must treat of the formation of the principal guards, and movements and the results obtained in arms. We must first warn the reader not to wonder if he sees two figures illustrating one result. This is done to represent the right and the left side of the body. On the other hand we have thought it unimportant and idle to treat of many other guards of which some authors have written; for instance a guard with the dagger extended and the sword thrown behind, now on one foot and now on the other, now high, now low, which seems to us to defend the rear rather than the front. Others with the sword alone have kept it so far back and low, that the point was near the point of their feet, and also they held the sword across the legs and with the point almost on the ground, and all this that the sword might not be engaged. Sometimes on guard they take the blade in the left hand to give it strength, in order to beat the adversary's sword and hit. All these things we have omitted as inappropriate and, more often harmful than useful, and in any case tedious to the reader. Perhaps it had been better to have passed them in silence, but some might have thought we had not seen or considered such things; - therefore we have made some mention of them, as of the practice of throwing the sword at the adversary, when fighting with the sword alone; some think this an essential movement, but we deem it of little value; it may succeed against those who leave the sword free or hold their own too stiff, but against those who engage their adversary's sword and can disengage, it effects nothing, rather he who adopts this method will always be beaten. Therefore we shall not treat of it further in the present work, but shall try to give such discourses, as when well considered can bring you such counsel and judgment, that, when you see your adversary approaching sword in hand in whatever manner, you will recognise the principles he is following as well as he himself. These results are illustrated by plates, from which you may expect great benefit. To these are added the discourses not only as an explanation of the results, but also in order that you may discover the intention of one who uses them and so anticipate your adversary's thoughts and prepare yourself before the result follows.</p> | <p>We have now reached the point when we must treat of the formation of the principal guards, and movements and the results obtained in arms. We must first warn the reader not to wonder if he sees two figures illustrating one result. This is done to represent the right and the left side of the body. On the other hand we have thought it unimportant and idle to treat of many other guards of which some authors have written; for instance a guard with the dagger extended and the sword thrown behind, now on one foot and now on the other, now high, now low, which seems to us to defend the rear rather than the front. Others with the sword alone have kept it so far back and low, that the point was near the point of their feet, and also they held the sword across the legs and with the point almost on the ground, and all this that the sword might not be engaged. Sometimes on guard they take the blade in the left hand to give it strength, in order to beat the adversary's sword and hit. All these things we have omitted as inappropriate and, more often harmful than useful, and in any case tedious to the reader. Perhaps it had been better to have passed them in silence, but some might have thought we had not seen or considered such things; - therefore we have made some mention of them, as of the practice of throwing the sword at the adversary, when fighting with the sword alone; some think this an essential movement, but we deem it of little value; it may succeed against those who leave the sword free or hold their own too stiff, but against those who engage their adversary's sword and can disengage, it effects nothing, rather he who adopts this method will always be beaten. Therefore we shall not treat of it further in the present work, but shall try to give such discourses, as when well considered can bring you such counsel and judgment, that, when you see your adversary approaching sword in hand in whatever manner, you will recognise the principles he is following as well as he himself. These results are illustrated by plates, from which you may expect great benefit. To these are added the discourses not only as an explanation of the results, but also in order that you may discover the intention of one who uses them and so anticipate your adversary's thoughts and prepare yourself before the result follows.</p> | ||
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<p>This plate shows the nature of all the cuts, which a hand can make. The names are placed against them so that you may see where each of them naturally hits, although they may hit higher or lower according to whether they are made with the hand or the arm. At least their path is seen, and from a knowledge of that follows a knowledge of the second point, what sort of defence can he made in order to parry them and hit at the same time. Therefore the names on the plate are placed not in the part from which the cuts are delivered, but where they hit; for the cut of ''mandiritto'' is delivered from the right and hits the adversary's left shoulder, and the cut of ''riverso'' is delivered from the left and hits somewhere on the right side, as may be seen. Whoever examines and ponders on these cuts, will easily discover the principles of proceeding against each one of them, bearing in mind that even if all the cuts are made by the same arm they may not have the same strength, and therefore against the stronger it is necessary to find a stronger defence in order to resist and hit. Although it might appear that we should here treat of the differences in the cuts, still we think we have treated of them sufficiently in speaking of the defence and the attack, and of thrusting and cutting. It is our intention to base our instruction, not on these, but on more subtle and profitable principles.</p> | <p>This plate shows the nature of all the cuts, which a hand can make. The names are placed against them so that you may see where each of them naturally hits, although they may hit higher or lower according to whether they are made with the hand or the arm. At least their path is seen, and from a knowledge of that follows a knowledge of the second point, what sort of defence can he made in order to parry them and hit at the same time. Therefore the names on the plate are placed not in the part from which the cuts are delivered, but where they hit; for the cut of ''mandiritto'' is delivered from the right and hits the adversary's left shoulder, and the cut of ''riverso'' is delivered from the left and hits somewhere on the right side, as may be seen. Whoever examines and ponders on these cuts, will easily discover the principles of proceeding against each one of them, bearing in mind that even if all the cuts are made by the same arm they may not have the same strength, and therefore against the stronger it is necessary to find a stronger defence in order to resist and hit. Although it might appear that we should here treat of the differences in the cuts, still we think we have treated of them sufficiently in speaking of the defence and the attack, and of thrusting and cutting. It is our intention to base our instruction, not on these, but on more subtle and profitable principles.</p> | ||
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| [[file:GKS 1868 1 detail 13.jpg|400px|center]] | | [[file:GKS 1868 1 detail 13.jpg|400px|center]] | ||
| [[file:Scienza d’Arme (Fabris) 006.jpg|400px|center]] | | [[file:Scienza d’Arme (Fabris) 006.jpg|400px|center]] | ||
− | | <p>[24] | + | | <p>[24] <br/><br/></p> |
− | <p>In this plate the sword is shown foreshortened, and the left side as far forward as the right. You have formed a guard in ''tierce'' and changed into ''seconde''. The sword is turned so far to the left as to be quite | + | <p>In this plate the sword is shown foreshortened, and the left side as far forward as the right. You have formed a guard in ''tierce'' and changed into ''seconde''. The sword is turned so far to the left as to be quite fore-shortened, and therefore only the cross or hilt is seen. This movement has been made in order to let the adversary approach. The body is bent forward so that it may not be hit save on the head and chest, and if the adversary attempts to hit you can parry with the left hand, which is held before the face, hitting with the same movement of the body and extending your sword into ''seconde''. If you have completed the position when your adverysary[!] advances, you can change to ''quarte'' and hit below or above his sword, according as he comes low or high, and can carry the body out of line without parrying, though you may parry and hit with this ''seconde''. If your adversary does not respond to this ''appel'', you must not remain in this position, but change your line, remaining steady on your feet, so that he may not take the ''time'' on that change; for if your feet were being brought together you could not parry, but if you were withdrawing it would be well to parry, since your adversary could be sure of making a hit. If when he took the ''time'', you were steady, you could advance or retreat according to the distance and intention of the adversary, because you would have adapted yourself for attack or defence at the same time.</p> |
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| <p>[27] <br/><br/></p> | | <p>[27] <br/><br/></p> | ||
− | <p>This plate illustrates the guard in ''tierce'', which arises from the guard in ''prime'', as does the guard in ''quarte'', as will be seen. The guard in ''tierce'' is less fatiguing than the other two, because the arm is in a natural position. But the hand is too low and the point inclined upwards at an angle, so that there are many exposed parts. If you draw a straight line from the point to the body you will see how great is the angle, and all the space between that straight line and the hand is exposed, where you may be hit on the outside and on the inside. On some sides it is not strong; further you may be hit before your | + | <p>This plate illustrates the guard in ''tierce'', which arises from the guard in ''prime'', as does the guard in ''quarte'', as will be seen. The guard in ''tierce'' is less fatiguing than the other two, because the arm is in a natural position. But the hand is too low and the point inclined upwards at an angle, so that there are many exposed parts. If you draw a straight line from the point to the body you will see how great is the angle, and all the space between that straight line and the hand is exposed, where you may be hit on the outside and on the inside. On some sides it is not strong; further you may be hit before your hilt is reached. If you wish to defend the upper parts you make so large a movement with the hand, that you cannot reach the defence in time, and your adversary can easily deceive you. Again, as your sword is at such an angle, in parrying you often go out of line, offering a great advantage to your adversary. Again, by bringing the sword into the straight line you weaken it, for the sword is always weakened by being extended, with great danger that your adversary's sword, if already extended, will remain the stronger, since the sword is always stronger after coming to rest than in its passage. Further, one who stands in this manner with his sword at an angle, can make little use of the disengagement, since his point has to make too great a circle and too large a movement. Nevertheless this guard may be used, because its nature is not always known. Though the sword is at a great angle and the body much uncovered, still you can sufficiently deceive your adversary by avoiding and freeing your sword by a half disengagement. Therefore he who can use these devices in time will defend and easily protect himself. The desire of the adversary to hit is increased by the sight of so much exposure, with the result that you may readily save yourself and hit your adversary. But we shall form a safer guard in ''tierce''.</p> |
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| <p>[34] <br/><br/></p> | | <p>[34] <br/><br/></p> | ||
− | <p>Although this guard resembles the last, nevertheless it has considerable differences, for in this guard the sword is held in such a manner, that the hand does not form an angle on the outside, but the wrist is inclined inwards, and bends the sword so that it appears foreshortened. Whereas the other ''quartes'' are stronger on the outside, this ''quarte'' has more power on the inside owing to this foreshortening of the sword, and also to the position of the body with the left side so far forward, as is seen. We have included this guard in order to show how you may advance on the inside to subject the adversary's sword, which is in ''seconde'' at an angle. You must know that the greater the angle your sword forms, the greater is your force in that line. If the adversary tried to hit your exposed part, he might himself be hit through the angle of the guard in ''seconde'', if he did not hit with the advantage of the line for the straight line always reaches | + | <p>Although this guard resembles the last, nevertheless it has considerable differences, for in this guard the sword is held in such a manner, that the hand does not form an angle on the outside, but the wrist is inclined inwards, and bends the sword so that it appears foreshortened. Whereas the other ''quartes'' are stronger on the outside, this ''quarte'' has more power on the inside owing to this foreshortening of the sword, and also to the position of the body with the left side so far forward, as is seen. We have included this guard in order to show how you may advance on the inside to subject the adversary's sword, which is in ''seconde'' at an angle. You must know that the greater the angle your sword forms, the greater is your force in that line. If the adversary tried to hit your exposed part, he might himself be hit through the angle of the guard in ''seconde'', if he did not hit with the advantage of the line for the straight line always reaches further, or did not avoid with his body, or wait until his opponent came within distance in order to be able to hit and withdraw. But for passing at the fitting opportunity without being hit there is no sounder or better position than the one seen here. For, whatever the angle of the adversary's sword, this foreshortened sword will push his way and will be stronger than the ''seconde'', so that he will be forced to change his guard, or retreat; otherwise you will at the slightest move-<ref name="hyphen"/> proceed to hit and pass to the body.</p> |
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| <p>[58] </p> | | <p>[58] </p> | ||
− | <p>This hit in ''seconde'' against an opponent in ''quarte'' who has advanced the left foot may easily arise in the following manner: the adversary, being in ''quarte'', has tried to engage your sword, which is in ''tierce'', on the outside. You have disengaged, still in ''tierce''. He has attempted a hit in ''quarte'' through your ''faible'', advancing the left foot. But in the same ''time'' as you disengaged you have dropped your point under his hilt, also advancing the left foot. By bringing the whole weight of the body on to the left foot and turning the hand into ''seconde'', you have got far out of the line of | + | <p>This hit in ''seconde'' against an opponent in ''quarte'' who has advanced the left foot may easily arise in the following manner: the adversary, being in ''quarte'', has tried to engage your sword, which is in ''tierce'', on the outside. You have disengaged, still in ''tierce''. He has attempted a hit in ''quarte'' through your ''faible'', advancing the left foot. But in the same ''time'' as you disengaged you have dropped your point under his hilt, also advancing the left foot. By bringing the whole weight of the body on to the left foot and turning the hand into ''seconde'', you have got far out of the line of your adversary's point and made the hit. It might arise in another manner: both being in ''tierce'' on the inside, you have moved your point, making a slight turn of the hand towards ''quarte''. The adversary, seeing the opening, has tried to engage your ''faible'' and hit in the same ''time'' by advancing the left foot. But before he has reached your ''faible'' you have dropped your point under his hilt, so that he has failed to find your point, and in the same ''time'' have carried your body out of line, bringing the weight on to the left foot, which has advanced. In this low position you have been able to penetrate to his body, as you were already well advanced. Or again, both being in ''tierce'' on the outside, the adversary has tried to engage your sword; in the same ''time'' you have threatened a cut of ''mandiritto'' at the head, using the wrist and keeping the arm steady. He has changed from ''tierce'' to ''quarte'' in order to defend the head, and advanced the left foot in order to hit in the same ''time''. At that moment you have checked your sword near the adversary's, without touching it, and immediately changed your hand to ''seconde'', lowering the point under his hilt, advancing the left foot, with the body so bent, that his point, which would have hit in the chest, has passed over. Therefore you may see how dangerous it is to parry, even with a thrust in the same ''time''. Therefore, unless forced, it is always best not to parry.</p> |
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| <p><br/></p> | | <p><br/></p> | ||
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| [[file:GKS 1868 1 detail 41.jpg|400px|center]] | | [[file:GKS 1868 1 detail 41.jpg|400px|center]] | ||
| [[file:Scienza d’Arme (Fabris) 041.jpg|400px|center]] | | [[file:Scienza d’Arme (Fabris) 041.jpg|400px|center]] | ||
− | | <p>[59] | + | | <p>[59] </p> |
<p>Here is another hit in ''seconde'' also against a ''quarte''. Both were in ''tierce'' on the inside. You were in a stronger position than your adversary and have made a feint of hitting in ''quarte'' through his ''faible''. He, thinking the thrust was coming, has made a turn of his body with his right foot and a thrust in ''quarte'' through your ''faible'', in order to meet you in the ''time'' of your approach. Seeing his plan, you have suddenly changed to ''seconde'', lowering your point and body and bringing the left foot forward; thus you have made the hit by continuing on to his body, before he could recover, for he has not passed, but turned, and his left foot has remained steady. Or it may be that you have tried to engage your adversary's sword on the outside. He has disengaged in ''tierce'' on the inside, but in that ''time'' you have made a feint in ''quarte''. He has tried a counter ''quarte'' through your ''faible'' turning his body out of line, in order to meet your approach. Seeing the danger you have changed from ''quarte'' to ''seconde'' and made the hit shown, while his sword has passed over in vain.</p> | <p>Here is another hit in ''seconde'' also against a ''quarte''. Both were in ''tierce'' on the inside. You were in a stronger position than your adversary and have made a feint of hitting in ''quarte'' through his ''faible''. He, thinking the thrust was coming, has made a turn of his body with his right foot and a thrust in ''quarte'' through your ''faible'', in order to meet you in the ''time'' of your approach. Seeing his plan, you have suddenly changed to ''seconde'', lowering your point and body and bringing the left foot forward; thus you have made the hit by continuing on to his body, before he could recover, for he has not passed, but turned, and his left foot has remained steady. Or it may be that you have tried to engage your adversary's sword on the outside. He has disengaged in ''tierce'' on the inside, but in that ''time'' you have made a feint in ''quarte''. He has tried a counter ''quarte'' through your ''faible'' turning his body out of line, in order to meet your approach. Seeing the danger you have changed from ''quarte'' to ''seconde'' and made the hit shown, while his sword has passed over in vain.</p> | ||
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ||
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ||
− | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica | + | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf}}</p> |
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| <p>[7] '''''General discourse on the use of the dagger.'''''</p> | | <p>[7] '''''General discourse on the use of the dagger.'''''</p> | ||
− | <p>In practising we say that it is good to hold the dagger with the arm extended with little help from the sword, so that you may become secure in the defence and may make little movement in parrying in order not to uncover one side while covering the other; for when the dagger is held well forward and you are disordered by large movements, you become confused and are defeated. Therefore it is necessary to use it judiciously and with practice to acquire such exactness that the dagger is not disturbed by the movements of the sword and you are more secure in its use. When then you have acquired that familiarity and security, you can hold it withdrawn and push it forward to the defence as required. Then you will be certain that it will perform its function with more exactness and security in engaging the adversary's sword. Similarly after such exercise you will be able to hold it more in union with the sword, which will render the defence easier and stronger, nor will your dagger be so much harassed. But you should not hold it fixed in any position. The reason is that in some cases it is good to have it advanced, and in other cases not according to the position of your adversary's weapons, whether advanced or withdrawn, and according to the position of your own guard. For having fixed the body and pushed the sword forward, it may be better to have the dagger withdrawn while in other cases it may be better to have it advanced. But to discuss all the positions in which it may be held against the various counter-positions would make this discourse too long, for the subject is very large, almost endless. We shall merely say that as a general rule the point of the dagger should be held always opposed to the point of the adversary's sword, until that point is turned against the body. To hold the dagger out of line would not be advantageous, nor to keep it turned towards the feet, unless you were careful to hold the body so low that you could defend the upper part with little movement, and were ready to hit in the same ''time''. As we have said it is better to cover the dagger with the sword in such a manner that your adversary's only resource is to disengage. This method is safer and less subtle, and may also be used against a sword held high. Also you should hold the dagger so close to the sword that there is no path for the adversary's sword between the two hands; his sword will either meet the dagger or pass on to the ''forte'' of your sword. We must also remind you that in using the dagger the defences are all to be made with the edge, whether on the inside or the outside, whether high or low, and with the strongest part of the dagger especially against cuts, and against thrusts too, when you wish to glide along the blade. It is true that if you wish to beat a practice which we do not recommend, it is better to do so, with the point of the dagger on the ''faible'' of the adversary's sword, since the point describes a larger circle.</p> | + | <p>In practising we say that it is good to hold the dagger with the arm extended with little help from the sword, so that you may become secure in the defence and may make little movement in parrying in order not to uncover one side while covering the other; for when the dagger is held well forward and you are disordered by large movements, you become confused and are defeated. Therefore it is necessary to use it judiciously and with practice to acquire such exactness that the dagger is not disturbed by the movements of the sword and you are more secure in its use. When then you have acquired that familiarity and security, you can hold it withdrawn and push it forward to the defence as required. Then you will be certain that it will perform its function with more exactness and security in engaging the adversary's sword. Similarly after such exercise you will be able to hold it more in union with the sword, which will render the defence easier and stronger, nor will your dagger be so much harassed. But you should not hold it fixed in any position. The reason is that in some cases it is good to have it advanced, and in other cases not according to the position of your adversary's weapons, whether advanced or withdrawn, and according to the position of your own guard. For having fixed the body and pushed the sword forward, it may be better to have the dagger withdrawn, while in other cases it may be better to have it advanced. But to discuss all the positions in which it may be held against the various counter-positions would make this discourse too long, for the subject is very large, almost endless. We shall merely say that as a general rule the point of the dagger should be held always opposed to the point of the adversary's sword, until that point is turned against the body. To hold the dagger out of line would not be advantageous, nor to keep it turned towards the feet, unless you were careful to hold the body so low that you could defend the upper part with little movement, and were ready to hit in the same ''time''. As we have said it is better to cover the dagger with the sword in such a manner that your adversary's only resource is to disengage. This method is safer and less subtle, and may also be used against a sword held high. Also you should hold the dagger so close to the sword that there is no path for the adversary's sword between the two hands; his sword will either meet the dagger or pass on to the ''forte'' of your sword. We must also remind you that in using the dagger the defences are all to be made with the edge, whether on the inside or the outside, whether high or low, and with the strongest part of the dagger especially against cuts, and against thrusts too, when you wish to glide along the blade. It is true that if you wish to beat a practice which we do not recommend, it is better to do so, with the point of the dagger on the ''faible'' of the adversary's sword, since the point describes a larger circle.</p> |
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− | | <p>[11] The next is a guard in ''seconde'' with the sword and dagger, better and more convenient than the guard in ''prime'', because the arm is not so strained, and safer, because the sword covers the lower part and keeps the adversary at a distance. Further cuts the head can be parried with this guard, but with the weapons in conjunction for greater strength, and in the same ''time'' you may hit. Thrusts are parried with the dagger alone. This guard will be most successful if you are careful to hit with the right foot, raising the left foot and carrying it somewhat back, but in a circle, and recovering the right foot close to it. In hitting the right side should go forward. Carrying away the foot must be done with great care, so that the body in recovering may describe a circle and get out of the line of the adversary's point, while you are covered from the line of the dagger, without movement and the distance is enlarged. In closing distance also you should move in a circle towards the adversary's right side and with short steps, in order not to close except on hitting; also you should keep the body out of distance while continuing to move in a circle. When you hit, advance in a straight line and recover in a circle. With this caution you will be very secure in this guard in comparison with some others. With the same short steps as in approaching you can also withdraw, preserving the guard without any disadvantage, or you can proceed according to the occasion by advancing more or less without any change of line.</p> | + | | <p>[11] The next is a guard in ''seconde'' with the sword and dagger, better and more convenient than the guard in ''prime'', because the arm is not so strained, and safer, because the sword covers the lower part and keeps the adversary at a distance. Further cuts at the head can be parried with this guard, but with the weapons in conjunction for greater strength, and in the same ''time'' you may hit. Thrusts are parried with the dagger alone. This guard will be most successful if you are careful to hit with the right foot, raising the left foot and carrying it somewhat back, but in a circle, and recovering the right foot close to it. In hitting the right side should go forward. Carrying away the foot must be done with great care, so that the body in recovering may describe a circle and get out of the line of the adversary's point, while you are covered from the line of the dagger, without movement and the distance is enlarged. In closing distance also you should move in a circle towards the adversary's right side and with short steps, in order not to close except on hitting; also you should keep the body out of distance while continuing to move in a circle. When you hit, advance in a straight line and recover in a circle. With this caution you will be very secure in this guard in comparison with some others. With the same short steps as in approaching you can also withdraw, preserving the guard without any disadvantage, or you can proceed according to the occasion by advancing more or less without any change of line.</p> |
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− | | <p>[17] Here follows an extension from the guard in ''seconde'', differing little from the extension from ''prime''. The difference is in the sword hand, which is turned slightly upwards; therefore the extension is longer and the sword hand nearer the dagger, which gives greater security between the weapons. With this ''seconde'' you can hit in any part, so that it is better and more convenient than the ''prime''. You may use it on more occasions and ''times'', whilst the union with the dagger offers greater protection. After asking a hit you must be careful to withdraw the right | + | | <p>[17] Here follows an extension from the guard in ''seconde'', differing little from the extension from ''prime''. The difference is in the sword hand, which is turned slightly upwards; therefore the extension is longer and the sword hand nearer the dagger, which gives greater security between the weapons. With this ''seconde'' you can hit in any part, so that it is better and more convenient than the ''prime''. You may use it on more occasions and ''times'', whilst the union with the dagger offers greater protection. After asking a hit you must be careful to withdraw the right foot close to the left and recover to the same guard. In closing distance you must make a circle towards your adversary's right side and hit by passing in the straight line, and then recover in a circle; this is done by putting the right foot to the ground when you make the extension, lifting the left foot, carrying it in a circle out of distance, and then recovering the right foot close to it. This is the true method of proceeding and is sure to make a hit.</p> |
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− | | <p>[44] Now follows another hit in ''seconde'' between the weapons against a ''quarte''. Perhaps you were in ''seconde'' and your adversary in ''tierce'', his sword advanced and dagger close to the hilt of his sword, with his left side kept back in order to offer you an opening to hit, with the intention of parrying and hitting in the same ''time'', you have feigned to accept the opening and hit where he desired; thus he has been deceived by your trick, raised his dagger, and advanced his right side still | + | | <p>[44] Now follows another hit in ''seconde'' between the weapons against a ''quarte''. Perhaps you were in ''seconde'' and your adversary in ''tierce'', his sword advanced and dagger close to the hilt of his sword, with his left side kept back in order to offer you an opening to hit, with the intention of parrying and hitting in the same ''time'', you have feigned to accept the opening and hit where he desired; thus he has been deceived by your trick, raised his dagger, and advanced his right side still further in order to hit, and to defend at the same time below by changing his hand to ''quarte''. You have disengaged over the point of your adversary's dagger and hit between the weapons in the part exposed by his attempt to parry and hit. You have left your dagger in its original position, which has given you a defence, and excluded his sword in ''quarte'' on the outside. If your dagger had met his sword further forward, it could not have thrust it away, since the ''quarte'' is very strong in that part, with the result that both would have been hit. If you had tried to attack under the dagger, your adversary would easily have parried by merely making a somewhat larger angle with his sword hand, for his body was already sufficiently turned.</p> |
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− | | <p>[52] The next hit in ''seconde'' against a ''seconde'' may have arisen in several ways. In the first place both were in ''tierce'' on the outside; the adversary has tried to force your sword by turning his hand from ''tierce'' to ''seconde'' in order to strike the sword on top, and to parry below with his dagger. Aware of the force of his sword you have eluded it, and by turning your hand to ''seconde'' have hit on the inside over the point of his dagger. In the same time by a turn you have carried your body away and by bending the right side, which was in danger, and bringing the left side forward, have brought your body well away from the adversary's sword. By carrying your dagger to his sword at the same moment you have parried, as shown. Or it may have happened that you were on the outside and have made a feint of hitting in ''tierce'' over the adversary's sword; he has turned his hand to seconde in order to parry and hit in the same ''time'', protecting himself below with his dagger. In that ''time'' you also have disengaged, changed your line and hit as explained, parrying with the dagger. By bending your body you have let his sword pass wide, for the hit in ''seconde'' falls naturally of itself when it meets no resistance. Or again you may have been on the inside and found an opening between your adversary's weapons; you have made a feint in ''quarte'' in that line close to his sword, and your adversary, raising his hand from ''tierce'' to ''seconde'' and putting his dagger on your sword in order to defend that line, where it had entered, has pushed on in order to hit in the same ''time''. Your hit in ''quarte'' was a feint; you have carried back the right side which was in front and raised your hand from ''quarte'' to ''seconde''; thus your body has been brought out of line and your dagger has easily defended. Your sword arm has yielded and eluded his dagger; he has failed to find your sword with his dagger, since it has been raised and has hit without impediment over the point of his dagger.</p> | + | | <p>[52] The next hit in ''seconde'' against a ''seconde'' may have arisen in several ways. In the first place both were in ''tierce'' on the outside; the adversary has tried to force your sword by turning his hand from ''tierce'' to ''seconde'' in order to strike the sword on top, and to parry below with his dagger. Aware of the force of his sword you have eluded it, and by turning your hand to ''seconde'' have hit on the inside over the point of his dagger. In the same time by a turn you have carried your body away, and by bending the right side, which was in danger, and bringing the left side forward, have brought your body well away from the adversary's sword. By carrying your dagger to his sword at the same moment you have parried, as shown. Or it may have happened that you were on the outside and have made a feint of hitting in ''tierce'' over the adversary's sword; he has turned his hand to seconde in order to parry and hit in the same ''time'', protecting himself below with his dagger. In that ''time'' you also have disengaged, changed your line and hit as explained, parrying with the dagger. By bending your body you have let his sword pass wide, for the hit in ''seconde'' falls naturally of itself when it meets no resistance. Or again you may have been on the inside and found an opening between your adversary's weapons; you have made a feint in ''quarte'' in that line close to his sword, and your adversary, raising his hand from ''tierce'' to ''seconde'' and putting his dagger on your sword in order to defend that line, where it had entered, has pushed on in order to hit in the same ''time''. Your hit in ''quarte'' was a feint; you have carried back the right side which was in front and raised your hand from ''quarte'' to ''seconde''; thus your body has been brought out of line and your dagger has easily defended. Your sword arm has yielded and eluded his dagger; he has failed to find your sword with his dagger, since it has been raised and has hit without impediment over the point of his dagger.</p> |
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ||
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ||
− | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica | + | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf}}</p> |
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<p>Fencing with the sword and cloak is a noble art, and in general use in every province where it is not prohibited. But like the dagger in many states and cities its use is forbidden by the ruling princes, so that it falls into disuse, and the labour and time spent in acquiring an understanding of the art are rendered vain. However, we have considered it fitting to treat of it in order to explain its nature, and how and when it should be employed.</p> | <p>Fencing with the sword and cloak is a noble art, and in general use in every province where it is not prohibited. But like the dagger in many states and cities its use is forbidden by the ruling princes, so that it falls into disuse, and the labour and time spent in acquiring an understanding of the art are rendered vain. However, we have considered it fitting to treat of it in order to explain its nature, and how and when it should be employed.</p> | ||
− | <p>We say thus that the cloak is both a defensive and offensive weapon; by offensive we mean capable of inflicting damage on the adversary. By being cast in various ways it can impede his view and his hand, a disadvantage which the user of the cloak may himself suffer by throwing it over his head and impeding his own view; though we think that this should happen only to one entirely inexperienced in its use. To one who understands it well, it is a very advantageous weapon. Its use requires an understanding of the sword alone, since in many | + | <p>We say thus that the cloak is both a defensive and offensive weapon; by offensive we mean capable of inflicting damage on the adversary. By being cast in various ways it can impede his view and his hand, a disadvantage which the user of the cloak may himself suffer by throwing it over his head and impeding his own view; though we think that this should happen only to one entirely inexperienced in its use. To one who understands it well, it is a very advantageous weapon. Its use requires an understanding of the sword alone, since in many cases the sword defends with the aid of the cloak, especially against cuts at the head. In parrying such cuts you should never interpose your arm, owing to the danger of the cloak being cut and the arm hit. Even if you wrap the cloak round your arm, besides leaving the lower parts exposed with grave danger, it would not support such a stroke without injury to the arm. Against such cuts it is beyond comparison better supposing that the cloak is held correctly, to bring the left foot forward and, extending the cloak arm, to parry near the adversary's hand; in this way the danger would be avoided. In case you were not near enough for such a move, you could let the cut pass without resistance, and then advance the sword and cloak together. Otherwise you should parry with the sword supported by the cloak or with both together, hitting in the same ''time''.</p> |
<p>The lower parts can be very well defended by the cloak in spite of its weakness; for it yields to the shock and in addition has its length and width. These three conditions give it its power to resist and parry. With its flexibility and without its width it would not defend, however long, so that its strength consists in its width; but the part which yields must be aided by the movement of the feet and body to render the defence secure both against cuts and thrusts. The cloak also will defend all thrusts under the arm on either side by its edge hanging from the hand towards the ground. The arm must be held extended with the hand towards the adversary in order to parry far from the body and in order that his point may not reach your body on the yielding of the cloak before it is driven out of the line. Therefore you must not hold the width of the cloak facing the adversary, lest he should hit in the middle, for it is more difficult to parry with the cloak in this position than when it is held on edge; in the later[!] case it easily carried[!] the thrust outwards on either side. Besides holding the arm extended you must hold it so high that your hand is on a level with the head whilst you look towards the adversary along the line of that hand. The cloak must hang only so far, that on lowering the arm, whether from fatigue or any other reason, it does not reach the feet with the danger of causing you to fall. You should cover your arm with the cloak up to the elbow, and the point of your sword should be in conjunction with the cloak hand, for better protection and for the strengthening of the sword, and in order to defend the cloak hand better. When your arm is weary you should bring it towards the hilt of your sword and close the two hands so that the adversary cannot come between them; you should face in such a way that the edge of the cloak always looks towards the adversary.</p> | <p>The lower parts can be very well defended by the cloak in spite of its weakness; for it yields to the shock and in addition has its length and width. These three conditions give it its power to resist and parry. With its flexibility and without its width it would not defend, however long, so that its strength consists in its width; but the part which yields must be aided by the movement of the feet and body to render the defence secure both against cuts and thrusts. The cloak also will defend all thrusts under the arm on either side by its edge hanging from the hand towards the ground. The arm must be held extended with the hand towards the adversary in order to parry far from the body and in order that his point may not reach your body on the yielding of the cloak before it is driven out of the line. Therefore you must not hold the width of the cloak facing the adversary, lest he should hit in the middle, for it is more difficult to parry with the cloak in this position than when it is held on edge; in the later[!] case it easily carried[!] the thrust outwards on either side. Besides holding the arm extended you must hold it so high that your hand is on a level with the head whilst you look towards the adversary along the line of that hand. The cloak must hang only so far, that on lowering the arm, whether from fatigue or any other reason, it does not reach the feet with the danger of causing you to fall. You should cover your arm with the cloak up to the elbow, and the point of your sword should be in conjunction with the cloak hand, for better protection and for the strengthening of the sword, and in order to defend the cloak hand better. When your arm is weary you should bring it towards the hilt of your sword and close the two hands so that the adversary cannot come between them; you should face in such a way that the edge of the cloak always looks towards the adversary.</p> | ||
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<p>All thrusts whether at the head or body, can be parried with the cloak; but thrusts between the hands must be parried with a change to ''seconde'', otherwise you would be in danger of being hit; for besides the yielding of the edge of the cloak on reaching the adversary's sword, there is the danger that your right shoulder in its advanced position may be reached by his point before the point is driven out of the line. Your arm too is in danger of obstructing your defence and of being hit, as you do not wish to withdraw the arm while parrying. Therefore by changing from ''tierce'' to ''seconde'' you make the defence easier, since not only does your arm give place to the cloak, but the front of the body is changed in such a way as to escape the danger, and you hit at the same moment. When his point comes outside your cloak or sword, there is not the same difficulty as when it comes between the two. Disengagements should be made above, for the hanging cloak obstructs their being made below. But on the side of the sword they can be made below, when making a hit outside the sword. But when the adversary's sword and cloak are separated, it would be well to pass the point of his sword if it is not inclined upwards at an angle, for then you could reach the body without bringing your ''faible'' near his ''forte''. If your sword is on the outside of his, you can disengage over the point, and hit in the middle, and sometimes over the cloak hand. Again, if your sword is over his cloak, disengage in the middle, and if his weapons are united and you cannot hit there, hit over the sword, or make a feint of a hit there, and, when he moves to parry with the sword, hit in ''tierce'' below, parry with the cloak and recover to the position over the cloak hand with a change to ''seconde''; in this manner you will hit in the same time and defend yourself with the cloak against a possible stroke below.</p> | <p>All thrusts whether at the head or body, can be parried with the cloak; but thrusts between the hands must be parried with a change to ''seconde'', otherwise you would be in danger of being hit; for besides the yielding of the edge of the cloak on reaching the adversary's sword, there is the danger that your right shoulder in its advanced position may be reached by his point before the point is driven out of the line. Your arm too is in danger of obstructing your defence and of being hit, as you do not wish to withdraw the arm while parrying. Therefore by changing from ''tierce'' to ''seconde'' you make the defence easier, since not only does your arm give place to the cloak, but the front of the body is changed in such a way as to escape the danger, and you hit at the same moment. When his point comes outside your cloak or sword, there is not the same difficulty as when it comes between the two. Disengagements should be made above, for the hanging cloak obstructs their being made below. But on the side of the sword they can be made below, when making a hit outside the sword. But when the adversary's sword and cloak are separated, it would be well to pass the point of his sword if it is not inclined upwards at an angle, for then you could reach the body without bringing your ''faible'' near his ''forte''. If your sword is on the outside of his, you can disengage over the point, and hit in the middle, and sometimes over the cloak hand. Again, if your sword is over his cloak, disengage in the middle, and if his weapons are united and you cannot hit there, hit over the sword, or make a feint of a hit there, and, when he moves to parry with the sword, hit in ''tierce'' below, parry with the cloak and recover to the position over the cloak hand with a change to ''seconde''; in this manner you will hit in the same time and defend yourself with the cloak against a possible stroke below.</p> | ||
− | <p>These rules apply when on guard on the right foot. When on guard on the left foot you should proceed in a different manner. The position on the left foot is better with these weapons than with the sword and dagger, for the parts which are exposed and generally attacked with those weapons are in this case better protected, since the cloak hand can be held so high as to defend all the part exposed above the arm, while the hanging edge of the cloak defends below; thus both parts are covered at the same time, whereas with the dagger in covering one part you expose the other, besides the grave danger to the left knee, which is advanced and far from the defence. With the cloak the knee also is defended. Farther the sword in ''tierce'' cannot only be brought in conjunction with the cloak, but can rest on the cloak hand and be strengthened in such a way that it cannot be thrust aside. With this union of weapons you can make all the defences and attacks; if you have formed your guard well, your adversary will be able to hit only over the sword, where there is little exposed; your sword, strengthened by the conjunction of the left hand, will parry with ease and without | + | <p>These rules apply when on guard on the right foot. When on guard on the left foot you should proceed in a different manner. The position on the left foot is better with these weapons than with the sword and dagger, for the parts which are exposed and generally attacked with those weapons are in this case better protected, since the cloak hand can be held so high as to defend all the part exposed above the arm, while the hanging edge of the cloak defends below; thus both parts are covered at the same time, whereas with the dagger in covering one part you expose the other, besides the grave danger to the left knee, which is advanced and far from the defence. With the cloak the knee also is defended. Farther the sword in ''tierce'' cannot only be brought in conjunction with the cloak, but can rest on the cloak hand and be strengthened in such a way that it cannot be thrust aside. With this union of weapons you can make all the defences and attacks; if you have formed your guard well, your adversary will be able to hit only over the sword, where there is little exposed; your sword, strengthened by the conjunction of the left hand, will parry with ease and without further change. This is impossible with the sword and dagger, since there are more exposed parts, and if you rest the sword on your dagger, you obstruct the dagger and destroy its function. On the other hand such a position strengthens the cloak and gives a better defence. With this guard you have merely to push on within distance of the adversary, where you can hit without separating your weapons. You should observe this union whether defending against cuts or thrusts.</p> |
<p>So far we have treated of the defence and attack with the cloak with respect to the difference from the methods with the sword and dagger. Now we must mention that the cloak can be used by throwing it in various ways, such as by wrapping it round your adversary's head, and letting it go entirely, or holding it by the lower edge in order to bring it back to your arm, if the plan has failed. It may be thrown over the adversary's sword, but it must reach the hilt of his sword in order to check and impede his hitting or doing anything else. You may throw it round your arm in order to deceive the adversary and then cast it in his face. You may rest the point of your sword behind it and then carry it to his face. In all these cases you should hit before the adversary frees himself. These are the tricks of the cloak which are not expected by the adversary, and the unexpected attack is more effective. Here we end the general discourse on this weapon.</p> | <p>So far we have treated of the defence and attack with the cloak with respect to the difference from the methods with the sword and dagger. Now we must mention that the cloak can be used by throwing it in various ways, such as by wrapping it round your adversary's head, and letting it go entirely, or holding it by the lower edge in order to bring it back to your arm, if the plan has failed. It may be thrown over the adversary's sword, but it must reach the hilt of his sword in order to check and impede his hitting or doing anything else. You may throw it round your arm in order to deceive the adversary and then cast it in his face. You may rest the point of your sword behind it and then carry it to his face. In all these cases you should hit before the adversary frees himself. These are the tricks of the cloak which are not expected by the adversary, and the unexpected attack is more effective. Here we end the general discourse on this weapon.</p> | ||
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− | | <p>[12] The next is also a hit in ''seconde'' over the adversary's cloak arm. He has made a lunge in ''tierce'' on your moving to engage his sword on the inside; he has disengaged on the outside and made this stroke, carrying his cloak to defend his right side; in that time you have changed your hand to ''seconde'' and disengaged; resting your cloak on his sword and advancing you have passed through the gap between his arms and thus hit in the chest over the cloak. The hit might have followed from your making a feint of hitting in low ''tierce'' between his weapons, and his trying to parry and hit in ''tierce'' also; you have changed your hand to ''seconde'' and raised your sword so as to avoid his and keep it free, also changing the front of your body and resting your cloak on his sword. Or it might have arisen in another way: being in quarte with your point over the adversary's cloak hand, you have disengaged in the middle with a feint of hitting; in the time of the adversary's, who is deceived by this trick, trying to parry and hit, you have returned your point over his cloak hand, changed to ''seconde'' and made this hit.</p> | + | | <p>[12] The next is also a hit in ''seconde'' over the adversary's cloak arm. He has made a lunge in ''tierce'' on your moving to engage his sword on the inside; he has disengaged on the outside and made this stroke, carrying his cloak to defend his right side; in that time you have changed your hand to ''seconde'' and disengaged; resting your cloak on his sword and advancing you have passed through the gap between his arms and thus hit in the chest over the cloak. The hit might have followed from your making a feint of hitting in low ''tierce'' between his weapons, and his trying to parry and hit in ''tierce'' also; you have changed your hand to ''seconde'' and raised your sword so as to avoid his and keep it free, also changing the front of your body and resting your cloak on his sword. Or it might have arisen in another way: being in ''quarte'' with your point over the adversary's cloak hand, you have disengaged in the middle with a feint of hitting; in the time of the adversary's, who is deceived by this trick, trying to parry and hit, you have returned your point over his cloak hand, changed to ''seconde'' and made this hit.</p> |
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− | | <p>[13] The last of the hits with the sword and cloak is a ''quarte'' on the left foot against a ''tierce'' on the right. You were on the left foot, with the feet close together, and closing distance; your adversary has seen an opening past the ''faible'' of your sword on the outside and over your cloak hand, since your sword was in ''tierce'' at such an angle that its point was above your cloak hand, on which it was supported for greater security and strength. Not realising the danger he has moved to hit that part in ''tierce'' in the straight line, thinking he would exclude your sword. You have changed from ''tierce'' to ''quarte'', disengaged your point and driven it on with the left foot; you have lunged with your cloak hand in conjunction and hit in ''quarte'', parrying with the cloak and carrying your right side forward in order to lengthen the reach; this has caused a change of front and lifted your adversary's sword, as shown. Or both may have been in ''tierce''; you have advanced with a feint of hitting in ''tierce'' on the outside of his sword, and he has moved to parry and hit in ''tierce'' in the straight line at the same time, making sure that his cloak would parry below. You who have moved with | + | | <p>[13] The last of the hits with the sword and cloak is a ''quarte'' on the left foot against a ''tierce'' on the right. You were on the left foot, with the feet close together, and closing distance; your adversary has seen an opening past the ''faible'' of your sword on the outside and over your cloak hand, since your sword was in ''tierce'' at such an angle that its point was above your cloak hand, on which it was supported for greater security and strength. Not realising the danger he has moved to hit that part in ''tierce'' in the straight line, thinking he would exclude your sword. You have changed from ''tierce'' to ''quarte'', disengaged your point and driven it on with the left foot; you have lunged with your cloak hand in conjunction and hit in ''quarte'', parrying with the cloak and carrying your right side forward in order to lengthen the reach; this has caused a change of front and lifted your adversary's sword, as shown. Or both may have been in ''tierce''; you have advanced with a feint of hitting in ''tierce'' on the outside of his sword, and he has moved to parry and hit in ''tierce'' in the straight line at the same time, making sure that his cloak would parry below. You who have moved with cunning, have taken that time, disengaged your point on the inside and in the high lines, and hit with your weapons in union. This has happened because the adversary's cloak was separated from his sword; for if they had been united, your sword could not have passed, since the path would have been closed. From this you may understand the importance of the union of the weapons for the securing of good results.</p> |
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ||
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ||
− | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica | + | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf}}</p> |
! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p> | ! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p> | ||
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− | | [[File:Scienza d’Arme (Fabris) Portrait 2.jpg|400px|center]] | + | | rowspan="2" | [[File:Scienza d’Arme (Fabris) Portrait 2.jpg|400px|center]] |
| <p>[1] '''''Second Book,'''''</P> | | <p>[1] '''''Second Book,'''''</P> | ||
− | <p>wherein are explained some principles according to which you can attack the adversary as soon as you have grasped the sword without waiting for a ''time'', principles which are no longer discussed by any professor or writer on the subject.</p> | + | <p>wherein are explained some principles according to which you can attack the adversary as soon as you have grasped the sword, without waiting for a ''time'', principles which are no longer discussed by any professor or writer on the subject.</p> |
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| <p>[2] </p> | | <p>[2] </p> | ||
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<p>Thus far we have spoken of the principles with which every professor of arms must be acquainted, though few understand them well or practise them with due exactness. Now we shall treat of some theories, which are not only no longer expounded by other professors, but which they have never considered, or if they have considered have not grasped or understood; they have been put aside as too subtle by the most acute exponents of this art. Desiring perhaps to cover their lack of capacity they have been forced to reject them, basing their reasons on that common maxim, that the student must remain steady in presence and wait a ''time'' in order to hit, and that he who attacks without a ''time'' will be hit. We allow that is well to know how to await a ''time'' and an opportunity to hit, because from that waiting <sup>follows</sup> the understanding of distances, ''times'', ''counter-time'', and all the tricks which an adversary may employ. Still we maintain that between two opponents steady on their guard there is no advantage, because both are awaiting the same thing, so that the opportunity may come to either; both are awaiting with equal danger, and and[!] if sometimes one is seen to have obtained an advantage, it is because he has engaged the other's sword and prevented him from hitting in his present line; but still the one who has obtained the advantage waits for a ''time'', thinking he cannot hit before his adversary moves. By such delay it often happens that one who has won an advantage not only loses it, but his adversary obtains an advantage over him, a truly inexcusable error that a man should allow himself to be robbed of what he has won with such danger. It appears to us that it would have been better, having the advantage to proceed without waiting, secure that your adversary's sword cannot hit in its present line, and not to give him time to consider his danger and form a new plan.</p> | <p>Thus far we have spoken of the principles with which every professor of arms must be acquainted, though few understand them well or practise them with due exactness. Now we shall treat of some theories, which are not only no longer expounded by other professors, but which they have never considered, or if they have considered have not grasped or understood; they have been put aside as too subtle by the most acute exponents of this art. Desiring perhaps to cover their lack of capacity they have been forced to reject them, basing their reasons on that common maxim, that the student must remain steady in presence and wait a ''time'' in order to hit, and that he who attacks without a ''time'' will be hit. We allow that is well to know how to await a ''time'' and an opportunity to hit, because from that waiting <sup>follows</sup> the understanding of distances, ''times'', ''counter-time'', and all the tricks which an adversary may employ. Still we maintain that between two opponents steady on their guard there is no advantage, because both are awaiting the same thing, so that the opportunity may come to either; both are awaiting with equal danger, and and[!] if sometimes one is seen to have obtained an advantage, it is because he has engaged the other's sword and prevented him from hitting in his present line; but still the one who has obtained the advantage waits for a ''time'', thinking he cannot hit before his adversary moves. By such delay it often happens that one who has won an advantage not only loses it, but his adversary obtains an advantage over him, a truly inexcusable error that a man should allow himself to be robbed of what he has won with such danger. It appears to us that it would have been better, having the advantage to proceed without waiting, secure that your adversary's sword cannot hit in its present line, and not to give him time to consider his danger and form a new plan.</p> | ||
− | <p>There are others who, when within distance, seek to gain no advantage, but, seeing that their adversary does not move, try to make him move by giving him an opening or offering a ''time'' or by an ''appel'' or a feint in order to take the ''time'' of his moving; such methods may succeed against men ill-instructed, but are fatally dangerous against one who understands the art; for if you consider such a proceeding, it is clear that the one who offers a ''time'' in order to make his adversary move forgets that his is the first danger, and, although his intention is to offer so small a ''time'' that his adversary cannot hit, still it cannot be so small that the adversary has no chance of seizing some advantage, from which the first man cannot free himself without great danger of being hit, moreover he could be deceived by feints. We do not condemn these theories and stratagems nor any of the principles already put forward; it is well to understand them, but they are useless and | + | <p>There are others who, when within distance, seek to gain no advantage, but, seeing that their adversary does not move, try to make him move by giving him an opening or offering a ''time'' or by an ''appel'' or a feint in order to take the ''time'' of his moving; such methods may succeed against men ill-instructed, but are fatally dangerous against one who understands the art; for if you consider such a proceeding, it is clear that the one who offers a ''time'' in order to make his adversary move forgets that his is the first danger, and, although his intention is to offer so small a ''time'' that his adversary cannot hit, still it cannot be so small that the adversary has no chance of seizing some advantage, from which the first man cannot free himself without great danger of being hit, moreover he could be deceived by feints. We do not condemn these theories and stratagems nor any of the principles already put forward; it is well to understand them, but they are useless and in-applicable in our case, when we have to find a way of proceeding in order to be able to hit the adversary immediately after grasping the sword and without remaining steady, in whatever position or guard the adversary may be, whether he offers a ''time'' or not, parries or hits, advances or retires; the object is to hit him inevitably, whatever method he adopts. If our method is followed with all its conditions, you will be incomparably safer than when waiting. It is true that much skill and art are needed so to control your adversary that you may be confident of hitting, whatever he does or however much he knows, and when he has the same weapons as you, even though he is ignorant of these principles; if your adversary understands these same principles, matters would be equal. But if your adversary follows the old rules even to perfection, he will always be defeated if you follow our principles, because you will be able to put him into subjection and free him to do what you want, whether he desires to attack or defend; this will make your proceedings easy, since you will foresee your adversary's intention. In order to explain this truth better we shall treat first of the advantage of attacking with resolution, and then of the method of attacking.</p> |
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− | | <p>[4] '''On the manner of working with the feet, sword and body in attacking the adversary without a pause.'''</p> | + | | <p>[4] '''On the manner of working with the feet, sword and body in attacking the adversary without a pause.'''<br/><br/></p> |
− | <p>If you wish to advance against your adversary you must begin by carrying the feet with ordinary steps, as in walking, though with somewhat quicker and shorter steps; you must never lengthen your step except when the point of your sword reaches his body; your steps must not be violent, for as you must continue until you have reached the adversary's body, any violence would so disorder you, that you would be unable to lift the rear foot with the necessary swiftness, and thus by your slowness you would lose your union. Further you should bend the body forward and make yourself small, so that on approaching the adversary you can take all the opportunities of defence and attack with little movement. Your body must not be bent to the inside nor the outside, except when you are within distance, when it must be bent to the one side or the other or go straight according to the movements of your adversary. You must try to use your sword in such a way, that it is so near your adversary's sword that it appears to be bound to it when it moves, and so it cannot move without being followed, in brief so that the swords are always united. When the swords are far apart it is a sign that a ''time'' has been lost; to approach then would be dangerous, and if you continued you would be hit; in such a case it is better to retire swiftly and return again to the position of advantage. As there are several methods of advancing, some more subtle than others, we shall begin with the one which is first practised, and treat of each one separately in order according to the different principles involved in then.</p> | + | <p>If you wish to advance against your adversary you must begin by carrying the feet with ordinary steps, as in walking, though with somewhat quicker and shorter steps; you must never lengthen your step except when the point of your sword reaches his body; your steps must not be violent, for as you must continue until you have reached the adversary's body, any violence would so disorder you, that you would be unable to lift the rear foot with the necessary swiftness, and thus by your slowness you would lose your union. Further you should bend the body forward and make yourself small, so that on approaching the adversary you can take all the opportunities of defence and attack with little movement. Your body must not be bent to the inside nor the outside, except when you are within distance, when it must be bent to the one side or the other or go straight according to the movements of your adversary. You must try to use your sword in such a way, that it is so near your adversary's sword that it appears to be bound to it when it moves, and so that it cannot move without being followed, in brief so that the swords are always united. When the swords are far apart it is a sign that a ''time'' has been lost; to approach then would be dangerous, and if you continued you would be hit; in such a case it is better to retire swiftly and return again to the position of advantage. As there are several methods of advancing, some more subtle than others, we shall begin with the one which is first practised, and treat of each one separately in order according to the different principles involved in then.</p> |
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− | | <p>[6] In this plate we show the method of taking the first advantage in advancing with resolution against your adversary without waiting for a time. If on your approach the adversary offers a ''time'', you should take it or any other opportunity that is presented, following on to the body without stopping. The advantage of this position consists in the fact, that your sword is held above, for two reasons: the first, because it is better to be above than below, the second because the man whose sword is above is quicker to move and form a plan. In this superior position you should continue to the adversary's body, running along his blade, and in advancing bring the hilt of your sword to the spot where your point was first, without moving your point away from his blade, until you hit. If his sword had chanced to be in ''tierce'' at an angle or in ''quarte'', you should have begun in this way, but without running along his blade; you should attack with your blade in a straight line from its point to your body and hit in gap made by that angle both on the inside and on the outside. Other plates will follow, which will show what may arise from this advantage, but they will not be very many for the sake of brevity; the principle and most necessary ones will be included, from which the remainder may be understood. Also, some remarks will be added in the texts.</p> | + | | <p>[6] In this plate we show the method of taking the first advantage in advancing with resolution against your adversary without waiting for a time. If on your approach the adversary offers a ''time'', you should take it or any other opportunity that is presented, following on to the body without stopping. The advantage of this position consists in the fact, that your sword is held above, for two reasons: the first, because it is better to be above than below, the second because the man whose sword is above is quicker to move and form a plan. In this superior position you should continue to the adversary's body, running along his blade, and in advancing bring the hilt of your sword to the spot where your point was first, without moving your point away from his blade, until you hit. If his sword had chanced to be in ''tierce'' at an angle or in ''quarte'', you should have begun in this way, but without running along his blade; you should attack with your blade in a straight line from its point to your body and hit in the gap made by that angle both on the inside and on the outside. Other plates will follow, which will show what may arise from this advantage, but they will not be very many for the sake of brevity; the principle and most necessary ones will be included, from which the remainder may be understood. Also, some remarks will be added in the texts.</p> |
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− | | <p>[8] The next hit has also arisen from the same initial advantage, and in this manner: in advancing you were running along your adversary's blade, having already brought the left foot in front; he has tried to parry by forcing your sword and drawing back his body; feeling the pressure, you have changed your hand to ''seconde'' and given way to his sword, which has gone to the outside through meeting no resistance, and all the further out of line because you have lowered your body. You have kept the hilt of your sword at the same height against his ''faible''. The angle formed by the ''seconde'' has carried your point to a hit. If you had attacked on the outside in ''tierce'' the result would have been the same. After bringing the left foot forward, if the adversary had tried to parry, you would have again changed your hand to ''seconde'', put the point under his right arm, keeping the hilt at the same height, lowered your body, followed on with the right foot and thus made the same hit. But if you had begun on the inside and the adversary had begun to parry by breaking ground, as he could you should then have disengaged with the wrist on the outside in ''tierce'', and gone on until you reached his body. If again he had proceeded to parry, as he might, without breaking ground, you should hit in ''seconde'' below. But if he parried at the point of your sword, if you had begun on the outside, you should disengage in ''quarte'' on the inside, and if he again parried and drew back, you should turn the hand again and hit in ''seconde''. If at the beginning the adversary disengaged in order to hit, you should simply go on in the straight line in ''tierce'' or in ''quarte'', according to whether you were on the outside or the inside, and you would hit in the ''time'' of his disengage. When the adversary disengaged, if he had not advanced but defended himself by breaking ground whether on the inside or the outside, you would have been sure of hitting in that second ''time''. It might happen that at the beginning of the movement he disengaged and broke ground with the idea of engaging your ''faible''; in that case you should counter-disengage, before he touched your point, and follow on in the straight line, so that if he makes a double disengagement, as he might, you could defend with little movement without disorder. If after his first disengagement he returns to the parry, you should hit above, as we have explained since all he could do would be to use his left hand, which would cause only slight disturbance or might even give you an advantage. All these rules apply against a ''tierce'' or a low ''quarte'', whether straight or at an angle. Afterwards we shall treat of the ''prime'' and ''seconde'', but we have put these first, as being more usual.</p> | + | | <p>[8] The next hit has also arisen from the same initial advantage, and in this manner: in advancing you were running along your adversary's blade, having already brought the left foot in front; he has tried to parry by forcing your sword and drawing back his body; feeling the pressure, you have changed your hand to ''seconde'' and given way to his sword, which has gone to the outside through meeting no resistance, and all the further out of line because you have lowered your body. You have kept the hilt of your sword at the same height against his ''faible''. The angle formed by the ''seconde'' has carried your point to a hit. If you had attacked on the outside in ''tierce'' the result would have been the same. After bringing the left foot forward, if the adversary had tried to parry, you would have again changed your hand to ''seconde'', put the point under his right arm, keeping the hilt at the same height, lowered your body, followed on with the right foot and thus made the same hit. But if you had begun on the inside and the adversary had begun to parry by breaking ground, as he could you should then have disengaged with the wrist on the outside in ''tierce'', and gone on until you reached his body. If again he had proceeded to parry, as he might, without breaking ground, you should hit in ''seconde'' below. But if he parried at the point of your sword, if you had begun on the outside, you should disengage in ''quarte'' on the inside, and if he again parried and drew back, you should turn the hand again and hit in ''seconde''. If at the beginning the adversary disengaged in order to hit, you should simply go on in the straight line in ''tierce'' or in ''quarte'', according to whether you were on the outside or the inside, and you would hit in the ''time'' of his disengage. When the adversary disengaged, if he had not advanced but defended himself by breaking ground whether on the inside or the outside, you would have been sure of hitting in that second ''time''. It might happen that at the beginning of the movement he disengaged and broke ground with the idea of engaging your ''faible''; in that case you should counter-disengage, before he touched your point, and follow on in the straight line, so that if he makes a double disengagement, as he might, you could defend with little movement and without disorder. If after his first disengagement he returns to the parry, you should hit above, as we have explained since all he could do would be to use his left hand, which would cause only a slight disturbance or might even give you an advantage. All these rules apply against a ''tierce'' or a low ''quarte'', whether straight or at an angle. Afterwards we shall treat of the ''prime'' and ''seconde'', but we have put these first, as being more usual.</p> |
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− | | <p>[12] Here follows the hit referred to at the end of the last discourse, made by a ''quarte'', originally a ''tierce'', against a ''seconde'' and perhaps following from the advantage described. You have continued along the adversary’s blade as explained, until you have reached this position; by bringing forward the left foot and then the right, maintaining your defence with the hilt, which has approached his sword, without stopping you will go right on to his body for greater security. Or it may be that you have acquired the advantage on getting within distance, and the adversary has disengaged in order to free his sword, and withdrawn for his protection. You, being already on the move, have arrived so quickly with a counter-disengage, that he has been able to form no plans, and all because of the advantage of the continued advance. If you had been slower and not advanced in the ''time'' of his disengage, you would not have reached, and thus would have given him opportunity to parry and hit, before you arrived.</p> | + | | <p>[12] Here follows the hit referred to at the end of the last discourse, made by a ''quarte'', originally a ''tierce'', against a ''seconde'' and perhaps following from the advantage described. You have continued along the adversary’s blade as explained, until you have reached this position; by bringing forward the left foot and then the right, maintaining your defence with the hilt, which has approached his sword, without stopping you will go right on to his body for greater security. Or it may be that you have acquired the advantage on getting within distance, and the adversary has disengaged in order to free his sword, and withdrawn for his protection. You, being already on the move, have arrived so quickly with a counter-disengage, that he has been able to form no plans, and all because of the advantage of the continued advance. If you had been slower and not advanced in the ''time'' of his disengage, you would not have reached, and thus would have given him an opportunity to parry and hit, before you arrived.</p> |
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− | | <p>[15] This plate represents the guard in ''tierce'' discussed above, and is to be used with this second method. | + | | <p>[15] This plate represents the guard in ''tierce'' discussed above, and is to be used with this second method. It is formed high, out of line, with the hilt close to the face, the body bent and the feet close together, all with the object of keeping the sword free from being engaged except with certain danger to the adversary of being hit. Since the chest is facing the adversary, the guard can be disturbed only on the inside; in order to facilitate the defence you advance against the adversary by moving in a circle towards the outside, so that when within distance your sword and body are outside his sword; if they were not outside it would be due to some change made by the adversary. The lowering of the body with this guard varies more or less according to the relative height of the adversary’s sword. The head is near the hilt for greater security and strength, and for greater speed in advancing.</p> |
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− | | <p>[16] This high guard of ''tierce'' leads to the advantage shown in this plate. As you approach the adversary, you direct your point, and lower the body, keeping the hand and arm steady, until the point is in line. You have controlled the adversary's sword and will maintain that position, when your point hits. If, when you come into line, the adversary disengages it order to hit on the inside of your guard, you will have penetrated with your body half the length of his blade, which deprives him of the power of turning out of line or passing. The advanced position of the guard facilitates your passing below, if he attacks your sword. | + | | <p>[16] This high guard of ''tierce'' leads to the advantage shown in this plate. As you approach the adversary, you direct your point, and lower the body, keeping the hand and arm steady, until the point is in line. You have controlled the adversary's sword and will maintain that position, when your point hits. If, when you come into line, the adversary disengages it order to hit on the inside of your guard, you will have penetrated with your body half the length of his blade, which deprives him of the power of turning out of line or passing. The advanced position of the guard facilitates your passing below, if he attacks your sword. In order that that result may be better understood it will be illustrated in its place.</p> |
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− | | <p>[17] From the advantage acquired by this high guard has arisen the following hit; you have reached the adversary's your ''forte'', checked your hand in that position, lowered your point, directing it against the adversary, and by carrying your head forward and below your own hand have continued your advance and hit in the throat, when his sword was high; if it had been lower, you could have hit lower by dropping your body and hand in proportion. If he had tried to parry by raising his sword, you would have disengaged below, and by turning your hand to ''seconde'' and keeping it in the same place would still have certainly hit.</p> | + | | <p>[17] From the advantage acquired by this high guard has arisen the following hit; you have reached the adversary's point with your ''forte'', checked your hand in that position, lowered your point, directing it against the adversary, and by carrying your head forward and below your own hand have continued your advance and hit in the throat, when his sword was high; if it had been lower, you could have hit lower by dropping your body and hand in proportion. If he had tried to parry by raising his sword, you would have disengaged below, and by turning your hand to ''seconde'' and keeping it in the same place would still have certainly hit.</p> |
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− | | <p>[18] The next is a hit in ''quarte'' against an opponent who has lunged in ''quarte''. You had engaged your adversary | + | | <p>[18] The next is a hit in ''quarte'' against an opponent who has lunged in ''quarte''. You had engaged your adversary;s[!] ''faible'' on the outside with the high guard shown in the previous plates; he has tried to disengage and lunge in ''quarte'' on the inside in the path which appeared to him to be uncovered. But with your arm high and held back you have pressed on his ''faible'' with a guard of ''quarte'', and by carrying the right foot forward and somewhat out of the straight line and bending the body over it, you have made a hit in the throat. By continuing with the left foot you would have passed right to his body. If the adversary had tried to turn with either foot, he would have been all the weaker, and therefore you would have hit in the straight line or in the back.</p> |
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<p>The first method which we discussed on this subject of attacking with resolution is good, because you begin to acquire the advantage so far out of distance, that the adversary cannot hit. Yet it appears that the danger is revealed to the adversary too soon, so that he has good opportunity to change his line in order to disorder you, and ample time in which to employ various devices for his protection. The second method also is good, since it forms a secure guard with only one exposed part and that part so near the sword hand that it cannot be reached without passing your ''forte''. With this guard also your sword, as we have shown, is kept so free, that few disengagements are needed. If it were not in other respects so restricted, and you were not under the constraint of keeping your own steady it would be better than the first. Nevertheless considering the imperfections of these two methods, and particularly that defending oneself when the adversary cannot attack is a loss of time and a disadvantage, since it reveals your intentions to him and gives him a chance of finding a remedy, we have sought for another way of proceeding, a third method, which reveals nothing to the adversary until his body is in danger. This method when properly executed, will hit with such swiftness that the adversary not only has no time for so many changes, but can barely parry the first onslaught.</p> | <p>The first method which we discussed on this subject of attacking with resolution is good, because you begin to acquire the advantage so far out of distance, that the adversary cannot hit. Yet it appears that the danger is revealed to the adversary too soon, so that he has good opportunity to change his line in order to disorder you, and ample time in which to employ various devices for his protection. The second method also is good, since it forms a secure guard with only one exposed part and that part so near the sword hand that it cannot be reached without passing your ''forte''. With this guard also your sword, as we have shown, is kept so free, that few disengagements are needed. If it were not in other respects so restricted, and you were not under the constraint of keeping your own steady it would be better than the first. Nevertheless considering the imperfections of these two methods, and particularly that defending oneself when the adversary cannot attack is a loss of time and a disadvantage, since it reveals your intentions to him and gives him a chance of finding a remedy, we have sought for another way of proceeding, a third method, which reveals nothing to the adversary until his body is in danger. This method when properly executed, will hit with such swiftness that the adversary not only has no time for so many changes, but can barely parry the first onslaught.</p> | ||
− | <p>The foundation of this method is the certainty that the adversary cannot hit before you are within distance; therefore there is no necessity to defend or to hold your sword steady in any position. You should advance towards the outside, until your feet are within distance; it is of no importance which foot is first. The time to carry the forte to the adversary's ''faible'' is when lifting the foot to bring it within distance, in order to exclude his sword without stopping; you should run along his blade in order to hit with your sword, feet and body in union and without rushing; for if he should then break ground he would have time not only to parry but to hit also. By advancing in union you can change in time, as you should do if on the inside when he parries; you should in that case change from ''tierce'' to ''seconde'', lower the body and continue your advance when you will hit at the moment of his attempted parry; but in turning from ''tierce'' to ''seconde'' you must drop your point under his arm, keeping the hand in the same place and bend the body so as to hit in the right side. If your adversary has succeeded in parrying by breaking ground after you have engaged his sword and advanced to hit, he can no longer bring his point into line as for example he could have done, if you had stopped and made an interval between engaging his sword and advancing, for your plan would have been too slow. Similarly if you had [rushed]<ref>This word can't be read on the photos I have. It's a 6-letter word that seems to end in "s?ed". The Italian word means to move or advance, and Tom Leoni translates it as "fling".</ref> your body or sword forward or hurried your steps, you would have been at a disadvantage, since you could not have turned a second plan, but rather would have been in danger of being hit. | + | <p>The foundation of this method is the certainty that the adversary cannot hit before you are within distance; therefore there is no necessity to defend or to hold your sword steady in any position. You should advance towards the outside, until your feet are within distance; it is of no importance which foot is first. The time to carry the forte to the adversary's ''faible'' is when lifting the foot to bring it within distance, in order to exclude his sword without stopping; you should run along his blade in order to hit with your sword, feet and body in union and without rushing; for if he should then break ground he would have time not only to parry but to hit also. By advancing in union you can change in time, as you should do if on the inside when he parries; you should in that case change from ''tierce'' to ''seconde'', lower the body and continue your advance when you will hit at the moment of his attempted parry; but in turning from ''tierce'' to ''seconde'' you must drop your point under his arm, keeping the hand in the same place and bend the body so as to hit in the right side. If your adversary has succeeded in parrying by breaking ground after you have engaged his sword and advanced to hit, he can no longer bring his point into line as for example he could have done, if you had stopped and made an interval between engaging his sword and advancing, for your plan would have been too slow. Similarly if you had [rushed]<ref>This word can't be read on the photos I have. It's a 6-letter word that seems to end in "s?ed". The Italian word means to move or advance, and Tom Leoni translates it as "fling". ~ Michael Chidester</ref> your body or sword forward or hurried your steps, you would have been at a disadvantage, since you could not have turned a second plan, but rather would have been in danger of being hit.</p> |
<p>You should adopt the same method of advancing with resolution if your adversary on your first approach to engage his sword parries without breaking ground, since before he forced your sword you could hit and pass. But if when making this parry he breaks ground, it is then better to disengage, before he touches your sword; here is the difficulty, because if you move your sword on first seeking his, you cannot disengage in time. Therefore you must advance in such a way that the movement of disengaging shall not be opposite to your other movement; if by accident your hand fell, you could not lift it again in time, if your adversary advanced to meet your sword. But if your point is carried with such ease that you can abandon your first plan and adopt another according to the occasion and with the necessary skill the method will be very deceptive, since, when within distance, you engage your adversary's sword and while he expects to meet and resist your sword you disengage and advance the other foot, so that he can no longer return into line nor do anything but hit below by a half-disengagement; in that case you have only a small movement of the point to make and to lower the body to the line in which his sword is directed; you will continue on your course, exclude his sword and certainly hit. But if the adversary, while you are attacking his sword disengages or advances, rather than breaks ground, he will be hit before he has finished the disengage. If he disengages and breaks ground in order to find your ''faible'' again, then you should counter-disengage and advance, when you will hit at the same time; this will be easier and shorter than seeking his sword and disengaging, before he touches your sword. If the adversary changes his guard, when he breaks ground, raising or lowering his point or withdrawing it, in every case you should continue your advance and again seek his sword as soon as you are within distance, but in such a manner that in whatever way he tries to hit, you can keep on your course, parrying and hitting together. From the position and the distance between your adversary and yourself you will understand what he can do in defence and attack, how he can disturn and impede your sword and how to guard against it. For if you do not foresee what may heppen[!], the opportunity passes so quickly that there is no time to form a plan.</p> | <p>You should adopt the same method of advancing with resolution if your adversary on your first approach to engage his sword parries without breaking ground, since before he forced your sword you could hit and pass. But if when making this parry he breaks ground, it is then better to disengage, before he touches your sword; here is the difficulty, because if you move your sword on first seeking his, you cannot disengage in time. Therefore you must advance in such a way that the movement of disengaging shall not be opposite to your other movement; if by accident your hand fell, you could not lift it again in time, if your adversary advanced to meet your sword. But if your point is carried with such ease that you can abandon your first plan and adopt another according to the occasion and with the necessary skill the method will be very deceptive, since, when within distance, you engage your adversary's sword and while he expects to meet and resist your sword you disengage and advance the other foot, so that he can no longer return into line nor do anything but hit below by a half-disengagement; in that case you have only a small movement of the point to make and to lower the body to the line in which his sword is directed; you will continue on your course, exclude his sword and certainly hit. But if the adversary, while you are attacking his sword disengages or advances, rather than breaks ground, he will be hit before he has finished the disengage. If he disengages and breaks ground in order to find your ''faible'' again, then you should counter-disengage and advance, when you will hit at the same time; this will be easier and shorter than seeking his sword and disengaging, before he touches your sword. If the adversary changes his guard, when he breaks ground, raising or lowering his point or withdrawing it, in every case you should continue your advance and again seek his sword as soon as you are within distance, but in such a manner that in whatever way he tries to hit, you can keep on your course, parrying and hitting together. From the position and the distance between your adversary and yourself you will understand what he can do in defence and attack, how he can disturn and impede your sword and how to guard against it. For if you do not foresee what may heppen[!], the opportunity passes so quickly that there is no time to form a plan.</p> | ||
− | <p>Of the things that the adversary may do by retreating or withdrawing we do not consider it necessary to treat, because they do no harm, still it is well to know them and be prepared for everything. Those similarly who cut against this method of advancing we can disregard, merely saying that, if your adversary cuts in the ''time'' of your advancing to engage his sword, he will be hit before he has half finished his cut. If he cuts while withdrawing you can follow him, covering yourself and proceed to hit; if perhaps you fail to reach and you have parried on the inside in ''quarte'' you can change to ''seconde'' and hit in the same line, where his sword will be unable to parry; if you have parried on the outside in ''tierce'', again you can change | + | <p>Of the things that the adversary may do by retreating or withdrawing we do not consider it necessary to treat, because they do no harm, still it is well to know them and be prepared for everything. Those similarly who cut against this method of advancing we can disregard, merely saying that, if your adversary cuts in the ''time'' of your advancing to engage his sword, he will be hit before he has half finished his cut. If he cuts while withdrawing you can follow him, covering yourself and proceed to hit; if perhaps you fail to reach and you have parried on the inside in ''quarte'' you can change to ''seconde'' and hit in the same line, where his sword will be unable to parry; if you have parried on the outside in ''tierce'', again you can change to ''seconde'' below and still hit in that line. If you do not wish to parry, you can let the cut pass, and immediately advance, not to hit at that moment, but in the ''time'' of his raising his sword or recovering or making another cut. This is better than parrying. An understanding of this third method is better than that of the two first methods; but you must have a good knowledge of distances, and without that you will get no profit from any of the methods we have described, least of all this last method, with which you advance without pause and without holding your weapons in any particular position. In brief you must realise when the foot carries the body into danger in order to secure yourself. When you have well practised this method you will be able to grasp another method, which we shall explain next.</p> |
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− | | <p>[30] With the ''quarte'' here shown the right foot has been carried away and the weight of the body brought on to it; the sword has remained in the straight line below the adversary's in ''tierce''. You have begun at a distance and approached with your chest facing the adversary's point, until your left foot was almost within distance, when you have carried the right foot away and brought the weight of the body on to it with the object of bringing the body out of the line of his sword and of being able to put your sword in the position you judge to be best. | + | | <p>[30] With the ''quarte'' here shown the right foot has been carried away and the weight of the body brought on to it; the sword has remained in the straight line below the adversary's in ''tierce''. You have begun at a distance and approached with your chest facing the adversary's point, until your left foot was almost within distance, when you have carried the right foot away and brought the weight of the body on to it with the object of bringing the body out of the line of his sword and of being able to put your sword in the position you judge to be best. Since your sword is exactly below his, the adversary has been unable to engage it with ease, and has been left in doubt. If he has not moved on your carrying your right foot out, you could place your sword in the line uncovered close to his sword, exclude his sword, and go on to hit without touching by advancing the left foot on the inside. If the adversary has followed with his point the line of your body now inclined on the right foot, you would have brought your body on to the left foot and out of line on the other side; on hit sword moving you would have put your sword into the line uncovered, for since your sword was just under his line, and since he has followed your body with his point, your sword would be left in that line, so that by merely thrusting it forward in the line where his sword was you would exclude his sword, and with all the greater ease because of the movement of your body, now on the left foot, a movement quicker than that of the hand. By following on with the foot you would have passed with great swiftness, leaving his sword on one side or the other according to the circumstances.</p> |
− | <p>These movements must all be made continuously, without stopping although in the plate you appear to be awaiting a ''time'' with your feet apart, that is done to show the position of the foot, body, arm and sword; but actually the movement must be executed swiftly and without interval. For if the adversary does not follow the line of your body, you will at once advance, close the path of his sword and continue. But if he follows your first movement with his point, your body goes to the other side and leaves his sword out of line, so that it cannot return into presence. Whether you make the side step to the right or left, you must still leave your sword and hand in the line of the adversary's point in order to make your defence easier, if he tries to hit during your movement. You will succeed well with this method, if you proceed in the correct manner, remembering that you must know how to reach the petition shown without moving the arm or sword; the sword must be carried forward by the body, or the method will be dangerous.</p> | + | <p>These movements must all be made continuously, without stopping although in the plate you appear to be awaiting a ''time'' with your feet apart, that is done to show the position of the foot, body, arm and sword; but actually the movement must be executed swiftly and without interval. For if the adversary does not follow the line of your body, you will at once advance, close the path of his sword and continue. But if he follows your first movement with his point, your body goes to the other side and leaves his sword out of line, so that it cannot return into presence. Whether you make the side step to the right or the left, you must still leave your sword and hand in the line of the adversary's point in order to make your defence easier, if he tries to hit during your movement. You will succeed well with this method, if you proceed in the correct manner, remembering that you must know how to reach the petition shown without moving the arm or sword; the sword must be carried forward by the body, or the method will be dangerous.</p> |
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− | | <p>[38] Now follows a ''quarte'' which is below a ''seconde'' and with the left shoulder more advanced than the right. You have carried the left foot, lifted the other and brought it into the same line in order to expose the adversary on the outside. Although the adversary's hand is so high, yet the whole of his head is exposed above in the line from the middle of his blade to the point, and thus the line in which this ''quarte'' will hit is seen. If when you carried away the left foot, the adversary had followed with his point in order to remain in line, you would have brought your point to the inside in ''quarte'' and hit in that ''time'', without taking your sword away from the defence and without touching his sword. If he had not moved, with that ''quarte'' you would have attacked on the outside and hit above, as will be more clearly shown in the next plate.</p> | + | | <p>[38] Now follows a ''quarte'' which is below a ''seconde'' and with the left shoulder more advanced than the right. You have carried away the left foot, lifted the other and brought it into the same line in order to expose the adversary on the outside. Although the adversary's hand is so high, yet the whole of his head is exposed above in the line from the middle of his blade to the point, and thus the line in which this ''quarte'' will hit is seen. If when you carried away the left foot, the adversary had followed with his point in order to remain in line, you would have brought your point to the inside in ''quarte'' and hit in that ''time'', without taking your sword away from the defence and without touching his sword. If he had not moved, with that ''quarte'' you would have attacked on the outside and hit above, as will be more clearly shown in the next plate.</p> |
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<p>Now we shall treat of another way of attacking the adversary, which is more subtle than the others. If you can safely reach the required position, you will hit without danger. On approaching, whatever your adversary’s guard you should gradually bring your sword towards the position where you intend to place it, so that on arriving within distance your sword reaches, the exact position desired. As we have said several times, the sword must be placed against the weakest part of the adversary's sword; this is so with the present method, until you are, within distance; but although elsewhere we have taught you to put your point against his point, yet with the present method you must advance so far as to bring your point against his hilt, but without letting his hilt penetrate beyond your point, though near it; your point must be in line with his hilt, neither above nor below, but to one side according to the position adopted by the adversary. Your point should be inclined rather downwards than upwards, for two reasons, the first, that you may be better able to disengage if, if necessary, the second, so that the adversary can find it only by lowering his hilt, which would give you a ''time'' to hit, as you are already on the move and your point is very near the adversary.</p> | <p>Now we shall treat of another way of attacking the adversary, which is more subtle than the others. If you can safely reach the required position, you will hit without danger. On approaching, whatever your adversary’s guard you should gradually bring your sword towards the position where you intend to place it, so that on arriving within distance your sword reaches, the exact position desired. As we have said several times, the sword must be placed against the weakest part of the adversary's sword; this is so with the present method, until you are, within distance; but although elsewhere we have taught you to put your point against his point, yet with the present method you must advance so far as to bring your point against his hilt, but without letting his hilt penetrate beyond your point, though near it; your point must be in line with his hilt, neither above nor below, but to one side according to the position adopted by the adversary. Your point should be inclined rather downwards than upwards, for two reasons, the first, that you may be better able to disengage if, if necessary, the second, so that the adversary can find it only by lowering his hilt, which would give you a ''time'' to hit, as you are already on the move and your point is very near the adversary.</p> | ||
− | <p>On reaching this position, if your adversary is in ''tierce'' or ''quarte'', you must hold your sword in a straight line from your wrist to the point and your arm so far advanced that you are sure of defending any possible stroke with little movement, either when you reach your position, or at any time. In brief your sword and body must be in such a position that your ''forte'' can defend with little motion. But if your adversary is in a guard of ''prime'' or ''seconde'', you must then place your sword exactly in the line of his hand, but below it, and hold your sword in such a way that your hand forms no angle, and if he tries to | + | <p>On reaching this position, if your adversary is in ''tierce'' or ''quarte'', you must hold your sword in a straight line from your wrist to the point and your arm so far advanced that you are sure of defending any possible stroke with little movement, either when you reach your position, or at any time. In brief your sword and body must be in such a position that your ''forte'' can defend with little motion. But if your adversary is in a guard of ''prime'' or ''seconde'', you must then place your sword exactly in the line of his hand, but below it, and hold your sword in such a way that your hand forms no angle, and if he tries to hit, you could parry with the same guard and hit at the same time on the outside over his sword, carrying the foot in that direction to shorten the movement, and to give yourself better cover and greater strength. If your adversary does nothing when you have your sword in the exact position, you should raise the point above the line of his hand and go on to the body and the nearest part exposed, covering yourself with your hilt in the line, where his sword might come, and supporting the stroke by the movement of your body in order to shorten the movement of the sword; by continuing you will reach the adversary's body before he can change his line. If when you reach your position he changes his hand to ''tierce'' or ''quarte'', then you should parry on the inside and follow on.</p> |
<p>Again if the adversary were in a low ''tierce'' or ''quarte'' directed downwards, you should place your point in the line of his hilt, but above it, towards his hand, and, when you reach your position, at once go on to the body, carrying your hilt to the defence, for then he can do no harm with these low guards; if he raises his point, it will meet your ''forte'', as you are moving. After reaching your position, you will pass so quickly that he will have no time to defend. You must take care to place your sword in position always with the hand in ''quarte'' both on the outside and on the inside, above and below, and to direct your point towards the adversary's hand and hilt, and so far distant, that you always have time to disengage it or change your line, before he touches it. The nearer to his body you can bring your point with these precautions the better you will succeed. Therefore to approach in the proper manner you must carry your point forward without pause, and in such a manner that you can abandon your first plan and adopt another according to circumstances.</p> | <p>Again if the adversary were in a low ''tierce'' or ''quarte'' directed downwards, you should place your point in the line of his hilt, but above it, towards his hand, and, when you reach your position, at once go on to the body, carrying your hilt to the defence, for then he can do no harm with these low guards; if he raises his point, it will meet your ''forte'', as you are moving. After reaching your position, you will pass so quickly that he will have no time to defend. You must take care to place your sword in position always with the hand in ''quarte'' both on the outside and on the inside, above and below, and to direct your point towards the adversary's hand and hilt, and so far distant, that you always have time to disengage it or change your line, before he touches it. The nearer to his body you can bring your point with these precautions the better you will succeed. Therefore to approach in the proper manner you must carry your point forward without pause, and in such a manner that you can abandon your first plan and adopt another according to circumstances.</p> | ||
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− | | <p>[46] This hit in ''quarte'' against an opponent attempting a hit also in ''quarte'' has arisen in this way; whilst you were approaching and carrying your point in the line of his hilt, the | + | | <p>[46] This hit in ''quarte'' against an opponent attempting a hit also in ''quarte'' has arisen in this way; whilst you were approaching and carrying your point in the line of his hilt, the adversary seeing your point in such a strong position, has turned his hand from ''tierce'' to ''quarte'' in order to cover himself in the upper lines to engage your ''faible'' and hit. You were holding your sword steady and seeing his movement you have followed on, partly disengaging your point in ''quarte'' but without making any movement of defence, and have thrust in the angle formed by his hand in ''quarte''; by running along his ''faible'' on the outside you have made the hit in the chest. You would have hit equally on the inside if he had not moved, or again on the inside with the same guard of[!] he had tried to parry with his ''tierce''. All this is due to your being in motion, which, as we have said elsewhere, leads to quickness, and causes your adversary to move without your moving your sword.</p> |
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− | | <p>[51] From the advantage of the low guard of ''tierce'' of the last plate with the point against the adversary's hilt, has followed this hit in ''tierce''. When you came within distance, the adversary did not move, so that you have followed on with the body and hit. You would equally have hit, if he had tried to hit in any line, because you would have continued and been still and similarly you would have arrived before he had finished his disengage, or your point would have reached the height at which your hand was originally, so that he could not have parried except by stepping back. As to his body he could not have withdrawn that further, and if he had tried to retreat and parry, that would have given you an opportunity to change your line; if he had parried on the inside, you would have yielded in ''seconde''; if on the outside you would still have changed to ''seconde'', but under his arm. All these devices will succeed if you follow on without stopping, remembering that to stop and then advance is very dangerous; rather than that it is better to retire and recover and then begin again.</p> | + | | <p>[51] From the advantage of the low guard of ''tierce'' of the last plate, with the point against the adversary's hilt, has followed this hit in ''tierce''. When you came within distance, the adversary did not move, so that you have followed on with the body and hit. You would equally have hit, if he had tried to hit in any line, because you would have continued and been still defended, and similarly you would have arrived before he had finished his disengage, or your point would have reached the height at which your hand was originally, so that he could not have parried except by stepping back. As to his body he could not have withdrawn that further, and if he had tried to retreat and parry, that would have given you an opportunity to change your line; if he had parried on the inside, you would have yielded in ''seconde''; if on the outside you would still have changed to ''seconde'', but under his arm. All these devices will succeed if you follow on without stopping, remembering that to stop and then advance is very dangerous; rather than that it is better to retire and recover and then begin again.</p> |
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<p>With the sword and dagger this method may be used in some cases, though not in all. For if the adversary's point were in conjunction with the point of his dagger, you could not engage it without danger of losing your own sword. In this case it is convenient to adopt the other method of placing your point against the adversary's ''forte'', where you can keep it free and hit with less subtlety than with the sword alone, since your sword is further from the adversary's sword and safer from his dagger, which cannot engage owing to the distance. You must take care in advancing to adopt a particular manner so that the point of your sword may not penetrate and may be kept always in the same position; as your body advances, so your dagger must approach his sword in such a way that, when you are ready to hit the dagger will be so far forward that it can defend against his sword without further movement. With the sword and dagger also you can attack without stopping, but you cannot use one method only against all positions, as with the sword alone, but you must adopt now one, and now another according to need. In order that this may be better understood, we shall give plates of the positions, showing the manner first of placing the sword, and then of the hit, which may follow, as at present we show the positions with the sword alone.</p> | <p>With the sword and dagger this method may be used in some cases, though not in all. For if the adversary's point were in conjunction with the point of his dagger, you could not engage it without danger of losing your own sword. In this case it is convenient to adopt the other method of placing your point against the adversary's ''forte'', where you can keep it free and hit with less subtlety than with the sword alone, since your sword is further from the adversary's sword and safer from his dagger, which cannot engage owing to the distance. You must take care in advancing to adopt a particular manner so that the point of your sword may not penetrate and may be kept always in the same position; as your body advances, so your dagger must approach his sword in such a way that, when you are ready to hit the dagger will be so far forward that it can defend against his sword without further movement. With the sword and dagger also you can attack without stopping, but you cannot use one method only against all positions, as with the sword alone, but you must adopt now one, and now another according to need. In order that this may be better understood, we shall give plates of the positions, showing the manner first of placing the sword, and then of the hit, which may follow, as at present we show the positions with the sword alone.</p> | ||
− | <p>All these methods of attack with resolution are based on the advantage of the feet, body and sword. But if the adversary does not keep his point steady but continually moves it round in a circle, it is not easy to engage it. In that case you could exclude his sword and prevent his moving it, though in truth this remedy involves the danger of your being disordered; therefore it is much better both with the sword alone and with the sword and dagger to advance holding your point in line with the adversary's hand and continue, since he will be forced to stop his movement and to try to drive your point out of line, otherwise you will go on and hit in the ''time'' of his moving his point, and he will be unable to parry with his sword or dagger, if he has a dagger, since your point will be far distant from his and far advanced towards his body; if he tries to carry his dagger to the defence of the other side, he will not be able to parry and will give you a chance to hit because of his slowness due to the great distance. Therefore there is no position in which the adversary can place his body and weapons, to which with these methods there is no reply, since you have an advantage.</p> | + | <p>All these methods of attack with resolution are based on the advantage of the feet, body and sword. But if the adversary does not keep his point steady but continually moves it round in a circle, it is not easy to engage it. In that case you could exclude his sword and prevent his moving it, though in truth this remedy involves the danger of your being disordered; therefore it is much better both with the sword alone and with the sword and dagger to advance holding your point in line with the adversary's hand and continue, since he will be forced to stop his movement and to try to drive your point out of line, otherwise you will go on and hit in the ''time'' of his moving his point, and he will be unable to parry with his sword or dagger, if he has a dagger, since your point will be far distant from his dagger and far advanced towards his body; if he tries to carry his dagger to the defence of the other side, he will not be able to parry and will give you a chance to hit because of his slowness due to the great distance. Therefore there is no position in which the adversary can place his body and weapons, to which with these methods there is no reply, since you have an advantage.</p> |
<p>There are some men, speaking with rashness rather than with knowledge, of this art, who have presumed to say that there are some strokes, to which there is no reply, and which cannot be parried. But we are persuaded by sound reasons that every stroke has its reply, except the stroke made in the exact time and at the exact distance; to such a stroke there is no reply and it cannot be parried; whereas the stroke which is deceived in its ''time'' or its distance, has its reply and can easily be parried; so that you can defend yourself against all strokes of the one kind and none of the other, and he who thinks differently is deceived. So are they deceived who think that the same stroke can be used against every opponent. But we say that you can attack all opponents, but must proceed in different ways according to the opportunities offered by the adversary. Let this suffice for the methods of attacking with resolution and without a pause; you must understand how to advance or check yourself, move swiftly or slowly or retire, and to do everything of your own accord and not under the compulsion of the adversary, for that would be a sign that his replies were stronger and that you were trying to save yourself from danger. When you act of your own accord or for some purpose of deceiving, you can return and advance at will. In this consists true judgment and knowledge of arms, which gives you the assurance of proceeding according to the capacity of your opponent and according to the position in which he is. We have still to give the description of each plate beginning with the advantage acquired and the distance, and continuing with the hits which follow from those advantages and distances.</p> | <p>There are some men, speaking with rashness rather than with knowledge, of this art, who have presumed to say that there are some strokes, to which there is no reply, and which cannot be parried. But we are persuaded by sound reasons that every stroke has its reply, except the stroke made in the exact time and at the exact distance; to such a stroke there is no reply and it cannot be parried; whereas the stroke which is deceived in its ''time'' or its distance, has its reply and can easily be parried; so that you can defend yourself against all strokes of the one kind and none of the other, and he who thinks differently is deceived. So are they deceived who think that the same stroke can be used against every opponent. But we say that you can attack all opponents, but must proceed in different ways according to the opportunities offered by the adversary. Let this suffice for the methods of attacking with resolution and without a pause; you must understand how to advance or check yourself, move swiftly or slowly or retire, and to do everything of your own accord and not under the compulsion of the adversary, for that would be a sign that his replies were stronger and that you were trying to save yourself from danger. When you act of your own accord or for some purpose of deceiving, you can return and advance at will. In this consists true judgment and knowledge of arms, which gives you the assurance of proceeding according to the capacity of your opponent and according to the position in which he is. We have still to give the description of each plate beginning with the advantage acquired and the distance, and continuing with the hits which follow from those advantages and distances.</p> | ||
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− | | <p>[58] From the two positions of advantage just described has followed this hit in ''quarte'' against an opponent who has tried to parry in ''tierce''. On reaching the second position, as the adversary did not move, you have continued with the body without advancing the sword more than shown in the plate, still keeping your hand in the guard of ''quarte''. All this is done with great skill, because on reaching the second position with the arm withdrawn if you had extended it to hit, you would have given the adversary a ''time'' to hit below in ''quarte'', and to turn his body, letting your sword pass in vain, or to parry without disengaging. In extending the arm the sword in fact is weakened and may be easily thrust aside by the adversary, but when it is accompanied by the body the adversary is not strong enough to drive it away. For this reason then you have maintained your guard of ''quarte'', and also in order to parry more easily, if he should try to hit below. You have lowered the body in the straight line in order to render the defence easier both below and on the inside, so that wherever he should hit, you would defend with little movement of the hand and body; moreover you would be so far advanced that his sword would pass, and you would be out of danger. On the other hand if you had bent the body outwards, you would have been | + | | <p>[58] From the two positions of advantage just described has followed this hit in ''quarte'' against an opponent who has tried to parry in ''tierce''. On reaching the second position, as the adversary did not move, you have continued with the body without advancing the sword more than shown in the plate, still keeping your hand in the guard of ''quarte''. All this is done with great skill, because on reaching the second position with the arm withdrawn if you had extended it to hit, you would have given the adversary a ''time'' to hit below in ''quarte'', and to turn his body, letting your sword pass in vain, or to parry without disengaging. In extending the arm the sword in fact is weakened and may be easily thrust aside by the adversary, but when it is accompanied by the body the adversary is not strong enough to drive it away. For this reason then you have maintained your guard of ''quarte'', and also in order to parry more easily, if he should try to hit below. You have lowered the body in the straight line in order to render the defence easier both below and on the inside, so that wherever he should hit, you would defend with little movement of the hand and body; moreover you would be so far advanced that his sword would pass, and you would be out of danger. On the other hand if you had bent the body outwards, you would have been more exposed on the inside and would not have advanced so far with the body, so that your adversary could more readily have recovered his sword, whilst you would have been less united; for all these reasons the movement would have been weaker.</p> |
<p>We might have included the results which would have followed against guards of ''prime'' and ''quarte'', and also guards at an angle, or withdrawn; but we have omitted them for the sake of brevity, and because whoever can advance with safety against a guard in the straight line, can more easily attack those at an angle or withdrawn. Therefore we shall not treat of them, since they may be readily met with the methods we have described; for the nearer you can approach the adversary before being impeded or checked by his sword, the safer you are and the quicker you will attain your end; the adversary has fewer resources when you are close; when the danger is greater, he cannot make many changes. As to rushes which may be made by guards at an angle or withdrawn, we omit those also, because they will give no trouble; for if you know how to attack according to our methods, you will always be covered in the straight line from the adversary's point to your body. As to the changes of line made by an opponent using a guard at an angle, they are always slower than with a straight guard; therefore in these six methods we have described the opponent as on guard in the straight line. There are some who claim that a straight guard cannot be defeated, especially if the body is held sideways, whereas we have here shown in how many ways such a guard may be deceived.</p> | <p>We might have included the results which would have followed against guards of ''prime'' and ''quarte'', and also guards at an angle, or withdrawn; but we have omitted them for the sake of brevity, and because whoever can advance with safety against a guard in the straight line, can more easily attack those at an angle or withdrawn. Therefore we shall not treat of them, since they may be readily met with the methods we have described; for the nearer you can approach the adversary before being impeded or checked by his sword, the safer you are and the quicker you will attain your end; the adversary has fewer resources when you are close; when the danger is greater, he cannot make many changes. As to rushes which may be made by guards at an angle or withdrawn, we omit those also, because they will give no trouble; for if you know how to attack according to our methods, you will always be covered in the straight line from the adversary's point to your body. As to the changes of line made by an opponent using a guard at an angle, they are always slower than with a straight guard; therefore in these six methods we have described the opponent as on guard in the straight line. There are some who claim that a straight guard cannot be defeated, especially if the body is held sideways, whereas we have here shown in how many ways such a guard may be deceived.</p> | ||
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− | {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/124|4|lbl=- | + | {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/124|4|lbl=-}} |
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ||
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ||
− | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica | + | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf}}</p> |
! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p> | ! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p> | ||
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<p>''On attacking with Resolution with Sword and Dagger.''</p> | <p>''On attacking with Resolution with Sword and Dagger.''</p> | ||
− | <p>Having fully discussed the method of attacking the adversary without waiting in presence with the sword alone, we shall now treat of the principles to be observed with the sword and dagger. Although with these weapons you make use of the | + | <p>Having fully discussed the method of attacking the adversary without waiting in presence with the sword alone, we shall now treat of the principles to be observed with the sword and dagger. Although with these weapons you make use of the advantage of the continued movement of the feet, which gives greater quickness of action, still you most consider that you have two weapons to control, and that your adversary has two weapons, against which you must defend yourself. To proceed in the proper manner requires great judgment in understanding the advantages and the dangers. In attacking the adversary where he is uncovered, in order to make him move, you are in great danger of losing your sword, that is to say the danger that his dagger, if not his sword, will engage your sword, and not only impede your plan, but put you in peril,[!] Therefore you must be careful not to go so near either of his weapons, that your sword may be deprived of its freedom; although it is true that the more you can advance your sword and still keep it free, the more successful your method will be, even though the danger is greater.</p> |
<p>With these weapons you must not only contrive that your dagger defends with little movement, when the adversary's sword attacks, but also that your own sword is in such a position, that it may hit in the exact ''time'' and defend the line nearest to the line in which the adversary is attacking, so that if he has made a feint of hitting in that line in order to hit in the other near line, which would be uncovered by the movement of defence, he will find the path closed and defended; it is not difficult for the two weapons to defend the two lines, the one defending the line in which the adversary attacks, and the other the line in which he may attack, and without impeding your power to strike in the same ''time''; if other methods are adopted you may be deceived. With these weapons also there are more paths in which the adversary may attack, and in which you may attack him, but there are fewer methods of proceeding against his movements because of the impediment of his dagger. Still there are four ways or methods by which you may attack without waiting for a time or anything else, but may go on resolutely without a pause. These involve three guards, which are illustrated in the plates, so that you may know that with them you may attack or wait, as you please. Of these we shall now treat more in detail; we shall begin with a low guard in ''seconde'', formed with the sword across the body. Then we shall speak of the others in order as we have done hitherto.</p> | <p>With these weapons you must not only contrive that your dagger defends with little movement, when the adversary's sword attacks, but also that your own sword is in such a position, that it may hit in the exact ''time'' and defend the line nearest to the line in which the adversary is attacking, so that if he has made a feint of hitting in that line in order to hit in the other near line, which would be uncovered by the movement of defence, he will find the path closed and defended; it is not difficult for the two weapons to defend the two lines, the one defending the line in which the adversary attacks, and the other the line in which he may attack, and without impeding your power to strike in the same ''time''; if other methods are adopted you may be deceived. With these weapons also there are more paths in which the adversary may attack, and in which you may attack him, but there are fewer methods of proceeding against his movements because of the impediment of his dagger. Still there are four ways or methods by which you may attack without waiting for a time or anything else, but may go on resolutely without a pause. These involve three guards, which are illustrated in the plates, so that you may know that with them you may attack or wait, as you please. Of these we shall now treat more in detail; we shall begin with a low guard in ''seconde'', formed with the sword across the body. Then we shall speak of the others in order as we have done hitherto.</p> | ||
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| <p>[2] '''The first method of attacking the adversary without a pause with the sword & dagger.'''</p> | | <p>[2] '''The first method of attacking the adversary without a pause with the sword & dagger.'''</p> | ||
− | <p>In this first method of attacking with resolution a guard of ''seconde'' is used, which has been already illustrated (pl. 56) with the sword and dagger. You begin with natural steps moving in a circle towards the left, as the principles of this guard require, so that you can withdraw or approach without changing the position of the body or the nature of the steps and can contrive to entice the adversary to advance. As we explained elsewhere in speaking of the nature of this guard and of the manner of holding oneself in forming it and working with it, the circular movement is intended to protect the part which is uncovered over the sword; by keeping your dagger outside the adversary's sword on arriving within distance and holding your sword close to your dagger, when your dagger has penetrated the point of the adversary's sword, you prevent his disengaging below. Since your sword has closed the path between the weapons and your dagger is held upright, he can disengage over the point of your dagger only by a very slow movement; nor can he make a feint and hit, which would cause disorder and a separation of your weapons, and perhaps lead to a hit. Your body is held low to prevent his being able to hit below. This guard is based on such a position that the adversary can hit only on the inside of the dagger over the sword, and consequently you must | + | <p>In this first method of attacking with resolution a guard of ''seconde'' is used, which has been already illustrated (pl. 56) with the sword and dagger. You begin with natural steps moving in a circle towards the left, as the principles of this guard require, so that you can withdraw or approach without changing the position of the body or the nature of the steps and can contrive to entice the adversary to advance. As we explained elsewhere in speaking of the nature of this guard and of the manner of holding oneself in forming it and working with it, the circular movement is intended to protect the part which is uncovered over the sword; by keeping your dagger outside the adversary's sword on arriving within distance and holding your sword close to your dagger, when your dagger has penetrated the point of the adversary's sword, you prevent his disengaging below. Since your sword has closed the path between the weapons and your dagger is held upright, he can disengage over the point of your dagger only by a very slow movement; nor can he make a feint and hit, which would cause disorder and a separation of your weapons, and perhaps lead to a hit. Your body is held low to prevent his being able to hit below. This guard is based on such a position that the adversary can hit only on the inside of the dagger over the sword, and consequently you must protect that part as you advance, taking care that in the meantime you do not uncover other parts so much that you cannot parry; having formed this guard you must make certain that the adversary's sword cannot hit or harass you except in this line over your sword. You must protect this line, so that when you have reached his sword your body is entirely out of line of his point. In no case with this guard must you separate your sword and dagger you must take care that your dagger on reaching his sword is close to its blade, so that you may run along the blade without beating it in order to avoid the danger which might arise, if the adversary raised his sword from that position and placed it in another, or withdrew it and hit after your dagger had fallen, or disordered your dagger by a feint and then hit in the time of your trying to defend; moreover the adversary’s sword is at once free after being beaten, so that you would lose the control of it. But if you merely ran along the blade, you can then follow it wherever it goes, secure against any movement the adversary may make; your security is all the greater because he can never engage your sword, which is crossed out of line. You should make no further advance towards the adversary, after bringing your dagger hand to this position, so that the ''faible'' of your sword will be at a distance, out of reach of his dagger; it is true that it is within the reach of his sword, but only with the danger to the adversary of having his sword excluded and being hit, before he can free it; hence your security, since your sword cannot be engaged. For the rest you must know how to apply the following rules, when within distance; if you have to hit in ''seconde'' you must leave your dagger against the adversary's sword and hit when the opportunity occurs; if you have to hit in ''quarte'' by a turn of the hand, you must thrust with the blade of your sword still close to the dagger, so that the path between the weapons will be closed; after completing the extension the sword hand should be still close to the dagger hand, whilst the body should in no case be raised, but lowered still more at the moment of hitting. If you observe these rules you will defeat any adversary.</p> |
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− | | <p>[4] From the preceeding[!] guard of ''seconde'' with the dagger on the adversary's sword has followed this hit over the dagger. After engaging his sword you pushed on against the adversary, who was in tierce, as shown, and disengaged in ''seconde'' over his dagger, running along the blade of his sword with the blade of your dagger. Seeing you disengaging and advancing he has carried back his left foot thrust with his sword in order to meet you; by turning his body he thought he would be able to parry with his dagger, but he has failed, because his sword was already engaged by your dagger and you have protected a great part of the body, which was exposed before over your sword in ''seconde''; you have followed his blade, completely defending yourself, and hit without his being able to save himself. This is due to your continued union when disengaging, so that when the disengage was complete, the hit was already made, and his dagger could not parry. Similarly it may be that the adversary seeing you attacking and uncovered above the sword, has tried to hit in that line. Having already engaged his sword and knowing well that you could not be hit elsewhere, you have pushed your dagger forward along his blade, advanced and made the hit in ''seconde'' on completing your disengage.</p> | + | | <p>[4] From the preceeding[!] guard of ''seconde'' with the dagger on the adversary's sword has followed this hit over the dagger. After engaging his sword you pushed on against the adversary, who was in tierce, as shown, and disengaged in ''seconde'' over his dagger, running along the blade of his sword with the blade of your dagger. Seeing you disengaging and advancing he has carried back his left foot and thrust with his sword in order to meet you; by turning his body he thought he would be able to parry with his dagger, but he has failed, because his sword was already engaged by your dagger and you have protected a great part of the body, which was exposed before over your sword in ''seconde''; you have followed his blade, completely defending yourself, and hit without his being able to save himself. This is due to your continued union when disengaging, so that when the disengage was complete, the hit was already made, and his dagger could not parry. Similarly it may be that the adversary seeing you attacking and uncovered above the sword, has tried to hit in that line. Having already engaged his sword and knowing well that you could not be hit elsewhere, you have pushed your dagger forward along his blade, advanced and made the hit in ''seconde'' on completing your disengage.</p> |
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<p>With this method also a guard of ''seconde'' is used, which has also been illustrated (Pl. 57.) it is formed with the feet in line and the points of the feet facing the adversary and wide apart, the body bent forwards and the shoulders in line, so that the whole of the chest faces the adversary; the arms and weapons are held high and curved inwards, so that the point of the dagger meets the sword near the ''forte'' closing the path between the weapons against thrusts and cuts, with the point of the sword directed to the left, so as to cover the head entirely and defend it from any cut without any further parry. Thus the adversary can attack only below between the weapons towards the face, which may be easily defended by both weapons, which are advanced. The lower parts also are defended and safe by reason of the distance, where the adversary cannot reach them except by bringing his head close to your hands.</p> | <p>With this method also a guard of ''seconde'' is used, which has also been illustrated (Pl. 57.) it is formed with the feet in line and the points of the feet facing the adversary and wide apart, the body bent forwards and the shoulders in line, so that the whole of the chest faces the adversary; the arms and weapons are held high and curved inwards, so that the point of the dagger meets the sword near the ''forte'' closing the path between the weapons against thrusts and cuts, with the point of the sword directed to the left, so as to cover the head entirely and defend it from any cut without any further parry. Thus the adversary can attack only below between the weapons towards the face, which may be easily defended by both weapons, which are advanced. The lower parts also are defended and safe by reason of the distance, where the adversary cannot reach them except by bringing his head close to your hands.</p> | ||
− | <p>When you have formed this guard you should advance with short steps in order to keep the same distance between the feet When you are so far advanced that your hands have penetrated the point of the adversary's sword, you should then carry one of your feet into line with the other on the side on which you intend to attack, which will bring your body out of line a distance equal to half the space between your feet when on guard, and you will be so far advanced, that your adversary can no longer bring his point into line. If you have carried the left foot into line with the right, you can hit in ''quarte'', holding the point of your dagger turned downwards in order to exclude his sword, so that it cannot attack in the line of your body. If you have carried the right foot to the line of the left, you will have greater advantage in hitting, since in carrying the body away you can leave the dagger to defend the side nearest the adversary and direct your sword, which, as we have said, is high and held across the body, against the adversary; your sword will then be so far advanced that its forte will penetrate before his weapons can parry, and the point on coming into line will hit. If the adversary should attempt a rush, you should either parry by leaving your dagger to defend without however beating his sword, or carry your foot to the right and thrust the ''forte'' of your sword forward in order to exclude his sword and continue with the point to his body, meeting him at the very moment of his rush; in this way your success will be greater then when he remains steady on guard. If he remains on guard, it will be better to move to the outside with the right foot, when by the advantage of being already on the move, you will arrive so quickly that he cannot save himself. With this method you are certain that the adversary can never engage your sword, which is a very great advantage. If you observe these rules, you can attack any imaginable position on guard.</p> | + | <p>When you have formed this guard you should advance with short steps in order to keep the same distance between the feet. When you are so far advanced that your hands have penetrated the point of the adversary's sword, you should then carry one of your feet into line with the other on the side on which you intend to attack, which will bring your body out of line a distance equal to half the space between your feet when on guard, and you will be so far advanced, that your adversary can no longer bring his point into line. If you have carried the left foot into line with the right, you can hit in ''quarte'', holding the point of your dagger turned downwards in order to exclude his sword, so that it cannot attack in the line of your body. If you have carried the right foot to the line of the left, you will have greater advantage in hitting, since in carrying the body away you can leave the dagger to defend the side nearest the adversary and direct your sword, which, as we have said, is high and held across the body, against the adversary; your sword will then be so far advanced that its forte will penetrate before his weapons can parry, and the point on coming into line will hit. If the adversary should attempt a rush, you should either parry by leaving your dagger to defend without however beating his sword, or carry your foot to the right and thrust the ''forte'' of your sword forward in order to exclude his sword and continue with the point to his body, meeting him at the very moment of his rush; in this way your success will be greater then when he remains steady on guard. If he remains on guard, it will be better to move to the outside with the right foot, when by the advantage of being already on the move, you will arrive so quickly that he cannot save himself. With this method you are certain that the adversary can never engage your sword, which is a very great advantage. If you observe these rules, you can attack any imaginable position on guard.</p> |
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− | | <p>[12] From the high ''tierce'' with the weapons divided and the feet together, as illustrated in Pl. 65 with the sword and dagger, has arisen the position of this ''quarte'' in the following manner: when at a distance with this guard of ''tierce'', with the weapons high and the feet together, you have begun by carrying the left foot away to the adversary's right side and bringing the right foot forward, at the same time bringing your sword and dagger into | + | | <p>[12] From the high ''tierce'' with the weapons divided and the feet together, as illustrated in Pl. 65 with the sword and dagger, has arisen the position of this ''quarte'' in the following manner: when at a distance with this guard of ''tierce'', with the weapons high and the feet together, you have begun by carrying the left foot away to the adversary's right side and bringing the right foot forward, at the same time bringing your sword and dagger into conjunction so that when within distance your hands were in contact and your sword had completed the change to ''quarte''; you have also gradually lowered the point so as to bring it into line and directed it in the line uncovered outside the sword; you have advanced the body, without allowing your point to penetrate any further, but turning your hand towards ''tierce'', carrying the right side somewhat back and bringing your dagger near his sword; you have also lowered the point of your sword, so that, if necessary, you could disengage it, that is if the adversary had tried to parry with his sword. You would continue the movement of your hand from ''tierce'' to ''seconde'' and hit on the inside between his weapons; if the adversary tried to carry his dagger down to your sword, you would still turn the hand to ''seconde'' and thrust past the point of his dagger; parrying with the sword and dagger together you would disengage your point below as it was already with little movement being carried downwards and would hit under his dagger, with your body low and letting his sword pass outside your left arm, as will be seen in the next plate.</p> |
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− | | <p>[13] From the guard of ''quarte'' with the sword on the outside of opponent's sword in ''tierce'' has followed this hit. You had begun with the high ''tierce'', as previously described, and come within distance in the position of the last plate. The adversary tried to parry with his sword and dagger in conjunction; but as soon as you were within distance you began to turn your hand towards ''tierce'', placed your dagger against his sword, which was advancing to parry and hit, letting your point fall low, so that the adversary failed to find it; you continued the movement of your hand to ''seconde'', which brought your blade outside and below the adversary's left arm. If, when you directed your sword into the line uncovered, the adversary had tried to disengage and parry with his dagger, you would have thrust in ''quarte'' which would have prevented him from doing anything, except retiring when you came within distance, or changing his guard in order to make you change; if you had failed to seize the opportunity of the change, you would have given him a chance to hit, if he had followed, though it is true you might have halted and adopted another method.</p> | + | | <p>[13] From the guard of ''quarte'' with the sword on the outside of the opponent's sword in ''tierce'' has followed this hit. You had begun with the high ''tierce'', as previously described, and come within distance in the position of the last plate. The adversary tried to parry with his sword and dagger in conjunction; but as soon as you were within distance you began to turn your hand towards ''tierce'', placed your dagger against his sword, which was advancing to parry and hit, letting your point fall low, so that the adversary failed to find it; you continued the movement of your hand to ''seconde'', which brought your blade outside and below the adversary's left arm. If, when you directed your sword into the line uncovered, the adversary had tried to disengage and parry with his dagger, you would have thrust in ''quarte'' which would have prevented him from doing anything, except retiring when you came within distance, or changing his guard in order to make you change; if you had failed to seize the opportunity of the change, you would have given him a chance to hit, if he had followed, though it is true you might have halted and adopted another method.</p> |
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− | | <p>[18] This ''quarte'', with the sword between the weapons of an opponent in ''tierce'' on the left foot, is also derived from the high ''tierce''. If the adversary makes no move you would advance your body close to the hands and at once hit under his left arm in ''seconde'', while your body would pass outside his sword, and you | + | | <p>[18] This ''quarte'', with the sword between the weapons of an opponent in ''tierce'' on the left foot, is also derived from the high ''tierce''. If the adversary makes no move you would advance your body close to the hands and at once hit under his left arm in ''seconde'', while your body would pass outside his sword, and you would leave your dagger against his sword; if he disengaged on the outside of your sword, you would still hit in ''seconde'' below; but if he disengaged on the side of the dagger, you would hit in quarte, dropping your point far enough to pass under his dagger hand; whilst hitting in ''quarte'', you would press your hands still closer together in order to exclude his sword. If he tried to parry with his dagger and thrust in ''tierce'' below, when he saw your sword attacking in the middle, you would then raise your sword over his dagger and hit, as will be seen.</p> |
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<p>This is the fourth method, in which we explain the manner of proceeding[!] against those who never hold their sword still, but continually move the point in a circle and hold the dagger, now advanced, now withdrawn, at one moment close to the sword, at another separated from it. We must proceed in a manner different from the other three methods. If the adversary moves his sword in a circle, as long as his sword hand is at a distance from his dagger hand, you should begin to approach your points and advance as far as possible towards his sword hand, in order to force him to one of two course[!], either to stop moving his point and meet your advancing point, or to move his dagger, both opportune moments to hit in the part he uncovers. You should continue to hold the point of your dagger directed towards the adversary, so that it may be ready to parry on every occasion of his attempting to hit; when he must pass the line of your dagger. You must also keep your body low and in union with your weapons. If the adversary makes no move, you must advance so far that you can take the ''time'' of the circular movement of his point, and hit, excluding his point at the same time, assured that, while your point is directed towards his hand, you will easily parry, whenever he tries to hit during your advance and will hit without being disordered. But the correct principles must be observed.</p> | <p>This is the fourth method, in which we explain the manner of proceeding[!] against those who never hold their sword still, but continually move the point in a circle and hold the dagger, now advanced, now withdrawn, at one moment close to the sword, at another separated from it. We must proceed in a manner different from the other three methods. If the adversary moves his sword in a circle, as long as his sword hand is at a distance from his dagger hand, you should begin to approach your points and advance as far as possible towards his sword hand, in order to force him to one of two course[!], either to stop moving his point and meet your advancing point, or to move his dagger, both opportune moments to hit in the part he uncovers. You should continue to hold the point of your dagger directed towards the adversary, so that it may be ready to parry on every occasion of his attempting to hit; when he must pass the line of your dagger. You must also keep your body low and in union with your weapons. If the adversary makes no move, you must advance so far that you can take the ''time'' of the circular movement of his point, and hit, excluding his point at the same time, assured that, while your point is directed towards his hand, you will easily parry, whenever he tries to hit during your advance and will hit without being disordered. But the correct principles must be observed.</p> | ||
− | <p>In case the adversary while moving his point in a circle has his dagger close to his sword hand, you must be careful not | + | <p>In case the adversary while moving his point in a circle has his dagger close to his sword hand, you must be careful not to advance your sword so far that it would be engaged. The true method is to keep the point of your sword directed towards the first part of the adversary's blade, that is towards the hilt, and to follow on by bringing up the body to the first position of the hands, with the hands now a little in advance of the body, bending the arms at the elbow, as you advance; for if you work from the shoulders only as you advance your body, your hands will go too low and you will be exposed. Your hand should be in ''quarte'', with the points still directed towards the first part of his blade. As you come forward in union, you must lower the body, but never let the point of your sword penetrate so far that it is inside the adversary's dagger, that is, when his dagger is close to his sword hand. You should approach towards the blade or point of his dagger, and if he hits in the ''time'' of your advancing, you will parry more easily than if your points were directed towards his hands, since the ''fortes'' will be further from the adversary, so that the point of his sword cannot so easily penetrate them, and the ''fortes'' will be all the stronger, since they are gathered in close to the body. There is one point to be considered, that is that when his point moved in a circle, the first part of his blade also moved, and changes its position so much, that you cannot keep your points exactly against it. If you follow our rule and keep the points of your sword and dagger directed towards that part with your dagger hand somewhat divided from the sword hand, but with the point of the dagger close to the blade of the sword, that wavering of the adversary's sword will not matter, since it will never be so great that he can hit in any line, disorder you, or obtain any advantage.</p> |
<p>If the adversary holds his dagger so far forward as to cover the whole of the first part of his blade, and moreover close to his sword in a guard of ''quarte'', you cannot then approach the hilt or the first part of his blade. If you tried to approach the second part of his blade, you would not be safe, since that part makes a large movement, when the point is moved, and the adversary would be too far away to be hit. In this case you should hold the point of your sword against his dagger hand, and your dagger not much advanced and directed towards the centre of his blade; you should advance with your feet and body towards his dagger side, with your hand in quarte and as you advance gather your hand in towards your left side, still keeping the point in the same line; when you have brought the hand as close to your body as possible, you would then be in the required position and could hit in the line uncovered nor would the adversary be able to parry in any way. If your dagger is directed towards the centre of his blade, it will easily parry if he tries to hit in that ''time''; if he hits before you reach your position, it will be still better for your defence, since both your weapons will be free and steady, so that when once within distance you could take any ''time'' offered by the adversary. In following this method you must continue with the feet, keeping your points and hands steady, until you find a ''time'' or reach your position.</p> | <p>If the adversary holds his dagger so far forward as to cover the whole of the first part of his blade, and moreover close to his sword in a guard of ''quarte'', you cannot then approach the hilt or the first part of his blade. If you tried to approach the second part of his blade, you would not be safe, since that part makes a large movement, when the point is moved, and the adversary would be too far away to be hit. In this case you should hold the point of your sword against his dagger hand, and your dagger not much advanced and directed towards the centre of his blade; you should advance with your feet and body towards his dagger side, with your hand in quarte and as you advance gather your hand in towards your left side, still keeping the point in the same line; when you have brought the hand as close to your body as possible, you would then be in the required position and could hit in the line uncovered nor would the adversary be able to parry in any way. If your dagger is directed towards the centre of his blade, it will easily parry if he tries to hit in that ''time''; if he hits before you reach your position, it will be still better for your defence, since both your weapons will be free and steady, so that when once within distance you could take any ''time'' offered by the adversary. In following this method you must continue with the feet, keeping your points and hands steady, until you find a ''time'' or reach your position.</p> | ||
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− | | <p>[27] From the preceeding[!] ''tierce'' with the point of the sword against the first part of the adversary's blade has followed this hit. When within close distance you have taken the ''time'' offered by the adversary in carrying the point of his sword away from his dagger in its circular movement and have disengaged between his weapons in ''quarte''; he has been unable either to parry with his dagger or to turn his hand to ''seconde'' because of the advance of your sword, which had already hit when he tried to parry; for this purpose he bent his body thinking to escape the imminent danger, but when he turned his hand to ''seconde'', your body had already passed. You have hit with the dagger also at the same time, while he was occupied in the effort of defending himself from your sword, and because he was so impeded, that even if he had tried to hit with his dagger, he could not have done so, because his arm would have been imprisoned by your arm, which had passed so far forward, that he could hardly have seen anything. This hit with the dagger has been introduced to show that you can also hit with the dagger; if we have not spoken of it before, although there has often been an opportunity, it is because we have deemed it better to confine our attention to use of the sword. Moreover those who pass with resolution have no need to hit with the dagger or to fear the adversary's dagger, because when you pass and hit the sword penetrates entirely and removes all danger. Therefore you can pass without fear of his dagger, assuming that no one is so foolish as to let your sword pass through his body in order to hit you with his dagger; even if an opponent did that, he would generally be thrown to the ground before he could hit. Moreover since he is forced to parry with his dagger, he cannot hit in ''time'', whilst on the other hand by advancing with resolution , when the adversary's point is passed, you can leave it without hesitation, and carry your dagger to his body. Therefore it is clear that he who passes can hit with the dagger better than he who waits, whose lack of resolution is increased by seeing his opponent close upon him and his sword engaged, so that he can parry with the dagger only; his dagger being engaged on one task cannot perform the other. Therefore he who passes has always the advantage, and if he does not hit with the sword, can hit with the dagger, but if he hits with the sword, he will not need the other. We might already have treated of this manner of hitting, but our intention has been to consider the point of the sword, which attacks from a greater distance, takes and offers the times of hitting, and also is the first to strike terror and attack. For these reasons we have desired to consider a subject, which is more subtle and profitable. We have added this short discourse to show the error of those who reject the pass from fear of being hit by the adversary's dagger. We have also omitted for the sake of brevity the consideration of the broad-sword and many other kinds of weapons, of which there would have been much to say. Moreover such arms are not used among gentlemen nor in chance meetings, though they are excellent when campaigning or           <ref>This large blank space was probably meant to be filled in later with a suitable translation for ''brezza'', which means "breeze" though that's obviously not the intended meaning here. It might be a spelling of ''brecca'', meaning "breach". Tom Leoni translates it "rampart". ~ Michael Chidester</ref> but such matters are far from our subject, since we intend to treat only of the arms of gentlemen and of cases which may arise in the association of noblemen. Of these things we believe we have treated at sufficient length; it remains only to throw light on some extraordinary accidents, which may arise, although rarely. For this purpose we shall add another short discourse showing the method of defence on such occasions.</p> | + | | <p>[27] From the preceeding[!] ''tierce'' with the point of the sword against the first part of the adversary's blade has followed this hit. When within close distance you have taken the ''time'' offered by the adversary in carrying the point of his sword away from his dagger in its circular movement and have disengaged between his weapons in ''quarte''; he has been unable either to parry with his dagger or to turn his hand to ''seconde'' because of the advance of your sword, which had already hit when he tried to parry; for this purpose he bent his body thinking to escape the imminent danger, but when he turned his hand to ''seconde'', your body had already passed. You have hit with the dagger also at the same time, while he was occupied in the effort of defending himself from your sword, and because he was so impeded, that even if he had tried to hit with his dagger, he could not have done so, because his arm would have been imprisoned by your arm, which had passed so far forward, that he could hardly have seen anything. This hit with the dagger has been introduced to show that you can also hit with the dagger; if we have not spoken of it before, although there has often been an opportunity, it is because we have deemed it better to confine our attention to the use of the sword. Moreover those who pass with resolution have no need to hit with the dagger or to fear the adversary's dagger, because when you pass and hit the sword penetrates entirely and removes all danger. Therefore you can pass without fear of his dagger, assuming that no one is so foolish as to let your sword pass through his body in order to hit you with his dagger; even if an opponent did that, he would generally be thrown to the ground before he could hit. Moreover since he is forced to parry with his dagger, he cannot hit in ''time'', whilst on the other hand by advancing with resolution, when the adversary's point is passed, you can leave it without hesitation, and carry your dagger to his body. Therefore it is clear that he who passes can hit with the dagger better than he who waits, whose lack of resolution is increased by seeing his opponent close upon him and his sword engaged, so that he can parry with the dagger only; his dagger being engaged on one task cannot perform the other. Therefore he who passes has always the advantage, and if he does not hit with the sword, can hit with the dagger, but if he hits with the sword, he will not need the other. We might already have treated of this manner of hitting, but our intention has been to consider the point of the sword, which attacks from a greater distance, takes and offers the times of hitting, and also is the first to strike terror and attack. For these reasons we have desired to consider a subject, which is more subtle and profitable. We have added this short discourse to show the error of those who reject the pass from fear of being hit by the adversary's dagger. We have also omitted for the sake of brevity the consideration of the broad-sword and many other kinds of weapons, of which there would have been much to say. Moreover such arms are not used among gentlemen nor in chance meetings, though they are excellent when campaigning or           <ref>This large blank space was probably meant to be filled in later with a suitable translation for ''brezza'', which means "breeze" though that's obviously not the intended meaning here. It might be a spelling of ''brecca'', meaning "breach". Tom Leoni translates it "rampart". ~ Michael Chidester</ref> but such matters are far from our subject, since we intend to treat only of the arms of gentlemen and of cases which may arise in the association of noblemen. Of these things we believe we have treated at sufficient length; it remains only to throw light on some extraordinary accidents, which may arise, although rarely. For this purpose we shall add another short discourse showing the method of defence on such occasions.</p> |
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p> | ||
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p> | ||
− | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica | + | ! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf}}</p> |
! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p> | ! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p> | ||
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<p>''Treatise on Coming to Grips, Seizing the sword, Throwing the Cloak, and Principles of the dagger.''</p> | <p>''Treatise on Coming to Grips, Seizing the sword, Throwing the Cloak, and Principles of the dagger.''</p> | ||
− | <p>Although our intention was not to treat of the following matters because it seemed to us that our work could very well stand without them, nevertheless owing to the persuasions of many friends and to gratify them we have been induced to include in our book this treatise on coming to grips, seizing the sword, throwing the cloak and the principles of the dagger, that is the principles of defence against the dagger with the bare hands. The reasons which at first dissuaded us from treating of these matters were the fact that the volume was sufficiently long without them, and the fact that our purpose was to show how to defend oneself and attack the adversary with the sword alone, or the sword and dagger, or the sword and cloak, these being the usual weapons among gentlemen and truly appropriate for noblemen; therefore we have said nothing of shields and bucklers and other things, which it would take long to discuss. We have always been of the opinion that one, who understands the rules we have put forward, can use his sword in company with any kind of weapon, whether in the hand or on the arm, for in all cases the observation of the ''time'' and distance is required. Thus we proposed to treat only of the thrust and the cut, believing that, whoever can defend and attack in ''time'' with these, would never need to come to grips on the seizing of swords. For similar reasons we have said nothing of defending against the dagger with the bare hands, since, when honourable men are driven by a point of honour to have recourse to a trial of arms they must do so on equal terms and with a correct test of valour, and should abhor a victory won by an unworthy and disgraceful advantage of weapons. Nevertheless we have accepted the advice of our friends, and since among men entirely honourable unexpected cases arise, and so suddenly that there is no time to resort to swords, it appears well to record how the dagger may be used against the dagger. Since that weapon is short, there is a danger of the adversary's seizing the dagger hand. Therefore, if possible, you should avoid parrying, and protect yourself by swift movements of the body and feet to one side or the other, hitting at the adversary's hands and arm; this will be a safer method and will keep him at a distance, so that he cannot seize your weapon or come to grips. For the rest if you have a knowledge of ''time'', distance and passing, the rules already described will serve; therefore we say no more. But to satisfy one who can command us, we shall explain how to defend and attack, when assaulted by an opponent with a dagger, when you are unarmed.</p> | + | <p>Although our intention was not to treat of the following matters, because it seemed to us that our work could very well stand without them, nevertheless owing to the persuasions of many friends and to gratify them we have been induced to include in our book this treatise on coming to grips, seizing the sword, throwing the cloak and the principles of the dagger, that is the principles of defence against the dagger with the bare hands. The reasons which at first dissuaded us from treating of these matters were the fact that the volume was sufficiently long without them, and the fact that our purpose was to show how to defend oneself and attack the adversary with the sword alone, or the sword and dagger, or the sword and cloak, these being the usual weapons among gentlemen and truly appropriate for noblemen; therefore we have said nothing of shields and bucklers and other things, which it would take long to discuss. We have always been of the opinion that one, who understands the rules we have put forward, can use his sword in company with any kind of weapon, whether in the hand or on the arm, for in all cases the observation of the ''time'' and distance is required. Thus we proposed to treat only of the thrust and the cut, believing that, whoever can defend and attack in ''time'' with these, would never need to come to grips on the seizing of swords. For similar reasons we have said nothing of defending against the dagger with the bare hands, since, when honourable men are driven by a point of honour to have recourse to a trial of arms they must do so on equal terms and with a correct test of valour, and should abhor a victory won by an unworthy and disgraceful advantage of weapons. Nevertheless we have accepted the advice of our friends, and since among men entirely honourable unexpected cases arise, and so suddenly that there is no time to resort to swords, it appears well to record how the dagger may be used against the dagger. Since that weapon is short, there is a danger of the adversary's seizing the dagger hand. Therefore, if possible, you should avoid parrying, and protect yourself by swift movements of the body and feet to one side or the other, hitting at the adversary's hands and arm; this will be a safer method and will keep him at a distance, so that he cannot seize your weapon or come to grips. For the rest if you have a knowledge of ''time'', distance and passing, the rules already described will serve; therefore we say no more. But to satisfy one who can command us, we shall explain how to defend and attack, when assaulted by an opponent with a dagger, when you are unarmed.</p> |
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| [[file:Scienza d’Arme (Fabris) 179.jpg|400px|center]] | | [[file:Scienza d’Arme (Fabris) 179.jpg|400px|center]] | ||
− | | <p>[2] The struggle shown in this plate may have arisen in the following manner: you were in ''tierce'' on the inside, and your adversary also in ''tierce''; having the advantage you have attached[!] in ''quarte'' close to his sword; he has tried to defend with a ''quarte'' and carried his point out of line; therefore you have yielded your point, advanced the left foot and followed with the right behind his right foot, bringing your hand above his hand at the same time, whilst your pommel has reached his chest as your foot came to the ground. Or it may be that the adversary was on the outside of your sword; you have moved to engage his sword, and taking that ''time'' he has cut in ''mandiritto'' at the head. Therefore you have brought forward the left foot, parrying in order to hit in ''quarte''; seeing his danger he has attacked your sword in order to force it out of line; you have yielded your point, brought your pommel over his sword on the outside, passed and come to grips, as shown. Or it may be you, the assailant, had cut in ''mandiritto'', and the adversary had made the simple parry of ''quarte'', carrying his point outwards; you, who had brought forward the left foot when making your first hit, have passed in the time of his parrying without finishing the cut, but bringing your hand above his sword on the outside; that you have made the stroke shown so that the adversary is on the point of falling to the ground.</p> | + | | <p>[2] The struggle shown in this plate may have arisen in the following manner: you were in ''tierce'' on the inside, and your adversary also in ''tierce''; having the advantage you have attached[!] in ''quarte'' close to his sword; he has tried to defend with a ''quarte'' and carried his point out of line; therefore you have yielded your point, advanced the left foot and followed with the right behind his right foot, bringing your hand above his hand at the same time, whilst your pommel has reached his chest as your foot came to the ground. Or it may be that the adversary was on the outside of your sword; you have moved to engage his sword, and taking that ''time'' he has cut in ''mandiritto'' at the head. Therefore you have brought forward the left foot, parrying in order to hit in ''quarte''; seeing his danger he has attacked your sword in order to force it out of line; you have yielded your point, brought your pommel over his sword on the outside, passed and come to grips, as shown. Or it may be that you, the assailant, had cut in ''mandiritto'', and the adversary had made the simple parry of ''quarte'', carrying his point outwards; you, who had brought forward the left foot when making your first hit, have passed in the time of his parrying without finishing the cut, but bringing your hand above his sword on the outside; that you have made the stroke shown so that the adversary is on the point of falling to the ground.</p> |
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− | | <p>[3] This plate shown[!] the wresting of the sword from the opponent's hand, accompanied by a thrust in ''seconde'' in the chest; this may arise in two ways; in the first the adversary had cut in ''mandiritto'' at the head; you parried in ''seconde'', completely covering yourself, and immediately after parrying passed; putting your left hand reversed on the inside of his hilt and hand you have twisted his arm, turned it outwards, and wrested his sword from his hand by force, so that he has been unable to hold it. In the second method, you were in ''tierce'' on the outside of the adversary's sword and have made a feint of hitting in the face, raising your hand to ''quarte'' and carrying the point to that line | + | | <p>[3] This plate shown[!] the wresting of the sword from the opponent's hand, accompanied by a thrust in ''seconde'' in the chest; this may arise in two ways; in the first the adversary had cut in ''mandiritto'' at the head; you parried in ''seconde'', completely covering yourself, and immediately after parrying passed; putting your left hand reversed on the inside of his hilt and hand you have twisted his arm, turned it outwards, and wrested his sword from his hand by force, so that he has been unable to hold it. In the second method, you were in ''tierce'' on the outside of the adversary's sword and have made a feint of hitting in the face, raising your hand to ''quarte'' and carrying the point to that line; seeing his danger he has raised his sword to defend; you have yielded from ''quarte'' to ''seconde'', brought the left side as far forward as the right, lowering your head so far that the hilt and forte have entirely covered it, so that his point has passed behind; at the same time you have disengaged your sword in ''seconde'', placed your hand reversed on his sword hand, and by bending his arm outwards forced him to relinquish his sword.</p> |
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− | | <p>[13] Here is another disarm and hit. The adversary with the dagger has tried to hit you who are unarmed, thrusting the point at your body from below upwards | + | | <p>[13] Here is another disarm and hit. The adversary with the dagger has tried to hit you who are unarmed, thrusting the point at your body from below upwards. You have placed your right hand under the blade of the dagger, and your left hand over his dagger hand; by drawing his hand towards you, and pushing your right hand forward, you have turned the point against him. By resting your chest against the pommel of the dagger and throwing the whole of your weight on to it, you have driven the point into the chest of the man who was holding it. His only chance of safety was to drop the dagger to the ground, but he should have done that when you began to turn his hand, for after it was turned, the point would have reached his body.</p> |
<p>Let this suffice on the subject of the bare hands against the dagger.</p> | <p>Let this suffice on the subject of the bare hands against the dagger.</p> | ||
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| work = Translation | | work = Translation | ||
| authors = [[A. F. Johnson]], [[Michael Chidester]] | | authors = [[A. F. Johnson]], [[Michael Chidester]] | ||
− | | source link = | + | | source link = https://michaelchidester.gumroad.com/l/Fabris |
− | | source title= | + | | source title= Gumroad |
| license = attribution | | license = attribution | ||
}} | }} | ||
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| authors = [[Alex Kiermayer]] | | authors = [[Alex Kiermayer]] | ||
| source link = | | source link = | ||
− | | source title= [[Index:Sienza e pratica | + | | source title= [[Index:Sienza e pratica d'arme (Johann Joachim Hynitzsch) 1677.pdf|Index:Sienza e pratica d'arme (Johann Joachim Hynitzsch)]] |
| license = copyrighted | | license = copyrighted | ||
}} | }} | ||
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== Additional Resources == | == Additional Resources == | ||
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== References == | == References == | ||
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[[Category:New format]] | [[Category:New format]] | ||
+ | [[Category:Modular display candidate]] |
Latest revision as of 13:53, 5 April 2024
Salvator Fabris | |
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![]() | |
Born | 1544 Padua, Italy |
Died | 11 Nov 1618 (aged 74) Padua, Italy |
Occupation |
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Nationality | Italian |
Alma mater | University of Padua (?) |
Patron |
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Influenced | |
Genres | Fencing manual |
Language | Italian |
Notable work(s) | Scienza d’Arme (1601-06) |
Manuscript(s) |
MS 17 (1600-20)
|
Translations |
Salvator Fabris (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – 17th century Italian knight and fencing master. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.[citation needed] The French master Henry de Sainct Didier recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s[1], although that piece of evidence is particularly slim. In the 1580s, Fabris corresponded with Christian Barnekow, a Danish nobleman with ties to the royal court as well as an alumnus of the university.[2] It seems likely that Fabris traveled a great deal during the 1570s and 80s, spending time in France, Germany, Spain, and possibly other regions before returning to teach at his alma mater.[citation needed]
It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as Supremus Eques ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.[3] It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership.
Fabris' whereabouts in the 1590s are uncertain, but there are rumors. In 1594, he may have been hired by King Sigismund of Poland to assassinate his uncle Karl, a Swedish duke and competitor for the Swedish crown. According to the story, Fabris participated in a sword dance (or possibly a dramatic play) with a sharp sword and was to slay Karl during the performance when the audience was distracted. (The duke was warned and avoided the event, saving his life.)[4] In ca. 1599, Fabris may have been invited to England by noted playwright William Shakespeare to choreograph the fight scenes in his premier of Hamlet.[5][2] He also presumably spent considerable time in the 1590s developing the fencing manual that would guarantee his lasting fame.
What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled Scientia e Prattica dell'Arme (GI.kgl.Saml.1868 4040).[2]
In 1601, Fabris was hired as chief rapier instructor to the court of Christianus Ⅳ, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title De lo Schermo, overo Scienza d’Arme ("On Defense, or the Science of Arms") or Sienza e Pratica d’Arme ("Science and Practice of Arms"). Christianus funded this first edition and placed his court artist, Jan van Halbeeck, at Fabris' disposal to illustrate it; it was ultimately published in Copenhagen on 25 September 1606.[2]
Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo.
The importance of Fabris' work can hardly be overstated. Versions of his treatise were reprinted for over a hundred years, and translated into German at least four times as well as French and Latin. He is almost universally praised by later masters and fencing historians, and through the influence of his students and their students (most notably Hans Wilhelm Schöffer), he became the dominant figure in German fencing throughout the 17th century and into the 18th.
Contents
Treatise
Illustrations |
Illustrations |
Draft Translation (from the archetype) |
Prototype (1601) |
Archetype (1606) |
German Translation (1677) |
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[1] Fencing, or the Science of Arms by Salvator Fabris. |
[1r] SIENTIA ET PRATICA DEL' ARME DI SALVATOR FABRIS PADOVANO, Cavalliero del hordine delli sette Cori. |
[I] DE LO SCHERMO OVERO SCIENZA D’ARME DI SALVATOR FABRIS CAPO dell’ ordine dei sesse CORI
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[I] SCIENZA E PRATICA D' ARME DI SALVATORE FABRIS, CAPE DELL’ ORDINE DEI SETTE CUORI. ·/· Herrn Salvatore Fabris Obristen des Ritter-Ordens der Sieben Herzen, verteutschte Italiänische Fecht Kunst. LEIPZIG, Verlegts Erasmus Hynitzsch. Druckts Michael Vogt. Im Jahr 1677. | ||
[2] |
[*] SIENZA E PRATICA D’ARME, DI SALVATOR FABRIS, divisa in dui Libri: NEL PRIMO, SI DISMOTRA[!] le suttilita, sopra le quali è fondata la pr fessione. NEL SECONDO, ALCVNE RAGgioni, non piu da altri intese. Con la tauala, di quanto nell’ opera si Contiene.
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[3] |
[V] VANDALORVM GOTHORVMQVÆ REX CHRISTIANVS IIII D G DANIÆ NORVEGIÆ REGNA FIRMAT PIETAS |
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[4] To His Serene Majesty, the most Powerful Christian IV., King of Denmark, Norway, Gothland and Vandalia, Duke of Schleswig Holstein, Stormarn and Ditmarsch, Count of Oldenburg and Delmenhorst, &c. I am confident that all who read this work of mine will recognise that the many benefits received from your Serene Highness are the cause, which has urged and impelled me to publish to the world these my labours. I have wished also to help professors of the science of arms by showing them those instructions and rules, which after long use and continual practice and from observing the errors of others I have found to be good. I hope then that a work based on such principles will find merit, especially as it is under the protection of your Serene Highness - a work as worthy by reason of the excellence of its subject as it is glorious through the approval of your high judgment. To you, therefore, my benefactor, my king and a prince of incomparable valour as much in civil government as in the practice of arms, a true hero of our times, I have dared to dedicate my work; for since its inception is due to you, I am bringing it forth to the sight of men under the same protection. I know moreover how useful to the world and necessary to good men this art is, bringing honour to anyone who practises it aright either in the defence of his prince, his country, the laws, his life or his honour. Will your Serene Majesty therefore deign to receive into your favour not only the work, but the devotion with which, your humble and obedient servant, dedicate it. Meantime I will pray the Divine grace that long life may be granted you for the well-being of your blessed subjects and the good of the world, and that by grace you may obtain salvation in the world to come. Your Serene Majesty's most humble and devoted Servant, Salvatore Fabris |
[VII] ALLA SERma: Mtà: DEL POTENT ISSIMO CHRISTIANO IV. RE DI DANIMARCA, NORVEGGIA, GOTTIA, ET VANDALIA, DVCA DI SLESVIK, HOLSTEIN, STORMARN ET DITMARSCHEN, CONTE DI OLDEMBVRGH, ET DELMENHORST &c. CREDO SICVRAMENTE CHE DA CHIVNQVE leggerà questa mia opera si conoscerà la multitudine de benefficii riceuuti dalla Ser:ma M.ta V. essere stata quella, che mi hà eccitato, & spinto à publicare al mondo queste mie fatiche desideroso anco di giouare à Professori della scienza d’armi, mostrando loro quelli auertimenti, & regole, che per longo uso io hò conosciuto buone tratte da una continouata essercittatiòne, & dalla uista, & osseruatione delli errori altrui coiquali fondamenti & raggioni spero, che l’ opera Sarà lodata, maßimamente sattola protetione della Serenißima M.ta V. opera per l’eccellentia della materia tanto degna, quanto risplendente per essere aprobata dall’ altißimo giuditio di lei, allaquale però, come à Re sommo mio beneffattore, & Prencipe di incomparabile ualore tanto nel gouerno ciuile quanto nel maneggio dell’ armi, & uero Heroe de tempi nostri, hò preso animo de dedicarla, & come parto prodotto in uirtù sua mandarla nel conspetto delli huomini sotto la medesima sua prottetione, sapendo anco per altro quanto utile sia à lo stesso Mondo questo arte neccessaria à buoni, & honoreuole à chi giustamente l’ essercitta, ò in diffesa del Prencipe, ò della Patria, ò delle leggi, ò della vita & fama propria. Degnisi dunque la stessa Majesta S. Serenißima di riceuere in grado non solamente l’ opera, mà la deuotione con che io humilißimo , & obligatißimo seruitore suo gliela consacro, che in tanto attenderò à pregare la Diuina bontà che conceda à lei longhi, & felici anni de uita per benefficio de suoi fortunatißimi popoli, & buoni del Mondo, & à media gratia di poterla seruire in altro. Di Copenhagen adi 20. Aprile 1606.
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[5] To the Reader. Marvel not, Reader, if you see a man of the sword, unaccustomed to the schools or the circles of literary men, presuming to write and print books; rather rejoice at seeing the science of arms and the knowledge of the sword reduced to rules and precepts, and like the other arts to a teachable form, wherein the curious and eager men of arms may learn by turning the leaves. More than others should men of arms rejoice, in that men of learning and science have never translated their arts from theory to practice, as now a man of arms has brought his from practice to true theory. To him is owed much greater faith, because he has had a thousand experiences in his own case and in that of others of what he has written. Here then, Reader, is my book on the science of arms, illustrated with plates suitable to each case; to these plates and dumb images, as it were, our words give life; the plates will demonstrate and our words will interpret the effects and principles treated of in the book. We have written in our mother tongue, Italian, dispensing with flowers of rhetoric and elegance of style, not thinking shame to acknowledge our little learning, or, following the example of a very famous captain of our age, to declare that in our youth we could not wield both the sword and the pen. We believe however that we have dealt adequately with what is required in this art and have tried as far as in us lay to avoid obscurity and prolixity, although in so subtle a subject it is difficult to preserve the necessary brevity. We have shunned the use of geometrical terms, although swordsmanship has its foundations more in geometry than in any other science. Simply and as naturally as possible we have tried to bring the art within the capacity of all. For what we have written and demonstrated we require no praise or reward, for it was never our intention to publish it to the world; but if in it there is anything worthy of merit, it should be ascribed to his Serene Majesty our King, through whom we have written this work, and at whose command this book is brought to the light of day. We will not speak of the nobility and excellence of this profession, for it is in itself so glorious and resplendent that it has no need of our words, nor is there any man so ignorant as not to know, that by its[!] kingdoms are defended, religion spread abroad, injustice avenged, peace and the prosperity of nations established. We wish only to say that after acquiring this inestimable knowledge a man should not become puffed up nor use it violently to the detriment of others, but always with moderation and justice in all cases, thinking that the last victory of all rests not in his own hand, but in the just will of God; and may He grant us abundance of his saving grace. |
[VIII] A LETTORI. NON TI MARA VIGLIARE, O LETTORE, SE tu uedrai un huomo di spada non assueto nelle scole, ne frà i circoli de litterati, ilquale presuma di scriuire, & stampare libri, mà più tosto rallegrati di uedere la scienza dell’ armi, & peritia della spada ridotta sotto regole, & precetti, & si come l’ altre arti in forma disciplinabile, ouepotranno i curiosi, & solecitti armigeri anco col uoltare delle carte apprendere amaestramenti, & tanto più delli altri douranno eßi armigeri rallegrarsi quanto, che dalli huomini togati, & scientifici, per nobile concorrenza di laude suoi antichi auerssarii, non sono mai state trasportate le arti loro dalla Theorica alla pratica, si come hora dall’ armigero si conuerte l’ atto pratico in uera theorica, alquale si dee tanta maggior fede, quanto, che diciò che hà egli scritto ne hà prima uedute mille esperienze in se medesmo, & in altrui. Eccoti dunque ò lettore il presente libro di scienza d’armi adornato di figure fecondo la proposta de casi, à loro, come imagini mute danno fiato, & animale nostre parole, quelle saranno demostratrici, & queste interprettatrici detti effetti, & raggioni che in esso libro si trattano, ilquale libro noi habbiamo scritto in lingua italiana materna, lontani dà i fiori rethorici, & da certa elliganza di dire, non uergognandoci confessare la nostra poca eruditione, & con l’ esempio di un famosißimo capitano del nostro secolo dire di non hauere potuto in giouentù nostra tenere nella medisima mano la spada, il libro, crediamo bene di hauere, intorno à quello, che in questa profeßione si richiede, sufficientemente trattato, essendoci sforzati in quanto habbiamo potuto di fuggire l’ oscurità, & la prolißita, se bene in materia tanto sottile, difficile cosa è lo seruare la debbita breuità. Habbiamo lasciato l’uso delle parole geometriche, ancorche la detta profeßone habbia li suoi fondamenti piu nella Geometrhia, che altroue, & con un modo facile, & più tosto naturale, che artifficioso habbiamo procurato di renderla capace ad ogniuno, & di quello, che noi habbiamo scritto, ò dimostrato non ricercamo lode, ne preggto alcuno, non essendo mai stato nostro pensiero di publicarlo al mondo, mà se in esso ui è pure cosa degna di preggio tutto si rifferisca alla Serenißima Majesta del Rè nostro signore, per comandamento dil quale il detto libro uiene nella luce del mondo, & anco in uirtu del quale potiamo dire, d’ hauerlo scritto. Lasciamo di discorrere della nobiltà, & eccellenza dideta profeßione, che per essere da se stessa tanto chiara, esplendente non hà bisogno di nostre parole, ne ui è alcuno tanto ignorante, che non sappia, che con questa si diffendono i Regni, si dilattano, le Religgioni, si uendicano le ingiustitie, & si stabilisse la pace, & felicità de’ popoli. Solo uogliamo ricordare, che doppo l’ a quisto di cosi preggiata uirtù non dee l’huomo insuperbirsi, & usarla uiolentemente neldanno d’altri, mà più tosto con moderatione, & giustitia seruirsene in tutti i casi, douendo aspettare il fine di qualunque sua uittoria, non dalla mano di se stesso, mà si bene dalla giustißima uolontà di Dio, ilquale ci conceda coppie delle sue sante gratie. |
For further information, including transcription and translation notes, see the discussion page.
Work | Author(s) | Source | License |
---|---|---|---|
Illustrations (1601) | Unknown artist | Det Kongelige Bibliotek | |
Illustrations (1606) | Nicolaus Andrea of Flensburg, Jan van Halbeeck, Francesco Valesio | Guy Windsor | |
Translation | A. F. Johnson, Michael Chidester | Gumroad | |
Prototype Transcription (1601) | |||
Archetype Transcription (1606) | Michael Chidester | Index:Scienza d’Arme (Salvator Fabris) 1606 | |
La Scientia della Spada (1600-09) | Reinier van Noort | School voor Historische Schermkunsten | |
French Translation (1619) | Index:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 | ||
German Translation (1677) | Alex Kiermayer | Index:Sienza e pratica d'arme (Johann Joachim Hynitzsch) |
Additional Transcription Note (MS KB.73.J.38): Copyright 2010 by Reinier van Noort. Subject to Fair Use. Users may, without further permission, display, save, and print this work for personal, non commercial use, provided that the copyright notice is not severed from the work. Libraries may store this material and non-commercially redistribute it to their patrons in electronic or printed form for personal, non-commercial use, provided that the copyright notice is not severed from the work.
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.
- Vienna Anonymous on Fencing: a Rapier Masterclass from the 17th Century (2019). Trans. by Tom Leoni. Self-published. ISBN 978-0-359-55304-4.
- Fabris, Salvator (2005). Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Trans. by Tom Leoni. Highland Village, TX: Chivalry Bookshelf. ISBN 978-1-891448-23-2.
- Fabris, Salvator; Eugenio Garcia-Salmones (2010). La esgrima o la ciencia de las armas: Libro primero, 1606. Editorial Sacauntos. ISBN 978-84-937207-8-0.
- Fabris, Salvator; Eugenio Garcia-Salmones (2011). La esgrima o la ciencia de las armas: Libro segundo, 1606. Editorial Edizer. ISBN 978-84-938120-8-9.
- Fabris, Salvator (2016). Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Trans. by Tom Leoni. Self-published.
- Fabris, Salvator (2022). Fencing or the Science of Arms: Illustrated Edition. Trans. by A. F. Johnson. Ed. by Michael Chidester. Somerville, MA: HEMA Bookshelf. ISBN 978-1-953683-23-6.
- Fabris, Salvator (2022). Fencing or the Science of Arms: Unillustrated Edition. Trans. by A. F. Johnson. Ed. by Michael Chidester. Somerville, MA: HEMA Bookshelf. ISBN 978-1-953683-21-2.
- Johann Georg Pascha; Heinrich von und zum Velde (2018). Proper Description of Thrust-Fencing with the Single Rapier. Trans. by Reinier van Noort and Jan Schäfer. Glasgow: Fallen Rook Publishing. ISBN 978-0-9934216-7-9.
- Van Noort, Reinier; Jan Schäfer (2017). "An analysis and comparison of two German thrust-fencing manuscripts." Acta Periodica Duellatorum 5(1): 63-74. doi:10.36950/apd-2017-002.
References
- ↑ Didier, Henry de Sainct. Les secrets du premier livre sur l'espée seule. Paris, 1573. pp 5-8.
- ↑ 2.0 2.1 2.2 2.3 Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. pp XVIII-XIX.
- ↑ Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. p XXIX.
- ↑ Andersson, Henrik. Salvator Fabris as a Hired Assassin in Sweden. Association for Renaissance Martial Arts. Retrieved 2011-12-18.
- ↑ Barbasetti, Luigi. Fencing Through the Ages.[Full citation needed]
- ↑ This second title page is an interesting anomaly. It was not printed as part of the main book the way the other title page was, and is instead printed on a single sheet that was glued into the binding. Of 24 copies surveyed by Michael Chidester, 14 had only the first title page, 3 had only the second title page, 16 had both title pages, and 1 had neither (instead, a second copy of page 151 was glued into the beginning of the book to serve as a title page). It's unclear what these anomalies indicate about the process of printing the book.
- ↑ Originally "asseruatore", but corrected in the errata.
- ↑ This seems like a mistranslation of rompere di misura at first blush, but according to Kevin Murakoshi, this is an archaic piece of fencing jargon that was still current in the early 20th century. It means to "break measure" or withdraw. ~ Michael Chidester
- ↑ Originally "richeide", but corrected in the errata.
- ↑ Originally "dirarsi", but corrected in the errata.
- ↑ Originally "longuezza", but corrected in the errata.
- ↑ Originally "mettre", but corrected in the errata.
- ↑ Originally "volto", but corrected in the errata.
- ↑ 14.0 14.1 14.2 There's no conclusion of this word on the next page, just a new sentence.
- ↑ Originally "occcsione", but corrected in the errata.
- ↑ Originally "albassare", but corrected in the errata.
- ↑ Originally "& migliore", but corrected in the errata.
- ↑ Originally "temerariemente", but corrected in the errata.
- ↑ Originally "bisogna", but corrected in the errata.
- ↑ The letter 'F' was omitted in the print and hand-corrected in all copies.
- ↑ Originally "guardia", but corrected in the errata.
- ↑ Originally "equali", but corrected in the errata.
- ↑ Originally "poco", but corrected in the errata.
- ↑ Originally "poco", but corrected in the errata.
- ↑ Originally "non buoni", but corrected in the errata.
- ↑ Originally "queui", but corrected in the errata.
- ↑ Originally "che spada", but corrected in the errata.
- ↑ Originally "accorgendosi", but corrected in the errata.
- ↑ Originally "con pugnale", but corrected in the errata.
- ↑ Originally "mouendolo", but corrected in the errata.
- ↑ Originally "diuersi", but corrected in the errata.
- ↑ Originally "dentro la spada", but corrected in the errata.
- ↑ Originally "andere", but corrected in the errata.
- ↑ Originally "richede", but corrected in the errata.
- ↑ Originally "in suoi", but corrected in the errata.
- ↑ This word can't be read on the photos I have. It's a 6-letter word that seems to end in "s?ed". The Italian word means to move or advance, and Tom Leoni translates it as "fling". ~ Michael Chidester
- ↑ Originally "della", but corrected in the errata.
- ↑ Originally "la dette", but corrected in the errata.
- ↑ Originally "è passare", but corrected in the errata.
- ↑ The errata adds "l’".
- ↑ Originally "farmarsi", but corrected in the errata. The errata says it should be on page 232, but this is the only instance of the word in the book.
- ↑ This large blank space was probably meant to be filled in later with a suitable translation for brezza, which means "breeze" though that's obviously not the intended meaning here. It might be a spelling of brecca, meaning "breach". Tom Leoni translates it "rampart". ~ Michael Chidester
- ↑ Originally "sforza", but corrected in the errata. The errata says it should be on page 241, but this is the only instance of the word on the correct line.
- ↑ Should be 183.
- ↑ Originally "ineguale", but corrected in the errata.