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| <p>Now, in order to come to what I promised above about this noble science, I will go over its qualities and nature, discussing whether it is speculative or practical science. I say that, in my opinion, it is speculative, and prove it with diverse reasons. There is no doubt that it is science because it is not acquired if not through the operation of the intellect, from which it springs. That it is speculative is certain, as it does not consist in more than the simple knowledge of its object, as I will further demonstrate below.</p>
 
| <p>Now, in order to come to what I promised above about this noble science, I will go over its qualities and nature, discussing whether it is speculative or practical science. I say that, in my opinion, it is speculative, and prove it with diverse reasons. There is no doubt that it is science because it is not acquired if not through the operation of the intellect, from which it springs. That it is speculative is certain, as it does not consist in more than the simple knowledge of its object, as I will further demonstrate below.</p>
  
<p>The object of this science is nothing more than parrying and wounding. The knowledge of those two things is a work of the intellect, and experts of this science do not with intelligence extend it further than the knowledge of them. They cannot be understood at all unless one first has knowledge of tempi and measures, nor feints, disengages, or resolutions without knowledge of tempi and measures. These are all operations of the intellect. Moreover, the intellect does not reach beyond this understanding because, as I have said, the aim of this profession is understanding parrying and wounding. We will see whether it is real speculative or rational speculative science, however.</p>
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<p>The object of this science is nothing more than parrying and wounding. The knowledge of those two things is a work of the intellect, and experts of this science do not with intelligence extend it further than the knowledge of them. They cannot be understood at all unless one first has knowledge of ''tempi'' and measures, nor feints, disengages, or resolutions without knowledge of ''tempi'' and measures. These are all operations of the intellect. Moreover, the intellect does not reach beyond this understanding because, as I have said, the aim of this profession is understanding parrying and wounding. We will see whether it is real speculative or rational speculative science, however.</p>
  
<p>Thinking on this, it cannot be rational, and the reason is this: Even though it is an operation of the intellect, it nevertheless extends further, wherefore I find it to be real speculative science. Real, because the knowledge of its aim is shown to us outwardly by the intellect, since the understanding of wounding and parrying, along with tempi, measures, feints, disengages, and resolutions, despite being operations of the intellect, cannot be understood if outwardly. This outward expression consists in the bearing of the body and sword in the guards and counterguards, which all consist of circles, angles, lines, surfaces, measures, and of numbers.</p>
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<p>Thinking on this, it cannot be rational, and the reason is this: Even though it is an operation of the intellect, it nevertheless extends further, wherefore I find it to be real speculative science. Real, because the knowledge of its aim is shown to us outwardly by the intellect, since the understanding of wounding and parrying, along with ''tempi'', measures, feints, disengages, and resolutions, despite being operations of the intellect, cannot be understood if outwardly. This outward expression consists in the bearing of the body and sword in the guards and counterguards, which all consist of circles, angles, lines, surfaces, measures, and of numbers.</p>
  
 
<p>These things, which must be observed, can be read about in Camillo Agrippa and in many other experts of this science. Note that, just as those operations of the intellect without an exterior operation cannot be shown, so these exterior operations cannot be understood without the prior operations of the intellect, in a way that this science, which derives from the intellect, cannot be understood if not outwardly. Neither can it be outwardly understood without operations of the intellect. These operations seek to understand the greatness, excellence, and perfection of this profession, and will always be seen united. As there will never be sun without day, nor day without sun, never will there be those without these, nor these without those. In the end we see that it is real speculative science.</p>
 
<p>These things, which must be observed, can be read about in Camillo Agrippa and in many other experts of this science. Note that, just as those operations of the intellect without an exterior operation cannot be shown, so these exterior operations cannot be understood without the prior operations of the intellect, in a way that this science, which derives from the intellect, cannot be understood if not outwardly. Neither can it be outwardly understood without operations of the intellect. These operations seek to understand the greatness, excellence, and perfection of this profession, and will always be seen united. As there will never be sun without day, nor day without sun, never will there be those without these, nor these without those. In the end we see that it is real speculative science.</p>
  
<p>This science of the sword, or of arms, is a real speculative mathematical science—of geometry, and arithmetic. Of geometry because it consists in lines, circles, angles, surfaces, and measures, and of arithmetic because it consists in numbers. There is no motion of the body that does not produce an angle or constraint, no motion of the sword that does not travel in a line, no guard or counterguard that does not proceed by number. The observations of these things all depend on knowledge of tempi and measures, whence I conclude that this most noble science is speculative real mathematical—of geometry and arithmetic—as I said a little above.</p>
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<p>This science of the sword, or of arms, is a real speculative mathematical science—of geometry, and arithmetic. Of geometry because it consists in lines, circles, angles, surfaces, and measures, and of arithmetic because it consists in numbers. There is no motion of the body that does not produce an angle or constraint, no motion of the sword that does not travel in a line, no guard or counterguard that does not proceed by number. The observations of these things all depend on knowledge of ''tempi'' and measures, whence I conclude that this most noble science is speculative real mathematical—of geometry and arithmetic—as I said a little above.</p>
 
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| <p>We have therefore seen that it is a science and that it is mathematics—of geometry and arithmetic—since it consists in numbers, lines, and measures. The author does not make mention of this in his observations so that learned persons and those with no study may acquire some profit from him. From these figures and his renowned lessons, therefore, without learning to understand the multiplicity of lines, circles, angles, and surfaces which would instead confuse the mind of the reader that does not understand these studies, giving him no instruction, everyone will without doubt or effort learn to understand tempi, measures, resolutions, feints, disengages, and the method of parrying and wounding.</p>
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| <p>We have therefore seen that it is a science and that it is mathematics—of geometry and arithmetic—since it consists in numbers, lines, and measures. The author does not make mention of this in his observations so that learned persons and those with no study may acquire some profit from him. From these figures and his renowned lessons, therefore, without learning to understand the multiplicity of lines, circles, angles, and surfaces which would instead confuse the mind of the reader that does not understand these studies, giving him no instruction, everyone will without doubt or effort learn to understand ''tempi'', measures, resolutions, feints, disengages, and the method of parrying and wounding.</p>
 
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| <p>[1] '''Guards and Counterguards'''</p>
 
| <p>[1] '''Guards and Counterguards'''</p>
  
<p>It is necessary for someone wishing to become an expert on the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss guards and counterguards, or postures and counterpostures, of the sword. This because, coming to some incident of contention, it is first necessary to understand this to be able to secure oneself against the enemy. To position oneself in guard, therefore, many things must be observed, as seen in my figures: Standing firm over the feet, which are the base and foundation of the entire body, in a just pace, restrained rather than long in order to be able to extend, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, in place in order to parry and wound so that the enemy, throwing either a thrust or cut, can be parried and wounded in the same ''tempo'', with the vita disposed and ready because lacking its disposition and readiness it will be an easy thing for the enemy to put it into disorder with a ''dritto'', a ''riverso'', a thrust, or in some other manner, and even if such a person were to parry, they would remain in danger. It is advised that the dagger should guard the enemy’s sword because if the enemy throws, it will parry that, and that the sword should always aim at the uncovered part of the enemy so that he is wounded when throwing. This is all the artifice of this profession. Moreover, it must be noted that all motions of the sword are guards to those who know them, and all guards are good for the practised person, as, on the contrary, no motion is a guard to those who do not understand any, and they are not good for those who do not know how to use them.</p>
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<p>It is necessary for someone wishing to become an expert on the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss guards and counterguards, or postures and counterpostures, of the sword. This because, coming to some incident of contention, it is first necessary to understand this to be able to secure oneself against the enemy. To position oneself in guard, therefore, many things must be observed, as seen in my figures: Standing firm over the feet, which are the base and foundation of the entire body, in a just pace, restrained rather than long in order to be able to extend, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, in place in order to parry and wound so that the enemy, throwing either a thrust or cut, can be parried and wounded in the same ''tempo'', with the ''vita'' disposed and ready because lacking its disposition and readiness it will be an easy thing for the enemy to put it into disorder with a ''dritto'', a ''riverso'', a thrust, or in some other manner, and even if such a person were to parry, they would remain in danger. It is advised that the dagger should guard the enemy’s sword because if the enemy throws, it will parry that, and that the sword should always aim at the uncovered part of the enemy so that he is wounded when throwing. This is all the artifice of this profession. Moreover, it must be noted that all motions of the sword are guards to those who know them, and all guards are good for the practised person, as, on the contrary, no motion is a guard to those who do not understand any, and they are not good for those who do not know how to use them.</p>
 
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| <p>[3] As for counterguards, it is advised that someone who has knowledge of this profession will never position himself in guard but will seek to position himself in a counterguard. Wanting to do so, know this: One must position oneself outside of measure—that is, at a distance—with the sword and dagger high, strong with the vita, with a firm and stable pace, then consider the guard of the enemy. Afterwards, approach him little by little, binding with the sword to be safe—that is, almost resting your sword on his so that it covers it—because he will not be able to wound if he does not disengage the sword. The reason for this is that in disengaging he performs two actions: First, he disengages, which is the first ''tempo'', then wounding, which is the second. While he disengages, he can come to be wounded in many ways in the same ''tempo'' before he has time to wound, as will be seen in the figures of my book. If he changes guard due to the counterguard, it is necessary to follow him with the sword forward, with the dagger alongside always securing his sword, because in the first ''tempo'' he will always have to disengage the sword and necessarily ends up wounded. Neither will it ever be possible for him to wound if not with two tempi, and from those parrying will always be a very easy thing. This is enough about guards and counterguards.</p>
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| <p>[3] As for counterguards, it is advised that someone who has knowledge of this profession will never position himself in guard but will seek to position himself in a counterguard. Wanting to do so, know this: One must position oneself outside of measure—that is, at a distance—with the sword and dagger high, strong with the ''vita'', with a firm and stable pace, then consider the guard of the enemy. Afterwards, approach him little by little, binding with the sword to be safe—that is, almost resting your sword on his so that it covers it—because he will not be able to wound if he does not disengage the sword. The reason for this is that in disengaging he performs two actions: First, he disengages, which is the first ''tempo'', then wounding, which is the second. While he disengages, he can come to be wounded in many ways in the same ''tempo'' before he has time to wound, as will be seen in the figures of my book. If he changes guard due to the counterguard, it is necessary to follow him with the sword forward, with the dagger alongside always securing his sword, because in the first ''tempo'' he will always have to disengage the sword and necessarily ends up wounded. Neither will it ever be possible for him to wound if not with two ''tempi'', and from those parrying will always be a very easy thing. This is enough about guards and counterguards.</p>
 
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| <p>[8] If he disengages, in the disengagement he can be wounded, and this is a ''tempo''. If he changes guard, while he changes is a ''tempo''. If he turns, it is a ''tempo''. If he binds to come to measure, while he walks before he arrives at measure is a ''tempo'' to wound him. If he throws, parrying and wounding in one ''tempo'' is also a ''tempo''. If the enemy stands still in guard in order to wait and you advance to bind him and throw where he is uncovered when you are at measure, it is a ''tempo''. This is because in every motion of the dagger, sword, foot, and vita, such as changing guard, is a ''tempo'' in the way that all these things are tempi—because they contain different intervals. While the enemy makes one of these motions, he will certainly be wounded because while one moves one cannot wound. It is necessary to learn this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.</p>
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| <p>[8] If he disengages, in the disengagement he can be wounded, and this is a ''tempo''. If he changes guard, while he changes is a ''tempo''. If he turns, it is a ''tempo''. If he binds to come to measure, while he walks before he arrives at measure is a ''tempo'' to wound him. If he throws, parrying and wounding in one ''tempo'' is also a ''tempo''. If the enemy stands still in guard in order to wait and you advance to bind him and throw where he is uncovered when you are at measure, it is a ''tempo''. This is because in every motion of the dagger, sword, foot, and ''vita'', such as changing guard, is a ''tempo'' in the way that all these things are ''tempi''—because they contain different intervals. While the enemy makes one of these motions, he will certainly be wounded because while one moves one cannot wound. It is necessary to learn this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.</p>
 
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| [[File:Giganti 01.png|400x400px|center|Figure 1]]
 
| [[File:Giganti 01.png|400x400px|center|Figure 1]]
| <p>[9] '''The method of throwing the stoccata'''</p>
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| <p>[9] ''The method of throwing the ''stoccata</p>
  
<p>Now that we have discussed the guards, counterguards, measures, and tempi, it is a necessary thing to demonstrate and give knowledge of how to hold the vita in order to throw a stoccata and escape since wanting to learn this art it is first necessary to understand how to carry the vita and throw stoccate that are long, as seen in this figure, and all is in throwing brief, strong, and immediate stoccate, withdrawing backward outside of measure. To throw the long stoccata, one must place themselves in a just and strong pace, short rather than long in order to be able to extend, and in throwing the stoccata stretch the sword arm, bending the knee as much as possible. The proper method of throwing the stoccata is after placing oneself in guard, it is necessary to throw the arm first, then extend forward with the vita in one tempo so that the stoccata arrives and the enemy does not perceive it. If the vita were brought forward first the enemy could notice it and, availing himself of the tempo, parry and wound in one tempo.</p>
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<p>Now that we have discussed guards, counterguards, measures, and ''tempi'', it is necessary to demonstrate and make understood how one must carry the ''vita'' in order to throw a ''stoccata'' and escape, since, wishing to learn this art, it is first necessary to know how to carry the ''vita'' and throw long ''stoccate'', as seen in this figure. All lies in throwing long, brief, strong, and immediate ''stoccate'', withdrawing backward outside of measure. To throw the long ''stoccata'', one must position oneself in a just and strong pace, short rather than long in order to be able to extend and, in throwing the ''stoccata'', stretch the sword arm, bending the knee as much as possible. The proper method of throwing the ''stoccata'' is, after being positioned in guard, it is necessary to throw the arm first, then extend forward with the ''vita'' in one ''tempo'' so that the ''stoccata'' arrives and the enemy does not perceive it. If the ''vita'' were brought forward first, the enemy could notice it and, availing himself of the ''tempo'', be able to parry and wound in one ''tempo''.</p>
 
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| <p>[10] In withdrawing backward one must first carry back the head because behind the head will follow the vita, and afterwards the foot. Carrying the foot back first and leaving the head and vita forward keeps them in great danger.</p>
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| <p>[10] In withdrawing backward, one must first bring back the head, since behind the head will follow the ''vita'', and afterwards the foot. Bringing the foot back first and leaving the head and ''vita'' forward keeps them in great danger.</p>
 
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| <p>[11] Therefore, to learn this art well one must first practise throwing this stoccata. Knowing it one will learn the rest easily, and not knowing it the contrary. Be advised, Lord Readers, that I will place this method of throwing the stoccata many times in my lessons at appropriate times. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
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| <p>[11] Therefore, to learn this art well, one must first practise throwing this ''stoccata''. Knowing this, the rest will be learned easily, and not knowing it, the contrary. Be advised, Lord Readers, that in my lessons I will place this method of throwing the ''stoccata'' many times where appropriate. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
 
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| <p>[12] '''Why begin with the single sword'''</p>
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| <p>[12] ''Why begin with the single sword''</p>
  
<p>In my first book of arms I proposed to discuss only two kinds of weapons, that is, the single sword and sword and dagger, setting aside discussion of certain others. If it pleases my Lord, I will illuminate all sorts of weapons as soon as possible. Because the sword is the most common and most used weapon of all I wanted to begin with it, since one who understands playing with the sword well will also understand the handling of almost every other kind of weapon. Since it is not usual in every part of the world to carry the dagger, targa, or rotella, and as fighting with single sword occurs many times, I urge everyone to first learn to play with the single sword, despite everything one might have in frays, such as the dagger, the targa, or the rotella, since occurring as it many times does that the dagger, targa, or rotella falls from his hand, a man would have to defend himself and wound the enemy with the single sword, and because one who practises playing with the single sword will understand just as well how to parry and wound as one who has sword and dagger.</p>
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<p>In this, my first book of arms, I intended to discuss only two kinds of weapons—that is, the single sword and the sword and dagger— setting aside discussion of some others. If it pleases the Lord, I will publish on all sorts of weapons as soon as possible. Because the sword is the most common and frequently used weapon of all, I wanted to begin with it, since one who understands playing with the sword well will also know a little of how to handle every other kind of weapon. Since it is not customary in every part of the world to carry the dagger, targa, or rotella, and as fighting with the single sword often occurs, I urge everyone to learn to play with the single sword first, in spite of everything that one might have in frays, such as the dagger, targa, or rotella, since occurring, as it many times does, that the dagger, targa, or rotella falls from his hand, it would be possible for a man to defend himself and wound the enemy with the single sword, and because one who is practised in playing with the single sword will know how to parry and wound just as well as if he had sword and dagger.</p>
 
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| [[File:Giganti 02.png|400x400px|center|Figure 2]]
 
| [[File:Giganti 02.png|400x400px|center|Figure 2]]
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[[File:Giganti 03.png|400x400px|center|Figure 3]]
 
[[File:Giganti 03.png|400x400px|center|Figure 3]]
 
| <p>[13] '''Guards, or Postures'''</p>
 
| <p>[13] '''Guards, or Postures'''</p>
  
<p>Many are the guards of the single sword, and many still the counterguards. In my first book I will not teach any other than two sorts of guards and counterguards, of which you will be able to avail yourself for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two tempi: one will be the disengage of the sword, and the other the wounding of you. In this way you will accommodate yourself against all the guards, either high or low, according to how you see your enemy accommodated, always taking care to not give opportunity and occasion to the enemy to be able to wound you in a single tempo. You will do this if you take care that the point of his sword is not toward the middle of your vita, so that pushing his sword forward quickly and strongly it will not be possible for him to wound you. Therefore, cover the enemy’s sword with yours as you see in this figure, so that the enemy’s sword is outside of your vita and he cannot wound you if he does not disengage his sword. You will settle yourself with your feet strong, stable with your vita, with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not place yourself in a counterguard and secure yourself from his sword you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an incontro and both wound each other, or he could place you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I have said above he will not be able to move nor do any action that you will not see and have opportunity to parry.</p>
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<p>Many are the guards of the single sword, and many still the counterguards. In my first book I will teach no more than two sorts of guards and counterguards, which you will be able to avail yourself of for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two ''tempi'': One will be the disengage of the sword, the other wounding you. You will arrange yourself in this way against all the guards, either high or low, according to how you see your enemy arranged, always taking care not to give him ease and opportunity to wound you in a single ''tempo''. You will do this if you take care that the point of his sword is not toward the middle of your ''vita'' so that, pushing his sword forward quickly and strongly, he cannot wound you. Therefore, cover the enemy’s sword with yours as you see in this figure so that the enemy’s sword is outside of your ''vita'' and he cannot wound you if he does not disengage his sword. Arrange yourself with your feet strong, stable with your ''vita'', with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not position yourself in a counterguard and secure yourself from his sword, you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an ''incontro'' and both wound each other, or he could put you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I said above, he will not be able to move or perform any action that you will not perceive and be able to defend from with ease.</p>
 
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| <p>[14] These figures here are two guards with the swords forward, and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you, and as I will go about showing you in the subsequent lessons.</p>
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| <p>[14] These figures here are two guards with the swords forward and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you and as I will go about showing you in the subsequent lessons.</p>
 
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| rowspan="2" | [[File:Giganti 04.png|400x400px|center|Figure 4]]
 
| rowspan="2" | [[File:Giganti 04.png|400x400px|center|Figure 4]]
| <p>[15] '''Explanation of Wounding in Tempo'''</p>
+
| <p>[15] '''Explanation of Wounding in ''Tempo'''''</p>
  
<p>This figure teaches you to wound your enemy in the tempo he disengages his sword. You do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard shows you<ref>Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.</ref> so that he will not be able to wound you if he does not disengage the sword. Then, in the same tempo that he disengages to wound you, push forward your sword, turning your wrist in the same tempo so that you wound him in the face as is seen in the figure. In the case that you were to parry and then wound it would not be successful, since the enemy would have tempo to parry and you would be in danger, but if you enter immediately forward with your sword in the tempo he disengages his, turning your wrist and parrying, the enemy will have difficulty parrying.</p>
+
<p>This figure teaches you how to wound your enemy in the ''tempo'' that he disengages his sword. You will do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard shows you<ref>Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.</ref> so that he will not be able to wound you if he does not disengage the sword. Then, in the same ''tempo'' that he disengages to wound you, push forward your sword, turning your wrist in the same ''tempo'', so that you wound him in the face as seen in the figure. In the case that you were to attempt to parry and then wound, it would not be successful, since the enemy would have time to parry and you would be in danger, but if you enter immediately forward with your sword in the ''tempo'' that he disengages his, turning your wrist and parrying, the enemy will have difficulty defending himself.</p>
 
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| <p>[17] In the case that the enemy does not disengage his sword to wound you, I want you to advance to bind him inside of measure and immediately throw him a thrust where he is uncovered, returning backward outside of measure and resting your sword over his.</p>
+
| <p>[17] In the case that the enemy does not disengage his sword in order to wound you, I want you to advance to bind him inside of measure and immediately throw a thrust at him where he is uncovered, returning backward outside of measure and resting your sword over his.</p>
 
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| <p>[18] '''The Proper Method of Going to Bind''' the Enemy and Strike Him while he disengages the sword</p>
 
| <p>[18] '''The Proper Method of Going to Bind''' the Enemy and Strike Him while he disengages the sword</p>
  
<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him outside of his sword outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, with an alert eye, as you see in the second figure of the guards and counterguards.<ref>Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.</ref> You being accommodated in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same tempo throw a stoccata at him as the fourth figure teaches you. Having thrown this stoccata, immediately in the same tempo return backward outside of measure, resting your sword over his so that if he wants to disengage anew, you will return to throw to him the same stoccata, turning your wrist as above, returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the stoccata at him.</p>
+
<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him on the outside of his sword from outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, and with an alert eye, as you see in the second figure of the guards and counterguards.<ref>Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.</ref> You being arranged in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same ''tempo'' throw a ''stoccata'' at him as the fourth figure teaches you. Having thrown this ''stoccata'', in the same ''tempo'' immediately return backward outside of measure, resting your sword over his so that if he were to attempt to disengage anew, you will throw the same ''stoccata'' at him again, turning your wrist as above and returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the ''stoccata'' at him.</p>
 
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| <p>[19] To perform this game well much practice is necessary, since from this one learns to parry and wound with skill and great speed. Take care to always be balanced with your vita and to parry strongly with the forte of your sword because if your enemy throws strongly at you, parrying strongly will make him disconcerted and you will be able to wound him where he is uncovered. This must be the first lesson that one learns with the single sword, since all the others that I have placed in this book arise from it. Knowing how to do this in the tempo teaches you to parry all the cuts and resolute thrusts that can come for the head, which I will teach hand in hand in the subsequent lessons.</p>
+
| <p>[19] Much practice is required to perform this play well, since from this one learns to parry and wound with great skill and speed. Take care to always be balanced with your ''vita'' and to parry strongly with the ''forte'' of your sword because, if your enemy throws strongly at you, parrying strongly will make him disconcerted and you will be able to wound him where he is uncovered. This must be the first lesson that one learns with the single sword, since all the others that I have placed in this book arise from it. Knowing how to do this in ''tempo'' teaches you to parry all the cuts and resolute thrusts that can come for the head, which I will teach hand in hand in the subsequent lessons.</p>
 
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| <p>[20] '''The Proper Method of Disengaging the Sword'''</p>
 
| <p>[20] '''The Proper Method of Disengaging the Sword'''</p>
  
<p>The two figures that were placed here above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. But note that your enemy being settled in whichever sort of guard he wants, you having gone to bind him, throw a stoccata at him where he is uncovered and if he knows as much as you, you will always be with your swords equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust in the same tempo where you find him uncovered. This is the proper and safe method to disengage the sword and wound in one tempo. If you were to disengage your sword without turning your wrist you would give a tempo and place to the enemy to wound you, as you will see quite well in exercising and trying it yourself. If the enemy were to parry return to disengage in the aforesaid way, always turning your wrist. As many times as he parries, disengage as many other times in the above way, which is safest, then throw the stoccata at him in the tempo that you disengage. This method of disengaging is no less necessary than what we taught in the explanation of the previous figure of the method of parrying, since this is the main thing that one seeks in knowing how to manage the single sword. Therefore I exhort everyone to practise well in these two things, since being at measure against the enemy, as soon as it is the tempo to disengage the sword one would know how to disengage quickly and well, and as soon as it is the tempo of parrying to understand parrying similarly well.</p>
+
<p>The two figures placed above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. Note, however, that your enemy being positioned in whichever sort of guard he wants, you having gone to bind him, throw a ''stoccata'' at him where he is uncovered and, if he knows as much as you, your swords will always be equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust where you find him uncovered in the same ''tempo''. This is the proper and safe method to disengage the sword and wound in one ''tempo''. If you were to disengage your sword without turning your wrist, you would give the enemy a ''tempo'' and place to wound you, as you will see quite well in practising and trying it yourself. If the enemy were to parry, disengage again in the aforesaid way, always turning your wrist. As many times as he parries, disengage just as many other times in the above way, which is safest, then throw the ''stoccata'' at him in the ''tempo'' that you disengage. This method of disengaging is no less necessary than what was taught in the explanation of the previous figure on the method of parrying, since this is the main thing required in handling the single sword. Therefore, I exhort everyone to practise these two things well since, being at measure against the enemy, as soon as it is the ''tempo'' to disengage the sword, one should know how to disengage quickly and well, and as soon as it is the ''tempo'' of parrying, know how to parry similarly well.</p>
 
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| [[File:Giganti 06.png|400x400px|center|Figure 6]]
 
| [[File:Giganti 06.png|400x400px|center|Figure 6]]
| <p>[21] '''The Inside Counterdisengage of the Sword'''</p>
+
| <p>[21] '''The Counterdisengage Inside of the Sword'''</p>
  
<p>In this figure<ref>Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.</ref> another method of parrying and wounding by way of counterdisengage is represented and shown to you, which is done in this way: having covered the sword of your enemy so that if he wants to wound you he must disengage, while he disengages I want you to also disengage so that your sword returns to its first position, covering that of the enemy. But in the disengaging that you do, availing yourself of the tempo, throw a stoccata at him where he is uncovered, turning your body a little toward the right side and holding your arm stretched forward so that if he comes to wound you he will wound himself of his own accord. Having thrown the stoccata, return backward outside of measure.</p>
+
<p>In this figure,<ref>Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly, the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.</ref> I depict and show you another method of parrying and wounding—by way of counterdisengage. It is done in this way: Having covered your enemy’s sword so that if he wishes to wound you, he must disengage, while he disengages, I want you also to disengage so that your sword returns to its first position, covering that of the enemy. But, in disengaging, availing yourself of the ''tempo'', throw a ''stoccata'' at him where he is uncovered, turning your ''vita'' a little toward the right side and holding your arm stretched forward so that if he comes to wound you, he will wound himself of his own accord. Having thrown the ''stoccata'', return backward outside of measure.</p>
 
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| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|39|lbl=19}}
 
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| <p>[22] '''The Counterdisengage of the Sword on the Outside'''</p>
 
| <p>[22] '''The Counterdisengage of the Sword on the Outside'''</p>
  
<p>This method of wounding<ref>This lesson’s text refers to Figure 6.</ref> by way of outside counterdisengage is similar to the inside counterdisengage, only there is a difference: that your enemy being in guard and you coming to bind, being outside of measure you must place yourself against his guard,<ref name="counterguard"/> securing yourself from his sword outside and making the enemy resolve himself to disengage. While he disengages, in the same tempo you will again disengage, turning the point of your sword under his together with your wrist, resting the forte of the edge of your sword and going along the edge of it, holding your arm long and extended, loosening the vita and lengthening the pace, as is seen in the figure, so you come to wound him without him sensing it.</p>
+
<p>This method of wounding<ref>This lesson’s text refers to Figure 6.</ref> by means of an outside counterdisengage is similar to the inside counterdisengage, only there is a difference: Your enemy being in guard and you coming to bind, being outside of measure, you must position yourself in a counterguard, securing yourself from his sword on the outside and making the enemy resolve himself to disengage. While he disengages, you disengage again in the same ''tempo'', turning the point of your sword under his along with your wrist, resting the ''forte'' of the edge of your sword and going along its edge, holding your arm long and extended, loosening the ''vita'' and lengthening the pace, as seen in the figure, so that you come to wound him without him perceiving it.</p>
 
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| <p>[23] But be advised that if the enemy throws the sword strongly and you want to disengage yours so that the enemy does not reach and wound you, you need to hold your vita back in your disengage so that you stay safe. Supposing the enemy had thrown strongly, he would disconcert himself and come to wound himself on your sword. Then you will stay superior to him, being able to wound him where you parry, taking care to always hold your sword outside of your vita so that he cannot wound you.</p>
+
| <p>[23] Be advised, though, that if the enemy throws the sword strongly, wishing to disengage yours so that the enemy does not reach and wound you, you must hold your ''vita'' back in your disengage so that you stay safe. Supposing the enemy had thrown strongly, he would disconcert himself and come to be wounded on your sword and you will stay superior to him, being able to wound him where you see fit, taking care to always hold your sword outside of your ''vita'' so that he cannot wound you.</p>
 
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| <p>[24] '''Explanation of the Feint,''' ''Making a show of disengaging the sword with your wrist''</p>
 
| <p>[24] '''Explanation of the Feint,''' ''Making a show of disengaging the sword with your wrist''</p>
  
<p>The ways of wounding are various and consequently my lessons are also various. But do not expect at all that I will tell all the things that are possible to do in this profession because, those being infinite, my work would be too long and would bring tedium to the Readers. However, I will untangle those things that to me appear most beautiful, most artificial, and most useful, from which arise many others easier and less artificial. </p>
+
<p>The ways of wounding are various and, consequently, my lessons are also various. Do not at all expect me to recount all things that are possible in this profession, however. Those being infinite, my work would be too long and bring tedium to its Readers. However, I will untangle those things that to me appear most beautiful, artificial, and useful, from which arise many others easier and less artificial.</p>
 
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| <p>[25] Therefore, among all the methods of wounding artificially the feint, in my opinion, exceeds all others. This is nothing more than hinting at doing one thing and doing another. It is done in different ways, and they are these: I want you to place yourself on your feet, on the right side with the sword forward, with the right arm extended in order to give your enemy occasion to come to bind you. As he comes to measure with you, watch if he wants to wound you from fixed feet or instead with a pass. You will know at the disengage you make with the sword. Disengage the sword with your wrist and feint a thrust at his face, but throw wide of the enemy’s sword so that it does not find yours. If the enemy does not parry throw it resolutely so that you wound him. If he parries, in his parrying redisengage the sword and wound as you see in this figure, where the enemy carelessly wounds himself. Take care that in redisengaging you do not let the sword be found because then your plan could be in vain, and in disengaging bring the head and vita back a little in order to see what the enemy does, because if he were to throw and you had not withdrawn backward, he could produce an incontro and you would wound each other. Moreover, you are advised to run with the right edge of your sword along the edge of the enemy’s sword, turning the inside of your wrist upwards in wounding with your sword over the debole of that of the enemy. As soon as the stoccata is given, either resolute or feinted, return backward outside of measure, securing yourself as shown to you above.</p>
+
| <p>[25] Therefore, among all the methods of wounding with artifice, in my opinion the feint exceeds all others. This is nothing more than hinting at doing one thing and doing another. It is done in different ways, and they are these: I want you to position yourself standing on the right side, with the sword forward and your right arm extended in order to give your enemy occasion to come bind you. As he comes to measure with you, observe whether he wants to wound you from a firm foot or instead with a pass. You will recognize this at the disengage you perform with the sword. Disengage the sword with your wrist and feign throwing a thrust at his face but throw wide of the enemy’s sword so that it does not find yours. If the enemy does not parry, throw it resolutely so that you wound him. If he parries, in his parrying redisengage the sword and wound as you see in this figure, where the enemy carelessly wounds himself. In redisengaging, take care that you do not let the sword be found because then your plan would fail, and, in disengaging, bring the head and ''vita'' back a little in order to see what the enemy does because if he were to throw and you had not pulled back, he could produce an ''incontro'' and you would wound each other. Moreover, you must be advised to run with the right edge of your sword along the edge of the enemy’s sword, turning the inside of your wrist upwards in wounding with your sword over the ''debole'' of that of the enemy. As soon as the ''stoccata'' is given, either resolute or feinted, return backward outside of measure, securing yourself as I showed you above.</p>
 
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| <p>[26] The feint is therefore performed in this way: first one displays the sword to either the face or chest of the enemy, and then one lengthens the arm without stepping. If the enemy parries, disengage the sword in the same tempo, accompanying it forward with the step so that you wound him unawares.</p>
+
| <p>[26] The feint is therefore performed in this way: First the sword is presented to either the face or chest of the enemy, then the arm is extended without stepping. Whence, if the enemy attempts to parry, you disengage the sword in the same ''tempo'', accompanying it forward with the step so that you wound him unawares.</p>
 
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| <p>[27] If he does not parry, increase the step and strike him. This is the method of wounding by feint.</p>
+
| <p>[27] If he does not attempt to parry, extend the pace and strike him. This is the method of wounding by feint.</p>
 
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| <p>[28] Although they appear similar, the following two figures are nevertheless different from each other since they contain different methods of feinting. Although they contain almost the same goal of wounding, and although it would have sufficed to give you a single figure to discuss and teach different methods of feinting in order to wound, to show clearly the different ways of feinting I wanted to put two of them here that differ widely from one other, which is shown to you in their explanations.</p>
+
| <p>[28] Even though they appear similar, the following two figures are nevertheless different from each other because they contain different methods of feinting. Although they contain almost the same end to their wounding, and it would have sufficed to place a single figure with which to discuss and teach different methods of feinting in order to wound, in order to show clearly the different ways of feinting I wanted to put two of them here that differ widely from each other, which I show you in their explanations.</p>
 
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| [[File:Giganti 09.png|400x400px|center|Figure 9]]
 
| [[File:Giganti 09.png|400x400px|center|Figure 9]]
| <p>[29] '''Method of Wounding in the Chest with the Single Sword When They<ref>The two fencers.</ref> Are At''' measure with the swords equal</p>
+
| <p>[29] '''Method of Wounding the Chest with the Single Sword When They<ref>The two fencers.</ref> Are At''' measure with the swords equal</p>
  
<p>The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: one needs to place themselves in guard with the sword forward on the left side and if the enemy comes to bind you and cover your sword with his let him come until he finds himself at measure with you. When he is at measure with you disengage, putting your sword inside of his, straightening the point against the enemy’s face. If he does not go to parry, wound him resolutely, going as I have said above with the right edge of yours on the edge of his, turning your wrist and carrying the body across a bit. But if the enemy comes to parry and wound you while you disengage do not throw the thrust but hold it a little outside, and in the same tempo that he wants to parry and wound, redisengage your sword under the hilt of his, done aiming at the chest of the enemy so that you strike him in the chest safely, increasing a little with the sword, as you see in the present figure,</p>
+
<p>The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: It is necessary to place oneself in guard with the sword forward on the left side and, if the enemy comes to bind you and cover your sword with his, let him come until he is at measure with you. Disengage when he is at measure with you, putting your sword inside of his and directing the point toward the enemy’s face. If he does not attempt to parry, wound him resolutely, running with the right edge of your sword on the edge of his as I said above, turning your wrist and bringing your body across somewhat. If the enemy comes to parry and wound you while you disengage, however, do not throw the thrust but hold it a little outside, and in the same ''tempo'' that he wants to parry and wound, redisengage your sword under the hilt of his, aiming at the enemy’s chest so that you strike him there safely, extending a little with the sword as you see in the present figure,</p>
 
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| <p>[30] taking care to disengage and redisengage it in the same tempo, never holding it still so that the enemy does not find it. In the movement he makes to parry, pass to him with your vita on the outside, taking care to place your hand on the hilt of the sword. This pass makes this effect: he takes the chance to wound you and you can wound him how and where you like and please.</p>
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| <p>[30] taking care to disengage and redisengage it in the same ''tempo'', never holding it still so that the enemy does not find it. In the movement he makes in order to parry, pass to him with your ''vita'' on the outside, taking care to place your hand on the hilt of his sword. This pass produces this effect: It removes his ability to wound you and you can wound him how and where you wish and please.</p>
 
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| [[File:Giganti 10.png|400x400px|center|Figure 10]]
 
| [[File:Giganti 10.png|400x400px|center|Figure 10]]
| <p>[31] '''The Pass With Feint at a Distance'''</p>
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| <p>[31] '''''The Pass by Means of Feint at a Distance'''''</p>
  
<p>This is an artificial way of passing at the enemy so that he does not perceive it, and it is of great consideration for the effect it shows, as is seen in the present figure, where one passes with a feint and wounds the enemy. It is done in this way: you need to see in what guard your enemy places himself and how he is accommodated. Go to bind him in guard, directing the point of your sword at his face, and when you find yourself almost at measure, if you see that he stays waiting and doesn’t move, throw a thrust at his face strongly as figure number [7].<ref>The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.</ref> shows and if he does not parry strongly you make the effect of figure number [8].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.</ref> not having to make other feints, but if he parries you will both be with the swords equal. Immediately return backward outside of measure and put yourself in the same first guard, and when you are almost at measure feint throwing the same thrust at his face. While he goes to parry it, disengage the point of your sword underneath the hilt of the enemy’s sword with your wrist, making sure you keep the enemy sword outside your vita. Then in the same tempo pass, going with your sword over the furnishings of his, accompanying it with the left hand, and immediately put it<ref>Your hand.</ref> over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you wound him if he does not see your goal. This done, leap outside of measure and replace the sword within that of the enemy, securing yourself in the above way, and beating his sword, return to wound him with two or three resolute and irreparable thrusts.</p>
+
<p>This is a way of passing at the enemy with artifice so that he does not perceive it, and it is highly regarded for the effect it illustrates, as seen in the present figure where one passes with a feint and proceeds to wound the enemy. It is done in this way: It is necessary to see in which guard your enemy positions himself and how he is arranged and go to bind him in guard, directing the point of your sword at his face. If you see that he stays waiting and doesn’t move when you find yourself almost at measure, strongly throw a thrust at his face as figure number [7]<ref>The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7. </ref> shows. If he does not parry strongly, you produce the effect of figure number [8]</ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.</ref> and have no need to perform other feints, but if he parries, you will both be with your swords equal. Immediately return backward outside of measure and put yourself in the same guard as at first and, when you are almost at measure, feign throwing the same thrust at his face. While he attempts to parry it, disengage the point of your sword under the hilt of the enemy’s with your wrist, being sure to keep the enemy’s sword outside of your ''vita''. Then, in the same ''tempo'', pass, running with your sword over the hilt of his, accompanying it with the left hand and immediately putting it over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you will wound him, since he does not see your goal. This done, leap out of measure and replace the sword within that of the enemy, securing yourself in the above way and, beating his sword, you will wound him again with two or three resolute and irreparable thrusts.</p>
 
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| <p>[32] '''The pass with feint over the point of the sword'''</p>
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| <p>[32] ''The pass by means of feint over the point of the sword''</p>
  
<p>This is another kind of disengage and feint not commonly used, which produces the effect of the previous two figures. It is done so: one must put oneself in guard with the sword to the left side, with the arm extended and long. Letting the enemy come to bind you in the described way, when he is at measure disengage your sword over the point of his and if you see that he does not parry throw at him strongly and resolutely, as I have said to you, so that you will not make other feints. But if he parries, do not stop with the sword but avoid the guard of the enemy sword and pass in the above way and wound him in the chest, withdrawing yourself then as was said.</p>
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<p>This is another, not commonly used, kind of disengage and feint which produces the effect of the previous two figures. It is done so: One must put oneself in guard with the sword to the left side, with the arm extended and long. Letting the enemy come to bind you in the described way, disengage your sword over the point of his when he is at measure. If you see that he does not parry, throw at him strongly and resolutely, as I have said to you, which will not require other feints. If he parries, though, do not stop the sword but avoid the guard of his sword, pass in the above way, and wound him in the chest, withdrawing afterwards as said.</p>
 
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| <p>[33] '''The Feint to the Face at a Distance'''</p>
 
| <p>[33] '''The Feint to the Face at a Distance'''</p>
  
<p>This feint is no different from the other except that the first has its disengage under the hilt of the sword and this has it over in order to throw at the enemy’s face. This stoccata becomes a feint if he parries and is resolute if he does not parry. In the rest then, the same guards, distances, and measures are observed, and one carries the vita equally, as is seen in the figure, and immediately returns outside of measure as soon as the thrust is thrown. The most important thing is knowing how to make the feint natural so that it cannot be distinguished from the resolute, which is done in this way. One presents the point (for example) over the outside at his face, and in going with point underneath the hilt of the enemy sword in order to wound him inside, it must be done so that the thrust wounds his face or chest with the disengage. This is what is meant by “natural feint”. But be advised that you never perform a feint if the enemy does not parry resolutely, because you would be in danger of wounding each other and you would end up in danger.</p>
+
<p>This feint is different only in that the previous feint completes its disengage under the hilt of the sword and this does so over it in order to throw at the enemy’s face. This ''stoccata'' becomes a feint if he parries and is resolute if he does not. Then the same guards, distances, and measures are observed in the rest. One likewise carries the ''vita'' and sword as seen in the figure and immediately returns outside of measure as soon as the thrust is thrown. The most important thing is knowing how to make the feint natural so that it cannot be distinguished from resolute, which is done in this way: The point is turned (for example) upward on the outside at his face and, in advancing with the point underneath the hilt of the enemy sword to wound him inside, it is necessary that the thrust wounds his face or chest with the disengage. This is what is meant by “natural feint”. However, you are advised never to perform a feint if the enemy does not parry resolutely, because you would be in danger of both wounding each other and end up in danger.</p>
 
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| <p>[34] '''The Proper Method to Give a Thrust with the Single Sword while the Enemy Throws''' a cut</p>
 
| <p>[34] '''The Proper Method to Give a Thrust with the Single Sword while the Enemy Throws''' a cut</p>
  
<p>This figure teaches you to avail yourself of the tempo in order to give your enemy a stoccata to the face while he raises the sword, if he can be given a stoccata while his sword is in the air, and before he reaches you. Note how this is done. After having placed yourself in whichever guard you like, go to bind your enemy and when you are at measure if the enemy throws a cut toward your head, in the raising of the sword you make use of the tempo, enter forward, and throw the sword at his face so that without doubt you wound him while the enemy sword is in the air, as you see in the figure. But, in throwing turn the inside of your wrist and the right edge of the sword upwards, holding your arm long and high, and make the guard of your sword cover your head so that if the enemy disengages his sword he would find you covered and it will not be possible to offend you.</p>
+
<p>This figure teaches you to avail yourself of the ''tempo'' in order to give your enemy a ''stoccata'' to the face while he throws a cut at your head—when he raises his sword, he can be given a ''stoccata'' while it is in the air and before it reaches you. Note how this is done. After having positioned yourself in whichever guard you like, go to bind your enemy. When you are at measure, if the enemy throws a cut toward your head, make use of the ''tempo'' in the raising of his sword, enter forward, and push the sword at his face so that you will without doubt wound him while his sword is in the air, as you see in the figure. But, in throwing, turn your wrist and the right edge of the sword upwards, holding your arm long and high, and make the guard of your sword cover your head so that if the enemy drops his sword, you are covered and he cannot offend you.</p>
 
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| <p>[35] It is necessary, however, to throw this thrust quickly. When it is not made quickly the enemy could parry it and wound you. After you have thrown, quickly withdraw yourself backward outside of measure, securing yourself with your sword against that of the enemy.</p>
+
| <p>[35] It is necessary, however, to throw this thrust quickly. If it were not performed quickly, the enemy would parry it and wound you. After you have thrown, quickly withdraw backward outside of measure, securing yourself with your sword against that of the enemy.</p>
 
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| <p>[36] I did not want to put all the ways of parrying the cuts, which are many, in my first book, but I have placed this alone for you, this appearing to me most useful and commodious for understanding the tempo and making use of it, which is necessary to understand in every occasion.</p>
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| <p>[36] I did not want to put all the methods of parrying cuts, which are many, in my first book. Rather, I have placed this alone for you, it appearing to me most useful and commodious for learning how to recognize the ''tempo'' and make use of it—something necessary to understand at all times.</p>
 
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| [[File:Giganti 13.png|400x400px|center|Figure 13]]
 
| [[File:Giganti 13.png|400x400px|center|Figure 13]]
| <p>[37] '''The Proper Way to Safely Wound''' with the single sword using both hands</p>
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| <p>[37] '''''The Proper Way to Safely Wound''' with the single sword using both hands''</p>
  
<p>This figure shows you a method of safely wounding the enemy which is impossible to parry. It is done in two manners. First one needs to find the occasion to have your sword equal with the enemy’s, having yours outside, then affront your sword toward the enemy’s face which, if not parried strongly, strikes him in the face as is seen in the fourth figure. If he parries well and strongly, increase with your left foot, putting your left hand over your sword, driving strongly with both hands, straightening the point against the enemy’s chest and lowering the hilt of your sword as is seen in the present figure, taking care to do all these things in one tempo.</p>
+
<p>This figure shows you a method of safely wounding the enemy which is impossible to parry. It is done in two ways: First, it is necessary to find occasion to have your sword equal with the enemy’s, yours on the outside. You then shove your sword at the enemy’s face which, if not parried strongly, strikes him in the face as seen in the fourth figure. If he parries well and strongly, extend with your left foot, putting your left hand over your sword, pressing strongly with both hands, directing the point toward the enemy’s chest and lowering the hilt of your sword as seen in the present figure, taking care to do all these things in one ''tempo''.</p>
 
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| <p>[38] Next,<ref>This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.</ref> accommodated in guard in the aforesaid way but with your sword inside, I want you to disengage the sword in place to wound outside, and in the same tempo that you disengage the sword, place your left hand over your sword and with the strength of both hands beat the enemy sword with yours. That beaten away, immediately pass with your left foot forward as seen in the figure. So that this succeeds well, it is necessary to take care to do all these things in one tempo. That is, disengaging the sword, placing your hand over and beating the enemy sword with yours, and passing forward with the left foot. Not doing these things in one tempo you would not succeed and be in danger, as you would be with some valiant men that know how to disengage the sword quickly and well. Therefore, so that you succeed at this you must do it quickly and suddenly.</p>
+
| <p>[38] Next,<ref>This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.</ref> arranged in guard in the aforesaid way but with your sword on the inside, I want you to disengage the sword as if to wound on the outside and, in the same ''tempo'' that you disengage the sword, place your left hand over your sword and beat the enemy sword with yours using the strength of both hands. That beaten away, immediately pass forward with your left foot as seen in the figure. For this to turn out well for you, be aware that it is necessary to do all these things in one ''tempo''—that is, disengaging the sword, placing your hand on it, beating the enemy’s sword with yours, and passing forward with the left foot. Not doing these things in one ''tempo'', you could fail and be in danger, as you would be with certain valiant men who know how to disengage the sword quickly and well. Therefore, to succeed at this, you must do it quickly and suddenly.</p>
 
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| [[File:Giganti 14.png|400x400px|center|Figure 14]]
 
| [[File:Giganti 14.png|400x400px|center|Figure 14]]
| <p>[39] '''The Proper Way to Parry the Cut''' or Riverso, that Comes at the Leg</p>
+
| <p>[39] '''The Proper Method to Defend Against the Cut''' or ''Riverso'' that Comes at the Leg</p>
  
<p>In this lesson, in which we reflect on the mandritto or riverso cut to the leg, I cannot say anything further on parrying and wounding the enemy in one same tempo. Rather, I will say why the enemy ends up offending himself on the point of your sword, except to say that the enemy dropping a dritto or riverso to your leg, it is necessary that he lengthen his step, and his vita, and carry his face forward. While the enemy drops to wound you, you then carry the front leg, lifting it backward, and in the same tempo throw a thrust at his face that is impossible to parry. He wounds himself, neither can you then be wounded. You then (as I have said other times) return backward outside of measure.</p>
+
<p>In this lesson, wherein we will discuss the ''mandritto'' or riverso cut to the leg, it is not possible for me to say anything further to teach parrying and wounding the enemy in the same ''tempo''. Rather, I will say why the enemy ends up offending himself on the point of your sword. The enemy dropping a ''dritto'' or riverso at your leg, though, it is necessary that he lengthen his step and ''vita'' and bring his face forward. While the enemy drops to wound you, you then move your front leg, lifting it backward, and in the same ''tempo'' throw a thrust at his face so that he wounds himself of his own accord without the ability to parry, nor can he then wound you. Then (as I have said other times) return backward outside of measure.</p>
 
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| <p>[40] And since the present lesson is very artificial it is necessary to learn it in order to be able to make use of it in such occasions as the figure clearly demonstrates to you.</p>
+
| <p>[40] And, since the present lesson is very artificial, it is necessary to learn it in order to be able to make use of it in such an occasion as the figure clearly shows you.</p>
 
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| <p>[41] '''The Inquartata''' or Slip of the Vita</p>
 
| <p>[41] '''The Inquartata''' or Slip of the Vita</p>
  
<p>Knowing the inquartata, or slip, is necessary in order to master the body. But this not ordinarily used in the schools, except by the French in order to exercise the body. In truth many are these slips, or inquartate, but I judged in my first book to show only three of them, in my judgement the safest and most beautiful, as appears in the present figure. </p>
+
<p>Knowing the ''inquartata'', or slip, is necessary for mastering the body. However, this is not ordinarily used in schools, except by the French in order to exercise the ''vita''. Truthfully, many are these slips, or ''inquartate'', but I decided to show only three of them in this, my first book—in my view the safest and most beautiful, as revealed in the present figure.</p>
 
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| <p>[42] The first of these is done putting yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword at the face of the enemy. Let the enemy come to bind you, and when he is almost at measure disengage the sword in a feint a little wide, and in the tempo the enemy parries, redisengage it, returning it to its first position, running along the edge of his sword with the disengage in a way that as soon as you have disengaged you have wounded the enemy, because if you were to disengage the sword and then wound you would be in danger, since there would be two tempi. Carry the left leg and equally the left shoulder across, turning, and make the effect, giving him (as is seen in the figure) a thrust either in the face or chest without him perceiving the aim, holding the arm stiff, and with the hilt of your sword covering you, far from the sword of the enemy. Keep your eye on his face, taking care not to turn your face with the vita as some do,<ref>[[Camillo Agrippa]] (1553), for example, recommends turning the face away.</ref> because you would find yourself in danger and not see your action. After this immediately return back out of measure with your sword over his, securing yourself as above.</p>
+
| <p>[42] The first of these is performed by positioning yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword toward the enemy’s face. Let the enemy come to bind you and when he is almost at measure, disengage the sword a little wide as a feint. In the ''tempo'' the enemy attempts to parry, redisengage the sword, returning it to its first position, running along the edge of his sword with the disengage in a way that no sooner have you have disengaged than you have wounded the enemy, because if you attempt to disengage the sword and then wound, you would be in danger, since there would be two ''tempi''. Bring both the left leg and shoulder crosswise and, turning, produce the effect, giving him (as seen in the figure) a thrust in either the face or chest without him perceiving your goal, holding your arm stiff, with the hilt of your sword covering you, far from the sword of the enemy. Keep your eyes on his face, taking care not to turn your face with your ''vita'', as some do, <ref>[[Camillo Agrippa]] (1553), for example, recommends turning the face away.</ref> because you would find yourself in danger and not see your action. After this, immediately return backward out of measure with your sword over his, securing yourself as above.</p>
 
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| <p>[43] '''The inquartata, or slip of the vita'''</p>
+
| <p>[43] ''The ''inquartata'', or slip of the vita''</p>
  
<p>This is no different from the other inquartata from before, except in the way in which it wounds. That is, having regard in going to the edge of the enemy sword, approaching to wound him under the pommel of his sword, lifting the arm with the wrist, as seen in the figure, and after having turned your person, stopping yourself and not passing upon the enemy in order to not come to grips, because you would go into danger, compared to returning outside of measure and securing yourself from that. This inquartata is very difficult to parry, in fact I will say impossible, when it is done judiciously.</p>
+
<p>This ''inquartata'' is no different from the first except in the way in which it wounds—that is, taking care in running along the edge of the enemy’s sword to go to wound him under the pommel of his sword, lifting the arm with the wrist, as seen in the figure, and after having turned your person, to stop yourself and not pass onto the enemy in order not to come to grips, because you would be in danger of being unable to return outside of measure and secure yourself from him. This ''inquartata'' is very difficult to parry. In fact, I will say it is impossible when it is done judiciously.</p>
 
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| <p>[44] '''The Third Inquartata,''' or slip of the vita</p>
+
| <p>[44] '''''The Third ''Inquartata'',''' or slip of the vita''</p>
  
<p>This third inquartata is the most beautiful and safest of all, which is done in this way. Placing yourself in guard, as in the other two, holding the sword to the right side with the arm extended and firm, as the enemy comes to bind you with his sword over yours and you are at measure, disengage the sword with the turn of your wrist. If he does not parry, strike him in the face and make the effect of the figure, nor should you do more. But if he parries, you find yourself with the swords equal. Affront his sword strongly with yours so that he affronts, and as he affronts disengage, going with the disengage under the hilt of his sword, turning your body as above, wound him in the chest, which he will not perceive, and do the effect of the present figure. Then return outside of measure, securing yourself as in the other lessons.</p>
+
<p>This third ''inquartata'' is the most beautiful and safe of all. It is done in this way: Place yourself in guard as in the other two, holding the sword along the right side with your arm extended and firm. While the enemy comes to bind you with his sword over yours, disengage the sword with a turn of your wrist when you are at measure. If he does not parry, strike him in the face and produce the effect of the figure without needing to do more. If he parries, though, you find yourself with your swords equal. Strongly affront your sword onto his so that he also affronts and, disengaging as he does, run under the hilt of his sword with the disengage, turning your body as above, and wound him in the chest, which he will not perceive. The effect of the present figure produced, you will return outside of measure, securing yourself as in the other lessons.</p>
 
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| <p>[45] '''An artificial way to strike in the chest, affronting the swords'''</p>
+
| <p>[45] ''An artificial method to strike the chest, affronting the swords''</p>
  
<p>In the previous lessons I demonstrated the method of the inquartate, that is, how one would affront the swords outside in order to come to wound the enemy inside. Now I will briefly say how one would carry the swords inside and wound outside. As you meet with the enemy, affront strongly with the edge of your sword, holding the point at his face, with the forte over the enemy sword. If he is weaker than you, give him a stoccata, either in the face or chest that he cannot parry. If he is stronger than you, feeling how much your sword is affronted disengage the sword under the hilt of his so that his falls downward, and he equally takes a thrust from which there is no defense. In the same tempo pass without any danger and put your left hand on his hilt, wounding him with three or four thrusts that cannot be avoided. Then return outside of measure, securing yourself as above.</p>
+
<p>In the previous lessons I showed the method of the ''inquartate''—that is, how the swords are affronted on the outside in order to come to wound the enemy on the inside. Now I will briefly say how the swords are carried on the inside and wound on the outside. As you meet with the enemy, affront strongly with the edge of your sword, holding the point toward his face with your ''forte'' over the enemy’s sword. If he is weaker than you, give him a ''stoccata'' in either the face or chest that he cannot parry. If he is stronger than you, feeling how much your sword is affronted, disengage your sword under his hilt so that his falls downward and he similarly takes a thrust from which he cannot defend himself. In the same ''tempo'', pass without any danger and, placing your left hand on his hilt, wound him with three or four thrusts that cannot be avoided. Then, return outside of measure, securing yourself as above.</p>
 
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| <p>[46] '''The way of playing single sword against single sword with resolute thrusts'''</p>
+
| <p>[46] ''The method of playing single sword against single sword with resolute thrusts''</p>
  
<p>Many are those in the schools that when they assail the enemy come resolutely throwing thrusts, imbroccate, and cuts, nor do they give any tempo, throwing always with fury and very great impetus. These things ordinarily mess up and disorder every beautiful player and fencer. Accordingly, in such occasions it is necessary to know how to defend oneself.</p>
+
<p>In schools, there are many who resolutely come throwing thrusts, imbroccate, and cuts when they assail the enemy, giving no ''tempo'' and always throwing with fury and very great impetus. These things ordinarily confound and disorder every beautiful player and fencer, for which reason it is necessary to know how to defend oneself in such an occasion.</p>
 
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| <p>[47] It is necessary that you place yourself to the guard of the enemy sword with yours ready to defend, outside the measure, in a pace that is restrained rather than long, and in the tempo that he throws a thrust, imbroccata, stoccata, or other similar blow, beat the enemy sword with the forte of yours and immediately lengthen your pace, and throwing him a thrust wound him in the chest or face and quickly return backward with the lead foot to where you were before, resting your sword on his in order to secure yourself from it, in a way that he cannot wound if he does not disengage. Turning your wrist inside, return to beat the enemy sword with the forte of yours, lengthening your pace throw him a thrust and wound him and quickly return backward with the foot as above, likewise securing yourself from his sword with yours. If he returns anew to redisengage, always return and do the same.</p>
+
| <p>[47] It is necessary that you place yourself in guard against the enemy sword with yours ready to defend, outside of measure, in a pace that is restrained rather than long. In the ''tempo'' that he throws a thrust, ''imbroccata'', ''stoccata'', or other similar blow at you, beat his sword with the ''forte'' of yours and, immediately lengthening your step, throw him a thrust and wound him in the chest or face and quickly return backward with the lead foot to where you were before, resting your sword on his in order to secure yourself from it, in a way that he cannot wound if he does not disengage. If the enemy disengages, turning your wrist to the outside, beat his sword again with the ''forte'' of yours and, lengthening your pace, throw him a thrust and wound him, then quickly return backward with the foot as above, likewise securing yourself from his sword with yours. If he redisengages again, always repeat doing the same.</p>
 
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| <p>[48] This lesson is more useful than beautiful and contains two tempi which you can make before the enemy has time to make one of them. The first of which is the parry, the other is the wound. Which, as has been observed, you have understood.</p>
+
| <p>[48] This lesson is more useful than beautiful and contains two ''tempi'' which you can make before the enemy has time to make one of them: the first is the parry, the other the wound. Since they have been examined, you have understood.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/61|4|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/61|4|lbl=-}}
 
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| [[File:Giganti 16.png|400x400px|center|Figure 16]]
 
| [[File:Giganti 16.png|400x400px|center|Figure 16]]
| <p>[49] '''Parrying Stoccate''' that Come at the Chest with the Single Sword</p>
+
| <p>[49] '''Parrying ''Stoccate''''' that Come at the Chest with the Single Sword</p>
  
<p>Seen in this figure is the safe method of parrying thrusts that come at your chest, wounding the chest. It is done in different ways because some may pass at a distance, others stay at measure, and others inside the measure, but one who has understanding of tempo and knows how to parry well as my figure demonstrates will parry all the methods. From which you note that, being with your enemy with the swords equal and he passes in order to wound you in the chest, by necessity in that same tempo follow his sword with yours, lowering, however, the point of yours and raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword wound him in the chest, holding your left hand over the hilt of his sword. Then, the stoccata given, disengage the sword in the way described above, returning backward outside of measure.</p>
+
<p>Seen in this figure is the safe method of parrying thrusts that come at your chest and then wounding the chest. It is done in different ways because some pass at a distance, others stand at measure, and others inside the measure, but someone who understands ''tempo'' and knows how to parry well, as my figure shows you, will defend against all these methods. Therefore, note that being with your enemy with your swords equal, if he passes in order to wound you in the chest, it is necessary to follow his sword with yours in the same ''tempo'', lowering, however, the point of yours by raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword. Wound him in the chest, holding your left hand over the hilt of his sword, and then, the ''stoccata'' given, disengage the sword in the way described above, returning backward outside of measure.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|63|lbl=43}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|63|lbl=43}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/51|1|lbl=27}}
 
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| [[File:Giganti 17.png|400x400px|center|Figure 17]]
 
| [[File:Giganti 17.png|400x400px|center|Figure 17]]
| <p>[50] '''The Thrust in the Face''' Turning Your Wrist<br/><br/></p>
+
| <p>[50] '''The Thrust to the Face''' Turning Your Wrist<br/><br/></p>
  
<p>With this figure you are taught a very beautiful method of wounding your enemy’s face, and it consists entirely of seizing the occasion of being with the swords equal, causing your enemy to be in the motion of parrying by giving him suspicion that you want to disengage the sword. In the same tempo, turn your wrist, put your left hand on the guard of his sword, and increase with the foot in one tempo so that you strike him in the face, as you see. Doing it properly it cannot be parried. Having given that, increase with your left hand over the hilt of the enemy sword and redisengaging the sword you can give him two or three stoccate where you like. Then return backward outside of measure, always holding your sword over theirs, as above.</p>
+
<p>With this figure you are taught a very beautiful method of wounding your enemy’s face. It consists entirely in seizing the occasion of being with the swords equal and causing your enemy to be in the motion of parrying by giving him the suspicion that you want to disengage the sword. In the same ''tempo'', turning your wrist, put your left hand on the guard of his sword and extend with the foot in one ''tempo'' so that you strike him in the face, as you see. Performing it properly, it cannot be parried. Having struck, extend with your left hand over the hilt of the enemy’s sword and, redisengaging the sword, you can give him two or three ''stoccate'' wherever you wish. Then, return backward outside of measure, always holding your sword over theirs, as above.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|65|lbl=45}}
 
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| [[File:Giganti 18.png|400x400px|center|Figure 18]]
 
| [[File:Giganti 18.png|400x400px|center|Figure 18]]
----
+
 
 +
 
 
[[File:Giganti 19.png|400x400px|center|Figure 19]]
 
[[File:Giganti 19.png|400x400px|center|Figure 19]]
 
| <p>[51] '''The Counterdisengage at a Distance'''</p>
 
| <p>[51] '''The Counterdisengage at a Distance'''</p>
  
<p>This<ref>The two preceding figures.</ref> is one and the same counterdisengage at a distance against one who has their left foot forward and wants to pass by inquartata. I wanted to demonstrate to you with this figure the postures and wound so that it is possible to comprehend it well for the sake of necessity (when one is coming to bind you with their left foot forward). Stand in guard as you see in this figure, giving occasion to your enemy to throw at your chest. If he is a valiant man he will pass with his foot quickly and strongly turn his wrist in the manner of the inquartata in order to defend himself from your sword. In the same tempo that he passes, redisengage the sword under the hilt, lowering your vita as you see in the present figure so that you wound him in the face before he wounds you. In fact, while he carries his foot forward in order to pass it is not possible to parry. At times it is necessary to make the effect of this figure. Exercise well these two figures placed before.</p>
+
<p>These<ref>The two preceding figures.</ref> are one and the same counterdisengage at a distance against someone who has their left foot forward and wishes to pass with an ''inquartata''. With these figures I wanted to show you the postures and the wound so that it can be thoroughly understood. It is necessary (when someone is coming to bind you with their left foot forward) that you stand in guard as you see in this figure, giving your enemy a chance to throw at your chest. If he is a valiant man, he will quickly pass with his foot and strongly turn his wrist in the manner of the ''inquartata'' in order to defend himself from your sword. In the same ''tempo'' that he passes, redisengage the sword under the hilt, lowering your ''vita'' as you see in the present figure so that you wound him in the face before he wounds you. In fact, he is unable to parry while he carries his foot forward to pass. In order to produce the effect of this figure on occasion, it is necessary to practise well the two figures placed above.</p>
 
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{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|68|lbl=48|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|69|lbl=49|p=1}}
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| [[File:Giganti 20.png|400x400px|center|Figure 20]]
 
| [[File:Giganti 20.png|400x400px|center|Figure 20]]
| <p>[52] '''Method of Playing with the Single Sword,''' while the enemy has sword and dagger</p>
+
| <p>[52] '''''The Method of Playing with the Single Sword,''' while the enemy has sword and dagger''</p>
  
<p>With this figure I will demonstrate parrying and wounding to you, you with the single sword against an enemy who has sword and dagger. You will stand with your right foot forward with a just pace, with your vita back, holding the sword forward ready to parry and wound when there is a tempo. It is necessary you not be first to throw because you will be in danger, since in throwing your enemy could parry your stoccata with the dagger and if he were a valiant man you would not be able to parry his. If you stay in guard as I have said above, ready to parry, showing fear of him so that he throws disconcerted. While he throws parry strongly with the forte of your sword and throw the stoccata at his face, because he will throw at you strongly and long and while throwing his dagger will remove itself so you can strike him safely. That given, immediately return backward outside of measure, holding your sword in his in the way described above. As many times as he throws, you will wound the same, taking care however not to throw at his chest, which would not be safe, since the one that has sword and dagger will be much bolder than one who finds themselves with the single sword, and thus thinking to give you as many stoccate as he likes, he will come to be disconcerted at throwing forward at you, not thinking of anything else. If you stand in guard judiciously you can parry safely and strongly and wound your enemy, always in the face, returning safely outside of measure with your sword over his. If your enemy were to disengage the sword to the inside, turn your wrist and parry and throw strongly as I have said.</p>
+
<p>With this figure, I will show you parrying and wounding with the single sword against an enemy who has sword and dagger. Stand with your right foot forward in a just pace, with your ''vita'' back, holding the sword forward, ready to parry and wound when there is a ''tempo''. It is necessary that you are not first to throw because you would be in danger, since, in throwing, your enemy could parry your ''stoccata'' with his dagger and, if he were a valiant man, you would not be able to parry his. If you stand in guard as I said above, however, ready to parry, showing fear of him so that he throws in disarray, when he throws you will parry strongly with the ''forte'' of your sword and throw the ''stoccata'' at his face because he will throw at you strongly and long and, while throwing, his dagger will remove itself so that you can strike him safely. Having struck, immediately return backward outside of measure, holding your sword in his in the way described above. Do the same as many times as he throws, taking care, however, not to throw at his chest, which would not be safe because someone who has sword and dagger will be much bolder than someone who has the single sword, and thus, thinking to give you as many ''stoccate'' as he likes, he will disconcert himself in order to throw at you first, not thinking of anything else. If you stand in guard judiciously, though, you can parry safely and strongly and always wound your enemy in the face, then safely return outside of measure with your sword over his. If your enemy were to disengage the sword to the inside, turn your wrist and parry and throw strongly, as I said.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|1|lbl=51}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|1|lbl=51}}
 
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| <p>[53] If you see that he wants to fly upon you, pull yourself backward and throw at him in the tempo that he moves to come forward. If you were to find yourself in guard with your sword in his and he would like<ref>The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text</ref> to first parry with the dagger and then wound, in the tempo you see that he lowers the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number [21].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.</ref> Immediately after return outside of measure with your sword over his.</p>
+
| <p>[53] If you see that he wants to fly upon you, pull yourself backward and throw at him in the ''tempo'' that he moves to come forward. If you were to find yourself in guard with your sword in his and he would like<ref>The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text.</ref> to first parry with the dagger and then wound, in the ''tempo'' that you see him lower the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number <ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.</ref> Immediately afterward, return outside of measure with your sword over his.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|2|lbl=-}}
 
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| class="noline" | <p>[54] Take care, however, not to throw if he stays in guard if by chance you do not see some tempo that when you throw he cannot wound you, as described above when tempo and measure were discussed. If he stands in guard waiting, either out of fear, or rather with art in order to deceive you, stay outside of measure with your sword over his and seek to parry and wound safely according to the occasion.</p>
+
| class="noline" | <p>[54] Take care, however, not to throw if he stays in guard and you do not by chance see some ''tempo'' which allows you to do so without him wounding you, as described above when ''tempo'' and measure were discussed. If he stands in guard waiting, either out of fear or, instead, with art in order to deceive you, stay outside of measure with your sword over his and seek to parry and wound safely according to the occasion.</p>
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|3|lbl=-}}
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|3|lbl=-}}
 
| class="noline" | {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/60|2|lbl=-}}
 
| class="noline" | {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/60|2|lbl=-}}
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| [[File:Giganti 21.png|400x400px|center|Figure 21]]
 
| [[File:Giganti 21.png|400x400px|center|Figure 21]]
| <p>[55] '''Method of Parrying the Stoccata that Comes''' at the face from the right side with sword and dagger</p>
+
| <p>[55] '''The Method of Parrying the ''Stoccata'' that Comes''' at your face from the right side with sword and dagger</p>
  
<p>To achieve the effect of the present figure, it is necessary to stand in guard as you will learn. I say it is necessary to stand in a just pace, strong, holding the weapons ready to parry and wound, with the dagger toward the guard of the enemy sword and your sword ready to wound where it is most convenient. If you see that your enemy wants to wound you with a thrust to your face, parry with the edge of the dagger and wound the enemy in the right shoulder in the same tempo, so that doing it in one tempo it will be difficult to parry. To make the effect so that he cannot parry, it is not enough to only understand these things, but also necessary to know how to put them into effect. That is, in the same tempo to stand strongly in guard, with the right foot forward, with the left foot strong on the ground supporting all the body, holding the right foot back as in various other lessons in order to increase quickly forward and back according to the occasion, always holding the point of your sword at the face or chest of the enemy, the dagger high in proportion to the enemy sword, inclining the vita back rather than forward, standing with an alert and vigilant eye, with a bold heart, and without one bit of fear of the enemy. If (while you stand in this guard) your enemy comes to throw a thrust or imbroccata at your face, then parrying with the edge of the dagger throw him a stoccata in the same tempo so that you make the effect of the figure. Take heed that you parry strongly and safely, turn your head and vita a little, and while he throws at you, parrying strongly, throw your stoccata in the same tempo. If you were to parry first then throw it would not be possible, since your enemy could withdraw his arm and body and would be in tempo to parry, and your life would be in danger. But if you parry and wound in the same tempo, give him the stoccata under the flank of the sword while he comes forward so you do it justly and in tempo and it is difficult for him to parry. Taking heed that when you have thrown the stoccata you hold your left foot on the ground firmly and strongly and as soon as you have thrown carry your vita backward, returning outside of measure.</p>
+
<p>To achieve the effect of the present figure, it is necessary to stand in guard as you will learn. I say it is necessary to stand in a just and strong pace, holding the weapons ready to parry and wound, with the dagger guarding against the enemy sword and your sword ready to wound where it is most convenient. If you see that your enemy wishes to wound you with a thrust to your face, parry with the edge of the dagger and wound the enemy in the right shoulder in the same ''tempo''. Doing so in one ''tempo'', it will be difficult for him to parry. In order to produce the effect that he cannot parry, it is not enough to simply understand these things, but it is also necessary to know how to put them into effect—that is, in the same ''tempo'' to stand strongly in guard with the right foot forward, the left foot strong on the ground supporting all the body, as always holding the right foot back in order to quickly extend forward and backward according to the occasion, always holding the point of your sword toward the face or chest of the enemy, the dagger’s height in proportion to the enemy sword, inclining the ''vita'' back rather than forward, standing with an alert and vigilant eye, a bold heart, and without one bit of fear of the enemy. If (while you stand in this guard) your enemy comes to throw a thrust or ''imbroccata'' at your face, throw a ''stoccata'' at his face, parrying with the dagger in the same ''tempo'' so that you produce the effect of the figure. Be sure that you parry strongly and safely, turn your head and ''vita'' a little, and while he throws at you, parrying strongly, throw your ''stoccata'' in the same ''tempo''. If you were to parry first, then throw, it would not be possible because your enemy could withdraw his arm and body and be in ''tempo'' to parry, and your life would be in danger, but if you parry and wound in the same ''tempo'', you give him the ''stoccata'' under the flank of the sword while he comes forward. It is difficult for him to parry when you do it justly and in ''tempo'', taking care that when you throw the ''stoccata'' you keep your left foot firmly and strongly on the ground, and that you bring your ''vita'' backward as soon as you have thrown, returning outside of measure.</p>
 
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| <p>[56] Having thrown, to return backward safely it is necessary to first bring the head, then the vita backward, then the leg will come by itself. If you were to pull your leg first your head would go forward, your life would be in danger, and you would not be able to return outside of measure. Throwing a long and strong stoccata without knowing how to return backward with the vita is worthless.</p>
+
| <p>[56] Having thrown, to return backward safely it is first necessary to bring the head, then the ''vita'' backward, then the leg will come of its own accord. If you were to pull your leg first, your head would go forward, your life would be in danger, and you would not be able to return outside of measure. Throwing a long and strong ''stoccata'' without knowing how to return backward with your life is worthless.</p>
 
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| <p>[57] In order to make the effect of the figure it is necessary to practise, so that when you see that your enemy wants to throw, you throw in that tempo so that your stoccata will arrive before his, although he is first to throw.</p>
+
| <p>[57] In order to produce the effect of the figure, it is necessary to practise so that when you see that your enemy wishes to throw, you throw in that ''tempo'' so that your ''stoccata'' arrives before his, even if he is first to throw.</p>
 
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| [[File:Giganti 22.png|400x400px|center|Figure 22]]
 
| [[File:Giganti 22.png|400x400px|center|Figure 22]]
| <p>[58] '''The Proper Method of Parrying the Stoccata''' That Comes Toward Your Left Flank</p>
+
| <p>[58] '''The Proper Method of Parrying the ''Stoccata''''' That Comes Toward Your Left Flank</p>
  
<p>In the present figure it is necessary to place yourself like in that above. If your enemy intends to throw at your left flank, stand with your dagger toward the guard of his sword and in the tempo that he throws parry with the edge of the dagger and wound the enemy in the sword shoulder in the same tempo. Nay, throw yours sooner than he throws his stoccata, staying alert with your eye and mind, collected in the vita, and in the tempo you see he wants to throw his throw yours at his shoulder and parry his in that tempo, so that he cannot parry yours because you wound in that tempo he comes forward, as is seen in the figure. The stoccata thrown, return backward outside of measure in the same way as the first figure of sword and dagger.<ref name="f21">Figure 21.</ref></p>
+
<p>In the present figure, it is necessary to place yourself like in that above should your enemy intend to throw at your left flank. Stand with your dagger guarding against his sword and, in the ''tempo'' that he throws, parry with the edge of the dagger and wound him in the sword shoulder in the same ''tempo''. In fact, throw your ''stoccata'' quicker than he throws his so that, keeping your eye and mind alert and your ''vita'' withdrawn, in the ''tempo'' you see that he wants to throw his, you throw your own at his shoulder and parry his in that ''tempo''. He will not be able to parry yours because you wound in the ''tempo'' that he comes forward, as seen in the figure. The ''stoccata'' thrown, return backward outside of measure in the same way as in the first figure of sword and dagger.<ref name="f21">Figure 21.</ref></p>
 
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| [[File:Giganti 23.png|400x400px|center|Figure 23]]
 
| [[File:Giganti 23.png|400x400px|center|Figure 23]]
| <p>[59] '''Method of Parrying a Thrust that Comes''' at Your Right Flank with Sword and Dagger</p>
+
| <p>[59] '''The Method of Parrying a Thrust that Comes''' at Your Right Flank with Sword and Dagger</p>
  
<p>As you see in this figure, if you are in this same guard described above and your enemy were to come to bind with the sword low in order to wound you in the right flank it would be necessary for you to raise your sword arm and stand in third guard<ref>The guard Giganti refers to here is unclear.</ref> for an imbroccata with the point of your sword toward his face or chest, with the dagger a little low and the arm to the guard of the enemy sword. As the enemy throws the thrust at your flank, parry and throw an imbroccata at the enemy sword shoulder in the same tempo so that you see the effect of the figure. In fact, it would be better when you see your enemy wants to throw the thrust to throw yours forward so that you will more easily wound him. The stoccata or imbroccata given, immediately return backward outside of measure.</p>
+
<p>As you see in this figure, if you are in the same guard described above and your enemy comes to bind you with the sword low in order to wound you in the right flank, it is necessary that you raise your sword arm and stand in third guard<ref>The guard Giganti refers to here is unclear.</ref> for an ''imbroccata'' with the point of your sword toward his face or chest, with the dagger a little low and the arm extended to guard against the enemy sword. As the enemy throws the thrust at your flank, parry and throw an ''imbroccata'' at his sword shoulder in the same ''tempo'' so that you see the effect of the figure. Actually, when you see you see that your enemy intends to throw the thrust, it would be better to throw yours earlier so that you wound him more easily. The ''stoccata'', or rather, ''imbroccata'', given, immediately return backward outside of measure.</p>
 
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| <p>[60] These are the four kinds of wounding and parrying stoccata and imbroccata, and they proceed in the same way, that is, parrying and wounding in the same tempo and in carrying the feet always taking care as you throw the stoccata to increase a little with your right foot, keeping the left foot strongly on the ground. Be advised that keeping the left foot on the ground will appear difficult to you at first, but with practice you will succeed easily.</p>
+
| <p>[60] These are the four kinds of wounding and parrying with the ''stoccata'' and ''imbroccata'', and they proceed in the same way—that is, parrying and wounding in the same ''tempo'', in carrying the feet always taking care to extend a little with the right foot as you throw the ''stoccata'' and to keep the left strong on the ground. Be advised that keeping the left foot on the ground will seem difficult to you at first, but with practice you will easily succeed.</p>
 
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| [[File:Giganti 24.png|400x400px|center|Figure 24]]
 
| [[File:Giganti 24.png|400x400px|center|Figure 24]]
| <p>[61] '''Method of Parrying the Thrust of Sword''' and Dagger at Your Face</p>
+
| <p>[61] '''The Method of Parrying the Thrust of Sword''' and Dagger at Your Face</p>
  
<p>In order to put into effect that which is shown to you by this figure it is necessary that you stand in the same guard, and seeing the enemy coming to throw a stoccata at your face, parrying with the edge of the dagger, to push forward the stoccata at his flank in one tempo so that you make this effect. Be advised, however, when you see the enemy’s thrust at your face, to hold the dagger a little wide from it, giving him occasion to throw at you, and when he throws at you parry with the dagger and turn your head a little in order to pull it away from his sword. In the tempo you parry, wound him with a thrust in the flank that is uncovered and closest to wound. As soon as you have wounded, return backward in the described way.</p>
+
<p>In order to put into effect everything that is shown to you by this figure, it is necessary that you stand in the same guard and, seeing the enemy coming to throw a ''stoccata'' at your face, parrying with the edge of your dagger, to push the ''stoccata'' at his flank earlier, in one ''tempo'', so that you produce this effect. Take care, however, when you see the point of your enemy’s sword toward your face, to hold the dagger a little wide from it, giving him occasion to throw at you, and to parry with the dagger and turn your head a little in order to pull it away from his sword when he throws. In the ''tempo'' that you parry, wound him with a thrust in the flank that is uncovered and closest to wound. As soon as you have wounded, return backward in the described way.</p>
 
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| [[File:Giganti 25.png|400x400px|center|Figure 25]]
 
| [[File:Giganti 25.png|400x400px|center|Figure 25]]
| <p>[62] '''Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
+
| <p>[62] '''The Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
  
<p>As you see, one learns from this figure to parry the cuts with the dagger that come at the top of your head. It is necessary to place oneself in the guard of the first lesson,<ref>First lesson of sword and dagger – Figure 21.</ref> and if your enemy comes throwing you a cut on the head meet it with your dagger edge, in that same tempo throwing the thrust to the enemy’s face and increasing forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut that comes it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your stoccata at his face so that he will need to withdraw his head a little backward. He will clamp his eyes and you will take the strength of the cut. To make this effect, it is necessary to be bold, to not be afraid of the sword or of the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long stoccata well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast the dagger from your hand and wound you on the head. If you parry with the edge holding the arm extended there will be no danger. Having thrown the thrust return backward outside of measure, as above.</p>
+
<p>As you see, from this figure one learns to parry cuts that come at the top of the head with the dagger. It is necessary to position oneself in the guard of the first lesson<ref name="f21"/> and, if your enemy comes throwing a cut upon your head, to meet it with your dagger edge and in the same ''tempo'' throw a thrust at the enemy’s face, extending forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut, it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your ''stoccata'' at his face so that he must draw his head back a little and clamp his eyes shut, and you will remove the strength of the cut. To produce this effect, it is necessary to be bold and unafraid of the sword or the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long ''stoccata'' well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast it from your hand and wound you on the head. If you parry with the edge, holding the arm extended, there will be no danger.69 Having thrown the thrust, return backward outside of measure, as above.</p>
 
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| rowspan="2" | [[File:Giganti 26.png|400x400px|center|Figure 26]]
 
| rowspan="2" | [[File:Giganti 26.png|400x400px|center|Figure 26]]
| <p>[63] '''Method of Parrying a Riverso''' with the Dagger</p>
+
| <p>[63] '''The Method of Parrying a ''Riverso''''' with the Dagger</p>
  
<p>As you see, one learns from this figure how to parry a riverso that comes at your face. It is necessary to place oneself in guard of the first lesson<ref name="f21"/> with the dagger high and strong, and when you see the riverso come go to meet it with the edge of the dagger. In the same tempo increase a little with your right foot, throwing the stoccata at his uncovered flank so that you see the effect of the figure.</p>
+
<p>As you see, from this figure one learns how to parry a riverso that comes at the face. It is necessary to place oneself in the guard of the first lesson<ref name="f21"/> with the dagger high and strong. When you see the riverso coming, go to meet it with the edge of the dagger and, in the same ''tempo'', extend a little with the right foot, throwing the ''stoccata'' at his uncovered flank so that you see the effect of the figure.</p>
 
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| <p>[64] Be aware that all six of these figures<ref name="f21-6">Figures 21-26.</ref> are of one manner, but it is necessary to parry and wound in one tempo. If you were to delay an instant from parrying to wounding, you would not create the effect. To create the effect it is necessary to exercise, to practise, and the stoccata given, to immediately return backward outside of measure.</p>
+
| <p>[64] Be aware that all six of these figures<ref name="f21-6">Figures 21–26.</ref> are one and the same method. It is necessary to parry and wound in one ''tempo'', however. If you were to delay an instant from parrying to wounding, you would not produce the effect. In order to produce the effect, it is necessary to drill and practise, and, the ''stoccata'' given, to immediately return backward outside of measure.</p>
 
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| <p>[65] Be advised that these six lessons are the most important and the most beautiful that are found in fencing, but it is necessary to perform them well holding the dagger strongly, and when you see the sword come against you, with the thrust as with the cut, go to meet it with the dagger and in that same tempo throw the stoccata where the enemy is uncovered.</p>
+
| <p>[65] Be advised that these six lessons are the most important and beautiful in fencing, but it is necessary to perform them well, to hold the dagger strongly, and when you see the sword come against you, with the thrust as with the cut, to meet it with the dagger and in the same ''tempo'' throw the ''stoccata'' where the enemy is uncovered.</p>
 
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| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
 
| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
  
<p>The first quality that one who delights in making a profession of arms must have is the knowledge of how to approach to bind the enemy, give a stoccata to him, and return in guard outside of measure. To do this it is necessary to have understanding of the counterguards and know how to throw the stoccata where you see the enemy is uncovered. If he were a little uncovered in the chest it would be necessary to approach to bind him slowly, with the sword low, holding the point toward the enemy’s chest with the dagger to the guard of his sword, and when you are at measure throw the sword first, then the vita, and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the vita you will give him the stoccata in the chest and he will not perceive it. Otherwise, if you were to move the vita first and then throw the stoccata, since he could see it and be able to parry and respond in the same tempo you would then be in danger. Having thrown the stoccata, immediately retreat outside of measure, standing in guard with your weapons ready to parry and wound because the enemy seeing himself wounded will become disconcerted enough to throw either a thrust or cut at you. You will then parry and wound in one tempo as described in the first six figures. <ref name="f21-6"/> The importance of this figure consists (after having thrown) in knowing how to return outside of measure. In order to return safely it is necessary (as has been said above) to carry your head back first so that the vita will come, and the leg, because if you were to pull your leg first you would be in danger either of falling or of your enemy wounding you since your head would go forward. This one of the principal things that you learn.</p>
+
<p>The first quality that someone who delights in the profession of arms must have is the knowledge of how to approach to bind the enemy, give a ''stoccata'' to him, and return to guard outside of measure. To do this, it is necessary to understand the counterguards and to know how to throw the ''stoccata'' where you see your enemy is uncovered. If his chest were slightly uncovered, it would be necessary to approach slowly to bind him, with the sword low, holding the point toward the enemy’s chest, the dagger guarding against his sword. When you are at measure, throw the sword first, then the ''vita'', and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the ''vita'' you will give him the ''stoccata'' in the chest and he will not perceive it. Otherwise, if you were to move the ''vita'' first and then throw the ''stoccata'', you would be in danger, since he could see it and be able to parry and respond in the same ''tempo''. Having thrown the ''stoccata'', immediately pull yourself back outside of measure, standing in guard with your weapons ready to parry and wound because the enemy, seeing himself wounded, will disconcertedly throw either a thrust or cut at you. You will then parry and wound in one ''tempo'' as described in the first six figures.<ref name="f21-6"/></p>
 +
 
 +
<p>The importance of this figure consists in (after having thrown) knowing how to return outside of measure. In order to do so safely, it is necessary (as has been said above) to bring your head back first so that the ''vita'' will come, and the leg, because if you were to pull your leg first, you would be in danger of either falling or your enemy wounding you, since your head would go forward. This is one of the principal things that you should learn.</p>
 
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| [[File:Giganti 28.png|400x400px|center|Figure 28]]
 
| [[File:Giganti 28.png|400x400px|center|Figure 28]]
| <p>[67] '''Throwing the Stoccata While the Enemy''' Moves<br/><br/></p>
+
| <p>[67] '''Throwing the ''Stoccata'' While the Enemy''' Moves<br/><br/></p>
  
<p>In fencing the principal things are understanding measure and tempo, which we discuss in this figure. When you have the sword in hand so that you go against your enemy, go to bind him with an alert eye, with the weapons ready to parry and wound. In that tempo take heed of whether he wants to be the first to wound or not. If you see that he wants to be first give a tempo to him so that he throws and meanwhile you, going to the parry, throw at him in the same tempo as above. But if you see that he is timid and stays in guard in order to wait approach him little by little to bind on the side where he is uncovered, and when you are at measure, holding the dagger forward to the guard of his sword, first throw the point, then the vita, and after the foot, always holding the dagger forward, so that if the enemy throws in that same tempo you are able to parry so that he does not produce an incontro and strike both of you. Having thrown, return backward outside of measure in the described way. It is necessary when you approach to bind him that he do one of these three things: either he throws, stays firm in order to parry, or he moves himself to one side or another in order to take himself outside. Therefore, it is necessary whether he throws or stays firm when you are at measure that you do it in the way described in the present lesson, but if he were to move himself, either withdrawing himself or here, there, or in whichever way, throw the stoccata at him strongly and quickly while his foot is moving, because while he moves you can wound him there in the tempo that you throw. Then return outside of measure as usual.</p>
+
<p>The principal things in fencing are the recognition of measure and ''tempo'', which we discuss in this figure. As soon you have the sword in hand when you go against your enemy, go to bind him with your eyes alert and the weapons ready to parry and wound. In that ''tempo'', take heed of whether he wishes to be the first to wound or not. If you see that he wants to be firstgive him a ''tempo'' so that he throws and throw at him while parrying in the same ''tempo'', as above. If you see that he fears you and stands in guard in order to wait, however, approach him little by little to bind on the side where he is uncovered and when you are at measure, holding the dagger forward to guard against his sword, first throw the point, then the ''vita'', and after the foot, always holding the dagger forward so that if the enemy were to throw in the same ''tempo'' you are able to parry and he does not produce an ''incontro'', striking you both. Having thrown, return backward outside of measure in the described way. When you approach to bind him, it is necessary that he does one of three things: Either he throws, stands solidly in order to parry, or moves to one side or another in order to take himself outside of measure. If he throws or holds firm when you are at measure, it is therefore necessary to perform it in the way described in the present lesson. If he were to move, though, either withdrawing, or here, or there, or in any way he wishes, throw the ''stoccata'' at him strongly and quickly while his foot is in the air<ref>The original text uses the words “in varia”, or “in varying”. This is likely an error in the text which should read “in aria”, or “in the air”, and has been corrected here.</ref> because while he moves, he cannot wound you in the ''tempo'' that you throw. Then return outside of measure as usual.</p>
 
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| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
 
| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
  
<p>To give a stoccata to someone who holds the dagger low it is necessary (as one sees in this figure) to approach him to bind on the side of the dagger, and when you are at measure first throw the sword, and then the vita, raising your wrist a little so that you make the effect. Then return backward in the way described in Figure ……<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.</ref></p>
+
<p>In order to strike someone who holds the dagger low with a ''stoccata'', it is necessary (as seen in this figure) to approach to bind him on the dagger side, and when you are at measure first throw the sword, then the ''vita'', raising your wrist a little as you see in the figure in order to produce the effect. Then, return backward in the way described in Figure [21]<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.</ref></p>
 
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| <p>[69] It is very difficult to defend oneself from one who is practised at first throwing the sword, then the vita, and after this quickly returning backward in the way described in lesson [27],<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.</ref> who understands approaching to bind with tempo, and when he is at measure throwing where the enemy is uncovered, since it is necessary that he<ref name="the enemy"/> is uncovered somewhere, as the sword and dagger cannot cover everything and where he is uncovered it is necessary to approach him to bind in the described way.</p>
+
| <p>[69] It is very difficult to defend against someone who is practised at first throwing the sword, then the ''vita'', afterwards quickly returning backward in the way described in lesson [27],<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.</ref> who knows how to approach to bind with ''tempo'', throwing where the enemy is uncovered when at measure. This is because he is necessarily uncovered somewhere, as the sword and dagger cannot cover everything, and it is necessary to approach to bind him in the described way where he is uncovered.</p>
 
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| <p>[70] </p>
 
| <p>[70] </p>
  
<p>Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to one who understands tempo and measure. In war one who knows how to make guards with artifice will always deceive the enemy.</p>
+
<p>Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to someone who recognizes ''tempo'' and measure. In battle, someone who knows how to make guards with artifice will always deceive the enemy.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
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| <p>[71] '''Artificial Guard Uncovering''' the Left Side</p>
 
| <p>[71] '''Artificial Guard Uncovering''' the Left Side</p>
  
<p>The artificial guards are infinite, but I will only place three of them in my first book, which for those who understand will be a light and road to making as many guards as they wish.</p>
+
<p>The artificial guards are infinite, but I will only place three of them in this, my first book, so that it will be a light and path for the learned to make as many guards as they wish.</p>
 
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| <p>[72] The proper and first method of standing in artificial guard is this: uncovering a part of the body while the other parts are completely covered, so that the enemy cannot wound you if not in one part alone, as you see in this figure where all of the left shoulder is uncovered. This is done so the enemy will intend to wound you in the uncovered part, and when he sets out to wound he will be in danger, since as he aims to throw at you either with a thrust or cut you can parry and wound him in the same tempo, increasing with the foot so that it accompanies the sword while you parry. As soon as the stoccata is thrown return outside of measure as above.</p>
+
| <p>[72] The proper and first method of standing in guard with artifice is this: Uncovering one part of the body while the others are completely covered so that the enemy can only wound you in one part alone, as you see in this figure where the entire left shoulder is uncovered. This is done so that the enemy will attempt to wound you in the uncovered part, and when he sets out to do so he will be in danger, since when he attempts to throw either a thrust or cut you can parry and wound him in the same ''tempo'', extending with the foot so that it accompanies the sword while you parry. As soon as the ''stoccata'' is thrown, return outside of measure as above.</p>
 
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| <p>[73] These artificial guards are for studious men that understand tempo and measure and have practised well, because many things can be done in these guards. Most of all in this first one can approach to bind the enemy, and when you are at measure, that same enemy waiting, it is possible to wound him in the part that is uncovered. If he throws you are able to do many things, such as parry and wound in one tempo, parry and make a feint, a pass, or all that you know how to do in other guards in which you are practised. If your enemy standing in guard throws disconcerted you parry and wound in one tempo, or rather, disconcerted, and return immediately backward out of measure. This guard deceives many of those that know and do not know playing at weapons. Seeing you uncovered, he will throw at that uncovered part, and you easily parrying and wounding in the way described above in the first lessons of sword and dagger will strike him safely and easily.</p>
+
| <p>[73] These artificial guards are for experienced and studious men who understand ''tempo'' and measure, because many things can be done in these guards. In this first especially, it is possible to approach to bind the enemy and, when at measure, that same enemy waiting, wound him where he is uncovered. If he throws, you can do many things, such as parry and wound in one ''tempo'', parry and perform a feint, a pass, or anything that you know how to do in other guards and with which you are practised. If your enemy, standing in guard, were to throw disconcertedly, parry and wound in one ''tempo'', or instead discordantly, and return immediately backward out of measure. This guard deceives many of those that know and do not know playing at arms because, seeing you uncovered, he will throw at that uncovered part and you, easily parrying and wounding in the way described above in the first lessons of sword and dagger, will strike him safely and easily.</p>
 
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| <p>[74] '''Artificial Guard Uncovering the Right Side'''</p>
 
| <p>[74] '''Artificial Guard Uncovering the Right Side'''</p>
  
<p>This is another artificial guard, as you see, that uncovers all the right side, and the rest of the vita is completely covered so that the enemy cannot wound if not in your uncovered right shoulder. However, you can parry with the sword or dagger as you like and wound with a firm foot or else pass with your foot, as is convenient.</p>
+
<p>This is another artificial guard which, as you see, is completely uncovered on the right side. The rest of the ''vita'' is entirely covered so that the enemy cannot wound anywhere but your uncovered right shoulder. However, you can parry with the sword or dagger as you wish and wound with a firm foot, or instead pass with your foot, as is convenient.</p>
 
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| <p>[75] In this guard you can do many feints. These guards are good with those desirous to wound, who do not have patience to wait to throw with tempo and measure, and who as they see the enemy uncovered come toward him without considering that which he could still do, often finding themselves in danger. They are still good with those that know much, since you see your own work better. Making a feint at you, you will be able to parry it better than standing in a narrow guard, and the resolute thrusts are parried more easily still by carrying the vita back, and parrying, turning the body, according to how quick and long the thrusts will be.</p>
+
| <p>[75] In this guard you can perform many feints. These guards are good with those desirous to wound, who do not have the patience to wait to throw with ''tempo'' and measure, and who, when they see the enemy uncovered, come upon him without considering what he is yet able to do, often finding themselves in danger. They are also good with those who know much, since you see your actions better. This is because, him performing a feint at you, you will be able to parry it better than standing in a narrow guard, and the resolute thrusts are defended against even more easily by bringing the ''vita'' back or parrying, turning the ''vita'', according to how quick and long the thrusts are.</p>
 
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| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
 
| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
  
<p>In this other guard, where the chest is uncovered, it is<ref>The chest is uncovered.</ref> because your enemy cannot wound you either on the side of the sword or on that of the dagger, because coming in order to wound you he will throw at your rib cage, that being the only thing uncovered. While he throws, parry and wound in the same tempo, either in the right shoulder or the face, these being closest to you. You can also perform feints in this guard, pass with your foot, and all that you have learned in the other guards. It is also good with the choleric, who throw resolutely and do not perform feints. With those that have tempo and measure and know well how to throw a resolute thrust and a feint it is not to be used. Instead, bind with the weapons and seek to cover the enemy sword with yours outside of measure where you can parry and wound safely according to the occasion.</p>
+
<p>The chest is uncovered in this other guard so that your enemy cannot wound you on either the side of the sword or that of the dagger, because coming to wound you he will throw at your ribcage, that being the only thing uncovered. While he throws, parry and wound in the same ''tempo'', either in the right shoulder or the face, these being closest to you. In this guard you can also perform feints, pass with your foot, or anything that you have learned in other guards. It is also good with the choleric, who throw resolutely and do not perform feints. It is not to be used with those who have ''tempo'' and measure and know well how to throw a resolute thrust and a feint. Instead, bind with the weapons and seek to cover the enemy’s sword with yours outside of measure, where you can safely parry and wound according to the occasion.</p>
 
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| rowspan="2" | [[File:Giganti 33.png|400x400px|center|Figure 33]]
 
| rowspan="2" | [[File:Giganti 33.png|400x400px|center|Figure 33]]
| <p>[77] '''Feint with Sword and Dagger''' in Order to Wound Over the Dagger</p>
+
| <p>[77] '''The Feint with Sword and Dagger''' in Order to Wound Over the Dagger</p>
  
<p>Just as the understanding of tempo and measure are the principal foundation of fencing, so the disengage and feint are the ornament of it. The disengage consists entirely in the wrist. The feint is showing the doing of one thing and not doing it. It is not possible to do the feint without the disengage.</p>
+
<p>Just as the understanding of ''tempo'' and measure is the principal foundation of fencing, so the disengage and feint are its ornament. The disengage consists entirely in the wrist. The feint is showing the doing of one thing and not doing it. It is not possible to perform the feint without the disengage.</p>
 
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| <p>[79] I cannot discuss the feint without including the disengage. The feint is a deadly deception, almost irreparable to persons of valour and professors of this science, and hardly to those without understanding. This is done in this way. At times in order to give a stoccata over the dagger in the chest or face of the enemy it is necessary to do it like so: bind him with the sword low under the dagger, holding your dagger to the guard of his sword. When you find yourself at measure, throw a resolute stoccata and then return backward, and if you run at him nothing else will happen, but if he parries, return to bind and when you are at measure, throw the thrust without extending your step, standing with the vita firm underneath the dagger. And while the enemy goes to parry it, in his lowering of the dagger raise the point of the sword with a turn of your hand then, extending your step and vita, wound him either in the chest or face, which he will certainly not perceive, as you see in the figure. To have the effect it needs to be done with great speed so that he will not know if it is resolute or a feint. Be advised that in approaching with the point of the sword over the enemy’s dagger you must proceed with the disengage so that it has disengaged and wounded in the same tempo. Then return outside of measure, as above, securing yourself from the enemy’s sword.</p>
+
| <p>[79] I cannot discuss the feint without including the disengage. The feint is a deadly deception, almost unstoppable to persons of valour and experts of this science, dropping the “almost” with those of no understanding. It is performed in this way: At times, in order to strike with a ''stoccata'' over the dagger in the chest or face of the enemy, it is necessary to bind him with the sword low under the dagger, keeping your dagger guarding against his sword, and when you are at measure, throw a resolute ''stoccata'' and then return backward. Nothing more is required if you rush at him, but if he parries, bind him again and when you are at measure throw the thrust without extending your step, staying with the ''vita'' firm underneath the dagger. While the enemy moves to parry it, in his lowering of the dagger raise the point of your sword with a turn of your wrist and then, extending your step and ''vita'', wound him in the chest or face, which he will certainly not perceive, as you see in the figure. To have the effect it needs to be done with great speed so that he will not know if it is resolute or feigned. Be advised that in going with the point of the sword above the enemy’s dagger you must advance with the disengage so that you have disengaged and wounded in the same ''tempo''. Then, return outside of measure, as above, securing yourself from the enemy’s sword.</p>
 
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| [[File:Giganti 34.png|400x400px|center|Figure 34]]
 
| [[File:Giganti 34.png|400x400px|center|Figure 34]]
| <p>[80] '''Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
+
| <p>[80] '''The Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
  
<p>This feint is no different from the last, except that wounds over the dagger and this underneath. One does this with the same rule as the other. In this you have to hold the sword high, and when you have the enemy close throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”.<ref>''“Scannare”'' – to slaughter or cut the throat of.</ref> If he does not parry nothing else will happen, but if he parries, you must present the point to him, not more or less, standing with your pace and foot firm, and while he goes to the parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest so that he will not perceive it. Then return backward outside of measure, securing yourself as above.</p>
+
<p>This feint is no different from the last, except that wounds over the dagger and this underneath. It is done with the same rule as the other. In this, you must hold the sword high and, when you have bound the enemy, throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”.<ref>''Scannare''—to slaughter or cut the throat of. </ref> No more is required if he does not parry, but if he does, you must present the point to him, no more or less, standing with your pace and foot firm, and while attempts to parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest, which he will not perceive. Then, return backward outside of measure, securing yourself as above.</p>
 
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| [[File:Giganti 35.png|400x400px|center|Figure 35]]
 
| [[File:Giganti 35.png|400x400px|center|Figure 35]]
| <p>[81] '''Feint with Sword and Dagger at the Face''' Disengaging the sword over the point of the dagger<br/><br/></p>
+
| <p>[81] '''The Feint with Sword and Dagger at the Face''' ''Disengaging the sword over the point of the dagger''<br/><br/></p>
  
<p>To give a stoccata at the outset to your enemy’s face, it is necessary to do this feint which, just as it is the most difficult, is yet the most beautiful. It is necessary therefore to bind the enemy from the sword side, holding the point to his face from the right side, in order to wait for if he wants to wound, or rather if he wants to stand in guard in order to parry. If he is in guard, feint a thrust at his face and as he goes with the dagger to obedience turn the point of the sword over the enemy dagger with your wrist and wound him so that he will not perceive it, since in parrying he will completely uncover himself. The thrust being given, do as above.</p>
+
<p>To strike your enemy’s face with a ''stoccata'' at the onset, it is necessary to perform this feint which, as it is the most difficult, thus it is also the most beautiful. It is therefore necessary to bind the enemy on the sword side, holding the point toward his face on the right side, in order to see if he wants to wound or if he instead wishes to stand in guard in order to parry. If he is in guard, feign a thrust at his face, and as he goes into obedience with the dagger, turn the point of the sword over the enemy’s dagger with your wrist and wound him, which he will not perceive, since in parrying he will completely uncover himself. Having struck with the thrust, do as above.</p>
 
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| [[File:Giganti 36.png|400x400px|center|Figure 36]]
 
| [[File:Giganti 36.png|400x400px|center|Figure 36]]
| <p>[82] '''Parrying the Long Stoccata with the Sword by Bringing''' the vita back</p>
+
| <p>[82] '''Parrying the Long ''Stoccata'' with the Sword by Bringing''' the ''vita'' back</p>
  
<p>It is such a necessity to be good at parrying that I hold that understanding parrying well is the most important thing in this profession. Now I want to teach you three ways to defend yourself from long stoccate. Stand in guard in the above way with the sword and vita forward, holding the chest a little uncovered, and stand either at measure or outside of measure, but not inside the measure. Being at measure when you see the stoccata being thrown at you, carry your vita backward and parry with the sword as you see in the figure. In the same tempo (because throwing yourself backward you escape from the thrust of the enemy’s sword, a little far, so that it does not reach you), dropping down with the vita he puts himself into disorder and it will be difficult for him to parry, whence you can lengthen your step, wounding him, and escape from him as above, taking care to stand strongly over your feet while you parry or return backward.</p>
+
<p>It is such a necessity to be good at parrying that I hold knowing how to do so well to be the most important thing in this profession. Now I wish to teach you three ways to defend yourself from long ''stoccate''. Stand in guard in the above way with the sword and ''vita'' forward, keeping the chest slightly uncovered, and stand either at measure or outside of measure, but not inside measure. Being at measure, when you see the ''stoccata'' being thrown at you, bring your ''vita'' backward and parry with the sword as you see in the figure. In the same ''tempo'' (because, pulling yourself backward, you escape away from the thrust of the enemy’s sword slightly so that it does not reach you), he puts himself into disorder falling downward with his ''vita'' and it will be difficult for him to parry, whence you can lengthen your step to wound him and escape from him as above, taking care to stand strongly over your feet while you parry or return backward.</p>
 
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/95|1|lbl=51}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/95|1|lbl=51}}
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|-  
 
|-  
 
| [[File:Giganti 37.png|400x400px|center|Figure 37]]
 
| [[File:Giganti 37.png|400x400px|center|Figure 37]]
| <p>[83] '''Parrying With The Dagger,''' Bringing The Vita Back<br/><br/></p>
+
| <p>[83] '''Parrying with the Dagger,''' Bringing the ''Vita'' Back<br/><br/></p>
  
<p>Stand in the same guard as above, with the vita forward with artifice, holding the dagger to the guard of the enemy’s sword. When you are at measure and you see that he throws the thrust at you, parry with the dagger in the same tempo and bring the vita back with a withdrawal of your forward leg and the sword holding ready to wound, as you see in the figure where standing with the feet strong and the sword free you can do many things before he returns to guard, since throwing long and falling with his vita he will give you opportunity to do them.</p>
+
<p>Stand in the same guard as above, with the ''vita'' artificially forward, keeping the dagger guarding against the enemy’s sword. When you are at measure and you see him throw the thrust at you, in the same ''tempo'' parry with the dagger and bring the ''vita'' back with a withdrawal of your forward leg, keeping the sword ready to wound, as you see in the figure. Standing with the feet strong and the sword free, you can do many things before he returns to guard, since he gives you an opportunity to do them by throwing long and falling with his ''vita''.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|105|lbl=85}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|105|lbl=85}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/97|1|lbl=52}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/97|1|lbl=52}}
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|-  
 
|-  
 
| [[File:Giganti 38.png|400x400px|center|Figure 38]]
 
| [[File:Giganti 38.png|400x400px|center|Figure 38]]
| <p>[84] '''Parrying with the Dagger, Carrying the Vita Back,''' and wounding with the sword in the same tempo</p>
+
| <p>[84] '''Parrying with the Dagger, Carrying the ''Vita'' Back,''' ''and wounding with the sword in the same tempo''</p>
  
<p>In the previous two figures one parried with the dagger, carrying the vita backward and then wounding. These show two tempi: one in the parrying and the other in the wounding. With this other figure you are shown how to parry and wounds in one tempo. The reason for this carrying back of the vita is that you disconcert the enemy and better see your work. Now, therefore, put yourself in the same guard as above, with sword, dagger, and vita forward, leaning your body. When you are at measure forgo throwing, and when he throws at you you must do three things in one tempo. That is, parrying with the dagger, bringing the vita backward, and pulling your front foot even with the rear, ending up curved with the body, your arm lengthened, and throwing the thrust at his chest. This method of parrying and wounding so deceives the enemy that it is impossible for him to defend himself. After this return outside of measure and secure yourself as has been said.</p>
+
<p>Given that the previous two figures parried with the dagger, bringing the ''vita'' backward and then wounding, they show two ''tempi'': One in parrying and the other in wounding. Therefore, I show you how to parry and wound in one ''tempo'' with this other figure of mine. The reason for bringing back the ''vita'' is that you disconcert the enemy and see your action better. Now then, place yourself in the same sword and dagger guard as above, with the ''vita'' bending your body forward. Forgo throwing when you are at measure, and when he throws at you it is necessary to do three things in one ''tempo''—that is, parrying with the dagger, bringing the ''vita'' backward while pulling your front foot even with the rear, ending up curved with the body, and extending your arm, throwing the thrust at his chest. This method of parrying and wounding so deceives the enemy that it is impossible for him to defend himself. After this, return outside of measure and secure yourself as has been said.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|107|lbl=87}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|107|lbl=87}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/99|1|lbl=53}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/99|1|lbl=53}}
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| <p>[85] '''The Thrust at the Face Parrying with the Sword'''<br/><br/></p>
 
| <p>[85] '''The Thrust at the Face Parrying with the Sword'''<br/><br/></p>
  
<p>Demonstrated in this figure is a very useful thrust of the firm foot, beautiful to those that know how to put it into work and who practise it. It is done in this way. If your enemy wishes to throw an imbroccata at your face, or rather a straight thrust, parrying with your sword straighten the point in the same tempo to the enemy’s face so that, you throwing in the same tempo that he does, he will not be able to parry with the dagger in the same tempo, because if he attempts to parry with the dagger he will bash into his sword with it and you will end up with the point in his face.</p>
+
<p>Demonstrated in this figure is a thrust of the firm foot that is very useful and beautiful to those that know how to employ it and practise doing so. It is done in this way: If your enemy attempts to throw an ''imbroccata'' at your face, or a straight thrust instead, parrying with your sword, direct the point to the enemy’s face in the same ''tempo'' so that, you throwing in the same ''tempo'' that he does, he will not be able to parry with the dagger in the same ''tempo''. If he wishes to parry with the dagger, he will bash it into his sword and end up with the thrust in his face.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|1|lbl=89}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|1|lbl=89}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/101|1|lbl=54}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/101|1|lbl=54}}
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|  
 
|  
| <p>[86] This lesson only teaches how to wound him in the face - if you wished to throw at his chest he would be able to parry it with the dagger. If you want to do it more artificially so that you deceive even the knowledgeable, it is necessary to uncover your left side and hold the dagger low, giving the enemy occasion to throw either at your face or over the dagger, so that he believes you will parry with the dagger. In the same tempo you will parry with the forte of your sword and increase with your right foot, holding the point of your sword toward his face. If he attempts to parry he bumps into his own sword and cannot parry or wound, as in the figure. The thrust thrown, return backward outside of measure as above.</p>
+
| <p>[86] This lesson only teaches how to wound him in the face—if you attempted to throw at his chest, he would be able to parry it with the dagger. To perform it with greater artifice so that you deceive even the knowledgeable, it is necessary to uncover your left side and hold the dagger low, giving the enemy an opportunity so that he throws either at your face or over the dagger, which he will believe you will parry with the dagger. In the same ''tempo'', parry with the ''forte'' of your sword and extend with your right foot, keeping the point of your sword toward his face, because if he attempts to parry, he bumps into his own sword and is unable to parry or wound, as in the figure. The thrust thrown, return backward outside of measure as above.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/101|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/101|2|lbl=-}}
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| <p>[87] '''The Pass with Sword and Dagger in Order to Come to Grips''' and wound with the dagger in the face</p>
 
| <p>[87] '''The Pass with Sword and Dagger in Order to Come to Grips''' and wound with the dagger in the face</p>
  
<p> The approach to the grips and wounding with the dagger is done in many ways according to the occasions in which the enemy is found. Many that come to the grips cannot do otherwise, as is the case when the enemy is furious in the passing. Others who do not have patience in judging the thrust of the sword pass from cholera. Others pass with artifice in order to wound with the dagger. In my first book I will only write a pass with artifice in order to wound safely with the dagger so that your enemy will not be able to offend you with either the sword or dagger. This pass is done in this way. It is necessary to place yourself in guard in a way that you end up with all your right parts uncovered and give occasion to the enemy, who throws resolutely, namely by thrust or cut. You then parry with your sword, passing with your foot, strongly affront his sword with yours and place your sword in his dagger arm, as you see in the figure, for the reason that your enemy will not be able to move either the sword or the dagger and you will be able to give him as many dagger wounds as you like. This lesson is very safe to those who have practised.</p>
+
<p> Coming to grips and wounding with the dagger is done in many ways and according to the situations in which a person finds himself. Many who come to grips cannot do otherwise, as is the case when the enemy is furious in passing. Others, who do not have patience in playing at the point of the sword, pass out of choler. Others pass with artifice in order to wound with the dagger. In this, my first book, I will write on only one artificial pass for wounding safely with the dagger so that your enemy will not be able to offend you with either the sword or dagger. The pass is performed in this way: It is necessary to arrange yourself in guard in a way that you end up with your entire right side uncovered and give the enemy an opportunity so that he throws resolutely, either by thrust or cut. You will then parry with your sword, passing with your foot, strongly affront his sword with yours, and put your sword inside his dagger arm, as you see in the figure, for the reason that your enemy will not be able to move either the sword or the dagger and you will be able to give him as many dagger wounds as you like. This lesson will be very safe for someone who has practised it.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|111|lbl=91}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|111|lbl=91}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/103|1|lbl=55}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/103|1|lbl=55}}
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| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
 
| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
  
<p>Someone in this profession who wishes to be a valiant man will never place himself in guard, but will stand well outside of measure, consider the guard of the enemy, approach to bind him little by little at his uncovered place and when he is at measure will throw according to the method of the present figure, in which the right shoulder<ref>Of the enemy.</ref> is uncovered, taking care to approach to bind him from the side of the sword. If he<ref>Our fencer.</ref> sees that he<ref name="the enemy"/> stands in guard in order to wait, he will throw the stoccata strongly in the described way, turning his wrist on the side of the enemy’s sword, as is seen. After the stoccata is thrown, return outside of measure as above.</p>
+
<p>Someone who wishes to be a valiant man in this profession will never place himself in guard but, standing well outside of measure instead, will consider the enemy’s guard and approach to bind him little by little where he is uncovered. When he is at measure, he will throw according to the method of the present figure in which the enemy’s right shoulder is uncovered, taking care to approach to bind him on the side of the sword. If he sees that the enemy stands in guard in order to wait, he will throw the ''stoccata'' strongly in the described way, turning the wrist on the side of the enemy’s sword, as seen. After the ''stoccata'' is thrown, return outside of measure as above.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|113|lbl=93}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|113|lbl=93}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/105|1|lbl=56}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/105|1|lbl=56}}
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| <p>[89] '''Passing with the Foot with Sword''' and Dagger</p>
 
| <p>[89] '''Passing with the Foot with Sword''' and Dagger</p>
  
<p>This figure does not serve as a demonstration of what I did in my first book, but of the others that I will, God willing, bring to light. I will discuss the passes of sword and dagger, that is, passing with the foot, since in this book more than the firm foot were not discussed because all that one does with firm foot, if one knows how to take the tempo, one can do with a pass of the foot.</p>
+
<p>In my first book, this figure serves as nothing more than a demonstration. In others that I will publish, God willing, I will discuss passes of sword and dagger—that is, passing with the foot—since in this only firm-footed was discussed. This is because, if one knows how to take the ''tempo'', all that is done firm-footed can be done with a pass of the foot.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/115|1|lbl=95}}
 
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|-  
 
|-  
| <p>[90] The pass done then, it is necessary to know how to disengage the sword and then escape as you see in this figure, where it is seen that he passed, has disengaged the sword, and can safely give as many stoccate as he likes, holding the enemy’s sword with his dagger.</p>
+
| <p>[90] After the pass is done, it is necessary to know how to disengage the sword and then escape, as you see in this figure where he passed, disengaged the sword, and can safely give the enemy as many ''stoccate'' as he likes, holding the enemy’s sword with his dagger.</p>
 
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| class="noline" |  
 
| class="noline" |  
| class="noline" | <p>[91] If the enemy were to disengage the sword it would be necessary to follow it with the dagger and then wound with the sword, and when you have given the stoccate that you wish return backward outside of measure. If one knows how to take the tempo well and passes with the foot but does not know how to disengage the sword, it must be said that he knows nothing since in passing, although he wounds, he finds himself in danger in regard to the enemy who still will attempt to make his blow. This is because those courageous are found that even wounded still want to avenge themselves. Thus infuriated, they throw in the worst way possible, so that you can still end up wounded and dead. Even if in passing the enemy were to parry the stoccata you would find yourself in huge danger if you did not know how to disengage the sword and were you to not know how to fight at half-sword, as you see in the figure, and be able to return backward and escape as I, God willing, will discuss in my other books, My Lord.</p>
+
| class="noline" | <p>[91] If the enemy were to disengage the sword, it would be necessary to follow it with the dagger while wounding with the sword and, when you have given the ''stoccate'' that you wish, return backward outside of measure. Someone who knows how to take the ''tempo'' well and pass with the foot but does not know how to disengage the sword can be said to know nothing since, in passing, even though he wounds, he finds himself in danger with respect to the enemy, who still will attempt to perform his blow. This is because courageous ones are found who, though wounded, yet wish to avenge themselves. Thus infuriated, they throw in the worst possible way, and you can still end up wounded or dead. Even if, in passing, your enemy were to parry the ''stoccata'', you would find yourself in very great danger if you did not know how to disengage the sword and were you not to know how to fight at half-sword,96 as you see in the figure, and return backward and escape as I, Our Lord God willing, will discuss in my other books.</p>
 
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| class="noline" | <p>'''THE END'''</p>
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| class="noline" | <p>'''''The End'''''</p>
 
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Revision as of 04:50, 26 May 2024

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

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

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

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

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

Treatise

Giganti, like many 17th century authors, had a tendency to write incredibly long, multi-page paragraphs which quickly become hard to follow. Jacob de Zeter's 1619 dual-language edition often breaks these up into more manageable chunks, and so his version is used as the template for these concordances. Neither scans nor transcription of Giganti's second book are yet available, so it cannot yet be included in the tables below.

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

Additional Resources

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

References

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