Difference between revisions of "Philippo di Vadi"

Philippo di Vadi Pisano
Philippo di Vadi Pisano
Born	1425; Pisa, Italy
Died	1501; Urbino, Italy (?)
Occupation	Fencing master
Nationality	Pisa, Italy
Ethnicity	Ligurian
Citizenship	Pisan
Patron	Guidobaldo da Montefeltro
Influences	Fiore de'i Liberi
Genres	Fencing manual
Language	Middle Italian ; Renaissance Latin ;
Notable work(s)	De Arte Gladiatoria Dimicandi
Manuscript(s)	MS Vitt. Em. 1324 (1482-1487) ; Vatican Archives MS (1480s) ;
First printed; english edition	Porzio and Mele, 2002
Translations	Alternate English translation ; Alternate English translation ;

Latest revision as of 19:59, 26 January 2024

Philippo di Vadi Pisano was a 15th century Italian fencing master. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.^[1] Some time after this, Vadi composed a treatise on fencing entitled De Arte Gladiatoria Dimicandi ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,^[2] and gifted to him between 1482 and 1487,^[3] but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.

Vadi was probably an initiate of the tradition of Fiore de’i Liberi, as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise Fior di Battaglia, Vadi would have had ample opportunity to study his writings.

Treatise

Illustrations	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
		[IIv] GVI.V. .DVX. VR.
	To my most illustrious Prince Guido di Montefeltro Duke of Urbino	[1r.1] Ad ill^ustrissimus Principem meum Guidum Feretranum Ducem Urbinatem
	This little book I dedicate to you, most honourable prince Guido, And to whom I devote in equal measure my intellect, Since you have paid close attention to the Muses in the sporting jurisdiction of Mars. The Muses and Mars are wont to show favour to princes. Phoebus and the Muses especially give honour to you here. Soon also Mars and Minerva pay you homage.^[4]	[1r.2] Hunc tibi do princeps dignissime guide libellum Cui pariter mentem devoveoque meam. Quom musis studium dederis lege ludicra martis: Principibus muse marsque favere solent. Nunc te precipue phebus museque decorant, Mox etiam mavors atque minerva colent
	Philippo Vadi offers this book on the Art of fencing in earnest^[5] to the illustrious Prince Guido di Montefeltro Duke of Urbino.	[1r.3] Philippi Vadi servi Liber de Arte Gladiatoria Dimicandi, ad illustrissimus Principem Guidum Feretranum Ducem Ur^bini.
	^[6]Just as my earnest mind, devoid of all cowardice and spurred by an outpouring of natural desire in my earliest thriving years, moved me towards warlike deeds and matters; so did it move me, as time progressed and as I grew in strength and knowledge, to learn more of those warlike deeds, matters, styles and skills through hard work, such as how to play with the sword, lance, dagger and pollax.	[1r.4] HAvendomi mosso per appetito naturale quale producea fuori el mio franco animo alieno da ogni viltade nelli mei primi e floridi anni ad acti e cose bellicose: cussì per processo di tempo cre- [1v.1] sendo in forze et in sapere mi mosse per industria ad volere inparare più arte e modi de ingiegno de dicti acti et cose bellicose, come è giuchare di spada de lanza di daga e azza.
	Of these things, through the guidance of almighty God, I acquired a good deal of knowledge and this through the practical experience and instruction of many teachers from various different countries, all masters and utterly proficient and knowledgeable in this art.	[1v.2] De le qual cose medi ante lo aduito de summo idio ne ò acquistato assai bona notitia e questo per pratica experientia e doctrina de molti maestri de varii e diversi paesi amaestrati e docti in perfectione in tale arte.
	And not to diminish but instead to increase this doctrine so that it will not perish from my negligence, because from it comes no small help in battles, wars, riots and other warlike tumults: instead it gives all men trained and instructed in this material immediate and unique help: it has been suggested and required that I compile a booklet concerning these things by people I have surpassed in the art, and am more long winded than: adding to this various figures and placing various examples so that any man versed in this material can use if for assaults at arms, and can defend himself intelligently and be advised of all the types and styles.	[1v.3] Et per non minuire anzi volendo acrescere tal doctrina acioché per mia negligentia epsa non perisca per che da epsa non procede pocho alturio ne’ bataglie, guerre, rixe e altri tumulti bellicosi: Immo dona agli omini instruti e periti in tale materia uno prestantissimo e singulare sussidio. Ho proposto e statuido nella mente mia de compillare uno libretto concernente cosse le qualle sono più oltra e più prolixe de tale arte: depingendo in quello varie figure e ponendoli exempli diversi, per li quali qualunqua homo instructo in tal materia, possa usare ne l so asaltare e nel so diffendere, astucie, calidità e avisi di più ragione e manere.
	Therefore, anyone with a generous spirit will see this little work of mine as a jewel and a treasure and will keep it in memory deep within their heart, so that this art and discipline should never fall into the hands of peasants and low-born men.	[1v.4] Adunque ciascuno di generoso animo vederà questa mia op ereta, ammi epsa sì come uno gioiello e texauro e recordansello ne lo inti mo core, a ciò che mai, per modo alcuno, tale industria arte e dotrina non perve- [2r.1] nga a le mane de homini rusticali e di vile condizione.
	Because Heaven has not made these rough-hewn men, ignorant and beyond all cleverness and diligence and wholly bereft of bodily agility, but instead they were made like animals without reason, just to carry heavy burdens and do base and rustic work; and because I declare them to be in every way alien to this science; everyone of perspicacious intelligence and lively limbs such as courtiers [l.10], scholars, barons, princes, dukes and kings, should on the contrary be welcomed into this noble science according to the principle of the Instituta which states: not only should the Imperial Majesty be honoured with Arms, but it must also be armed with sacred laws.	[2r.2] Perché el cielo non à generato tali homini indocti, rozi et fuori de ogni ingiegno et industria et omnino alieni da la agilità del corpo, ma più tosto sono stati generati a similitudine de animali inragionevoli a portare carichi et fare opere vile e rusticale. E perché debitamente io vi dico loro essere per ogni modo alieni da tal scientia e per l’opposito al mio parere, ciascuno di perspicace ingegno e ligiadro de le membra sue, come sono cortegiani, scolari, baroni, principi, Duchi et Re, debeno essere invitati a questa nobile scientia, secondo el principio de la “Instituta” quale parla e dice così: el non bixogna solo la maestà inperiale essere honorata di arme ma ancora è necesario epsa sia armata de le sacre legge.
	Nobody should think that there is anything false or any kind of error in my book, because I have omitted and carved out anything unsure, and included only things that I have seen and tested. Let us begin then to explain our intention, with the aid and grace of the omnipotent God, blessed be His name.	[2r.3] Né sia alcuno quale creda che in questo mio volume sia posta cosa falsa o invelupata de alcuno errore, perché tollendo e rescecando via le cosse dubiose, solo li metterò cose vedute e provate da me: comenzando ad unque ad exprimere la intentione nostra, con l’adiuto e grazia de lo omnipotente dio del qualle el nome sia benedetto in eterno.
	Some animals, lacking reason, ply their skills naturally without any knowledge. Man, instead, naturally lacks skills and his body lacks weapons. Nature compensates for this deficiency of weapons by giving man his hands, and for his lack of natural skills by offering him the virtues of intelligence and thought. Even if a man were born with some level of skill, he would not be able to acquire the remainder naturally, that is, learn to use all weapons and know each skill. He was therefore not endowed by nature with either skill or weapon. Consequently, among all animals, man needs intelligence and reason, through which art and ingenuity flourish and in which he overtakes and surpasses all other animals. Just so every trained and clever man of good intelligence overtakes and surpasses any other who is stouter and stronger than him.	[2r.4] Et perché alcuni animali inrationabili fano li loro artificii naturalmente, senza alcuna doctrina de l’homo [2v.1] manca de artificio naturalmente sì come il corpo de quello manca de arme debitamente li presta la natura per lo mancamento de dite arme le mane et in loco de quello che ‘l manca de artificij naturali, li presta la virtù de intellecto e cogitatione, e come si lui avesse avuto alcuni artificii naturalmente non poria acquistare artificii per lo resto; e per lo meglio a lui ad usare tutte le arme e tutti li artificii, però non li fo prestato da dita natura né arme né artificio. Have adoncha bixogno tra li altri animali lo intelletto e ragione, ne le qual cosse fiorisce arte et ingiegni, de’ quali due cosse non solo avanza e supera tutti gli animali: ma ciascuno homo docto e adoctato de bono ingiegno avanza a supedita qualunqua sia più robusto di lui e più pieno di forze.
	As the famous saying goes: cleverness overcomes strength. And what is greater still and almost incredible: the wise rules the stars. An art that conquers all, and dominates anyone who would fight you or stand against you, is born from the aforesaid cleverness and other piercing thinking. And not only can just one man prevail against another, but also a way and possibility exists for one man to overcome many. Not only do we show the way and the theory of combating the adversary as well as to defend yourself against him, but we also teach methods on how to take the weapon from his hand.	[2v.2] Iusta illud preclare dictum: ingenium superat vires, et quod maius est et quasi incredibile, sapiens dominabitur astris: nasce da dito ingiegno e da altri e penetrative cogitatione, una arte de vincere superare e debbelare qualunque vol conbatere e contrastare; e non solo adviene che uno homo vinca l’altro, ma ancora nasce modo et posibilità che uno solo superi più persone, e non se mostra solo el modo e documento de assaltare lo adversario e repararsi e deffendersi da lui, ma etiam se insegna advi [3r.1] si de togliere l’arme sue di mano:
	Oftentimes in these texts, a small person of little strength overcomes, prostrates and throws a big, tough and brave man to the ground; just so, you will see how the humble can overtake the proud, and the unarmed the armed. And many times it happens that someone on foot defeats and conquers someone on horseback.	[3r.2] per li quali documenti, spese fiate uno de poche forze e picolo sottomete prosterne et sbate uno grande robusto, e valoroso e cusì adviene che anche uno humile avanza el superbo e uno disarmato lo armato. Et molte volte accade che uno a piedi vinci e sconfigie uno da cavallo.
	But because it would be very inconvenient if this noble doctrine were to wilt and die through negligence, I, Philippo di Vadi from Pisa having studied this art ever since my first flourishing years, having travelled to and practiced in many different countries, lands, castles and cities to collect the teachings and examples of many perfect masters of the art, having acquired and obtained (by the Grace of God) a sufficient portion of the art, I have decided to compose this little work, in which I have organised and shown at least the main points of four types of weapon: the lance, sword, dagger and axe.	[3r.3] Ma perché el seria cossa molto inconveniente che così nobile doctrina per negligentia perise e venise meno, Io philippo di vadi da pisa, havendo ateso a tale arte insino a li mei primi et floridi anni havendo cercato e praticato più et diversi paesi et terre castelle e citade per racogliere amaestramenti et exempli da più maestri perfecti nell’arte, per la dio gratia havendomi acquistato et conseguito una particella assai sufficiente, ho deliberato de conponere questo mio libreto nel qualle ve si ponerà e dimostrarà almeno la noticia di quatro manere d’arme, cioé lanza, spada, daga e aza.
	And in this book, I will describe the rules, the methods and the actions of this art, with examples illustrated with various figures, so anyone new to the art can understand and learn how to fight, and by which trick and ploy he can fend off and beat aside the opponent’s attacks and counters. I have only included in the aforesaid book the good and true doctrine, which I have received from the most perfect masters, with great pains, efforts, and sleepless nights. And I have also included things that I have discovered and often tested.	[3r.4] Et in epso libro per mi si descrivirà regole, modi et atti de talle arte, metendo li exempli con varie figure, aciò che ciascheduno, novo ne l’arte, comprehenda e cognosca li modi de assaltare, e per le qualle astutie e calidità lui expella et rebuti da sé le contrarie e i nimici colpi; ponendo solo nel dicto libro quella doctrin^a [3v.1] vera e bona la qualle io con grandissi^mi affanni et fatiche e vigilie ho inparato da più perfectisimi maistri metandoli ancho cosse per mi atrovate e spesso provate.
	Let me remind and admonish all not to be rashly presumptuous, nor to be so bold as to interfere in this art and discipline unless one is high-minded and filled with gallantry. That is because whoever is thick-brained, pusillanimous and cowardly must be banished from such nobility and refinement. To this doctrine should only be invited such men as soldiers,^[7] men at arms, scholars, barons, lords, dukes, princes and kings of the land, and any of those whose task is to govern the state, and to any of these who defend widows and orphans (both of which are pious and divine works).	[3v.2] Ricordando et amonendo ogniuno non prosumma temerariamente né habia ardire de intermeterse in tale arte e scienzia, se lui non è magnanimo e pien de ardire: perché qu^aluncha homo grosso d’inzegno, pusilanimo e ville, debbe essere caciato e refudato da tanta nobilità e gientileza: perché solo a questa dottrina se debeno invitare sacomani, homini d’arme, scolari, baroni, Signori, Duchi, Principi e Re di terre de le qualli ad alcuni de loro apertene a governare la repubblica; et ad alcuni de loro apertene deffendere pupili e vedoe: et tute due sono opere divine e pie.
	And if this little work of mine finds its way into the hands of anyone versed in the art, and appears to him to have anything redundant or wrong, may it please him to cut, take away or add to it as he pleases. Because in the end I place myself under his correction and judgement.	[3v.3] Et se questa mia opereta pervenisse a mane de alcuno docto nella arte e paresseli che in epsa fosse alcuna cossa superflua o manchevole piazali de resecare minuire e acrescere quello li parerà, perché insino da mò io mi sottopono a sua correctione e censura.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Chapter I begins

If you wish to truly know
If fencing is an art or science
Hark my words, I say.

Ponder this, my statement:
It is a true science and not an art
And Geometry, which divides and separates,

By infinite numbers and measures
And fills her papers with science,
Shows this with its pithy eloquence.^[8]

The sword is placed in her care,
So measure blows and steps together
So Science keeps you safe.

From Geometry fencing is born,
And under her it has no end;
And both of them are infinite.

And if you heed my doctrines,
You’ll know how to answer with reason
And pluck the rose from the thorns.

To make your opinion clearer,
And to sharpen your intellect,
So you may be able to answer to everyone:

MMusic adorns her and chooses her as its subject,
Song and sound are added to the art,
To make it a more perfect science.

So Geometry and Music combine
Their scientific virtues in the sword,
To adorn the great light of Mars.

Now if you like what I have said,
And the explanations I have written
Keep them in mind, and don’t let it fall out.

So answer true as I have told you,
In fencing you will find no end,
As every backhand finds its fore,
Counter by counter without end.

[3v.4] Capitulo primo incipit.

SE alcun volesse intender e sapere
se lo scrimir è arte over sienza
io dico che tu noti el mio parere

Considera bene questa mia sente(n)za
che l’è scienza vera e non è arte
e mostrallo con breve eloquenza.

[04r] LA geometria che divide e parte
Per infiniti numeri e misure
Che impi(e) di scientia le sue carte,

LA spada è sottoposta a le sue cure,
Convien che si mesuri i colpi e i passi
A ciò che la scienzia t’asecure

DA geometria lo scrimir se nasce
E sottoposto a lei, e non ha fine
E l’uno e l’altro infinito fasse

E Se tu notarai le mie doctrine,
Tu saperai responder con rasone
E caverai la roxa de le spine

PEr farte chiara ancor tua opinione,
Per aguciarte meglio l’inteletto,
A ciò che tu respondi a le persone:

LA musica l’adorna e fa sugetto
Che ‘l canto e ‘l sono s’enframette in l’arte
Per farlo di scientia più perfecto

LA geometria e musica comparte
Le loro virtù scientifiche in la spada
Per adornare el gran lume de Marte

OR vidi se ‘l mio dir ponto t’agrada
E la rasone ch’io t’alego in scripto
Et tiello nel cervello che no te cada.

Che tu respondi el ver come io t’ho dicto
Ché in lo scrimir non se trova fine,
C’ogne riverso trova il dricto,
[4v.1] COntrario per contrario senza fine.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Chapter III. Theory of the sword.

Grasp the sword manfully,
Because the cross is a royal weapon,
Harmonise it with your bold spirit.

If you have a judicious mind,^[11]
You must consider here,
Which way to take to climb these stairs.

The art of the sword is only a crossing,
Delivering thrusts and cuts in the fight,
To make war against he who stands against you.

On one side you make defence
The forehand blows go from one side,
The backhands from the other side make offence.

The true edge falls on the forehand side,
And note well this principle
The backhand takes the same road as the false edge.

And follow then as the saying goes,
Place yourself in guard with the sword in hand,
If you pass forwards or back^[12] remain side-on.

So that you will not play in vain,
Face the side to which you turn,
And enter from there. And don’t let this seem strange to you:

Place your sword towards the target
Against the companion with your point in his face,
And be quick to strike him.

You must be very careful,
Keep an eye on the weapon that can strike you,
Grabbing the tempo and the measure, well collected.

Make your heart agree with your feet and arm
In defending with good measure,
That you may take all the honour.

And note well and understand my text
That if the companion strikes with his sword,
And achieves the crossing with yours,

Watch that you do not end up out of the line,
Go with the cover and with the point to the face,
The blows go hammering the head.

Play of the cross and you will not be conquered,
If the companion crosses wide and you thrust,
You want to not be divided from him.

When you are joined with him at the half sword,
Get closer to him, as reason calls for,
And leave the wide play and confront him there.

Also it is often so,
That a man doesn’t feel very strong,
Then he needs cunning, not words.

Pass out of the way with agility,
With the cover of the good backhand,
Redoubling swiftly with a forehand.

If you don’t feel your cunning has been lost
Leave the wide and find the stretto play
This will make strength change sides.

And take note of and understand this saying,
That when crossing, you will cross with strength,
Because it dampens the effect of his sword.

Know that cleverness always overcomes strength,
Make the cover and immediately strike,
In largo and constrained you’ll beat down strength.

And if you want to make him feel your point,
Go out of the way with a pass across,
Make him feel your point in his chest.

With the point high and the pommel low
And the arms out [of the line] with a good cover,
Pass to the left side with a good pace.

And if the point will find an open way,
Passing to the outside do not fear,
In every way you will make your offer.

Press in and grasp the grip of his sword,
If this cannot be done well,
Crushing his sword does the duty.

Always match your passes
With the enemy’s, and when you find him
(And what I say do not forget)

As you see that he moves the sword,
Or if he passes, or even strikes,
Or you pass back, or you find him near,

Let wisdom, strength and boldness go
With him who desires honour in arms,
Lacking these, he must exercise more.

You must have a bold heart,
If a big man appears strong to you
Use cunning, it will give you advantage.

Be as careful as you would be with death
That your play is not courteous,
When the other tries to shame you.

And note well this statement of mine,
You know your heart, not the companion’s
Do not ever fall into that illusion.

Make yourself great in trickery
If you wish for success in this art
That will bear good fruit.

Note well and understand this part:
He who wishes to use the art to oppose everyone,
Out of a thousand, one will best him,^[13]

And so he loses his honour for one single mistake.
He who is below may believe to be above,
And this is the kind who is often combative with others,

Often he will start a disagreement with another,
And what started as such becomes a quarrel,
Here is where he who knows the art will show his mettle.

If the tongue could cut by its nature,
And strike as well as the sword can,
The dead would be countless.

And make sure your mind does not fall
But choose your defence with reason,
And with justice go justly.

He who wishes to offend others without reason
Certainly damns his soul and body
And brings shame upon his master.

And you must also keep in mind
To always honour your teacher,
Because money alone does not repay such a debt.

He who wishes to master the sword and be dextrous,
Must be accomplished in teaching and learning,
While removing from you any wrong action.

If you never stop prizing loyalty,
You can talk to princes and kings,
So that this art be used by them.

Because they are expected to govern
And for each to maintain justice,
For widows, orphans and other affairs.

All sorts of good things come from this art,
By arms the cities are governed,
And the crowds are kept under control.

And she maintains in herself such dignity,
That it often warms your heart,
Driving out cowardice from you.

This [art] will make you acquire both riches and honour,
And this passes above all other things,
Be always in your lord’s good graces.

If you will have such a magnificent art,
You will never be poor, anywhere,
Because this virtue is so glorious.

If poverty shows you the cards
Only once, then you will see,
By this art, riches will embrace you.

Sometimes you will find yourself
Being like a blown-out candle,
Do not doubt that you will soon return.

To find this art I have spared no pains,
I speak not of the old but the new,
I am happy to have put her to paper.

I have kept her firmly imprisoned,
But as I release her, I truly swear:
She gives me wealth, and as it happened to me,
So it happens to those in whom virtue is found.

[4v.3] Ragion de spada. Capitolo III.

PIglia la spada in mano virilmente
Perché l’è croce e è un’arma reale.
Insieme acorda l’animo valente.

SI tu averai nel cervel tuo sale
[05r] El te bixogna qui considerare
Qual via s’adopra da salir tal scale.

L’Arte de spada è solo un’incrociare,
Partir la punta e i colpi a la contexa
Per far la guerra a chi vol contrastare.

DA una parte si fano difexa,
I colpi diritte da un lato vada,
I riversi da l’altro faccia offexa.

EL taglio ritto nel suo ritto cada,
E fa’ che note ben questa ragione,
El riverso col falso piglia strada.

ET fa’ che segui poii come ‘l dir pone
Metteti in posta con la spada in mano,
S’tu passi o torni remane in galone.

PErché non sia el tuo giucare invano,
Da quella parte che volto hai la faccia,
Da quella entra e non te para strano,

MEttendo la tua spada alora in caccia
Verso el compagno con la punta al volto,
E de feriri subito te spaccia.

ESser ti bixogna acorto molto,
Con l’ochio a l’arma che te po' offendere,
Pigliando el tempo, e ‘l misurar, racolto.

FA’ che ‘l cor s’acorde ne defendere,
I piedi e braccia con bona mesura,
Se honor vorai al tutto prendere.

ET nota bene e intende mia scr(i)ptura,
Che se ‘l compagno tra’ con la sua spada,
[05v] E con la tua ad incrociar procura.

GUarda non vadi però for de strada,
Va’ con coverta e con la punta al viso,
Martelando a la testa i colpi vada.

GIoca de croce e non serai conquixo.
Se ‘l compagno incrocia largo, e tu ponta,
VOlendo tu da lui non star div(i)xo.

QUando la sua a meza spada è gionta
Stregnite a lui, ché la ragione el vole
E lassa el gioco largho e qui t’afronta.

ANcora spesse volte achader sole
Che l’hom non sente aver bona forteza,
Or qui bixogna ingiegno e non parole.

PAssa for de strada con destreza,
Con la coverta del bon manreverso,
Reddopiando el derito con prestezza.

SI tu non senti aver l’ingiegno perso,
Lassa el largo e tienti al giucar stretto:
Farai a la fortezza mutar verso.

ET fa’ che note e intende questo detto:
Che quando incroce, incrociarai per forza,
Perché smorza de spada el suo diffeto.

SApii che ingiegno ogni possanza sforza,
Fata la coverta e presto a lo ferire,
Al largo e stretto abaterai la forza.

ET se la punta li voi far sentire,
Va’ for de strada per traverso passo,
[06r] Fagli nel peto tua ponta sentire.

COn la punta alta e col tuo pomo basso
E i bracci in fora, con bona coverta
Passa dal lato stancho de bon passo,

ET se la punta trova la via aperta,
Passando pur di fora non temere
Che in ogni modo li darai l’oferta.

STregnilo e piglia alor suo mantenere;
Se questo vede non posser ben fare,
Pestulando sua spada fa’ el dovere.

FA’ che t’acordi sempre nel passare
Col tuo nimico, opure quando tu ‘l trove;
E questo ch’io ti dico non lassare:

COme tu vedi che la spada el move,
Opur passase overamente tragga,
Over tu torna o adosso fa’ che ‘l trovi.

SApere, fortezza et ardimento agga
Colui che vole in arme aver onore,
Se questo manca a (e)sercitar si stagga.

EL ti bixogna havere ardito el core,
Se l’omo grande te paresse forte
L’ingiegno adopra che te dà favore.

GUarda ben certo como da la morte,
Che ‘l tuo giucar non sia per cortesia
Con altri che vergogna teco porte.

ET nota ben questa sentenzia mia:
Tu conosci tuo cor, non del compagno,
[06v] Non voler mai usar tal fantaxia.

FA’ che tu sie de malizia magno
Si tu voi aver seguito in tal arte.
Arai bon fruto de cotal guadagno.

ANcora nota & intende questa parte:
Chi vol de l’arte a tucti contrastare,
De le mille una imbrattarà sue carte,

CUsì perde l’honor per ^un sol fallare.
Tal crede star di sopra che è di sotto
E questo sole spesso altrui scontrare;

SPesso si fa con esso altrui barbotto,
Contrastando se vene a custione:
Demostra qui cului che in l’arte & dotto.

SE la lingua tagliasse per ragione,
Et fesse ancora lei como la spada,
Seria infinite morte le persone.

ET fa’ che de la mente tua non cada
Che piglie con ragion el tuo defendere
Et con iustizia iustamente vada.

CHi vol senza ragion altrui offendere
Danna l’anima e ‘l corpo certamente,
Fa al suo maestro vergogna prendere.

EL te bixogna ancora avere a mente
De portar sempre honore al tuo maestro,
Perché denar non paga tal somente.

CHi vol farsi signor de spada eT destro,
De imprendere et de insignare facci derata
[07r] Levando pur da te l’atto sinestro.

SE lialtade serà da te amata
A principi & Re tu porai parlare
Per che tal arte da lor si fia oprata.

PErché s’aspetta a lor de governare
Et ciaschedun che iusticia mantene
De vedoe pupille & d’altre affare.

QUest’arte in summa & capo d’ogni bene,
Per arme se tien sotto le citade
Et fa tenere i populi tutti a freno;

ANcor mantene in sé tal dignitade,
Che spesse volte sì t’alegra el core,
Cacciando pur da te sempre viltade.

FActe acquistar poi thexoro e honore
Et questo passa sopra ogn’altra cossa
Mantente sempre in gratia de signore.

SI tu averai l’arte sì famoxa
Non serai pover mai in nisciuna parte.
Questa virtù ch’è tanto glorioxa,

SE povertà te mustrarà le carte
Solo una volta poi tu vederai
Abracciarte richeza per tal arte.

ALcuna volta tu te trovarai
Essere a tale commo lume spento:
Non dubitar che tosto tornarai.

PEr trovar l’arte no m’è parso stento,
Non dico de la vechia ma la nova,
[7v.1] Che d’averla notata son contento.

IO l’ho tenuta inpregionata a prova,
Commo io la lasso, te giuro in bona fé:
Ella me dà denari & se me giova,
Cusi intervene a chi in vertù si trova.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Fourth Chapter^[14]

This art is so noble and refined,
She teaches man [how] to proceed,
Makes the eye quick, bold and noble.

This art teaches you to turn well,
Teaches also to cover and be strong,
And cuts and thrusts, it teaches [you] to parry well.

How many are those, the numberless dead,
To whom the art did not appeal,
And so they closed the doors of life.

There is no greater treasure than life,
And everyone strives to defend it,
To hold onto it as hard as they can.

Abandon material goods, and all valuable things,
Defend your body with this art,
And you will have honour and glory.

Oh what a laudable and good thing it is
To learn this art that costs you so little,
And a thousand times gives you life.

Oh in how many ways it can serve you,
Without searching you will find quarrels,
Blissful is he who can put out another’s fire.

My art, new and made with reason,
I speak not of the old, that I leave
To our ancestors and their beliefs.

If you do not want your honour to be thrown down,
Measure your tempo and that of the companion.
This is the foundation of the art and its measure.

Open your ears to the great text,
And understand its beautiful principles,
To not give your teacher cause for lament.

Make it so the swords are always sisters
When you come to fence with someone
And choose between them the one you want.^[15]

Do not give advantage of the sword^[16] to anyone
You will be in danger of being shamed,
And this is something that everyone must follow.

Good eye, knowledge, speed are needed,
And if you have strength and heart with you
You will give everyone their due.^[17]

Understand my statement well,
A big man should have a long sword,
And a little man should have a short one.

A man’s great strength can break the guards,
But natural cleverness will keep that in check,
It gives good boldness to a small man.

Who knows many actions carries venom with him.
Who knows few, struggles
And in the end [he] remains [with] wind, or less.^[18]

And if you follow my thread
And grasp the principle of this art,
At need this will extract you from trouble.

And note well the saying which goes:
Do not display the secrets of the art,
So you won’t be injured for this cause.

Also understand well this other thing:
The sword that is longer is deadly,
You cannot play against it without danger;

Make sure they are of equal measure,
As I said to you in the first chapter
Of our book, that is above.

I only esteem the sword of two hands,
And this is the only one I use at need,
And of which the verse of my book sings.

If you don’t want to be shamed,
Don’t pick a fight with more than one:
You’ll end up sounding worse than a bagpipe.

If force constrains you to contend
With more than one, then keep this in mind,
Take a sword that you can really use.

Choose a weapon that is light, not heavy,
So it is easily controlled
And you do not have to struggle with the weight.

At need you can take another way,
And you leave the thrust and employ
Other blows to even things out,

As you will hear in my text.

[7v.2] ¶ Capitolo quarto.

QUest’arte è tanto nobile et gintile,
ella amaestra l’omo nell’andare,
FA l’chio presto, ardito & segnorile.

QUest’arte t’amaestra a ben voltare
A ‘nsegnare ancora coprire & star forte,
e taglie e punte insegna el ben parare.

QUanti sonno senza numer morte,
Ché l’arte non gli è stato a lor gradita,
Però han de vita chiuse le lor porte.

NOn è magior tesoro che la vita
E per defe(n)der quella ogniun se ingiegna,
De ma(n)tenerla quanto po' s’aita.

LAssa la robba e ogni cossa degna,
Defende con quest’arte la persona,
Ne porte honore e glorioxa insegna.

O Quanto è coxa laudevole & bona
Apre(n)der st’arte che te costa poco
E mille volte la vita te dona.

O In quanti modi la ti po' aver loco
Senza cercare se trova costione
Beato è quel che spigne l’altrui foco,

[08r] L’Arte mia nova et fatta con ragione,
Non dico de la vechia, la qual lasso
Ai nostri antichi con lor opinione.

SE tu non vorai d’honore esser casso,
Misura il tempo tuo eT quel del conpagno:
Questo è de l’arte fondamento e passo.

APre l’orechie al documento magno
E fa’ che inte(n)de le ragion sì belle
Perché non dagge al tuo maestro lagno.

FA’ che le spade sian sempre sorelle
Quando tu vieni a scrimir con alcuno
E da poi piglia qual tu voi de quelle.

NOn dar vantagio di spada a niuno
Staresti a pericolo d’averne vergogna,
Et questo è quel che de’ seguir ciascuno.

BOn ochio, saper, prestezza bixogna,
Et se la forza e ‘l cor con seco sia
Farai grattar a ciaschedun la rogna.

INtende ben qui la sente(n)za mia:
L’homo grande fa de spada longezza
Et picol omo la spada curta fia.

GRan forza d’homo le guarde si spezza,
L’ingiegno natural li porge el freno,
Dona al picol homo bona francheza.

Chi sa assai colpi si porta el veleno,
Chi sa poco, fa con gram faticha,
A fin ne roman vento e pur da meno.

[08v] ET si tu tene el fil de la mia riga
Et pigli di questa arte la ragione,
A’ toi bixogni ti torà di briga.

ET nota ben quel che ‘l parlar qui pone:
Non palesare i secreti de l’arte
Ché non sie offexo per cotal cagione.

ANcora intende ben quest’altra parte:
La spada ch’è più longa sì è mortale,
Senza pericol con lei non poi adoprarti;

FA’ che la sia a la mesura eguale,
Commo te ho dicto nel capitol primo
Del nostro libro che de sopra sale.

LA spada da doi mane sola stimo
Et quella sola adopro a mia bisogna,
De cui cantando nel mi libro rimo.

ET se tu non vorai aver vergogna,
Contra più d’uno briga non pigliare:
Ché farai verso d’altro che sampogna.

SI forza te stregnesse avere a fare
Con più d’uno, fa’ che te sia a mente
De pre(n)der spada che la possi oprare.

TOrai arma lieve & non pesente
Acciò che l’abii tutta in tua balia,
Che per grevezza non te porga stente.

ALor bixogna che piglij altra via,
Che tu lassi la punta & che tu adopre
Altri ferire per ritornare al quia,
[9r.1] Como udirai nella sente(n)za mia.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Chapter VI. The seven blows of the sword

We are the fendenti and we make quarrels,
To strike and cut often, with pain,
The head and the teeth in a direct way.

And all guards that are made low to the ground,
We break often with our cunning,
Passing from one to the other without trouble.

The blows make a bloody mark,
When we mix them with the rota
We make the entire Art our support.

Fendente, for striking we are well endowed,
Returning to guard from pass to pass,
Note: we are not slow to strike.

I am the rota and I have in me such a load,
If you want to mix me with the other blows,
I will often place a thrust in an arc.^[20]

I cannot be courteous or loyal,
Turning I pass through the forehand fendente
And destroy arms and hands without delay.

People call me rota by name,
I seek the deception of the sword
I hone the mind of he who uses me.

We are volanti, always crossing
And striking from the knee up,
Fendente and thrusts we often banish.

The rota that come up from below
Pass us obliquely without fail
And with the fendente warm the cheeks.^[21]

[9r.3] Li septi colpi de la spada. Capitolo VI.

SEmo fendenti et famo costione
De fendere e tagliare spesso con pena
Testa e denti con deritta ragione

ED ogni guardia che se fa terrena
Rompemo spesso con lo nostro ingiegno
Passando l’una & l’altra senza pena

COlpi facem de sanguinoso segno
Se noi ne mescolamo con la rota
[9v.1] Tutta l’arte farem nostro sustegno

FEndente, de ferir noi damo dota,
Tornamo in guardia ancor di varcho in varcho
Tardi non semo de ferir, qui nota.

IO sò la rota et tengo i(n) me tal carcho
SE con altri colpi me vò mescholare:
Oo metterò la punta spesso a l’archo

LIeltà et cortesia non posso usare
Rotando passo per deritte fendente
E guasto braccia e man senza tardare

ROta me chiama per nome la giente
La falsità de spada vo cercando
Chi m’adopra gli aguzzo la mente.

SEmo volanti sempre atraversando
E dal gienochio in su nostro ferire
Fendente et punte spesso ne dà bando

PEr trave(r)so noi passa a non falire
La rota che de sotto in su percote
E col fendente ne scalda le gote.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Chapter VIII. The dispute of the cuts and thrusts

The rota with the fendente and the volante
Argue with the thrusts and show them
That they are not so dangerous.

And when they come to us,
All the blows can make them lose their way
Losing in this joust the chance to strike.

The blow of the sword does not lose its turn,
The thrust is worth little against he who turns quickly
The blows clear the way for the one who is going.^[22]

If you don’t have a quick memory,
If the thrust doesn’t wound it loses its turn,
All the other [blows] deem it weak.

Against just one [opponent] the thrust finds its place,
Against more it doesn’t do its duty,
This is found in the text and the act.^[23]

If the thrust throws a rota do not fear,
If it does not immediately take a good fendente,
It remains fruitless, it seems to me.

Keep in mind a little here,
If the thrust enters but does not swiftly exit,
It lets the companion hurt you with a strike.

Cutting a blow, your sword is lost,
If the point loses its way in the strike,
Or the right cross from below helps you.^[24]

I make a forehand fendente at you with the sword,
And break you out of that guard,
So that you are forced into a bad spot.

Do not lose even an hour of learning:
The great motions with a serene hand,^[25]
Will place you above the others and give you honour.

Break all low guards,
Low guards await small loads,
And so heavy ones pass without difficulty.

A heavy weapon does not pass quickly to the step,
Light ones come and go like an arrow from a bow.

[10r] ¶ Costione di tagli & punte. Capitolo VIII.

LA rota coi fendente et coi volante
Dicon contra le ponte & sì li mostra
Che le non sonno pricoloxe tante.

E Quando vengon’ a la presentia nostra,
Tutti i colpi li fan smarrir la strada,
Perdendo pur el ferrir per quella giostra.

NOn perde volta el colpo della spada:
Poco val la punta a chi presto volta
Se fan far largo i colpi pur che i vada.

SI tu non hai la memoria sciolta,
Se la punta non fere perde el trato
Tute gli altri ferrir là te ne scolta.

COntra un sol la punta trova patto,
E contra più non fa già il suo dovere:
Questo rechiede el documento et l’atto.

SE punta butta rota non temere,
Se subito non piglia el bon fendente
Remane senza fructo al mio parere.

CHi fa che ponghe un poco la tua mente,
Se punta intrata non ha presto usita,
Te fa el compagno de ferrir dolente.

TAgliando un colpo tua spada è perita
Se punta nel ferrire perde strada
O ‘n deritta croce di sotto t’aita.

RIcto fendente farotte de spada
E tirarotte de tal posta fora,
[10v.1] Acciò che in mal punto tu te n’ vada.

NOn perder tempo ad imparare un’ora
I tempi grandi con la man serena,
Te pone sopra gli altri & sì te onora.

ROmpe ogni guarda ch’è fatta terena
Guardie terrene aspectan piccol carcho
E si le grave passan senza pena.

ARma greve non passa presto al varcho,
La leve va & ven como frezza in l’archo.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Chapter X. Theory of the half sword

Wanting to follow in this great work,
It is necessary to explain bit by bit,
All the strikes of the art.

So that it is well understood and put into practice,^[28]
Reason demands that I first explain
The turning principle of the sword.

And with arms extended go,^[29]
Driving the edge to the middle of the companion.

And if you wish to appear great in the art,
You can go from guard to guard,
With a slow and serene hand,^[30]
With steps that are not out of the ordinary.

If you wish to make some kind of stramazone,^[31]
Do it with a small turn in front of the face,
Don’t make a very wide motion,
Because all wide motions^[32] are for nothing.

Making the roverso you will be helped,
Passing out of the way with the left foot,
Drawing forwards with the right foot too,
Keeping an eye out for a good parry.

When you wish to enter into half sword
As the companion lifts his sword,
Then don’t hold back,
Grab the tempo^[33] or it will cost you dear.

Place yourself in the guard of the boar,
When you enter with the thrust at the face
Do not be divided at all [from the companion],^[34]
Turn quickly a roverso fendente.

And strike a dritto. Keep this in mind,
So that you understand my intention,
With clear reasoning,
I hope to thoroughly show you the way.

I don’t want your blows to be solely roverso,
Nor just fendente, but between one and the other,
Both between the common one,^[35]
Hammering the head on all sides.

Also I advise you when you have entered,
Be with the legs not too far apart,
You will be the lord, and clear
To constrain and strike valiantly.

And when you strike a roverso fendente,
Bend the left knee, and note the text,
Extend the right foot,
Without changing it, i.e. to either side.

Also, the left foot and the head are understood
To be connected now,
Because the head is closer to the left foot,^[36]
Than to the right one, that remains sideways.

So you will be safe from every side,
If you want to strike a forehand fendente,
You need to bend^[37]
The right knee: and extend well the left.

You will consider that the head is now connected,
To the right foot that is closest.
This is a better way
Than the footwork of our ancestors.^[38]

It is necessary that no one contradicts this,
Because you will be stronger, and more secure,
Hard in defence,
And make war with the shortest motion,
And neither can anyone make you fall.

[10v.3] ¶ Ragione di meza spada. Capitolo X.

VOlendo nui seguir questa degna opra,
Bixogna dechiarar a parte a parte
Tutti i ferrir de l’arte.

ACciò che ben se intenda & che s’adopra,
La ragion vol che prima ve descopra
Del rotare principio de la spada.

E’ Con braccia stexe vada
[11r] MEnando el fil per mezzo del compagno.

ET si tu voi parer nell’arte magno,
Tu poi andare alor de guarda in guarda
Con man serena & tarda,
con passi che non sian for el comuno.

SI tu facessi stramazzone alcuno,
Fara’l con poca volta ‘nanti al volto.
Non far già largo molto
perché ogni largo tempo sì è perduto.

FA che’l reverso te sia poi in aiuto,
Passando for de strada col pe’ stanco,
Tirando el deritto ancho,
Avendo l’ochio sempre al ben parare.

QUando vorai a mezza spada entrare
Commo el compagno leva la sua spada,
Alor non stare a bada
tempo pigliar che non te coste caro

FA’ che tu sie in guardia de cenghiaro
Quando tu entre con la punta al vixo,
Non star punto divixo,
Voltando presto el riverso fendente

E Tira el dritto e fa’ te sia a mente.
Acciò che intende la mia intenzione
Con chiara ragione,
Spero mostrarti interamente el verso.

NOn vo’ che in tutto sia puro riverso
Né sia fendente, ma tra l’altro e l’uno
[11v] Sia tra quel comuno,
Martelando la testa in ogni lato.

ANcor t’avixo, quando serai intrato
Che con le gambe tu t’acconcii paro:
Serai Signor & chiaro
De stregnere & ferire arditamente:

ET quando trai el riverso fendente
Piga el gienochio stanco e, nota el scritto,
Destende el piè derito
Senza mutarlo alora in altro lato.

ALora se intende essere attaccato
Il piè stanco con la testa adesso
Perché li sta più apresso
Che non fa el ritto che roman traverso.

ALor tu sei segur per ogni verso
E se vuoi el fendente ritto trare,
Te bixogna pigliare
El gienochio ritto: & stende ben el stanco.

CHiamarasse la testa attaccata ancho
Col piè dritto che gli è più vicino:
Questo è meglior camino
Che non è el passeggiar di nostri antichi.

NOn bixognia ch’alcun contrasti o dichi,
Perché tu sei più forte et più siguro
A la difesa duro,
Et con più breve tempo a far la guerra
Né non po' farte ancor chasschare in terra.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Chapter XI. Theory of swordplay

When you have arrived at the half sword,
Making a mandritto or roverso,
Be sure to grasp the sense
Of what I say, because it is to the point.

When you feint keep a sharp eye out,^[39]
And make the feint short, with the cover,
And hold the sword up,
So your arms play above your head.

I cannot say in a few words,
Because the actions are of the half sword,
Where you go as you please.^[40]
When you parry, parry with a fendente.

Brush aside the sword, a little away from you, cautiously,
Pressing that of the companion,
You will make a good deal,
Parrying well whichever blows.

When you parry the roverso do so with
The right foot forwards, and parry as I have said.
Parrying the mandritto,
Put your left foot forwards instead.

You should also keep in mind,
When you strike a roverso fendente,
To keep a careful eye out,
So that a mandritto doesn’t come from underneath.

And if the companion strikes, and you all of a sudden
Parry, making then to the head
A blow with the false edge carefully,
And as he lifts it,^[41] strike a good roverso

From below, across his arms,
Redoubling then with a quick mandritto,
And note also this,
That you do not fail the principles of the Art.

If you strike a mandritto, then beware,
The roverso that he might strike.
Make it so that your sword also
Parries with a fendente, so that you are not hit.

And if it comes to you then to want
To enter underneath and grab his handle,
And then do your duty,
Hammering his moustache with your pommel,^[42]
Watching out that you do not get stuck.

[12r] ¶ Ragion de giocho de spada. Capitolo XI.

QUando tu sei a mezza spada gionto
Facendo tu el diritto o voi el riverso
Farai che piglie el verso
Di quel ch’io dico poi che sei al ponto:

SE tu vi steggie, tien pur l’ochio pronto
Et fa la vista brive con coverta
Et tien la spada erta,
Che sopra el capo tuo le braccie gioche.

NOn posso dire con parole poche,
Perché gli effecti son de mezza spada.
Acciò che più ti agrada,
Quando tu pare, para de fendente,

SCosta la spada un poco acortamente
Da te, calcando quella del compagno.
Tu fai pur bon guadagno
Parando bene i colpi tucti quanti.

QUando pare el riverso porge inanti
El destro piede, & para come ditto,
Parando tu el drito
Porai inanzi poi el tuo piè stancho.

EL te bixogna aver la mente ancho
Quando tu trai el riverso fendente,
Aver l’ochio prudente
Ch’il mandiritto non venisse sotto.

ET si el compagno tresse, et tu de botto
Para facendo poi a la testa cenno
[12v.1] Col fil falso & col senno
Commo ’l alza, tira el bon riverso,

DE sotto in su le braccia sua attraverso,
Redopiando poi el deritto presto.
Et nota ancor questo:
che tu non falle la ragion de l’arte.

SI tu traesti el deritto alora guarte
Dal manriverso suo che non te dia.
Fa che tua spada sia
Cl fendente a parara che non te coglia

E Se pur te venisse alora voglia
De intrar sotto & pigliar suo mantenere
E farli poi el dovere,
Cl pomo martelando al suo mustaccio,
Guardando bene che tu non piglii impaccio.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

Chapter XV. Theory of the sword against the rising blow

There are many who make their base
In turning strongly from every side
So be advised,
As his sword is turning, move,

And you turn and you will win the test,
Then harmonise yourself with his strikes,
And make your going thus
With your sword behind his.

To better explain your design,
You can also go into boar’s tooth guard,
And if he with the turning,
And you ripping up from below.^[46]

Listen and understand my reasoning,
You who are new to the art, and experts too,
I want you to be sure,
That this is the art and the true science.

Grasp this, that is a steelyard’s trace:^[47]
The companion is in the iron door guard,
Lock this into your heart,
Make it so you are in the archer’s guard,

Watch out that your point does not waver,
And covers the companion’s sword;
Go a little out of the way
Straightening the sword and the hand with the point.

When your sword is joined at the crossing,
Then do the thirteenth stretta,
As is you can plainly see
Pictured in our book on page seven.^[48]

You can also use in this art
Strikes and strette that are handier to you,
Leave the more clumsy,^[49]
Keep those that favour your hand,
So you will often have honour in the art.

[13v.2] ¶ Ragion di spada contra la rota. Capitolo XV.

MOlti son che fan lor fondamento
Nel roteggiar ben forte da ogne lato;
Fa che ti sie avixato
Como sua spada roteggiando move,

E Tu roteggia et vincerai le prove.
Accordate con seco alor nel trare
E fa he sia tuo andare
Con la tua spada dereto a la sua.

PEr chiarir meglio la fantaxia tua,
[14r.1] Ancor poi andare in dente de cenghiare,
Et se lui col rotare,
E tu scharpando pur de sotto in su

ODe e comprehende le mie ragione tu
Che sei novo nell’arte e puro asperto,
E vo’ che tu sie certo
Che questa è l’arte e la scienzia vera.

PIglia questo, che un tracto di stadera
Se starà el compagno in porta de ferro,
Questo nel cor te serro,
Fa che tu sie in posta sagittaria.

GUarda che la punta tua non svaria,
Che del compagno copra la sua spada,
Va’ un poco for de strada
Drizzando spada e mano con punta.

QUando tua spada a la croce sia giunta,
Alor fa’ la terza decima stretta,
Como t’apare schietta
Dipinta la nostro libro a sette carte.

TI poi adoprar ancor in questa arte
Ferrire e strette che te sien più destre
Lassa la più sinestre,
Tiente a quel che la man te dà favore
Che spesso te farà ne l’arte onore.

Illustrations

Complete Translation
by Guy Windsor

Transcription
by Marco Rubboli and Luca Cesari

I am callipers, that divide into parts,
O fencer heed my principle,
Thus [the callipers] measure the tempo similarly.^[50]

The nature of the bear is to turn
Here, there, up and down:
Thus your shoulder should move,
Sending your sword out to hunt.

I am a ram, always on the lookout,
Naturally always looking to clash,
So your cut should be clever,
Always parry when [your cut] is answered.

The right hand should be prudent,
Bold and deadly as a serpent.

The eye with the heart should be alert,
Bold and full of foresight.

With the left hand I have the sword by the point,
To strike already when it is joined
And if you want the strike to be complete
Make it as quick as a greyhound.

And he who does not have these keys with him
Will make little war with this play.^[51]

The legs [are] keys it is well said,
Because you close them and also open them.

You see the sun, that makes great turns,
And where it is born it returns.
The foot with the sun should return together,
If you want the play to adorn your person.

Plant the left foot without fear,
Make it firm like a castle,
And then your body will be completely safe.

When one or other foot bothers you
Turn it quickly like a mill wheel,
The heart must be foresightful,
For on it depends shame and honour.^[52]

[15r] IO sono un sexto che fo partimenti.
O scrimitore ascolta mia ragione.
CUsì misura el tempo simelmente.

Il natural de l’orso si è el girare.
IN qua in la in su in giu andare.
CUsì conviene che tua spalla facia.
POii la tua spada fa che metti a caccia.

Iio son un muntone e sto sempre a mirare.
CHe per natura sempre voglio cozare.
COsì convien tuo taglio sia inginioso.
Sempre parar quando sera resposo.

La man dirita vol eser prudente.
Ardita e mortal cum un serpente.

L’Ochio col cor vole star attento.
ARdito e pieno di providimento.

COn la man stanca la spada ò per punta.
PEr far ferire d’ezza quando serà giunta.
E se tu voi sto ferir sia intero.
FA che sia presto come levorero.

E chi queste chiavi cum seco non averà.
Acquesto giuoco poca guerra farà.

Le gambe chiave se può ben diri.
Per che li ti serra e anche ti po aprire.

TU vedi el sol che fa gran giramento.
E donde el nasce fa suo tornamento.
El pé com el sol va convien che torni.
SE voii chel giuoco toa persona adorni.

El pié stanco ferma senza paura.
COmo rocha fa che sia costante.
E Poii la tua persona serà tuta sicura.

QUando i pié o l’uno o l’altro fa molesta.
COmo rota da molin dia volta presta.
BIxogna esser il cor providitore.
C[he]^[53] luj s’aspetta vergogna e l’onore.

These are the blows of the two-handed sword,
Not the mezzo tempo, which remains in the wrist.

I am the rota and I am often turning,
I go looking for the deception of the sword.

We are the volante, always crossing,
From the knee up we go destroying.

We are the fendenti and we dispute,
And we break the teeth with full right.

I am the thrust, dangerous and quick,
Great teacher of the other blows.

[15v] QUesti son colpi de spada due mane.
NOn gli è el mezo tempo: nel nodo rimane.

ROta

IO son la rota et vo spesso rotando.
LA falsità de spada vo cercando.

VOlante

NUii semo volante sempre traversando.
DAl ginochi in su andian guastando.

FEndente

NOii semo fendenti e facemo quostione.
DE fendere i denti con dirita ragione.

Io son la punta pericolosa e presta.
DE gli altri ferire sum suma maestra.

Illustrations	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	[1] You are guards with your names Each of you, show yourself from the side.^[54]	[16r-a] Voii seti guardie con li nomi vostre Ciascun di vuii lato si dimostre Philippo di Vadi pisano
	[2] I am the strong middle iron gate To give death with thrust and fendente. [3] I am the guard of the woman, and I am not useless, I often conceal the length of the sword.	[16r-c] Son mezana porta di ferro forte Per dare con punte e fendente la morte [16r-d] Io son posta di donna e non son vana Che lungeza di spada spesso inghana
	[4] I am the flat ground iron door, That always impedes cuts and thrusts. [5] I am the guard of the falcon, excellent and high To make defences in all sorts of ways.	[16v-a] Son porta di fero piana terrena Che taglie e punte sempre si rafrena [16v-b] Son posta di falcon superba e altera Per far difesa a ciascuna manera
	[6] I am the short guard of the extended sword, I often strike and recover into it quickly.^[55] [7] I am the archer’s guard, for deception, I use malice very much in my reign.	[16v-c] Son posta breve di spada longeza Spesso ferisco con lei torno in freza [16v-d] Son posta sagitaria per ingiegno Uso m(a)litia assai nel mio regno
	[8] I am the guard of the true window According to the art, raise your left leg.^[56] [9] I am the crown and I am made master, I am found to be adept at binds.	[17r-a] Io son la posta di vera finestra Leva de l’arte la cossa sinestra [17r-b] Io son corona e son fatta maestra De legature mi ritrovo destra
	[10] With the deadly guard of the boar’s tooth Anyone looking for trouble, I’ll give them plenty. [11] I am the long guard with the shortened sword,^[57] That with my cunning bashes the blows.	[17r-c] Con mortal posta de denti cinghiare Chi cerca briga assa(i) gl’in posso dare [17r-d] Son posta lunga con la spada curta Che con l’ingiegno mio i colpi urta
	[12] I am the frontal guard, so reliable, I care nothing about cuts and thrusts. [13] I am the guard of the boar and I am outside, I do not relent in striking.	[17v-a] Son posta frontal tanto sicura De tagli e punte mai non farò cura [17v-b] Son posta posta di cingiaro e son di fora Che de ferire mai non farò dimora
	[14] I have made a roverso fendente on the left foot, Without changing the foot, turning the hips, I will strike a dritto without further movement.	[17v-c] El reverso fendente ho tratto sul pè stanco senza scambiar pè voltando el galone Trarò el dritto senza moverme anco
	[15] By this grip of your arm that I have made, I will hit you with a cut or pommel strike.	[18r-a] Per sto pigliare di brazo chio t’ò fato di taglio o pomo ti donerò un trato
	[16] By this turn that I quickly make to my sword I will not pause before I hit you with it.	[18r-c] Per la volta fata a mia spada presta con quella di feriri non farò resta
	[17] I have bound you from the roverso side, You’ll be thrown to the ground by a blow of the sword.	[18v-a] Io t’ò per parte riversa ligato per colpo di spada serai aterrato
	[18] In this way I hold you with my left hand, Cuts and thrusts will not be lacking.	[18v-c] Per tal modo tengo con la man stanca A ferire taglii e punte non manca
	[19] By this turn that I have given to my sword I think I will have cut the halfway through your throat.	[19r-a] Per tale volta ch’i’ ò a mia spada data meza la gola credo avere tagliata
	[20] You will go to the ground with this technique Because you have completely failed in your play.	[19r-c] Tu anderaii per terra a tal partito Però che hai el giuoco tutto falito
	[21] I do not wish to make war with my sword, But with yours I’ll throw you to the ground.	[19v-a] Con la mia spada non voglio far guerra Ma con la tua te metterò in terra
	[22] I have turned you inevitably and without difficulty,^[58] With my skill I will break your arm.	[19v-c] Io t’ò volto per forza e senza inpazo Con mi destreza te ronperò el brazo
	[23] With skill I have placed you in this position, I’ll make you go to the ground at the first go.	[20r-a] Con destreza t’ò posto a simil atto Faroti andare in terra al primo tratto
	[24] In this way I’ll put you in the lock And I will break your arm while saying a Hail Mary.^[59]	[20r-c] Per questa forma t’ò messo in la chiave E romperoti el brazo al diri d’un ave
	[25] By this turn of the pommel I have bound you, Immediately if I want to I’ll throw you to the ground.	[20v-a] Per sto voltar di pomo io t’ò ligato E subito s’io voglio io t’ò aterrato
	[26] By this turn of the blade that you have done, I will break your arm at the first go.	[20v-c] Per sto voltar de mella che tu hai fatto Romperoti el brazo al primo tratto
	[27] By the turn given to my quick sword, I’ll strike your arms or your head.	[21r-a] Per la volta data a mia spada presta Feriroti le braza over la testa
	[28] If I put my hilt to your sword I’ll make it fall, this time.^[60]	[21r-c] S’io metto el mio mantener a la tua spada Chascar te la farò per questa fiada
	[29] This is a grip that I do from below,^[61] I will make it fall at the first go.	[21v-a] Questo è una presa ch’io facio de fora Chascar te la farò a prima botta
	[30] You believed I would strike with a roverso blow, [But] With my elbow I push your sword across.	[21v-c] Tu credesti ch’io tresse el man riverso Col gomito spingo tua spada atraverso
	[31] By the turn that my handle has given, I make you fall to the ground flat on your back.	[22r-a] Per la volta ch’el mio mantener ha dato Chascar te farò in terra riversato
	[32] This is a disarm that is above,^[62] And if I want to I’ll lay you flat.	[22r-c] Questo è un tor de spada ch’è soprano E se io vorò ti metterò al piano
	[33] I made a feint of striking a fendente, I will cut your jaw and teeth together.	[22v-a] La vista feci di trar un fendente Taiaroti la masciella coi denti
	[34] From the roverso strike that I have done, I’ll hit you with my pommel, and look good doing it.	[22v-c] Nel trar d’il man riverso ch’io t’ò fato Daroti del mio pomo con bel atto
	[35] This is a grip that I do on the inside, You’re going to the ground as I feel.	[23r-a] Questa è una presa ch’io te facio dentro In terra anderai com’io sento
	[36] I have hit you with my sword in the head, Yours I’ll quickly take with my cunning.	[23r-c] Io t’ò dato de la spada mia in la testa La tua te torrò co’ mio ingiegno presta
	[37] I beat your sword aside at the middle of the blade, You’ll get a good dose from my pommel.	[23v-a] De meza mella rebatto tua spada Del pomo mio haverai bona derada
	[38] Turning a roverso you parried badly,^[63] At the middle of the blade you entered the bind.	[23v-c] Voltando el man riverso mal parasti De meza mella nel ligame intrasti

Illustrations	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Guards of the pollax in armour [1] I am the guard of the woman, of great offence, To respond to any situation.^[64] [2] I am in the guard of the boar, as the saying goes, I’ll wreck your body for sure.	[24r] GUARDIE D’AZA IN ARME [24r-a] Son posta di dona de grande offesa Per rispondere a ciaschaduna impresa [24r-b] So in posta di cingiaro con il dir sona Te guastarò per certo tua persona
	[3] I am called the archer’s guard, Always make sure to make every blow deviate. [4] I am the guard of the Cross, so called, No amount of cuts or thrusts can bother me.	[24r-c] Io mi chiamo posta sagitaria Faci sempre c’ogni colpo svaria [24r-d] Son posta di croce così chiamata De tagli e punte non temo derata
	[5] I was in boar’s tooth with the axe, Thus I have struck you in the face.	[24v-a] Io era in dente de cinghial con l’aza Per questo io t’ò ferito nela facia
	[6] I have lifted the visor from your face, I have struck you, and taken away every defence from you.	[24v-c] Levata la visera io t’ò nel volto Io t’ò ferito ogni difesa ò tolto
	[7] I’ve got my hand under your right arm I’ll place you in the lock as is written.	[25r-a] T’ò la mano sotto el brazo drito Te meterò in la chiave come scritto
	[8] This is the grip that I do to you, You’ll lose your axe and I’ll strike your head.	[25r-c] La presa ch’io ti facio serà questa Perderai l’aza e ferirò la testa

Illustrations	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Guards of the sword in armour [1] I am the lower snake guard, That is outstanding for striking with thrusts.^[65] [2] I am the guard of the serene leopard, That with the tail will give you poison.	[26r] GUARDIE DI SPADA IN ARME [26r-a] Io son sotana posta serpentina Che de ferire de ponte son purpina [26r-b] Son posta de leopardo sereno Che con la coda te darò el veleno
	[3] I am the snake, and am held high, Doing my work high and low. [4] I am the leopard’s tail over the arm, I remove and chase every sword away from me.	[26r-c] Io sum serpentino e sto di sopra Alto e baso facendo la mia opra [26r-d] Son coda di leopardo sopra el brazo Ciascuna spada da me levo e scacio
	[5] I am the first wounder of the art, To make defence on any side.	[26v-a] Io son il primo feritore de l’arte Per far difesa in ciascaduna parte
	[6] I push my point into your face, You see my sword rising up and up.	[26v-c] Io spingo al volto tuo la mia punta Tu vedi che mia spada ognor più monta
	[7] I want you to drop your sword to your chagrin, I will do even worse to you, because of your failings.	[27r-a] La spada vo’ che lasci al tuo dispetto Faroti pegio ancor per tuo difeto
	[8] If I can’t stick a point in your face, I’ll stick a pommel instead, as it’s right here.	[27r-c] Se non posso al volto tuo meter punta Meterò pomo poii che l’è qui gionta
	[9] By my pass out of the way, I’ll throw you to the ground with your sword.	[27v-a] Per lo passare mio for de strada te meterò per terra con tua spada
	[10] Shape of the sword in armour The sword for fighting in armour should be shaped as follows, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. Its handle should be of a span.^[66] The crossguard should be as long as the handle of the sword, and it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these [parts].	[27v-c] FORMA DE SPADA IN ARME La spada da conbatere in arme vole avere la sotoscrita forma cioé la sua longeza vole arivare el pomo sotto el bracio, tagliare quatro dita in punta, el suo manico vole eser de una spana. L’elzo vol esere longo qua(n)to è il manico de la spada: e vol esere aguzo da ogni lato, e similmente vol esere aguz o il pomo per possere ferire con ognuno de questi.

Illustrations	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Play of the long lance [1] With the shortened lance I’ll wait in this way,^[67] I invite you to come with long and short.	[28r] GIOCO DE LANZA LONGA [28r-a] Per corta lanza aspetto a sto partito A corta e longa tenerò l’invito
	[2] From the way I wait for you with a lance With a half turn I will strike you in the chest.	[28r-c] Per lo modo con la lanza t’aspeto Con meza volta te ferirò il peto
	[3] By the half turn that my lance has made, I’ll strike you in the chest or side.	[28v-a] Per meza volta che mia lanza à dato Te ferirò nel peto o nel costato
	[4] Here end the blows of the lance, They usually go to this technique.	[28v-c] Qui finiscono i ferir de lanza Se mete a tal partito per usanza

Illustrations	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	[1] This counter that I do to you, Is for turning you [with] the grip on your arm.	[29r-a] Questo contrario che io te facio S’le per voltarti la presa d’il bracio
	[2] With the hand that you have on my shoulder, You’ll go to the ground and have an awful time.	[29r-c] Per la man che tu hai sopra la spalla Tu anderai in terra in ora malla
	[3] I can take the dagger from you and strike you With this grip, and it cannot fail.	[29v-a] La daga tor te posso e ferire In questa presa e non porà falire
	[4] I’ll make you drop the dagger on the ground With the turn that I’ll do, and with [my] knowledge.	[29v-c] La daga in terra ti farò cadere Con la volta ch’io farò e col sapere
	[5] This thrust is done immediately I make your dagger fall very fast.	[30r-a] Questa punta sie subito fataa Farò cadere la daga molto ratta
	[6] I have placed this thrust in your hand, Quickly your dagger will fall.	[30r-c] Questa ponta in la man t’ò metuta Tosto la daga te serà caduta
	[7] I’ll make this cover very quickly, So you will be placed in the lock.	[30v-a] Questa coverta io farò ben tosto Che tu serai in la chiave posto
	[8] I will leap to a play using my cover, And with my dagger I’ll open the way.	[30v-c] A un gioco saltarò per mi coverta E con mia daga farò la via aperta
	[9] By this cover that you want to do, I’ll make you go into the lower lock.	[31r-a] Per questa coverta che tu voi fare In la chiave di soto ti farò intrare
	[10] Thus I can take the dagger from you and also strike, If I don’t want to completely fail the art.	[31r-c] Si posso tor la daga ancho ferire Se l’arte non vorò in tuto falire
	[11] If I push the dagger towards the ground, You will make no more war against me with it.	[31v-a] S’io carco la daga verso terra Con quella non me farai più guerra
	[12] Here I look for your hand to strike it I’ll make you enter the lower lock.	[31v-c] Qui cerco la tua man per lei feri(ri) Sotto la chiave te farò veniri
	[13] With this crossing that I make against you I’ll place you in the lock, where you will be frustrated.	[32r-a] Questo incrociare che verso te i’ facio Te metterò in la chiave con impaccio
	[14] I make this strike with my fist, I’ll stick your dagger into your body.	[32r-c] Questo ferire con lo pugno faccio La daga tua nel corpo te caccio
	[15] I make the cover with one hand, I’ll make your dagger go to the ground.	[32v-a] I’ facio la coperta d’una mano Farò che tua daga anderà al piano
	[16] From the way I have grabbed you I do not doubt You’ll go to the ground, I mean now!	[32v-c] Per lo modo ch’io t’ò preso non dubito Tu anderai in terra dico subito
	[17] By the way that I have got you I’m ready To break your arm and the dagger very quickly.^[68]	[33r-a] Al modo ch’io te tengo so’ disposto Romperte el bracio e la daga più tosto
	[18] You clearly see by the way that I hold you, That you and your dagger will be my pawn.	[33r-c] Tu vedi bene a modo ch’io te tegno Che tu e tua daga serà mio pegno
	[19] I see this play does not fail me. As I break your arm over my shoulder.	[33v-a] Io vedo questo gioco non me falla Ch’io rompa el bracio sopra mia spalla
	[20] By this way that I want to grab the arm, I will use your dagger to lock you.	[33v-c] Per questo modo el bracio vo pigliare Per quella daga te farò serrare
	[21] You saw that you are bound and going to the ground, break your arm and you will lose the dagger.	[34r-a] Vedi che sei astretto e in terra vai Rompo il bracio e la daga perderai
	[22] In this way I hold [you] and press down, I can follow with the close and the wide.^[69]	[34r-c] A questo modo tengo e facio carco E posso poi seguiri el streto e largo
	[23] I come at you with crossed arms, And I can do all the previous plays.	[34v-a] Io vengo a te con le braci incrociate E posso fare tuti i giochi passati
	[24] You’ll go to the ground by the backhand, By this play you will lose your life.	[34v-c] Andarai in terra per man riversa Per questo gioco avrai la vita persa
	[25] I say you are so poorly trained in this art; You will find yourself suddenly on the ground.	[35r-a] Tu sei ne l’arte dico asai mal dotto Te trovarai in terra qui de botto
	[20] By this grip I say I have you, I am certain that you will go into the lock.	[35r-c] Per questa presa io disse co’ io t’ave Io son cierto che intrarai in la chiave
	[27] I press down on this elbow of yours; I’ll break your arm without a doubt.	[35v-a] Io farò un carco a cquesto tuo cubbito Romperoti el bracio senza dubbito
	[28] This is a very strong destruction of the arm, You’ll be unable to bear the pain.	[35v-c] Questo è un guastare di bracio molto forte El dolor, che tu hai mal el comporte
	[29] I have put you in the lock in spite of you, Because you are not so perfect in the Art.	[36r-a] Io t’ò messo in la chiave al tuo dispeto Perché non sei ne l’arte sì perfeto
	[30] With my right hand I have made this move; I will stick the dagger in your thigh.	[36r-c] Co’ la man drita ò fato cotal mossa Te farò ficar la daga nela cossa
	[31] When you’re on the ground you will say, “I didn’t believe it would come to this.”	[36v-a] Quando in terra serai ti porai dire Io non credea già così venire
	[32] TThis is a way to throw someone to the ground that is quite strong; If I wish it, you will die.	[36v-c] Questo è un metere in terra ch’è assai forte Volendo io tu poi ricevere morte
	[33] I have you, in the way that I like; You will go to the ground against your wishes.	[37r-a] Io te tengo in modo al mio parere In terra anderai contra el tuo volere
	[34] You must simply go to the ground, And you’ll make no more war with your dagger.	[37r-c] El ti bixogna puro andar in terra E con la dagaga non farai più guerra
	[35] By the pass that I do under the arm, You’ll go to the ground with much trouble.	[37v-a] Per lo passare fato soto el bracio In terra te porò con molto inpacio
	[36] The measure of the dagger The length of the dagger should reach the elbow, with an edge and two corners. The grip should be the width of the fist,^[70] as the shape is shown depicted here below.	[37v-c] MESURA DE DAGA La longeza de la daga vol esere fin a el gomito con un taglio e dui cantoni, el manico vol esser d’uno somesso como apare la forma d’essa dopent a qui di sotto.

Illustrations	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	[1] I defend myself just as much as I can, As you strike I will charge at you.	[38r-a] Io mi difendo puro quanto poso Como tu traii io te verò adoso
	[2] As you throw, the blow will for naught; I’ll beat away your weapon with a roverso.	[38r-c] Como tu lance el colpo serà perso Rebaterò tua arma col riverso
	[3] I am in guard with a good mandritto, As you throw at me you’ll understand the text.	[38v-a] Io sono in guardia col bon man dirito Io me tu lance intenderaii lo scrito
	[4] Continuing the work, some dagger techniques will follow. It is necessary to consider the act, the grip, the start and the finish in order to understand the way. Knowing how clever human nature is, everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, first of the sword, the axe, the spear and the dagger.	[38v-c] Seguitando l’opra precede alcuni partiti de daga como seguita: bixogna considerare l’ato la presa el principio el finire, per volere intendere el modo: avixo e quanto sia l’ingiegno de l’humana natura e però ognuno che sia pratico nell’arte porà intendere tutti gli altri dopinti e posti in questa mia opereta e prima de spada, aza, lanza e daga.
	[5] Dagger technique.	[39r-a] Partito de daga
	[6] End of technique.	[39r-c] Finiri del partito
	[7] Dagger technique.	[39v-a] Partito de daga
	[8] End of technique.	[39v-c] Finiri del partito
	[9] Dagger technique.	[40r-a] Partito de daga
	[10] End of technique.	[40r-c] Finiri del partito
	[11] Dagger technique.	[40v-a] Partito de daga
	[12] End of technique.	[40v-c] Finiri del partito
	[13] Dagger technique.	[41r-a] Partito de daga
	[14] End of technique.	[41r-c] Finiri del partito
	[15] Dagger technique.	[41v-a] Partito de daga
	[16] End of technique.	[41v-c] Finiri del partito
	[17] Dagger technique.	[42r-a] Partito de daga
	[18] End of technique.	[42r-c] Finiri del partito
	[19] Dagger technique.	[42v-a] Partito de daga
	[20] End of technique.	[42v-c] Finiri del partito

For further information, including transcription and translation notes, see the discussion page.

Work	Author(s)	Source
Illustrations	Biblioteca Nazionale Centrale di Roma	Biblioteca Digitale
Translation	Guy Windsor	The School of European Swordsmanship
Transcription	Marco Rubboli and Luca Cesari	Index:De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)

Additional Resources

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

Deacon, Jacob Henry (2016). "Prologues, Poetry, Prose and Portrayals: The Purposes of Fifteenth Century Fight Books According to the Diplomatic Evidence." Acta Periodica Duellatorum 4(2): 69-90. doi:10.36950/apd-2016-014.
Vadi, Filippo (2002). Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi. Trans. by Gregory Mele; Luca Porzio. Union City, CA: Chivalry Bookshelf. ISBN 978-1891448164.
Vadi, Filippo (2005). L'arte Cavalleresca del Combattimento. Ed. by Marco Rubboli; Luca Cesari. Rome: Il Cerchio Iniziative Editoriali. ISBN 88-8474-079-7.
Vadi, Philippo; Connor Kemp-Cowell (2021). Wielding the Light of Mars: A Translation and Guide to De Arte Gladiatoria Dimicandi. Trans. by Ian Davis. Self-published.
Windsor, Guy (2013). Veni Vadi Vici. A Transcription, Translation and Commentary of Philippo Vadi's De Arte Gladiatoria Dimicandi. Self-published. ISBN 978-952-93-1686-1.
Windsor, Guy (2018). The Art of Sword Fighting in Earnest. Spada Press. ISBN 978-952-7157-37-4.

References

↑ For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "Interesting information on the Vadi family (Philippo Vadi)". HEMA Alliance Forum. 06 June 2012. Retrieved 09 October 2012.
↑ Vadi, Philippo di. De Arte Gladiatoria Dimicandi [manuscript]. MS Vitt. Em. 1324. Rome, Italy: Biblioteca Nazionale Centrale di Roma, 1480s.
↑ Rubboli, Marco and Cesari, Luca. The Knightly Art of Combat of Filippo Vadi. Document circulated online.
↑ The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.
↑ The title that the manuscript is known by comes from this line of the book: de arte gladiatoria dimicandi. Dimicare means to fight in earnest against your enemies; l’arte gladiatoria is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.
↑ I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.
↑ The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.
↑ I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. E mostrallo con breve eloquenza./La geometria che divide e parte. F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.
↑ Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.
↑ This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.
↑ si tu averai nel cervel tuo sale, lit. “if you have salt in your brain”.
↑ Passi o torni, lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing accrescere and discrescere, passare and torrnare, it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.
↑ This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.
↑ This number is written out (quarto), and does not have a roman numeral in the ms, so I have written it out here.
↑ The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.
↑ Advantage of the sword is presumably length, especially in a duelling context.
↑ Lit. “You will make everyone scratch their own mange”
↑ This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.
↑ Che l’aer nostro fa spesso serena, lit. “that often makes our skies serene”.
↑ This line reads “io metterò la punta spesso a l’archo”. “I will place the thrust” is clear. Spesso a l’archo is literally “often at a bow”. But just as bistecca alla fiorentina is steak in the manner of Florence, so a l’archo can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.
↑ This means the fendente strike us. In this last stanza, rota blows are defeating volante blows; they are parrying them and returning with a fendente to the face.
↑ As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.
↑ That is, in theory and in practice.
↑ I read this to mean that when cutting, your point should remain in line (in the strada), unless you deliberately allow it to fall, to parry up from below.
↑ Tempi here is clearly ‘motions’, rather than ‘times’.
↑ This line is ambiguous; it could also read “And when a weapon finds me extended”.
↑ The word Vadi uses here is ‘inprexa’. It is the same word as the French ‘emprise’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.
↑ This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.
↑ At this point there menando, (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).
↑ A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.
↑ This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The stramazzone is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)
↑ Largo tempo, literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.
↑ Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.
↑ punto divixo: lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say poco e punto to say “a few and not at all”. So punto could be intended as affatto that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”
↑ This is indicating a vertical downwards blow.
↑ This line actually reads “Because it is closer to it”; I have expanded on it for clarity.
↑ There appears to be a correction to the text: pigliare (to grab) has been modified to pighare (to bend). Rubboli has it as the former. (51)
↑ This detailed explanation of mechanics, with the head being “connected” (atacata) to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.
↑ The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: Della finta dichiaratione (“Explanation of the feints”), which is subtitled Far vista di cavar la Spada con il nodo della mano. (“Make a feint of disengaging the sword with the wrist.”)
↑ The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.
↑ “It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a roverso from below.
↑ Mustaccio is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.
↑ The line “voltandoli atraverso” is inserted in the margin.
↑ Porzio and Mele (81) read this line as mal separa chi non na la praticha, or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe separa as one word. I read it as mal se para, or “will get into trouble”, which seems to me to fit the context better.
↑ Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of gonfaloniere, “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one gonfaloniere at a time. Guidobaldo’s father Federico was gonfaloniere from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.
↑ The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.
↑ This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.
↑ This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘carta’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.
↑ Sinestre is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.
↑ This means that the tempo is measured by dividing it into parts.
↑ These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.
↑ This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”
↑ Erased.
↑ I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
↑ ‘It’ here refers to the guard, so having struck, you recover into this position.
↑ I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
↑ Con la spada curta, lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the lanza curta.
↑ Per forza literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.
↑ Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.
↑ Per questa fiada – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”
↑ Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as fora, which would be “outside”. Fora does not rhyme with botta, and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.”
↑ ‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.
↑ The original text is ambiguous as to who is turning the roverso; I believe it is the player who also parries badly.
↑ The word used here is ‘impresa’, which has the connotation of emprise d'armes, or “feat of arms”.
↑ “Che de ferire de ponte son pur pina.” Rubboli and Cesari transcribe the last word as purpina, which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have purpurina (porporino in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ne plus ultra of guards to thrust from.
↑ A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.
↑ This section is called Gioco de Lanza Longa, the play of the long lance. In this guard position, the lance is described as curta, short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.
↑ It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.
↑ This is a reference to giocco largo and giocco stretto. Vadi means that from here he can do whatever kind of technique he likes.
↑ Sommesso can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.

[1] For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "Interesting information on the Vadi family (Philippo Vadi)". HEMA Alliance Forum. 06 June 2012. Retrieved 09 October 2012.

[Vadi-2] Vadi, Philippo di. De Arte Gladiatoria Dimicandi [manuscript]. MS Vitt. Em. 1324. Rome, Italy: Biblioteca Nazionale Centrale di Roma, 1480s.

[Rubboli-3] Rubboli, Marco and Cesari, Luca. The Knightly Art of Combat of Filippo Vadi. Document circulated online.

[4] The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.

[5] The title that the manuscript is known by comes from this line of the book: de arte gladiatoria dimicandi. Dimicare means to fight in earnest against your enemies; l’arte gladiatoria is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.

[6] I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.

[7] The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.

[8] I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. E mostrallo con breve eloquenza./La geometria che divide e parte. F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.

[9] Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.

[10] This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.

[11] si tu averai nel cervel tuo sale, lit. “if you have salt in your brain”.

[12] Passi o torni, lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing accrescere and discrescere, passare and torrnare, it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.

[13] This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.

[14] This number is written out (quarto), and does not have a roman numeral in the ms, so I have written it out here.

[15] The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.

[16] Advantage of the sword is presumably length, especially in a duelling context.

[17] Lit. “You will make everyone scratch their own mange”

[18] This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.

[19] Che l’aer nostro fa spesso serena, lit. “that often makes our skies serene”.

[20] This line reads “io metterò la punta spesso a l’archo”. “I will place the thrust” is clear. Spesso a l’archo is literally “often at a bow”. But just as bistecca alla fiorentina is steak in the manner of Florence, so a l’archo can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.

[21] This means the fendente strike us. In this last stanza, rota blows are defeating volante blows; they are parrying them and returning with a fendente to the face.

[22] As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.

[23] That is, in theory and in practice.

[24] I read this to mean that when cutting, your point should remain in line (in the strada), unless you deliberately allow it to fall, to parry up from below.

[25] Tempi here is clearly ‘motions’, rather than ‘times’.

[26] This line is ambiguous; it could also read “And when a weapon finds me extended”.

[27] The word Vadi uses here is ‘inprexa’. It is the same word as the French ‘emprise’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.

[28] This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.

[29] At this point there menando, (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).

[30] A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.

[31] This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The stramazzone is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)

[32] Largo tempo, literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.

[33] Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.

[34] punto divixo: lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say poco e punto to say “a few and not at all”. So punto could be intended as affatto that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”

[35] This is indicating a vertical downwards blow.

[36] This line actually reads “Because it is closer to it”; I have expanded on it for clarity.

[37] There appears to be a correction to the text: pigliare (to grab) has been modified to pighare (to bend). Rubboli has it as the former. (51)

[38] This detailed explanation of mechanics, with the head being “connected” (atacata) to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.

[39] The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: Della finta dichiaratione (“Explanation of the feints”), which is subtitled Far vista di cavar la Spada con il nodo della mano. (“Make a feint of disengaging the sword with the wrist.”)

[40] The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.

[41] “It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a roverso from below.

[42] Mustaccio is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.

[43] The line “voltandoli atraverso” is inserted in the margin.

[44] Porzio and Mele (81) read this line as mal separa chi non na la praticha, or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe separa as one word. I read it as mal se para, or “will get into trouble”, which seems to me to fit the context better.

[45] Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of gonfaloniere, “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one gonfaloniere at a time. Guidobaldo’s father Federico was gonfaloniere from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.

[46] The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.

[47] This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.

[48] This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘carta’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.

[49] Sinestre is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.

[50] This means that the tempo is measured by dividing it into parts.

[51] These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.

[52] This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”

[53] Erased.

[54] I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.

[55] ‘It’ here refers to the guard, so having struck, you recover into this position.

[56] I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.

[57] Con la spada curta, lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the lanza curta.

[58] Per forza literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.

[59] Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.

[60] Per questa fiada – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”

[61] Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as fora, which would be “outside”. Fora does not rhyme with botta, and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.”

[62] ‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.

[63] The original text is ambiguous as to who is turning the roverso; I believe it is the player who also parries badly.

[64] The word used here is ‘impresa’, which has the connotation of emprise d'armes, or “feat of arms”.

[65] “Che de ferire de ponte son pur pina.” Rubboli and Cesari transcribe the last word as purpina, which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have purpurina (porporino in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ne plus ultra of guards to thrust from.

[66] A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.

[67] This section is called Gioco de Lanza Longa, the play of the long lance. In this guard position, the lance is described as curta, short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.

[68] It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.

[69] This is a reference to giocco largo and giocco stretto. Vadi means that from here he can do whatever kind of technique he likes.

[70] Sommesso can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.

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[2]

[3]

[4]

[5]

[6]

[7]

[8]

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@@ Line 36: / Line 36: @@
 | principal manuscript(s)=
 | first printed edition= Porzio and Mele, 2002
-| wiktenauer compilation by=[[Michael Chidester]]
+| wiktenauer compilation by=
 | spouse               =
@@ Line 47: / Line 47: @@
 | signature            =
 | website              =
-| translations         = {{English translation|File:The Knightly Art of Combat of Filippo Vadi.pdf|local=1}}
+| translations         = {{plainlist
+ | {{english translation|File:The Knightly Art of Combat of Filippo Vadi.pdf|local=1}}
+ | {{english translation|http://www.thearma.org/Manuals/Vadi.htm}}
+}}
 | below                =
 }}
-'''Philippo di Vadi Pisano''' was a [[century::15th century]] [[nationality::Italian]] [[fencing master]]. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.<ref>For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "[http://hemaalliance.com/discussion/viewtopic.php?p=29181#p29181 Interesting information on the Vadi family (Philippo Vadi)]". [[HEMA Alliance|HEMA Alliance Forum]]. 06 June 2012. Retrieved 09 October 2012.</ref> Some time after this, Vadi composed a treatise on fencing entitled ''[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|De Arte Gladiatoria Dimicandi]]'' ("On the Art of Swordsmanship"); it was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,<ref name=Vadi>'''Vadi, Philippo di'''. ''De Arte Gladiatoria Dimicandi'' [manuscript]. [[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|MS Vitt. Em. 1324]]. Rome, Italy: [[Biblioteca Nazionale Centrale di Roma]], 1480s.</ref> and gifted to him between 1482 and 1487,<ref name=Rubboli>[[Marco Rubboli|Rubboli, Marco]] and [[Luca Cesari|Cesari, Luca]]. ''[[:File:The_Knightly_Art_of_Combat_of_Filippo_Vadi.pdf‎|The Knightly Art of Combat of Filippo Vadi]]''. Document circulated online.</ref> but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.
+'''Philippo di Vadi Pisano''' was a [[century::15th century]] [[nationality::Italian]] [[fencing master]]. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.<ref>For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "[http://hemaalliance.com/discussion/viewtopic.php?p=29181#p29181 Interesting information on the Vadi family (Philippo Vadi)]". [[HEMA Alliance|HEMA Alliance Forum]]. 06 June 2012. Retrieved 09 October 2012.</ref> Some time after this, Vadi composed a treatise on fencing entitled ''[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|De Arte Gladiatoria Dimicandi]]'' ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,<ref name=Vadi>'''Vadi, Philippo di'''. ''De Arte Gladiatoria Dimicandi'' [manuscript]. [[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|MS Vitt. Em. 1324]]. Rome, Italy: [[Biblioteca Nazionale Centrale di Roma]], 1480s.</ref> and gifted to him between 1482 and 1487,<ref name=Rubboli>[[Marco Rubboli|Rubboli, Marco]] and [[Luca Cesari|Cesari, Luca]]. ''[[:File:The_Knightly_Art_of_Combat_of_Filippo_Vadi.pdf‎|The Knightly Art of Combat of Filippo Vadi]]''. Document circulated online.</ref> but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.
 Vadi was probably an initiate of the tradition of [[Fiore de’i Liberi]], as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise ''Fior di Battaglia'', Vadi would have had ample opportunity to study his writings.
+{{TOC limit|3}}
 == Treatise ==
 {{master begin
   | title = Preface
-  | width = 84em
+  | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| rowspan="4" | [[File:Cod.1324 Iv.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_Iv.jpg]]
+| rowspan="5" | [[File:Cod.1324 IIv.png|300px|center]]
+|
+| {{section|Page:Cod.1324 IIv.jpg|1|lbl=IIv}}
+|-
 | <p>'''To my most illustrious Prince Guido di Montefeltro Duke of Urbino'''</p>
 | {{section|Page:Cod.1324 01r.jpg|1r.1}}
@@ Line 80: / Line 88: @@
 |-
-| <p><ref>I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.</ref>Just as my earnest mind, devoid of all cowardice and spurred by an outpouring of natural desire in my earliest thriving years, moved me towards warlike deeds and matters; so did it move me, as time progressed and as I grew in strength and knowledge, to learn more of those warlike deeds, matters, styles and skills through hard work. Such as how to play with the sword, lance, dagger and pollax.</p>
+| <p><ref>I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.</ref>Just as my earnest mind, devoid of all cowardice and spurred by an outpouring of natural desire in my earliest thriving years, moved me towards warlike deeds and matters; so did it move me, as time progressed and as I grew in strength and knowledge, to learn more of those warlike deeds, matters, styles and skills through hard work, such as how to play with the sword, lance, dagger and pollax.</p>
 |
 {{section|Page:Cod.1324 01r.jpg|1r.4|p=1}} {{section|Page:Cod.1324 01v.jpg|1v.1|p=1}}
@@ Line 87: / Line 95: @@
 |
 | <p>Of these things, through the guidance of almighty God, I acquired a good deal of knowledge and this through the practical experience and instruction of many teachers from various different countries, all masters and utterly proficient and knowledgeable in this art.</p>
-And not to diminish but instead to increase this doctrine so that it will not perish from my negligence, because from it comes no small help in battles, wars, riots and other warlike tumults:instead it gives all men trained and instructed in this material immediate and unique help: it has been suggested and required that I compile a booklet concerning these things by people I have surpassed in the art, and am more long winded than: adding to this various figures and placing various examples so that any man versed in this material can use if for assaults at arms, and can defend himself intelligently and be advised of all the types and styles.
 | {{section|Page:Cod.1324 01v.jpg|1v.2}}
 |-
 |
-|
+| <p>And not to diminish but instead to increase this doctrine so that it will not perish from my negligence, because from it comes no small help in battles, wars, riots and other warlike tumults: instead it gives all men trained and instructed in this material immediate and unique help: it has been suggested and required that I compile a booklet concerning these things by people I have surpassed in the art, and am more long winded than: adding to this various figures and placing various examples so that any man versed in this material can use if for assaults at arms, and can defend himself intelligently and be advised of all the types and styles.</p>
-So that everyone of a generous spirit will see this, my little work, as a jewel and a treasure, recording it in his inner heart, so in this way this useful art and doctrine will not fall into the hands of uncouth men and those of low-born condition.
+| {{section|Page:Cod.1324 01v.jpg|1v.3}}
-| <p>{{section|Page:Cod.1324 01v.jpg|1v.3|p=1}}{{section|Page:Cod.1324 02r.jpg|2r.1|p=1}}</p>
 |-
 |
+| <p>Therefore, anyone with a generous spirit will see this little work of mine as a jewel and a treasure and will keep it in memory deep within their heart, so that this art and discipline should never fall into the hands of peasants and low-born men.</p>
 |
-Because heaven has not made these men in earthly ﬂesh and beyond all cleverness and hard work and bereft of bodily agility, but instead they were made without reason,like animals, just to carry heavy loads and do baseand rustic works.
+{{section|Page:Cod.1324 01v.jpg|1v.4|p=1}} {{section|Page:Cod.1324 02r.jpg|2r.1|p=1}}
-| {{section|Page:Cod.1324 02r.jpg|2r.2}}
 |-
 |
-|
+| <p>Because Heaven has not made these rough-hewn men, ignorant and beyond all cleverness and diligence and wholly bereft of bodily agility, but instead they were made like animals without reason, just to carry heavy burdens and do base and rustic work; and because I declare them to be in every way alien to this science; everyone of perspicacious intelligence and lively limbs such as courtiers [l.10], scholars, barons, princes, dukes and kings, should on the contrary be welcomed into this noble science according to the principle of the Instituta which states: not only should the Imperial Majesty be honoured with Arms, but it must also be armed with sacred laws.</p>
-And so for this reason I tell you that they are in every way alien to this science, and it appears to me that the opposite stands for everyone of perspicacious intelligence and lively limbs such as are courtiers, scholars, barons,princes, Dukes and Kings, who should be invited to this noble science according to the principle of the Instituta which states: not only should Imperial Majesty be honoured in Arms, but also armed with sacred laws.
+| {{section|Page:Cod.1324 02r.jpg|2r.2}}
-| {{section|Page:Cod.1324 02r.jpg|2r.3}}
 |-
 |
-|
+| <p>Nobody should think that there is anything false or any kind of error in my book, because I have omitted and carved out anything unsure, and included only things that I have seen and tested. Let us begin then to explain our intention, with the aid and grace of the omnipotent God, blessed be His name.</p>
-Nobody should think that there is anything false or any kind of error in my book, because I have left outanything doubtful, and included only things that Ihave seen and tested. Let us begin then to explainour intention, with the aid and grace of theomnipotent God whose name will be blessed forever.
+| {{section|Page:Cod.1324 02r.jpg|2r.3}}
-| {{section|Page:Cod.1324 02r.jpg|2r.4}}
-|-
-|
-|
-And because the various animals, lacking reason,have natural gifts, without any of the knowledge of man (who lacks such natural bodily gifts). So instead of naturally occurring weapons, to make up for the lack of the aforesaid weapons, nature gives man hands. So to those that lack natural weapons she gives the virtue of intelligence and thought. So those that have natural weapons cannot acquire more weapons. So those that lack natural weaponry can better make use of all weapons, natural or otherwise.
-| <p>{{section|Page:Cod.1324 02r.jpg|2r.5|p=1}}{{section|Page:Cod.1324 02v.jpg|2v.1|p=1}}</p>
 |-
 |
+| <p>Some animals, lacking reason, ply their skills naturally without any knowledge. Man, instead, naturally lacks skills and his body lacks weapons. Nature compensates for this deficiency of weapons by giving man his hands, and for his lack of natural skills by offering him the virtues of intelligence and thought. Even if a man were born with some level of skill, he would not be able to acquire the remainder naturally, that is, learn to use all weapons and know each skill. He was therefore not endowed by nature with either skill or weapon. Consequently, among all animals, man needs intelligence and reason, through which art and ingenuity flourish and in which he overtakes and surpasses all other animals. Just so every trained and clever man of good intelligence overtakes and surpasses any other who is stouter and stronger than him.</p>
 |
-Having then need above all other animals for intelligence and reason, these things ﬂourish, art and intelligence, and not only these two things raise us above the other animals. But every trained and clever man of good intelligence overtakes and surpasses any other that is tougher than him, and more full of force.
+{{section|Page:Cod.1324 02r.jpg|2r.4|p=1}} {{section|Page:Cod.1324 02v.jpg|2v.1|p=1}}
-| {{section|Page:Cod.1324 02v.jpg|2v.2}}
 |-
 |
+| <p>As the famous saying goes: cleverness overcomes strength. And what is greater still and almost incredible: the wise rules the stars. An art that conquers all, and dominates anyone who would fight you or stand against you, is born from the aforesaid cleverness and other piercing thinking.</p><p>And not only can just one man prevail against another, but also a way and possibility exists for one man to overcome many. Not only do we show the way and the theory of combating the adversary as well as to defend yourself against him, but we also teach methods on how to take the weapon from his hand.</p>
 |
-Just to expand on my previous point. Cleverness overcomes strength. And what is greater still and almost incredible: ''sapiens dominabitur astris''. An art that conquers all, and dominates anyone who wouldfight you or stand against you, is born from the afore said cleverness and other piercing thinking. And not just one man against another, but also a method and the possibility is born for one man to overcome many people. And not only is shown the way and theory of combating the adversary, and to defend yourself against him, but also is taught advice on how to take the weapon from his hand.
+{{section|Page:Cod.1324 02v.jpg|2v.2|p=1}} {{section|Page:Cod.1324 03r.jpg|3r.1|p=1}}
-| <p>{{section|Page:Cod.1324 02v.jpg|2v.3|p=1}}{{section|Page:Cod.1324 03r.jpg|3r.1|p=1}}</p>
 |-
 |
-|
+| <p>Oftentimes in these texts, a small person of little strength overcomes, prostrates and throws a big, tough and brave man to the ground; just so, you will see how the humble can overtake the proud, and the unarmed the armed. And many times it happens that someone on foot defeats and conquers someone on horseback.</p>
-In these texts there will also be a few words on how a small person of little strength can overcome and throw down a big tough and brave man, and so you will see how the humble can overtake the great and the unarmed the armed. And many times it happens that someone on foot defeats and conquers someone on horseback.
 | {{section|Page:Cod.1324 03r.jpg|3r.2}}
 |-
 |
-|
+| <p>But because it would be very inconvenient if this noble doctrine were to wilt and die through negligence, I, Philippo di Vadi from Pisa having studied this art ever since my first flourishing years, having travelled to and practiced in many different countries, lands, castles and cities to collect the teachings and examples of many perfect masters of the art, having acquired and obtained (by the Grace of God) a sufficient portion of the art, I have decided to compose this little work, in which I have organised and shown at least the main points of four types of weapon: the lance, sword, dagger and axe.</p>
-But because this is a serious matter it would be very inconvenient if this noble doctrine perished and diminished through negligence, I, Philippo di Vadi from Pisa having studied this art since my first ﬂourishingyears having travelled to and practiced in many different countries, lands, castles and cities to collect the teachings and examples of many perfect masters of the art. By the grace of God having acquired and followed a sufficient quantity of the art I have been free to compose this, my little book, in which I have organised and shown at least the main points of four types of weapon: the lance, sword, dagger and axe.
 | {{section|Page:Cod.1324 03r.jpg|3r.3}}
 |-
 |
+| <p>And in this book, I will describe the rules, the methods and the actions of this art, with examples illustrated with various figures, so anyone new to the art can understand and learn how to fight, and by which trick and ploy he can fend off and beat aside the opponent’s attacks and counters. I have only included in the aforesaid book the good and true doctrine, which I have received from the most perfect masters, with great pains, efforts, and sleepless nights. And I have also included things that I have discovered and often tested.</p>
 |
-And in this book written by me I describe a properly organised theory and practice of this art, with examples illustrated with various figures, so anyone new to the art can understand and know how to fight,and by which tricks and vigour he expels, beats aside those of opponents and enemies. I have only included in the aforesaid book the good and true doctrine, which I have received from the most perfect masters, with great pains, and efforts, and vigils. And I have also included things that I have discovered and often tested.
+{{section|Page:Cod.1324 03r.jpg|3r.4|p=1}} {{section|Page:Cod.1324 03v.jpg|3v.1|p=1}}
-| <p>{{section|Page:Cod.1324 03r.jpg|3r.4|p=1}}{{section|Page:Cod.1324 03v.jpg|3v.1|p=1}}</p>
 |-
 |
-|
+| <p>Let me remind and admonish all not to be rashly presumptuous, nor to be so bold as to interfere in this art and discipline unless one is high-minded and filled with gallantry. That is because whoever is thick-brained, pusillanimous and cowardly must be banished from such nobility and refinement. To this doctrine should only be invited such men as soldiers,<ref>The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.</ref> men at arms, scholars, barons, lords, dukes, princes and kings of the land, and any of those whose task is to govern the state, and to any of these who defend widows and orphans (both of which are pious and divine works).</p>
-Reminding and admonishing all, in plain words, to not dare attempt this art and science unless they are bold,generous and full of courage. Because any coarse, low-born, pusillanimous man must be chased away and blocked from such nobility and refinement. Because to this doctrine should only be invited such men as: men at arms, scholars, barons, lords, dukes, princes and kings of the land and any of those that govern the republic, and to any of these who defend widows and orphans (both of these are pious and divine works).
 | {{section|Page:Cod.1324 03v.jpg|3v.2}}
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>And if this little work of mine finds its way into the hands of anyone versed in the art, and appears to him to have anything redundant or wrong, may it please him to cut, take away or add to it as he pleases. Because in the end I place myself under his correction and judgement.</p>
-And if this my little work finds its way into the hands of anyone versed in the art and appears to him to have any superﬂuous or wrong, please adjust, reduce or add to it as he pleases. Because in the end I place myself under his correction and censure.
+| class="noline" | {{section|Page:Cod.1324 03v.jpg|3v.3}}
-| {{section|Page:Cod.1324 03v.jpg|3v.3}}
 |}
@@ Line 168: / Line 161: @@
 {{master begin
   | title = Introduction
-  | width = 84em
+  | width = 90em
+}}
+{{master subsection begin
+ | title = Chapter 1
+ | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter I begins}}</p>
-'''Chapter I begins.'''
-<poem>If you wish to truly know
+<p>If you wish to truly know<br/>
-If fencing is an art or science
+If fencing is an art or science<br/>
-Hark my words, I say.</poem>
+Hark my words, I say.</p>
-<poem>Ponder this, my conclusion:
+<p>Ponder this, my statement:<br/>
-It is a true science and not an art
+It is a true science and not an art<br/>
-As my brief eloquence shall show.</poem>
+And Geometry, which divides and separates,</p>
-<poem>Geometry divides and separates
+<p>By infinite numbers and measures<br/>
-By infinite numbers and measures,
+And fills her papers with science,<br/>
-And fills her papers with science.</poem>
+Shows this with its pithy eloquence.<ref>I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. ''E mostrallo con breve eloquenza./La geometria che divide e parte.'' F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.</ref></p>
-<poem>The sword is placed in her care,
+<p>The sword is placed in her care,<br/>
-So measure blows and steps together
+So measure blows and steps together<br/>
-So Science keeps you safe.</poem>
+So Science keeps you safe.</p>
-<poem>From Geometry fencing is born,
+<p>From Geometry fencing is born,<br/>
-And under her it has no end;
+And under her it has no end;<br/>
-And both of them are infinite.</poem>
+And both of them are infinite.</p>
-<poem>And if you heed my doctrines,
+<p>And if you heed my doctrines,<br/>
-You'll know how to answer with reason
+You’ll know how to answer with reason<br/>
-And pluck the rose from the thorns.</poem>
+And pluck the rose from the thorns.</p>
-<poem>Music adorns this subject,
+<p>To make your opinion clearer,<br/>
-Song and sound enshrine the art,
+And to sharpen your intellect,<br/>
-To make it more perfect through science.</poem>
+So you may be able to answer to everyone:</p>
-<poem>To make your opinion clearer,
+<p>MMusic adorns her and chooses her as its subject,<br/>
-And to sharpen your intellect,
+Song and sound are added to the art,<br/>
-So you may be able to answer to everyone:</poem>
+To make it a more perfect science.</p>
-<poem>So Geometry and Music combine
+<p>So Geometry and Music combine<br/>
-Their scientific virtues in the sword,
+Their scientific virtues in the sword,<br/>
-To adorn the great light of Mars.</poem>
+To adorn the great light of Mars. </p>
-<poem>Now if you like what I have said,
+<p>Now if you like what I have said,<br/>
-And the explanations I have written
+And the explanations I have written<br/>
-Keep them in mind, so you will not fall.</poem>
+Keep them in mind, and don’t let it fall out.</p>
-<poem>So answer true as have told you,
+<p>So answer true as I have told you,<br/>
-In fencing you will find no end,
+In fencing you will find no end,<br/>
-as every backhand finds its fore,
+As every backhand finds its fore,<br/>
-Counter by counter without end.</poem>
+Counter by counter without end.</p>
-| {{section|Page:Cod.1324 03v.jpg|3v.4|p=1}}
+| class="noline" | {{section|Page:Cod.1324 03v.jpg|3v.4}}
 {{paget|Page:Cod.1324|04r|jpg|p=1}}<br/>{{section|Page:Cod.1324 04v.jpg|4v.1|p=1}}
+|}
+{{master subsection end}}
+{{master subsection begin
+ | title = Chapter 2 - Measure of the two-handed sword
+ | width = 90em
+}}
+{| class="master"
 |-
-|
+! <p>Illustrations</p>
-|
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
-'''Chapter II Measures of the two handed sword.'''
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
-<poem>The sword should be of the just measure,
-The pommel should come under the arm
+|-
-As it appears here in my writing.</poem>
+| class="noline" |
+| class="noline" | <p>{{red|b=1|Chapter II. Measure of the two-handed sword.}}</p>
+<p>The sword should be of the correct size,<br/>
+The pommel should come under the arm<br/>
+As it appears here in my writing.</p>
+<p>As you wish to avoid any trouble,<br/>
+The pommel should be round to fit in the closed fist<br/>
+Do this not to enter the trap.</p>
+<p>And may this be always done:<br/>
+The handle should be always a span<br/>
+Who does not have this measure will be defeated.</p>
-<poem>As you wish to avoid any trouble,
+<p>So your mind is not deceived,<br/>
-The pommel should be round to fit the fist
+The crossguard should be as long as the handle<br/>
-Do this to not enter the trap.</poem>
+And pommel together, and you won't be doomed.<ref>Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.</ref></p>
-<poem>And do this as it is always done:
+<p>The crossguard should be strong and square as needed<br/>
-The handle should be always a span
+With a wide and pointed iron,<ref>This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.</ref><br/>
-If it is not of this measure there is confusion.</poem>
+It must cut and thrust to do its duty.</p>
-<poem>So your mind is not deceived,
+<p>Take note and understand this addendum<br/>
-The crossguard should be as long as the handle
+If you wish to test the sword in armour,<br/>
-And pommel together, and you won't be condemned.</poem>
+Make the cutting edges four fingers from the point,<br/>
+With the handle as is said above,</p>
-<poem>You want the crossguard strong and square
+<p>With pointed crossguard, and note well the text.</p>
-With a wide and pointed iron,
+| class="noline" | {{section|Page:Cod.1324 04v.jpg|4v.2}}
-It must cut and thrust to do its duty.</poem>
-<poem>Take note and understand this guide
+|}
-If you wish to test the sword in armour,
+{{master subsection end}}
-Make the cutting edges four fingers from the point,
-With the handle as is said above,</poem>
-With pointed crossguard, and note well the text.
+{{master subsection begin
-| {{section|Page:Cod.1324 04v.jpg|4v.2}}
+ | title = Chapter 3 - Theory of the sword
+ | width = 90em
+}}
+{| class="master"
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter III. Theory of the sword.}}</p>
-'''Chapter III Principles of the sword'''
-<poem>Grasp the sword manfully,
+<p>Grasp the sword manfully,<br/>
-Because the cross is a royal weapon,
+Because the cross is a royal weapon,<br/>
-Together with a bold spirit.</poem>
+Harmonise it with your bold spirit.</p>
-<poem>If you have a sharp mind,
+<p>If you have a judicious mind,<ref>''si tu averai nel cervel tuo sale'', lit. “if you have salt in your brain”.</ref><br/>
-You must consider here,
+You must consider here,<br/>
-The way to climb these stairs.</poem>
+Which way to take to climb these stairs.</p>
-<poem>The art of the sword is just in crossing,
+<p>The art of the sword is only a crossing,<br/>
-Suiting thrust or cut to their context,
+Delivering thrusts and cuts in the fight,<br/>
-To make war on he who stands against you.</poem>
+To make war against he who stands against you.</p>
-<poem>On one side you make defence
+<p>On one side you make defence<br/>
-The forehand blows go on one side,
+The forehand blows go from one side,<br/>
-The backhands attack from the other.</poem>
+The backhands from the other side make offence.</p>
-<poem>The true edge falls on the forehand side,
+<p>The true edge falls on the forehand side,<br/>
-And note well this truth
+And note well this principle<br/>
-The backhand and false edge go together.</poem>
+The backhand takes the same road as the false edge.</p>
-<poem>And follow then as the saying goes,
+<p>And follow then as the saying goes,<br/>
-Place yourself in guard with the sword in hand,
+Place yourself in guard with the sword in hand,<br/>
-If you pass forwards or back remain side-on.</poem>
+If you pass forwards or back<ref>''Passi o torni'', lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing ''accrescere'' and ''discrescere'', ''passare'' and ''torrnare'', it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.</ref> remain side-on.</p>
-<poem>So that you will not play in vain,
+<p>So that you will not play in vain,<br/>
-Face the side to which you turn,
+Face the side to which you turn,<br/>
-And enter there, if this is not strange.</poem>
+And enter from there. And don’t let this seem strange to you:</p>
-<poem>Letting your sword go hunting
+<p>Place your sword towards the target<br/>
-Against the companion with your point in his face,
+Against the companion with your point in his face,<br/>
-Ready to strike immediately.</poem>
+And be quick to strike him.</p>
-<poem>You must be very shrewd,
+<p>You must be very careful,<br/>
-Keep an eye on the weapon that can strike you,
+Keep an eye on the weapon that can strike you,<br/>
-Grabbing the tempo and measure together.</poem>
+Grabbing the tempo and the measure, well collected.</p>
-<poem>Make your heart agree with your defence
+<p>Make your heart agree with your feet and arm<br/>
-The feet and the arm with good measure,
+In defending with good measure,<br/>
-That you may take all the honour.</poem>
+That you may take all the honour.</p>
-<poem>And note well and understand my text
+<p>And note well and understand my text<br/>
-That if the companion strikes with his sword,
+That if the companion strikes with his sword,<br/>
-With yours acquire the crossing.</poem>
+And achieves the crossing with yours,</p>
-<poem>Your guard should not go out of the way,
+<p>Watch that you do not end up out of the line,<br/>
-Go with the cover and with the point raised
+Go with the cover and with the point to the face,<br/>
-The blows hammer the head.</poem>
+The blows go hammering the head.</p>
-<poem>Play of the cross and you will not be conquered,
+<p>Play of the cross and you will not be conquered,<br/>
-If the companion crosses wide and you thrust,
+If the companion crosses wide and you thrust,<br/>
-You want to not be divided from him.</poem>
+You want to not be divided from him.</p>
-<poem>When you are joined with him at the half sword,
+<p>When you are joined with him at the half sword,<br/>
-Constrain him as reason desires,
+Get closer to him, as reason calls for,<br/>
-And leave the wide play and confront him.</poem>
+And leave the wide play and confront him there.</p>
-<poem>Also sometimes it is so,
+<p>Also it is often so,<br/>
-That a man doesn’t feel himself very strong,
+That a man doesn’t feel very strong,<br/>
-Then he needs cunning, not words.</poem>
+Then he needs cunning, not words.</p>
-<poem>Pass out of the way with skill,
+<p>Pass out of the way with agility,<br/>
-With the cover of the good backhand,
+With the cover of the good backhand,<br/>
-Redoubling swiftly with a forehand.</poem>
+Redoubling swiftly with a forehand.</p>
-<poem>If you don’t feel your cunning has been lost
+<p>If you don’t feel your cunning has been lost<br/>
-Leave the wide and find the constrained play
+Leave the wide and find the stretto play<br/>
-Make strength change sides.</poem>
+This will make strength change sides.</p>
-<poem>And take note of and understand this saying,
+<p>And take note of and understand this saying,<br/>
-That when crossing, cross with strength,
+That when crossing, you will cross with strength,<br/>
-To lessen the threat from his sword.</poem>
+Because it dampens the effect of his sword.</p>
-<poem>Know that cleverness always overcomes strength,
+<p>Know that cleverness always overcomes strength,<br/>
-Make the cover and immediately strike,
+Make the cover and immediately strike,<br/>
-In wide and constrained you’ll beat down strength.</poem>
+In largo and constrained you’ll beat down strength.</p>
-<poem>And if you want to make him feel your point,
+<p>And if you want to make him feel your point,<br/>
-Go out of the way with a pass across
+Go out of the way with a pass across,<br/>
-Make him feel your point in his chest.</poem>
+Make him feel your point in his chest.</p>
-<poem>With the point high and the pommel low
+<p>With the point high and the pommel low<br/>
-And the arms inside with a good cover,
+And the arms out [of the line] with a good cover,<br/>
-Pass to the left side with a good pace.</poem>
+Pass to the left side with a good pace.</p>
-<poem>And the point will find an open way,
+<p>And if the point will find an open way,<br/>
-Passing to the outside do not fear,
+Passing to the outside do not fear,<br/>
-In every way you will make your offer.</poem>
+In every way you will make your offer.</p>
-<poem>Control him and grasp the grip of his sword,
+<p>Press in and grasp the grip of his sword,<br/>
-If this cannot be done well,
+If this cannot be done well,<br/>
-Crushing his sword does the duty.</poem>
+Crushing his sword does the duty.</p>
-<poem>Always match your passes
+<p>Always match your passes<br/>
-With the enemy’s, and when you find him
+With the enemy’s, and when you find him<br/>
-This I say- do not let go!</poem>
+(And what I say do not forget)</p>
-<poem>When you see that the sword moves,
+<p>As you see that he moves the sword,<br/>
-Or if he steps, or strikes,
+Or if he passes, or even strikes,<br/>
-Or you pass back, or make him find a bump.</poem>
+Or you pass back, or you find him near,</p>
-<poem>Wisdom, strength and boldness act
+<p>Let wisdom, strength and boldness go<br/>
-With him who desires honour in arms,
+With him who desires honour in arms,<br/>
-Lacking these, he must exercise more.</poem>
+Lacking these, he must exercise more.</p>
-<poem>You must have a bold heart,
+<p>You must have a bold heart,<br/>
-If a big man appears strong
+If a big man appears strong to you<br/>
-Using cunning will give you favour.</poem>
+Use cunning, it will give you advantage.</p>
-<poem>Be as certain as death
+<p>Be as careful as you would be with death<br/>
-That your play is not courteous,
+That your play is not courteous,<br/>
-When the other tries to shame you</poem>
+When the other tries to shame you.</p>
-<poem>And note well this text of mine,
+<p>And note well this statement of mine,<br/>
-You know your heart, not the companion’s
+You know your heart, not the companion’s<br/>
-Do not wish ever to use that fantasy.</poem>
+Do not ever fall into that illusion.</p>
-<poem>Make yourself great in trickery
+<p>Make yourself great in trickery<br/>
-If you wish for success in this art
+If you wish for success in this art<br/>
-That will bear good fruit.</poem>
+That will bear good fruit.</p>
-<poem>Note well and understand this part
+<p>Note well and understand this part:<br/>
-Who wishes of the art to act in opposition
+He who wishes to use the art to oppose everyone,<br/>
-Of a thousand, one will dirty his cards.</poem>
+Out of a thousand, one will best him,<ref>This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.</ref></p>
-<poem>He loses honour for one single failing
+<p>And so he loses his honour for one single mistake.<br/>
-If he believes low things to be high
+He who is below may believe to be above,<br/>
-And from this alone will be often against others.</poem>
+And this is the kind who is often combative with others,</p>
-<poem>Often he makes from this other complaints
+<p>Often he will start a disagreement with another,<br/>
-Being in opposition he comes to quarrel
+And what started as such becomes a quarrel,<br/>
-Showing that with him who is versed in the art</poem>
+Here is where he who knows the art will show his mettle.</p>
-<poem>If the tongue could cut with reasons,
+<p>If the tongue could cut by its nature,<br/>
-And strike as does the sword,
+And strike as well as the sword can,<br/>
-The dead would be infinite.</poem>
+The dead would be countless.</p>
-<poem>And make sure your mind does not fall
+<p>And make sure your mind does not fall<br/>
-But grasp with reason your defence,
+But choose your defence with reason,<br/>
-And with justice go justly.</poem>
+And with justice go justly.</p>
-<poem>If you go without reason to offend others,
+<p>He who wishes to offend others without reason<br/>
-Certainly damns his soul and body
+Certainly damns his soul and body<br/>
-And makes his master ashamed.</poem>
+And brings shame upon his master.</p>
-<poem>And you must always keep in mind
+<p>And you must also keep in mind<br/>
-To always honour your teacher,
+To always honour your teacher,<br/>
-Because money does not repay such a debt.</poem>
+Because money alone does not repay such a debt.</p>
-<poem>If you would be dextrous, and master the sword,
+<p>He who wishes to master the sword and be dextrous,<br/>
-You must be accomplished in teaching and learning,
+Must be accomplished in teaching and learning,<br/>
-Raising to give you the act of the left.</poem>
+While removing from you any wrong action.</p>
-<poem>If loyalty for them gives you (their) love,
+<p>If you never stop prizing loyalty,<br/>
-You can talk to princes and kings,
+You can talk to princes and kings,<br/>
-Because this art is used by them.</poem>
+So that this art be used by them.</p>
-<poem>Because they are expected to govern
+<p>Because they are expected to govern<br/>
-And each to maintain justice,
+And for each to maintain justice,<br/>
-For widows, orphans and other affairs.</poem>
+For widows, orphans and other affairs.</p>
-<poem>All sorts of good things come from this art,
+<p>All sorts of good things come from this art,<br/>
-By arms the cities are kept down
+By arms the cities are governed,<br/>
-And the crowds are kept under control.</poem>
+And the crowds are kept under control.</p>
-<poem>And she maintains in herself such dignity,
+<p>And she maintains in herself such dignity,<br/>
-That it always warms your heart,
+That it often warms your heart,<br/>
-Driving out cowardice.</poem>
+Driving out cowardice from you.</p>
-<poem>Acquire both riches and honour
+<p>This [art] will make you acquire both riches and honour,<br/>
-And this passes above all other things
+And this passes above all other things,<br/>
-Be always in your lord’s good graces.</poem>
+Be always in your lord’s good graces.</p>
-<poem>If you would have fame in this art,
+<p>If you will have such a magnificent art,<br/>
-You will never be poor, anywhere,
+You will never be poor, anywhere,<br/>
-Because this virtue is so glorious.</poem>
+Because this virtue is so glorious.</p>
-<poem>If poverty shows you the cards
+<p>If poverty shows you the cards<br/>
-Only once, then you will see,
+Only once, then you will see,<br/>
-By this art, riches will embrace you.</poem>
+By this art, riches will embrace you.</p>
-<poem>Sometimes you will find yourself
+<p>Sometimes you will find yourself<br/>
-Being like a spent light,
+Being like a blown-out candle,<br/>
-Do not doubt that you will soon return.</poem>
+Do not doubt that you will soon return.</p>
-<poem>To find this art I have spared no pains,
+<p>To find this art I have spared no pains,<br/>
-I speak not of the old but the new
+I speak not of the old but the new,<br/>
-To make her known I am content.</poem>
+I am happy to have put her to paper.</p>
-<poem>I have kept her firmly imprisoned,
+<p>I have kept her firmly imprisoned,<br/>
-But as I release her, I truly swear
+But as I release her, I truly swear:<br/>
-She gave me wealth, and as it happened to me,
+She gives me wealth, and as it happened to me,<br/>
-So it will be for those in whom we find this virtue.</poem>
+So it happens to those in whom virtue is found.</p>
-| <p>{{section|Page:Cod.1324 04v.jpg|4v.3|p=1}}<br/>{{paget|Page:Cod.1324|05r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|05v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|07r|jpg|p=1}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1|p=1}}</p>
+| class="noline" |
+{{section|Page:Cod.1324 04v.jpg|4v.3|p=1}}<br/>{{paget|Page:Cod.1324|05r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|05v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|07r|jpg|p=1}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1|p=1}}
+|}
+{{master subsection end}}
+{{master subsection begin
+ | title = Chapter 4
+ | width = 90em
+}}
+{| class="master"
 |-
-|
+! <p>Illustrations</p>
-|
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
-'''Chapter Four'''
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
-<poem>This art is so noble and refined,
-She makes masters of men who follow her,
+|-
-Makes the eye quick and bold and noble.</poem>
+| class="noline" |
+| class="noline" | <p>{{red|b=1|Fourth Chapter}}<ref>This number is written out (''quarto''), and does not have a roman numeral in the ms, so I have written it out here.</ref></p>
+<p>This art is so noble and refined,<br/>
+She teaches man [how] to proceed,<br/>
+Makes the eye quick, bold and noble.</p>
+<p>This art teaches you to turn well,<br/>
+Teaches also to cover and be strong,<br/>
+And cuts and thrusts, it teaches [you] to parry well.</p>
-<poem>This art teaches you to turn well,
+<p>How many are those, the numberless dead,<br/>
-Teaches also to cover and be strong,
+To whom the art did not appeal,<br/>
-And cuts and thrusts, it teaches the good parry.</poem>
+And so they closed the doors of life.</p>
-<poem>How many are those, the numberless dead
+<p>There is no greater treasure than life,<br/>
-To whom the art did not appeal,
+And everyone strives to defend it,<br/>
-And so they closed their doors to life.</poem>
+To hold onto it as hard as they can.</p>
-<poem>There is no greater treasure than life,
+<p>Abandon material goods, and all valuable things,<br/>
-And everyone strives to defend it,
+Defend your body with this art,<br/>
-To hold onto it as hard as they can.</poem>
+And you will have honour and glory.</p>
-<poem>Abandon material goods, and all valuable things,
+<p>Oh what a laudable and good thing it is<br/>
-Defend your body with this art,
+To learn this art that costs you so little,<br/>
-And you will have honour and glory.</poem>
+And a thousand times gives you life.</p>
-<poem>Oh what a laudable and good thing it is
+<p>Oh in how many ways it can serve you,<br/>
-To learn this art that costs you so little,
+Without searching you will find quarrels,<br/>
-And a thousand times gives you life.</poem>
+Blissful is he who can put out another’s fire.</p>
-<poem>Oh in how many ways it can have a place with you
+<p>My art, new and made with reason,<br/>
-Without searching you will find quarrels
+I speak not of the old, that I leave<br/>
-Blissful is he who can push the other’s fire.</poem>
+To our ancestors and their beliefs.</p>
-<poem>My art is new and made with reason
+<p>If you do not want your honour to be thrown down,<br/>
-I speak not of the old, that I leave
+Measure your tempo and that of the companion.<br/>
-To our ancestors and their beliefs.</poem>
+This is the foundation of the art and its measure.</p>
-<poem>If you do not want your honour to be thrown down,
+<p>Open your ears to the great text,<br/>
-Measure your tempo and that of the companion.
+And understand its beautiful principles,<br/>
-This is the foundation and base of the art.</poem>
+To not give your teacher cause for lament.</p>
-<poem>Open your ears to the great text,
+<p>Make it so the swords are always sisters<br/>
-And understand its beautiful reason,
+When you come to fence with someone<br/>
-To not give your teacher cause for complaint.</poem>
+And choose between them the one you want.<ref>The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.</ref></p>
-<poem>Make it so the swords are always sisters
+<p>Do not give advantage of the sword<ref>Advantage of the sword is presumably length, especially in a duelling context.</ref> to anyone<br/>
-When you come to fence with someone
+You will be in danger of being shamed,<br/>
-And choose the one you want from them.</poem>
+And this is something that everyone must follow.</p>
-<poem>Do not give advantage of the sword to anyone
+<p>Good eye, knowledge, speed are needed,<br/>
-You will be in danger of being shamed,
+And if you have strength and heart with you<br/>
-And this is something to be followed by anyone.</poem>
+You will give everyone their due.<ref>Lit. “You will make everyone scratch their own mange”</ref></p>
-<poem>Good eye, knowledge, speed are needed,
+<p>Understand my statement well,<br/>
-And if you have strength and heart together
+A big man should have a long sword,<br/>
-You will scratch anyone’s mange.</poem>
+And a little man should have a short one.</p>
-<poem>Understand my sentence well,
+<p>A man’s great strength can break the guards,<br/>
-A big man should have a long sword,
+But natural cleverness will keep that in check,<br/>
-And a little man should have a short one.</poem>
+It gives good boldness to a small man.</p>
-<poem>A man of great strength can break the guards,
+<p>Who knows many actions carries venom with him.<br/>
-But natural cleverness will keep that in check,
+Who knows few, struggles<br/>
-It gives a good chance to a small man.</poem>
+And in the end [he] remains [with] wind, or less.<ref>This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.</ref></p>
-<poem>Who makes many blows brings venom
+<p>And if you follow my thread<br/>
-Who makes few does so with great effort,
+And grasp the principle of this art,<br/>
-In the end a black wind can be pleasant.</poem>
+At need this will extract you from trouble.</p>
-<poem>And if you come to the edge of my line,
+<p>And note well the saying which goes:<br/>
-And grasp the reason of this art,
+Do not display the secrets of the art,<br/>
-She must extract you from trouble.</poem>
+So you won’t be injured for this cause.</p>
-<poem>And note well that of which I speak,
+<p>Also understand well this other thing:<br/>
-Do not display the secrets of the art
+The sword that is longer is deadly,<br/>
-So you won’t be injured for this reason.</poem>
+You cannot play against it without danger;</p>
-<poem>Also understand well this other thing,
+<p>Make sure they are of equal measure,<br/>
-The sword that is longer is deadly,
+As I said to you in the first chapter<br/>
-You cannot play with it without danger.</poem>
+Of our book, that is above.</p>
-<poem>Make sure they are of equal measure,
+<p>I only esteem the sword of two hands,<br/>
-As I said in the first chapter
+And this is the only one I use at need,<br/>
-Of our book, that is above.</poem>
+And of which the verse of my book sings.</p>
-<poem>I only esteem the sword of two hands,
+<p>If you don’t want to be shamed,<br/>
-And this is the only one I use at need,
+Don’t pick a fight with more than one:<br/>
-And of which the verse of my book sings.</poem>
+You’ll end up sounding worse than a bagpipe.</p>
-<poem>And so you will not be shamed,
+<p>If force constrains you to contend<br/>
-Avoid fighting more than one
+With more than one, then keep this in mind,<br/>
-Who makes against the other one the reed-pipe.</poem>
+Take a sword that you can really use.</p>
-<poem>If force constrains you to contend
+<p>Choose a weapon that is light, not heavy,<br/>
-With more than one, then keep this in mind,
+So it is easily controlled<br/>
-Take a sword that you can really use.</poem>
+And you do not have to struggle with the weight.</p>
-<poem>Choose a weapon that is light, not heavy,
+<p>At need you can take another way,<br/>
-So it is easily controlled
+And you leave the thrust and employ<br/>
-And you are not given difficulty by the weight.</poem>
+Other blows to even things out,</p>
-<poem>At need you can take another way,
+<p>As you will hear in my text.</p>
-And you leave the thrust and employ
+| class="noline" | {{section|Page:Cod.1324 07v.jpg|7v.2}}
-Other blows to return here,</poem>
-<poem>As you will hear in my text.</poem>
+{{paget|Page:Cod.1324|08r|jpg}}
-| {{section|Page:Cod.1324 07v.jpg|7v.2}}{{paget|Page:Cod.1324|08r|jpg}}
 {{paget|Page:Cod.1324|08v|jpg|p=1}}<br/>{{section|Page:Cod.1324 09r.jpg|9r.1|p=1}}
+|}
+{{master subsection end}}
+{{master subsection begin
+ | title = Chapter 5 - Of thrusts and cuts
+ | width = 90em
+}}
+{| class="master"
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter V. Of thrusts and cuts}}</p>
-'''Chapter V Of Thrusts and Cuts'''
-<poem>The sword has a point and two edges,
+<p>The sword has a point and two edges,<br/>
-But note well and understand this text,
+But note well and understand this text,<br/>
-That memory will not fail you.</poem>
+That memory will not bamboozle you:</p>
+<p>One [edge] is the false, and the other the true,<br/>
+And reason commands and desires<br/>
+That you keep this fixed in your brain.</p>
-<poem>One is the false, and the other the true,
+<p>Forehand and true edge go together,<br/>
-And reason commands and desires,
+Backhand and false edge stay together,<br/>
-That this is fixed in your brain.</poem>
+Except the fendente which calls for the true.</p>
-<poem>Forehand and true edge go together,
+<p>Understand my text well,<br/>
-Backhand and false edge stay together,
+Seven are the blows that the sword delivers<br/>
-Except the fendente which wants the true.</poem>
+That would be six cuts, with the thrust.</p>
-<poem>Understand my text well,
+<p>SSo that you will find this vein,<br/>
-The sword goes with seven blows
+Two from above and below and two in the middle,<br/>
-Six cuts with the thrust that strikes.</poem>
+The thrust up the middle with deceit and pain,<br/>
+That often gets us out of trouble.<ref>''Che l’aer nostro fa spesso serena'', lit. “that often makes our skies serene”.</ref></p>
+| class="noline" | {{section|Page:Cod.1324 09r.jpg|9r.2}}
-<poem>So that you will find this seam,
+|}
-Two from above and below and two in the middle,
+{{master subsection end}}
-The thrust up the middle with deceit and suffering,
-That our Air is often calm.</poem>
-| {{section|Page:Cod.1324 09r.jpg|9r.2}}
+{{master subsection begin
+ | title = Chapter 6 - The seven blows of the sword
+ | width = 90em
+}}
+{| class="master"
 |-
-|
+! <p>Illustrations</p>
-|
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
-'''Chapter VI The seven blows of the sword.'''
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
-<poem>We are the fendenti and we make quarrels,
-To strike and cut often with grief,
+|-
-The head and the teeth with the right reason.</poem>
+| class="noline" |
+| class="noline" | <p>{{red|b=1|Chapter VI. The seven blows of the sword}}</p>
+<p>We are the ''fendenti'' and we make quarrels,<br/>
+To strike and cut often, with pain,<br/>
+The head and the teeth in a direct way.</p>
+<p>And all guards that are made low to the ground,<br/>
+We break often with our cunning,<br/>
+Passing from one to the other without trouble.</p>
+<p>The blows make a bloody mark,<br/>
+When we mix them with the rota<br/>
+We make the entire Art our support.</p>
-<poem>And all guards that are made low to the ground,
+<p>''Fendente'', for striking we are well endowed,<br/>
-We break often with our cunning,
+Returning to guard from pass to pass,<br/>
-Passing from one to the other without trouble.</poem>
+Note: we are not slow to strike.</p>
-<poem>The blows make a bloody mark,
+<p>I am the ''rota'' and I have in me such a load,<br/>
-When we mix them with the rota
+If you want to mix me with the other blows,<br/>
-We support the entire art.</poem>
+I will often place a thrust in an arc.<ref>This line reads “''io metterò la punta spesso a l’archo''”. “I will place the thrust” is clear. ''Spesso a l’archo'' is literally “often at a bow”. But just as ''bistecca alla fiorentina'' is steak in the manner of Florence, so ''a l’archo'' can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.</ref></p>
-<poem>Fendente for striking we are well endowed,
+<p>I cannot be courteous or loyal,<br/>
-Returning to guard from pass to pass,
+Turning I pass through the forehand fendente<br/>
-Note we are not slow to strike.</poem>
+And destroy arms and hands without delay.</p>
-<poem>I am the rota and I have in me such a load,
+<p>People call me ''rota'' by name,<br/>
-That you want to mix me with the other blows,
+I seek the deception of the sword<br/>
-I place a thrust often at a bow.</poem>
+I hone the mind of he who uses me.</p>
-<poem>I cannot be courteous or loyal
+<p>We are ''volanti'', always crossing<br/>
-Turning I pass through forehand fendente
+And striking from the knee up,<br/>
-And destroy arms and hands without delay.</poem>
+Fendente and thrusts we often banish.</p>
-<poem>People call me Rota by name,
+<p>The ''rota'' that come up from below<br/>
-I seek the false of the sword
+Pass us obliquely without fail<br/>
-I please the mind of he who uses me.</poem>
+And with the ''fendente'' warm the cheeks.<ref>This means the ''fendente'' strike us. In this last stanza, ''rota'' blows are defeating ''volante'' blows; they are parrying them and returning with a fendente to the face.</ref></p>
+| class="noline" |
+{{section|Page:Cod.1324 09r.jpg|9r.3|p=1}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1|p=1}}
-<poem>We are volanti, always crossing
+|}
-And from the knee up we go,
+{{master subsection end}}
-Fendente and thrusts we often banish.</poem>
-<poem>By crossing us pass without fail,
+{{master subsection begin
-The Rota that come up from below,
+ | title = Chapter 7 - Of the thrust
-And with the fendente warms our cheeks.</poem>
+ | width = 90em
-| <p>{{section|Page:Cod.1324 09r.jpg|9r.3|p=1}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1|p=1}}</p>
+}}
+{| class="master"
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter VII. Of the thrust}}</p>
-'''Chapter 7 Of the thrust.'''
-<poem>I am he that quarrels with
+<p>I am she that quarrels with<br/>
-All the other blows, and I am called the thrust.
+All the other blows, and I am called the thrust.<br/>
-I carry venom like the scorpion.</poem>
+I carry venom like the scorpion.</p>
+<p>I feel so strong, bold and ready,<br/>
+Often I make the guards waver<br/>
+When I am thrown at others and confront them,</p>
+<p>And when I am joined, I harm nobody with my touch.</p>
+| class="noline" | {{section|Page:Cod.1324 09v.jpg|9v.2}}
-<poem>I feel so strong, bold and quick,
+|}
-Often I make the guards plough again
+{{master subsection end}}
-When I am thrown at others and confront them</poem>
-By my harmful touch, when I join them.
+{{master subsection begin
-| {{section|Page:Cod.1324 09v.jpg|9v.2}}
+ | title = Chapter 8 - The dispute of the cuts and thrusts
+ | width = 90em
+}}
+{| class="master"
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter VIII. The dispute of the cuts and thrusts}}</p>
-'''Chapter VIII The quarrel of the cuts and thrusts.'''
-<poem>The rota with the fendente and the volante
+<p>The ''rota'' with the ''fendente'' and the ''volante''<br/>
-Say to the thrusts “we will show
+Argue with the thrusts and show them<br/>
-That you are not so dangerous”.</poem>
+That they are not so dangerous.</p>
+<p>And when they come to us,<br/>
+All the blows can make them lose their way<br/>
+Losing in this joust the chance to strike.</p>
+<p>The blow of the sword does not lose its turn,<br/>
+The thrust is worth little against he who turns quickly<br/>
+The blows clear the way for the one who is going.<ref>As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.</ref></p>
-<poem>And when they come to us,
+<p>If you don’t have a quick memory,<br/>
-All the blows can make them lose their way
+If the thrust doesn’t wound it loses its turn,<br/>
-Losing in this joust the chance to strike.</poem>
+All the other [blows] deem it weak.</p>
-<poem>The blow of the sword does not lose its turn,
+<p>Against just one [opponent] the thrust finds its place,<br/>
-Little worth the thrust to him the quick turn,
+Against more it doesn’t do its duty,<br/>
-It makes it go very wide, the blows going that way.</poem>
+This is found in the text and the act.<ref>That is, in theory and in practice.</ref></p>
-<poem>If you don’t have a slack memory,
+<p>If the thrust throws a ''rota'' do not fear,<br/>
-If the thrust doesn’t strike it loses the strike
+If it does not immediately take a good ''fendente'',<br/>
-All the others deem it weak.</poem>
+It remains fruitless, it seems to me. </p>
-<poem>Against just one the thrust finds its place,
+<p>Keep in mind a little here,<br/>
-Against more it doesn’t do its duty,
+If the thrust enters but does not swiftly exit,<br/>
-This is found in the text and the act.</poem>
+It lets the companion hurt you with a strike.</p>
-<poem>If the thrust throws a rota do not fear
+<p>Cutting a blow, your sword is lost,<br/>
-If it does not immediately take a good fendente,
+If the point loses its way in the strike,<br/>
-It remains fruitless against my parry.</poem>
+Or the right cross from below helps you.<ref> I read this to mean that when cutting, your point should remain in line (in the ''strada''), unless you deliberately allow it to fall, to parry up from below.</ref></p>
-<poem>Keep in mind here,
+<p>I make a forehand ''fendente'' at you with the sword,<br/>
-If the thrust enters but does not swiftly exit,
+And break you out of that guard,<br/>
-It lets the companion strike back hard.</poem>
+So that you are forced into a bad spot.</p>
-<poem>Your sword is expert at slicing a blow,
+<p>Do not lose even an hour of learning:<br/>
-The thrust will lose its way to the strike,
+The great motions with a serene hand,<ref>''Tempi'' here is clearly ‘motions’, rather than ‘times’.</ref><br/>
-It is mocked with the help of the low cross.</poem>
+Will place you above the others and give you honour.</p>
-<poem>I make a straight fendente at you with the sword,
+<p>Break all low guards,<br/>
-And break you out of that guard.
+Low guards await small loads,<br/>
-So that you are forced into a bad spot.</poem>
+And so heavy ones pass without difficulty.</p>
-<poem>Do not lose a single hour of learning.
+<p>A heavy weapon does not pass quickly to the step,<br/>
-The great blows with a serene hand,
+Light ones come and go like an arrow from a bow.</p>
-Will place you above the others and give you honour.</poem>
+| class="noline" |
+{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}
-<poem>Break all low guards
+|}
-Low guards await small loads,
+{{master subsection end}}
-And so heavy ones pass without difficulty.</poem>
-<poem>Heavy arms do not go quickly to the step,
+{{master subsection begin
-Light ones go and come like an arrow in a bow.</poem>
+ | title = Chapter 9 - Of the Cross
-| <p>{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}</p>
+ | width = 90em
+}}
+{| class="master"
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter IX. Of the Cross}}</p>
-'''Chapter IX Of the Cross.'''
-<poem>I am the Cross with the name of Jesus
+<p>I am the Cross with the name of Jesus<br/>
-My sign is made both in front and behind
+My sign is made both in front and behind<br/>
-To find many more defences.</poem>
+To find many more defences.</p>
+<p>If I confront a different weapon,<br/>
+I do not lose my way, I have been proven;<br/>
+This often happens because I go looking for it.</p>
-<poem>If I find myself against a different weapon,
+<p>And when a long weapon finds me,<ref>This line is ambiguous; it could also read “And when a weapon finds me extended”.</ref><br/>
-I do not lose my way, this has been proven
+He who with reason makes my defence,<br/>
-This I often go looking for.</poem>
+Will gain the honour in every venture.<ref>The word Vadi uses here is ‘''inprexa''’. It is the same word as the French ‘''emprise''’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.</ref></p>
+| class="noline" | {{section|Page:Cod.1324 10v.jpg|10v.2}}
-<poem>And when I find a long weapon,
+|}
-Then with reason I make my defence,
+{{master subsection end}}
-To gain the honour in every venture.</poem>
-| {{section|Page:Cod.1324 10v.jpg|10v.2}}
+{{master subsection begin
+ | title = Chapter 10 - Theory of the half sword
+ | width = 90em
+}}
+{| class="master"
 |-
-|
+! <p>Illustrations</p>
-|
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
-'''Chapter X Discussion of the half sword.'''
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
-<poem>Wanting to follow in this great work,
-It is necessary to explain bit by bit,
+|-
-All the strikes of the art.</poem>
+| class="noline" |
+| class="noline" | <p>{{red|b=1|Chapter X. Theory of the half sword}}</p>
+<p>Wanting to follow in this great work,<br/>
+It is necessary to explain bit by bit,<br/>
+All the strikes of the art.</p>
+<p>So that it is well understood and put into practice,<ref>This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.</ref><br/>
+Reason demands that I first explain<br/>
+The turning principle of the sword.</p>
+<p>And with arms extended go,<ref> At this point there ''menando'', (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).</ref><br/>
+Driving the edge to the middle of the companion.</p>
-<poem>So that you will understand and use
+<p>And if you wish to appear great in the art,<br/>
-The system well, I wish to first make clear
+You can go from guard to guard,<br/>
-The turning principle of the sword.</poem>
+With a slow and serene hand,<ref>A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.</ref><br/>
+With steps that are not out of the ordinary.</p>
-<poem>And with arms extended
+<p>If you wish to make some kind of ''stramazone'',<ref>This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The ''stramazzone'' is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)</ref><br/>
-Bring the edge to the middle of the companion.</poem>
+Do it with a small turn in front of the face,<br/>
+Don’t make a very wide motion,<br/>
+Because all wide motions<ref>''Largo tempo'', literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.</ref> are for nothing.</p>
-<poem>And if you wish to appear great in the art,
+<p>Making the ''roverso'' you will be helped,<br/>
-You should go from guard to guard,
+Passing out of the way with the left foot,<br/>
-With a slow and serene hand,
+Drawing forwards with the right foot too,<br/>
-With steps that are not out of the ordinary.</poem>
+Keeping an eye out for a good parry.</p>
-<poem>If you wish to make a stramazone at someone
+<p>When you wish to enter into half sword<br/>
-Do it with a small turn to the face
+As the companion lifts his sword,<br/>
-Don’t make a very wide turn
+Then don’t hold back,<br/>
-Because all long movements are for nothing.</poem>
+Grab the tempo<ref>Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.</ref> or it will cost you dear.</p>
-<poem>Making the roverso you will be helped,
+<p>Place yourself in the guard of the boar,<br/>
-Passing out of the way with the left foot,
+When you enter with the thrust at the face<br/>
-Following with the right foot too,
+Do not be divided at all [from the companion],<ref>''punto divixo'': lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say ''poco e punto'' to say “a few and not at all”. So ''punto'' could be intended as ''affatto'' that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”</ref><br/>
-Keeping an eye out for a good parry.</poem>
+Turn quickly a ''roverso fendente''.</p>
-<poem>When you wish to enter in to half sword
+<p>And strike a ''dritto''. Keep this in mind,<br/>
-As the companion lifts his sword,
+So that you understand my intention,<br/>
-Then don’t hold back,
+With clear reasoning,<br/>
-Grab the tempo or it will cost you dear.</poem>
+I hope to thoroughly show you the way.</p>
-<poem>Place yourself in the guard of the boar,
+<p>I don’t want your blows to be solely ''roverso'',<br/>
-When you enter with the thrust at the face
+Nor just ''fendente'', but between one and the other,<br/>
-Do not leave your point in the face,
+Both between the common one,<ref>This is indicating a vertical downwards blow.</ref><br/>
-Turn quickly a roverso fendente.</poem>
+Hammering the head on all sides.</p>
-<poem>And draw a mandritto, and keep this in mind.
+<p>Also I advise you when you have entered,<br/>
-So that you understand my intention,
+Be with the legs not too far apart,<br/>
-With clear reasoning,
+You will be the lord, and clear<br/>
-I hope to show you the way.</poem>
+To constrain and strike valiantly.</p>
-<poem>I don’t want your blows to be solely roverso,
+<p>And when you strike a ''roverso fendente'',<br/>
-Nor just fendente, but between one and the other,
+Bend the left knee, and note the text,<br/>
-If between is the common one.
+Extend the right foot,<br/>
-Hammering the head on all sides.</poem>
+Without changing it, i.e. to either side.</p>
-<poem>Also I advise you when you have entered,
+<p>Also, the left foot and the head are understood<br/>
-Be with the legs paired with his
+To be connected now,<br/>
-You will be lord, and clear,
+Because the head is closer to the left foot,<ref>This line actually reads “Because it is closer to it”; I have expanded on it for clarity.</ref><br/>
-To constrain and strike valiantly.</poem>
+Than to the right one, that remains sideways.</p>
-<poem>And when you strike a roverso fendente,
+<p>So you will be safe from every side,<br/>
-Bend the left knee, and note the text,
+If you want to strike a forehand fendente,<br/>
-Extend the right foot,
+You need to bend<ref>There appears to be a correction to the text: ''pigliare'' (to grab) has been modified to ''pighare'' (to bend). Rubboli has it as the former. (51)</ref><br/>
-Without changing it, i.e. to the other side.</poem>
+The right knee: and extend well the left.</p>
-<poem>Also, if you see you are going to be attacked,
+<p>You will consider that the head is now connected,<br/>
-The left foot and the head now,
+To the right foot that is closest.<br/>
-Because they are closer together,
+This is a better way<br/>
-So don’t use the direct line, but remain on the diagonal.</poem>
+Than the footwork of our ancestors.<ref> This detailed explanation of mechanics, with the head being “connected” (''atacata'') to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.</ref></p>
-<poem>So you will be safe from every side,
+<p>It is necessary that no one contradicts this,<br/>
-So you want the fendente, strike from the right,
+Because you will be stronger, and more secure,<br/>
-You need to bend
+Hard in defence,<br/>
-The right knee: and extend well the left.</poem>
+And make war with the shortest motion,<br/>
+And neither can anyone make you fall.</p>
+| class="noline" |
+{{section|Page:Cod.1324 10v.jpg|10v.3|p=1}}<br/>{{paget|Page:Cod.1324|11r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|11v|jpg|p=1}}
-<poem>Clearly the head will also be attacked,
+|}
-With the right foot that is closest.
+{{master subsection end}}
-This is the better way.
-This is not the footwork of our ancestors.</poem>
-<poem>It is not necessary that anyone contradict this,
+{{master subsection begin
-Because you will be stronger, and more secure,
+ | title = Chapter 11 - Theory of swordplay
-Hard in defence,
+ | width = 90em
-And make war with shorter movements.
+}}
-And neither can anyone throw you to the ground.</poem>
+{| class="master"
-| <p>{{section|Page:Cod.1324 10v.jpg|10v.3|p=1}}<br/>{{paget|Page:Cod.1324|11r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|11v|jpg|p=1}}</p>
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter XI. Theory of swordplay}}</p>
-'''Chapter XI Principles of Swordplay.
-<poem>When you are joined at the half sword,
+<p>When you have arrived at the half sword,<br/>
-Make a mandritto or roverso,
+Making a ''mandritto'' or ''roverso'',<br/>
-Be sure to grasp the sense
+Be sure to grasp the sense<br/>
-Of what I say, because it is to the point.</poem>
+Of what I say, because it is to the point.</p>
-<poem>If you are there, keep a sharp eye out,
+<p>When you feint keep a sharp eye out,<ref>The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: ''Della finta dichiaratione'' (“Explanation of the feints”), which is subtitled ''Far vista di cavar la Spada con il nodo della mano''. (“Make a feint of disengaging the sword with the wrist.”)</ref><br/>
-And look quickly with the cover,
+And make the feint short, with the cover,<br/>
-And hold the sword up,
+And hold the sword up,<br/>
-So your arms play above your head.</poem>
+So your arms play above your head.</p>
-<poem>I cannot say in a few words,
+<p>I cannot say in a few words,<br/>
-Because the matter is of the half sword,
+Because the actions are of the half sword,<br/>
-So that you will be better pleased,
+Where you go as you please.<ref>The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.</ref><br/>
-When you parry, parry with a fendente.</poem>
+When you parry, parry with a ''fendente''.</p>
-<poem>Brush aside the sword, a little shortened,
+<p>Brush aside the sword, a little away from you, cautiously,<br/>
-Treading on that of the companion,
+Pressing that of the companion,<br/>
-You will make a good deal,
+You will make a good deal,<br/>
-Parrying well however many blows.</poem>
+Parrying well whichever blows.</p>
-<poem>When you parry the roverso, keep in front,
+<p>When you parry the ''roverso'' do so with<br/>
-The right foot, and parry as I have said.
+The right foot forwards, and parry as I have said.<br/>
-Parrying the mandritto,
+Parrying the ''mandritto'',<br/>
-Keep in front your left foot.</poem>
+Put your left foot forwards instead.</p>
-<poem>You should also keep in mind,
+<p>You should also keep in mind,<br/>
-When you strike a roverso fendente,
+When you strike a ''roverso fendente'',<br/>
-To keep a careful eye out,
+To keep a careful eye out,<br/>
-So that a mandritto doesn’t come from underneath.</poem>
+So that a ''mandritto'' doesn’t come from underneath.</p>
-<poem>And if the companion strikes and you all of a sudden
+<p>And if the companion strikes, and you all of a sudden<br/>
-Parry, making then to the head
+Parry, making then to the head<br/>
-A blow with the false edge
+A blow with the false edge carefully,<br/>
-And as he lifts it, strike a good roverso.</poem>
+And as he lifts it,<ref>“It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a ''roverso'' from below.</ref> strike a good ''roverso''</p>
-<poem>From below, through his arms,
+<p>From below, across his arms,<br/>
-Redoubling then with a quick mandritto,
+Redoubling then with a quick ''mandritto'',<br/>
-And note also this,
+And note also this,<br/>
-That you do not fail the Reason of the Art.</poem>
+That you do not fail the principles of the Art.</p>
-<poem>If you strike a mandritto, then beware,
+<p>If you strike a ''mandritto'', then beware,<br/>
-His roverso so he doesn’t strike you,
+The ''roverso'' that he might strike.<br/>
-Make it that your sword
+Make it so that your sword also<br/>
-Parries with a fendente, so you are not caught.</poem>
+Parries with a ''fendente'', so that you are not hit.</p>
-<poem>And if it comes to you then to want
+<p>And if it comes to you then to want<br/>
-To enter underneath and grab his handle.
+To enter underneath and grab his handle,<br/>
-And then do your duty,
+And then do your duty,<br/>
-Hammering his moustache with your pommel,
+Hammering his moustache with your pommel,<ref>''Mustaccio'' is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.</ref><br/>
-Being very wary that hindrance does not grab you.</poem>
+Watching out that you do not get stuck.</p>
-| <p>{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}</p>
+| class="noline" |
+{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}
+|}
+{{master subsection end}}
+{{master subsection begin
+ | title = Chapter 12 - Theory of the feints of the sword
+ | width = 90em
+}}
+{| class="master"
 |-
-|
+! <p>Illustrations</p>
-|
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
-'''Chapter XII Discussion regarding the Feints of the Sword.'''
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
-<poem>Again I advise you, and note my words well,
-That when you have entered into half sword</poem>
+|-
+| class="noline" |
+| class="noline" | <p>{{red|b=1|Chapter XII. Theory of the feints of the sword}}</p>
+<p>Again I advise you, and note my words well,<br/>
+That when you have entered into half sword<br/>
+You then [act] well from every side,<br/>
+Following the art with good feinting.</p>
-<poem>You then well from every side
+<p>Feints are considered an obfuscation,<br/>
-Following the art with good feinting.</poem>
+They confound the opponent in the defence.<br/>
+They do not let him understand,<br/>
+What you want to do on one side or the other.</p>
-<poem>Feints call out to obfuscate
+<p>I cannot show you so well<br/>
-They hide from the other’s defence.
+With my words, as I could with a sword.<br/>
-Do not let him understand,
+Make your mind go<br/>
-What you want to do from one side or the other.</poem>
+To investigate the art with my sayings,</p>
-<poem>I cannot show you so well,
+<p>And grasp valour with reason,<br/>
-With my words how to do it with a sword,
+As I admonish and as I teach you.<br/>
-Make your mind go
+And make it so that with cunning<br/>
-To investigate the art with my sayings.</poem>
+You will follow that which I write in so many verses,<br/>
+To discover the depths and the banks of the Art.</p>
+| class="noline" |
+{{section|Page:Cod.1324 12v.jpg|12v.2}}
-<poem>And grasp valour with reason
-As I admonish and as I teach you
-And do it with cunning
-You follow that which I have written in so many verses,
-To discover the depths and the banks of the Art.</poem>
-| {{section|Page:Cod.1324 12v.jpg|12v.2}}
 {{section|Page:Cod.1324 13r.jpg|13r.1}}
+|}
+{{master subsection end}}
+{{master subsection begin
+ | title = Chapter 13 - Theory of the half sword
+ | width = 90em
+}}
+{| class="master"
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter XIII. Theory of the half sword}}</p>
-'''Chapter XIII Principles of the half-sword.'''
-<poem>Being then joined at the half sword,
+<p>Having then arrived at the half sword,<br/>
-You can well hammer more and more times,
+You can well hammer more and more times,<br/>
-Striking on only one side,
+Striking on only one side,<br/>
-Your feints go on the other side.</poem>
+Your feints go on the other side.</p>
-<poem>And when he loses his way with parrying,
+<p>And when he loses his way with parrying,<br/>
-And you hammer then on the other side,
+And you hammer then on the other side,<br/>
-Then you should decide
+Then you decide<br/>
-If you need to finish by closing in.</poem>
+Which ''stretta'' you should finish with.</p>
-<poem>And if you want to throw blows,
+<p>And if you want to throw blows,<br/>
-Let a fendente roverso go,
+Let a ''fendente roverso'' go,<br/>
-<sup>Turning it across</sup>And a false edge with the point in his face.</poem>
+Turning a cross-wise<ref>The line “''voltandoli atraverso''” is inserted in the margin.</ref> false edge blow<br/>
+With the point in his face.</p>
-<poem>Do not be divided from his point,
+<p>Do not be divided from him,<br/>
-With roverso or mandritto
+With ''roverso'' or ''mandritto''<br/>
-With whichever you can work.
+With whichever you can work,<br/>
-Because the knees bend on every side.</poem>
+As long as the knees bend on every side.</p>
-<poem>Following that which I showed you above,
+<p>Following that which I showed you above,<br/>
-I repeat for you again this addition,</poem>
+I repeat for you again this addition,</p>
-<poem>Always enter with the point,
+<p>Always enter with the point,<br/>
-Forcing upwards from below, finishing in the face
+Upwards from below, until you have skewered the face,<br/>
-And you can strike just at the right time.</poem>
+Use your strikes in their appropriate times.</p>
-| {{section|Page:Cod.1324 13r.jpg|13r.2}}
+| class="noline" | {{section|Page:Cod.1324 13r.jpg|13r.2}}
+|}
+{{master subsection end}}
+{{master subsection begin
+ | title = Chapter 14 - Theory of the half tempo of the sword
+ | width = 90em
+}}
+{| class="master"
 |-
-|
+! <p>Illustrations</p>
-|
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
-'''Chapter XIIII Theory of the half tempo of the sword'''
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
-<poem>I cannot show you in writing
-The theory and method of the half tempo
+|-
-Because it remains in a knot
+| class="noline" |
-The shortness of the tempo of his strike.</poem>
+| class="noline" | <p>{{red|b=1|Chapter XIIII. Theory of the half tempo of the sword}}</p>
+<p>I cannot show you in writing<br/>
+The theory and way of the half tempo<br/>
+Because the shortness of the tempo and its strike<br/>
+Reside in the wrist.</p>
+<p>The half tempo is just one turn<br/>
+Of the wrist: quick and immediately striking,<br/>
+It can rarely fail<br/>
+When it is done in good measure.</p>
+<p>If you note well my text,<br/>
+One who does not practice [the art] will get into trouble:<ref>Porzio and Mele (81) read this line as ''mal separa chi non na la praticha'', or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe ''separa'' as one word. I read it as ''mal se para'', or “will get into trouble”, which seems to me to fit the context better.</ref><br/>
+Often the quick flight from one side to another<br/>
+Breaks with a good edge the other’s brain.</p>
-<poem>The half time is just one turn
+<p>Of all the art this is the jewel,<br/>
-Of the knot: quick and immediately striking,
+Because in one go it strikes and parries.<br/>
-It can rarely fail
+Oh what a valuable thing,<br/>
-When it is done in good measure.</poem>
+To practice it according to the good principles,<br/>
+It will let you carry the banner of the Art.<ref>Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of ''gonfaloniere'', “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one ''gonfaloniere'' at a time. Guidobaldo’s father Federico was ''gonfaloniere'' from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.</ref></p>
+| class="noline" | {{section|Page:Cod.1324 13v.jpg|13v.1}}
-<poem>If you note well my writing
+|}
-One who does not practice will parry badly
+{{master subsection end}}
-Often the turning
-Breaks with a good edge the other’s brain.</poem>
-<poem>Of all the art this is the jewel,
+{{master subsection begin
-Because it treats as one the strike and the parry,
+ | title = Chapter 15 - Theory of the sword against the rising blow
-Oh what a valuable thing,
+ | width = 90em
-So practice it with good reason,
+}}
-And it will let you carry the banner of the art.</poem>
+{| class="master"
-| {{section|Page:Cod.1324 13v.jpg|13v.1}}
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter XV. Theory of the sword against the rising blow}}</p>
-'''Chapter XV Theory of the sword against the rising blow
-<poem>There are many who make their base
+<p>There are many who make their base<br/>
-In turning strongly from every side
+In turning strongly from every side<br/>
-So be advised,
+So be advised,<br/>
-As his sword turns, move</poem>
+As his sword is turning, move,</p>
+<p>And you turn and you will win the test,<br/>
+Then harmonise yourself with his strikes,<br/>
+And make your going thus<br/>
+With your sword behind his.</p>
+<p>To better explain your design,<br/>
+You can also go into boar’s tooth guard,<br/>
+And if he with the turning,<br/>
+And you ripping up from below.<ref>The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.</ref></p>
-<poem>And you turn and you will win the test,
+<p>Listen and understand my reasoning,<br/>
-Harmonise yourself with him and also with the strikes
+You who are new to the art, and experts too,<br/>
-And make your going thus
+I want you to be sure,<br/>
-With your sword directly to his.</poem>
+That this is the art and the true science.</p>
-<poem>To clear your mind of illusions,
+<p>Grasp this, that is a steelyard’s trace:<ref>This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.</ref><br/>
-You can also go into boar’s tooth guard,
+The companion is in the iron door guard,<br/>
-And if he with the turning,
+Lock this into your heart,<br/>
-And you escaping from below up.</poem>
+Make it so you are in the archer’s guard,</p>
-<poem>Listen and understand my reasoning,
+<p>Watch out that your point does not waver,<br/>
-You who are new to the art, and experts too,
+And covers the companion’s sword;<br/>
-I want you to be sure,
+Go a little out of the way<br/>
-That this is the art and the true science.</poem>
+Straightening the sword and the hand with the point.</p>
-<poem>Grasp this, that is a steelyard’s trace,
+<p>When your sword is joined at the crossing,<br/>
-That if the companion is in the iron door guard,
+Then do the thirteenth stretta,<br/>
-Lock this into your heart,
+As is you can plainly see<br/>
-You should be in the archer’s guard,</poem>
+Pictured in our book on page seven.<ref> This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘''carta''’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.</ref></p>
-<poem>Watch out that your point does not waver,
+<p>You can also use in this art<br/>
-That of the companion covers his sword;
+Strikes and strette that are handier to you,<br/>
-Go a little out of the way
+Leave the more clumsy,<ref>''Sinestre'' is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.</ref><br/>
-Straightening the sword and the hand with the point.</poem>
+Keep those that favour your hand,<br/>
+So you will often have honour in the art.</p>
+| class="noline" |
+{{section|Page:Cod.1324 13v.jpg|13v.2|p=1}}<br/>{{section|Page:Cod.1324 14r.jpg|14r.1|p=1}}
-<poem>When your sword is joined at the crossing,
+|}
-Then do the thirteenth constrained action,
+{{master subsection end}}
-As is you can plainly see
-Pictured in our book of seven leaves.</poem>
-<poem>You can also use in this art
+{{master subsection begin
-Striking and closing that are more handy,
+ | title = Chapter 16 - Instruction of the sword
-Leave the more left-handed,
+ | width = 90em
-Keep those that favour your hand,
+}}
-So you will often have honour in the art.</poem>
+{| class="master"
-| {{section|Page:Cod.1324 13v.jpg|13v.2}}
+|-
-{{section|Page:Cod.1324 14r.jpg|14r.1}}
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-|
+| class="noline" |
-|
+| class="noline" | <p>{{red|b=1|Chapter XVI. Instruction of the sword}}</p>
-'''Chapter XVI Mastering the sword'''
-<poem>It is necessary that the sword should be
+<p>It is necessary that the sword should be<br/>
-A great shield that covers all,
+A great shield that covers all of you,<br/>
-And grasp this fruit,
+And grasp this fruit,<br/>
-That I give you for your mastery.</poem>
+That I give you for your instruction.</p>
+<p>Be sure that your sword is never far away<br/>
+In making guards or striking<br/>
+Oh how sensible this thing is,<br/>
+That your sword makes short movements.</p>
+<p>Make it so your point watches the face<br/>
+Of the companion, in guard or striking,<br/>
+You will take away his courage,<br/>
+Seeing always the point staying in front of him.</p>
-<poem>Be sure that your sword does not
+<p>And you will make your plays always forwards,<br/>
-Make guards or strike far away,
+With your sword and with a small turn,<br/>
-O how sensible this thing is,
+With a serene and relaxed hand,<br/>
-That your sword makes short movements.</poem>
+Often breaking the tempo of the companion,<br/>
+You will weave a web better than a spider’s.</p>
-<poem>Your point should watch the face,
+<p>'''The End.'''</p>
-Of the companion, in guard or striking,
+| class="noline" |
-You will take his courage,
+{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}
-Seeing always the point staying in front of him.</poem>
-<poem>And you will make your plays always forwards,
+|}
-With your sword and with a small turn,
+{{master subsection end}}
-With a serene and nimble hand,
-Often breaking the tempo of the companion,
-You will weave a web different than spider’s.</poem>
-[END]
+{{master subsection begin
-| <p>{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}</p>
+ | title = Diagrams
+ | width = 90em
+}}
+{| class="master"
+|-
+! <p>Illustrations</p>
+! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
+! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| [[File:Cod.1324 15r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15r.jpg]]
+| [[File:Cod.1324 15r.png|300px|center]]
-| <poem>I am callipers, that divide into parts,
+| <p>I am callipers, that divide into parts,<br/>O fencer heed my principle,<br/>Thus [the callipers] measure the tempo similarly.<ref>This means that the tempo is measured by dividing it into parts.</ref></p>
-O fencer heed my reason,
-Thus measure the tempo similarly.</poem>
-<poem>The nature of the bear is to turn,
+<p>The nature of the bear is to turn<br/>
-Going here, there, up and around
+Here, there, up and down:<br/>
-Thus your shoulder should move,
+Thus your shoulder should move,<br/>
-Sending your sword out to hunt.</poem>
+Sending your sword out to hunt.</p>
-<poem>I am a ram, always on the lookout,
+<p>I am a ram, always on the lookout,<br/>
-Naturally always looking to butt,
+Naturally always looking to clash,<br/>
-So your cut should be clever,
+So your cut should be clever,<br/>
-Always parry when there is an answer.</poem>
+Always parry when [your cut] is answered.</p>
-<poem>The right hand should be prudent,
+<p>The right hand should be prudent,<br/>
-Bold and deadly as a serpent.</poem>
+Bold and deadly as a serpent.</p>
-<poem>The eye with the heart should be alert,
+<p>The eye with the heart should be alert,<br/>
-Bold and full of foresight.</poem>
+Bold and full of foresight.</p>
-<poem>With the left hand, the sword is to thrust
+<p>With the left hand I have the sword by the point,<br/>
-Or to strike when it is joined
+To strike already when it is joined<br/>
-And if you want the strike to be complete
+And if you want the strike to be complete<br/>
-Make it as quick as a greyhound.</poem>
+Make it as quick as a greyhound.</p>
-<poem>And he who does not have these keys with him
+<p>And he who does not have these keys with him<br/>
-Will make little war with this play.</poem>
+Will make little war with this play.<ref>These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.</ref></p>
-<poem>The legs keys it is well said,
+<p>The legs [are] keys it is well said,<br/>
-Because you close them and also open them,</poem>
+Because you close them and also open them. </p>
-<poem>You see the sun, that makes great turns,
+<p>You see the sun, that makes great turns,<br/>
-And where it is born it returns.
+And where it is born it returns.<br/>
-The foot with the sun should return together,
+The foot with the sun should return together,<br/>
-If you want the play to adorn your person.</poem>
+If you want the play to adorn your person.</p>
-<poem>The left foot firm without fear,
+<p>Plant the left foot without fear,<br/>
-Make it constant like a rock
+Make it firm like a castle,<br/>
-And then your body will be completely safe.</poem>
+And then your body will be completely safe.</p>
-<poem>When one or other foot bothers you
+<p>When one or other foot bothers you<br/>
-Turn it quickly like a mill wheel,
+Turn it quickly like a mill wheel,<br/>
-The heart must be foresightful,
+The heart must be foresightful,<br/>
-That expects shame and honour.</poem>
+For on it depends shame and honour.<ref>This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”</ref></p>
 | {{paget|Page:Cod.1324|15r|jpg}}
 |-
-| [[File:Cod.1324 15v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15v.jpg]]
+| class="noline" | [[File:Cod.1324 15v.png|300px|center]]
-| <poem>These are the blows of the two-handed sword,
+| class="noline" | <p>These are the blows of the two-handed sword,<br/>
-Not those of the mezo tempo, they remain in a knot.</poem>
+Not the ''mezzo tempo'', which remains in the wrist.</p>
-<poem>I am the rota and I often turn,
+<p><br/></p>
-Finding the falseness of the sword.</poem>
-<poem>We are the volante, always crossing,
+<p>I am the ''rota'' and I am often turning,<br/>
-From the knee up we go destroying.</poem>
+I go looking for the deception of the sword.</p>
-<poem>We are the fendenti and we start the fight,
+<p><br/></p>
-Breaking the teeth in our direct way.</poem>
-<poem>I am the thrust, dangerous and quick,
+<p>We are the ''volante'', always crossing,<br/>
-Mistress of the other blows.</poem>
+From the knee up we go destroying.</p>
-| {{paget|Page:Cod.1324|15v|jpg}}
+<p><br/></p>
+<p>We are the ''fendenti'' and we dispute,<br/>
+And we break the teeth with full right.</p>
+<p>I am the thrust, dangerous and quick,<br/>
+Great teacher of the other blows.</p>
+| class="noline" | {{paget|Page:Cod.1324|15v|jpg}}
 |}
+{{master subsection end}}
 {{master end}}
 {{master begin
   | title = Sword
-  | width = 84em
+  | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| rowspan="2" | [[File:Cod.1324 16r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16r.jpg]]
+| rowspan="2" | [[File:Cod.1324 16r.png|300px|center]]
-| <poem>Here are the guards with their names,
+| <p>[1] You are guards with your names<br/>Each of you, show yourself from the side.<ref>I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.</ref></p>
-Each of your sides is shown.</poem>
 | {{section|Page:Cod.1324 16r.jpg|16r-a}}
 |-
-| <poem>I am the strong middle iron gate
+| <p>[2] I am the strong middle iron gate<br/>To give death with thrust and ''fendente''.</p>
-Dealing death with thrust and fendente.</poem>
-<poem>::I am the guard of the woman, and I am not vain,
+:[3] I am the guard of the woman, and I am not useless,<br/>I often conceal the length of the sword.
-::I conceal the length of the sword.</poem>
 | {{section|Page:Cod.1324 16r.jpg|16r-c}}
 {{section|Page:Cod.1324 16r.jpg|16r-d}}
 |-
-| rowspan="2" | [[File:Cod.1324 16v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16v.jpg]]
+| rowspan="2" | [[File:Cod.1324 16v.png|300px|center]]
-| <poem>I am the ﬂat ground iron door,
+| <p>[4] I am the flat ground iron door,<br/>That always impedes cuts and thrusts.</p>
-Always impeding cuts and thrusts.</poem>
-<poem>::I am the guard of the falcon, high up above,
+:[5] I am the guard of the falcon, excellent and high<br/>To make defences in all sorts of ways.
-::To make defences in all sorts of ways.</poem>
 | {{section|Page:Cod.1324 16v.jpg|16v-a}}
 {{section|Page:Cod.1324 16v.jpg|16v-b}}
 |-
-| <poem>I am the short guard of the extended sword,
+| <p>[6] I am the short guard of the extended sword,<br/>I often strike and recover into it quickly.<ref>‘It’ here refers to the guard, so having struck, you recover into this position.</ref></p>
-I often strike with the turn back.</poem>
-<poem>::I am the archer’s guard, to deceive
+:[7] I am the archer’s guard, for deception,<br/>I use malice very much in my reign.
-::I use malice very much in my reign.</poem>
 | {{section|Page:Cod.1324 16v.jpg|16v-c}}
 {{section|Page:Cod.1324 16v.jpg|16v-d}}
 |-
-| rowspan="2" | [[File:Cod.1324 17r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17r.jpg]]
+| rowspan="2" | [[File:Cod.1324 17r.png|300px|center]]
-| <poem>I am the guard of the true window
+| <p>[8] I am the guard of the true window<br/>According to the art, raise your left leg.<ref>I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.</ref></p>
-I raise from the art the thing from the left.</poem>
-<poem>::I am the crown and I am made master
+:[9] I am the crown and I am made master,<br/>I am found to be adept at binds.
-::Of binds I am found to be adept.</poem>
 | {{section|Page:Cod.1324 17r.jpg|17r-a}}
 {{section|Page:Cod.1324 17r.jpg|17r-b}}
 |-
-| <poem>With the deadly guard of the boar’s tooth
+| <p>[10] With the deadly guard of the boar’s tooth<br/>Anyone looking for trouble, I’ll give them plenty.</p>
-Anyone looking for trouble, I’ll give them plenty.</poem>
-<poem>::I am the long guard with the short(ened) sword,
+:[11] I am the long guard with the shortened sword,<ref>''Con la spada curta'', lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the ''lanza curta''.</ref><br/>That with my cunning bashes the blows.
-::That with my cunning defeats the blows.</poem>
 | {{section|Page:Cod.1324 17r.jpg|17r-c}}
 {{section|Page:Cod.1324 17r.jpg|17r-d}}
 |-
-| rowspan="2" | [[File:Cod.1324 17v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17v.jpg]]
+| rowspan="2" | [[File:Cod.1324 17v.png|300px|center]]
-| <poem>I am the frontal guard, so secure
+| <p>[12] I am the frontal guard, so reliable,<br/>I care nothing about cuts and thrusts.</p>
-Of cuts and thrusts I have the solution.</poem>
-<poem>::I am the guard of the boar and I am outside,
+:[13] I am the guard of the boar and I am outside,<br/>I do not relent in striking.
-::That of strikes I do not make a home.</poem>
 | {{section|Page:Cod.1324 17v.jpg|17v-a}}
 {{section|Page:Cod.1324 17v.jpg|17v-b}}
 |-
-| <poem>I have made a roverso fendente on the left foot,
+| <p>[14] I have made a ''roverso fendente'' on the left foot,<br/>Without changing the foot, turning the hips,<br/>I will strike a ''dritto'' without further movement.</p>
-Without changing the foot turning the hips
-I strike a dritto without further movement.</poem>
 | {{section|Page:Cod.1324 17v.jpg|17v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 18r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18r.jpg]]
+| rowspan="2" | [[File:Cod.1324 18r.png|300px|center]]
-| <poem>By this grip of your arm that I have made,
+| <p>[15] By this grip of your arm that I have made,<br/>I will hit you with a cut or pommel strike.</p>
-I can hit you with a cut or pommel strike.</poem>
 | {{section|Page:Cod.1324 18r.jpg|18r-a}}
 |-
-| <poem>By this turn that I quickly make to my sword
+| <p>[16] By this turn that I quickly make to my sword<br/>I will not pause before I hit you with it.</p>
-I will not pause with this strike.</poem>
 | {{section|Page:Cod.1324 18r.jpg|18r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 18v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18v.jpg]]
+| rowspan="2" | [[File:Cod.1324 18v.png|300px|center]]
-| <poem>I have bound you from the roverso side,
+| <p>[17] I have bound you from the ''roverso'' side,<br/>You’ll be thrown to the ground by a blow of the sword.</p>
-You’ll be thrown to the ground by a blow of the sword.</poem>
 | {{section|Page:Cod.1324 18v.jpg|18v-a}}
 |-
-| <poem>In this way I have you with the left hand,
+| <p>[18] In this way I hold you with my left hand,<br/>Cuts and thrusts will not be lacking.</p>
-I will not hold back striking with cuts and thrusts.</poem>
 | {{section|Page:Cod.1324 18v.jpg|18v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 19r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19r.jpg]]
+| rowspan="2" | [[File:Cod.1324 19r.png|300px|center]]
-| <poem>By this turn that I have given to my sword
+| <p>[19] By this turn that I have given to my sword<br/>I think I will have cut the halfway through your throat. </p>
-I think I will have cut the middle of your throat.</poem>
 | {{section|Page:Cod.1324 19r.jpg|19r-a}}
 |-
-| <poem>You will go to the ground with this technique
+| <p>[20] You will go to the ground with this technique<br/>Because you have completely failed in your play.</p>
-And your play has completely failed.</poem>
 | {{section|Page:Cod.1324 19r.jpg|19r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 19v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19v.jpg]]
+| rowspan="2" | [[File:Cod.1324 19v.png|300px|center]]
-| <poem>I do not wish to make war with my sword,
+| <p>[21] I do not wish to make war with my sword,<br/>But with yours I’ll throw you to the ground.</p>
-But with yours I’ll throw you to the ground.</poem>
 | {{section|Page:Cod.1324 19v.jpg|19v-a}}
 |-
-| <poem>I have turned you with force and without difficulty
+| <p>[22] I have turned you inevitably and without difficulty,<ref>''Per forza'' literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.</ref><br/>With my skill I will break your arm.</p>
-With my skill I will break your arm.</poem>
 | {{section|Page:Cod.1324 19v.jpg|19v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 20r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20r.jpg]]
+| rowspan="2" | [[File:Cod.1324 20r.png|300px|center]]
-| <poem>With skill I have placed you in a similar position,
+| <p>[23] With skill I have placed you in this position,<br/>I’ll make you go to the ground at the first go.</p>
-I’ll make you go to the ground at the first blow.</poem>
 | {{section|Page:Cod.1324 20r.jpg|20r-a}}
 |-
-| <poem>In this way I’ll put you in a lock
+| <p>[24] In this way I’ll put you in the lock<br/>And I will break your arm while saying a Hail Mary.<ref>Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.</ref></p>
-And break your arm (in the time it takes to) say “hello”.</poem>
 | {{section|Page:Cod.1324 20r.jpg|20r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 20v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20v.jpg]]
+| rowspan="2" | [[File:Cod.1324 20v.png|300px|center]]
-| <poem>By this turn of the pommel I have bound you,
+| <p>[25] By this turn of the pommel I have bound you,<br/>Immediately if I want to I’ll throw you to the ground.</p>
-Immediately If I want to I’ll throw you to the ground.</poem>
 | {{section|Page:Cod.1324 20v.jpg|20v-a}}
 |-
-| <poem>By this turn of the blade that you have done,
+| <p>[26] By this turn of the blade that you have done,<br/>I will break your arm at the first go.</p>
-I will break your arm at the first attempt.</poem>
 | {{section|Page:Cod.1324 20v.jpg|20v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 21r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21r.jpg]]
+| rowspan="2" | [[File:Cod.1324 21r.png|300px|center]]
-| <poem>By the turn quick I have given my sword,
+| <p>[27] By the turn given to my quick sword,<br/>I’ll strike your arms or your head.</p>
-I’ll strike your arm or your head.</poem>
 | {{section|Page:Cod.1324 21r.jpg|21r-a}}
 |-
-| <poem>If I put my hilt to your sword
+| <p>[28] If I put my hilt to your sword<br/>I’ll make it fall, this time.<ref>''Per questa fiada'' – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”</ref></p>
-I’ll make it fall with this action.</poem>
 | {{section|Page:Cod.1324 21r.jpg|21r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 21v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21v.jpg]]
+| rowspan="2" | [[File:Cod.1324 21v.png|300px|center]]
-| <poem>This is a grip that I do from below,
+| <p>[29] This is a grip that I do from below,<ref>Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as ''fora'', which would be “outside”. Fora does not rhyme with ''botta'', and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “''Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.''”</ref><br/>I will make it fall at the first go.</p>
-I will make it fall at the first go.</poem>
 | {{section|Page:Cod.1324 21v.jpg|21v-a}}
 |-
-| <poem>You believed I would strike with a backhand blow,
+| <p>[30] You believed I would strike with a roverso blow,<br/>[But] With my elbow I push your sword across.</p>
-With the elbow I push your sword across.</poem>
 | {{section|Page:Cod.1324 21v.jpg|21v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 22r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22r.jpg]]
+| rowspan="2" | [[File:Cod.1324 22r.png|300px|center]]
-| <poem>Making the turn that my handle has given,
+| <p>[31] By the turn that my handle has given,<br/>I make you fall to the ground flat on your back.</p>
-I make you fall to the ground backwards.</poem>
 | {{section|Page:Cod.1324 22r.jpg|22r-a}}
 |-
-| <poem>This is a disarm that is above,
+| <p>[32] This is a disarm that is above,<ref>‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.</ref><br/>And if I want to I’ll lay you flat.</p>
-And if I want to I’ll lay you ﬂat.</poem>
 | {{section|Page:Cod.1324 22r.jpg|22r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 22v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22v.jpg]]
+| rowspan="2" | [[File:Cod.1324 22v.png|300px|center]]
-| <poem>The feint that I made to strike a fendente,
+| <p>[33] I made a feint of striking a fendente,<br/>I will cut your jaw and teeth together.</p>
-Cuts the jaw and teeth together.</poem>
 | {{section|Page:Cod.1324 22v.jpg|22v-a}}
 |-
-| <poem>From the backhand strike that I have done,
+| <p>[34] From the roverso strike that I have done,<br/>I’ll hit you with my pommel, and look good doing it.</p>
-I’ll give you a good strike with my pommel.</poem>
 | {{section|Page:Cod.1324 22v.jpg|22v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 23r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23r.jpg]]
+| rowspan="2" | [[File:Cod.1324 23r.png|300px|center]]
-| <poem>This is a grip that I do on the inside,
+| <p>[35] This is a grip that I do on the inside,<br/>You’re going to the ground as I feel.</p>
-I feel that you’re going to the ground.</poem>
 | {{section|Page:Cod.1324 23r.jpg|23r-a}}
 |-
-| <poem>I have given you my sword in the head,
+| <p>[36] I have hit you with my sword in the head,<br/>Yours I’ll quickly take with my cunning.</p>
-Yours I’ll take with my quick cunning.</poem>
 | {{section|Page:Cod.1324 23r.jpg|23r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 23v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23v.jpg]]
+| rowspan="2" | [[File:Cod.1324 23v.png|300px|center]]
-| <poem>I beat your sword aside with the middle of the blade,
+| <p>[37] I beat your sword aside at the middle of the blade,<br/>You’ll get a good dose from my pommel.</p>
-You’ll get a good deal from my pommel.</poem>
 | {{section|Page:Cod.1324 23v.jpg|23v-a}}
 |-
-| <poem>Turning a roverso you parried badly,
+| class="noline" | <p>[38] Turning a roverso you parried badly,<ref>The original text is ambiguous as to who is turning the ''roverso''; I believe it is the player who also parries badly.</ref><br/>At the middle of the blade you entered the bind.</p>
-Entering into a bind at the middle of the blade</poem>
+| class="noline" | {{section|Page:Cod.1324 23v.jpg|23v-c}}
-| {{section|Page:Cod.1324 23v.jpg|23v-c}}
 |}
@@ Line 1,295: / Line 1,482: @@
 {{master begin
   | title = Ax in Armor
-  | width = 84em
+  | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| rowspan="2" | [[File:Cod.1324 24r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24r.jpg]]
+| rowspan="2" | [[File:Cod.1324 24r.png|300px|center]]
-|
+| <p>'''Guards of the pollax in armour'''</p>
-'''Guards of the Axe in Armour.'''
-<poem>I am the guard of the woman, of great offence,
+<p>[1] I am the guard of the woman, of great offence,<br/>To respond to any situation.<ref>The word used here is ‘impresa’, which has the connotation of ''emprise d'armes'', or “feat of arms”.</ref></p>
-To respond to any situation.</poem>
-<poem>::I am in the guard of the boar, with its saying,
+:[2] I am in the guard of the boar, as the saying goes,<br/>I’ll wreck your body for sure.
-::I’ll destroy your body for sure.</poem>
 | {{section|Page:Cod.1324 24r.jpg|24r-t|lbl=24r}}
 {{section|Page:Cod.1324 24r.jpg|24r-a}}
@@ Line 1,318: / Line 1,502: @@
 |-
-| <poem>I am called the Archer’s guard,
+| <p>[3] I am called the archer’s guard,<br/>Always make sure to make every blow deviate. </p>
-I always make blows deviate.</poem>
-<poem>::I am the guard of the cross, so called,
+:[4] I am the guard of the Cross, so called,<br/>No amount of cuts or thrusts can bother me.
-::No cuts or thrusts can bother me.</poem>
 | {{section|Page:Cod.1324 24r.jpg|24r-c}}
 {{section|Page:Cod.1324 24r.jpg|24r-d}}
 |-
-| rowspan="2" | [[File:Cod.1324 24v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24v.jpg]]
+| rowspan="2" | [[File:Cod.1324 24v.png|300px|center]]
-| <poem>I was in boar’s tooth with the axe,
+| <p>[5] I was in boar’s tooth with the axe,<br/>Thus I have struck you in the face.</p>
-In this way I have struck you in theface.</poem>
 | {{section|Page:Cod.1324 24v.jpg|24v-a}}
 |-
-| <poem>Lifting the visor I strike your face,
+| <p>[6] I have lifted the visor from your face,<br/>I have struck you, and taken away every defence from you.</p>
-I struck you: all defences are gone.</poem>
 | {{section|Page:Cod.1324 24v.jpg|24v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 25r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_25r.jpg]]
+| rowspan="2" | [[File:Cod.1324 25r.png|300px|center]]
-| <poem>I place my hand under the right arm
+| <p>[7] I’ve got my hand under your right arm<br/>I’ll place you in the lock as is written.</p>
-I’ll place you in the lock as is written.</poem>
 | {{section|Page:Cod.1324 25r.jpg|25r-a}}
 |-
-| <poem>This is the grip that I do to you,
+| class="noline" | <p>[8] This is the grip that I do to you,<br/>You’ll lose your axe and I’ll strike your head.</p>
-You’ll lose your axe and I’ll strike your head.</poem>
+| class="noline" | {{section|Page:Cod.1324 25r.jpg|25r-c}}
-| {{section|Page:Cod.1324 25r.jpg|25r-c}}
 |}
@@ Line 1,352: / Line 1,531: @@
 {{master begin
   | title = Sword in Armor
-  | width = 84em
+  | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| rowspan="2" | [[File:Cod.1324 26r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26r.jpg]]
+| rowspan="2" | [[File:Cod.1324 26r.png|300px|center]]
-|
+| <p>'''Guards of the sword in armour'''</p>
-'''Guards of the Sword in Armour.'''
-<poem>I am the lower snake guard,
+<p>[1] I am the lower snake guard,<br/>That is outstanding for striking with thrusts.<ref>“''Che de ferire de ponte son pur pina.''” Rubboli and Cesari transcribe the last word as ''purpina'', which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have ''purpurina'' (''porporino'' in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ''ne plus ultra'' of guards to thrust from.</ref></p>
-That is good for striking with thrusts.</poem>
-<poem>::I am the guard of the serene leopard,
+:[2] I am the guard of the serene leopard,<br/>That with the tail will give you poison.
-::That with the tail will give you poison.</poem>
 | {{section|Page:Cod.1324 26r.jpg|26r-t|lbl=26r}}
 {{section|Page:Cod.1324 26r.jpg|26r-a}}
@@ Line 1,375: / Line 1,551: @@
 |-
-| <poem>I am the snake, held high,
+| <p>[3] I am the snake, and am held high,<br/>Doing my work high and low.</p>
-Above and below I do my work.</poem>
-<poem>::I am the leopard’s tail over the arm,
+:[4] I am the leopard’s tail over the arm,<br/>I remove and chase every sword away from me.
-::I will chase away any sword from me.</poem>
 | {{section|Page:Cod.1324 26r.jpg|26r-c}}
 {{section|Page:Cod.1324 26r.jpg|26r-d}}
 |-
-| rowspan="2" | [[File:Cod.1324 26v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26v.jpg]]
+| rowspan="2" | [[File:Cod.1324 26v.png|300px|center]]
-| <poem>I am the first wounder of the art,
+| <p>[5] I am the first wounder of the art,<br/>To make defence on any side.</p>
-To make defence on any side.</poem>
 | {{section|Page:Cod.1324 26v.jpg|26v-a}}
 |-
-| <poem>I push my point into your face,
+| <p>[6] I push my point into your face,<br/>You see my sword rising up and up.</p>
-You see my sword rising upand up.</poem>
 | {{section|Page:Cod.1324 26v.jpg|26v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 27r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27r.jpg]]
+| rowspan="2" | [[File:Cod.1324 27r.png|300px|center]]
-| <poem>You will let go of your sword in spite of your wishes,
+| <p>[7] I want you to drop your sword to your chagrin,<br/>I will do even worse to you, because of your failings.</p>
-I will do even worse to you too.</poem>
 | {{section|Page:Cod.1324 27r.jpg|27r-a}}
 |-
-| <poem>If I can’t stick a point in your face,
+| <p>[8] If I can’t stick a point in your face,<br/>I’ll stick a pommel instead, as it’s right here.</p>
-I’ll stick a pommel instead, as it is there.</poem>
 | {{section|Page:Cod.1324 27r.jpg|27r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 27v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27v.jpg]]
+| rowspan="2" | [[File:Cod.1324 27v.png|300px|center]]
-| <poem>By the pass I have made out of the way,
+| <p>[9] By my pass out of the way,<br/>I’ll throw you to the ground with your sword.</p>
-I’ll throw you to the ground with your sword.</poem>
 | {{section|Page:Cod.1324 27v.jpg|27v-a}}
 |-
-|
+| <p>[10] '''Shape of the sword in armour'''</p>
-'''FORM OF THE SWORD IN ARMOUR'''
-The sword for fighting in armour should have the form as written below, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. It’s handle should be of a span. The crossguard should be as long as the handle of the sword. And it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these parts.
+<p>The sword for fighting in armour should be shaped as follows, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. Its handle should be of a span.<ref>A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.</ref> The crossguard should be as long as the handle of the sword, and it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these [parts].</p>
 | {{section|Page:Cod.1324 27v.jpg|27v-c}}
@@ Line 1,422: / Line 1,591: @@
 {{master begin
   | title = Spear
-  | width = 84em
+  | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| rowspan="2" | [[File:Cod.1324 28r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28r.jpg]]
+| rowspan="2" | [[File:Cod.1324 28r.png|300px|center]]
-|
+| <p>'''Play of the long lance'''</p>
-'''Play of the Long Lance'''
-<poem>With a short lance I’ll wait in this way,
+<p>[1] With the shortened lance I’ll wait in this way,<ref>This section is called ''Gioco de Lanza Longa'', the play of the long lance. In this guard position, the lance is described as ''curta'', short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.</ref><br/>I invite you to come with long and short.</p>
-I invite you to come with long and short.</poem>
 | {{section|Page:Cod.1324 28r.jpg|28r-t|lbl=28r}}
 {{section|Page:Cod.1324 28r.jpg|28r-a}}
 |-
-| <poem>From the way I wait for you with a spear
+| <p>[2] From the way I wait for you with a lance<br/>With a half turn I will strike you in the chest.</p>
-I can strike you in the chest with a half turn.</poem>
 | {{section|Page:Cod.1324 28r.jpg|28r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 28v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28v.jpg]]
+| rowspan="2" | [[File:Cod.1324 28v.png|300px|center]]
-| <poem>By the half turn that I have made to my spear,
+| <p>[3] By the half turn that my lance has made,<br/>I’ll strike you in the chest or side.</p>
-I’ll strike you in the chest or side.</poem>
 | {{section|Page:Cod.1324 28v.jpg|28v-a}}
 |-
-| <poem>Here end the blows of the spear,
+| class="noline" | <p>[4] Here end the blows of the lance,<br/>They usually go to this technique.</p>
-They usually go to this technique.</poem>
+| class="noline" | {{section|Page:Cod.1324 28v.jpg|28v-c}}
-| {{section|Page:Cod.1324 28v.jpg|28v-c}}
 |}
@@ Line 1,461: / Line 1,625: @@
 {{master begin
   | title = Dagger
-  | width = 84em
+  | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| rowspan="2" | [[File:Cod.1324 29r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_29r.jpg]]
+| rowspan="2" | [[File:Cod.1324 29r.png|300px|center]]
-| <p>'''[1]''' <section begin="dagger 1"/>I do this counter to you,<br/>Turning you with the grip on your arm.<section end="dagger 1"/></p>
+| <p>[1] This counter that I do to you,<br/>Is for turning you [with] the grip on your arm.</p>
 | {{section|Page:Cod.1324 29r.jpg|29r-a}}
 |-
-| <p>'''[2]''' <section begin="dagger 2"/>With the hand that you have on my shoulder,<br/>You’ll go to the ground in a bad hour.<section end="dagger 2"/></p>
+| <p>[2] With the hand that you have on my shoulder,<br/>You’ll go to the ground and have an awful time.</p>
 | {{section|Page:Cod.1324 29r.jpg|29r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 29v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_29v.jpg]]
+| rowspan="2" | [[File:Cod.1324 29v.png|300px|center]]
-| <p>'''[3]''' <section begin="dagger 3"/>I can take the dagger and strike you<br/>With this grip, and I cannot fail.<section end="dagger 3"/></p>
+| <p>[3] I can take the dagger from you and strike you<br/>With this grip, and it cannot fail.</p>
 | {{section|Page:Cod.1324 29v.jpg|29v-a}}
 |-
-| <p>'''[4]''' <section begin="dagger 4"/>With the dagger on the ground I’ll make you fall<br/>With the turn that I do, and with my knowledge.<section end="dagger 4"/></p>
+| <p>[4] I’ll make you drop the dagger on the ground<br/>With the turn that I’ll do, and with [my] knowledge.</p>
 | {{section|Page:Cod.1324 29v.jpg|29v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 30r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_30r.jpg]]
+| rowspan="2" | [[File:Cod.1324 30r.png|300px|center]]
-| <p>'''[5]''' <section begin="dagger 5"/>This thrust is done immediately<br/>I make your dagger fall very fast.<section end="dagger 5"/></p>
+| <p>[5] This thrust is done immediately<br/>I make your dagger fall very fast.</p>
 | {{section|Page:Cod.1324 30r.jpg|30r-a}}
 |-
-| <p>'''[6]''' <section begin="dagger 6"/>This thrust that I have placed in your hand,<br/>Quickly you will drop your dagger.<section end="dagger 6"/></p>
+| <p>[6] I have placed this thrust in your hand,<br/>Quickly your dagger will fall.</p>
 | {{section|Page:Cod.1324 30r.jpg|30r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 30v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_30v.jpg]]
+| rowspan="2" | [[File:Cod.1324 30v.png|300px|center]]
-| <p>'''[7]''' <section begin="dagger 7"/>This cover I make very quickly,<br/>So you will be placed in the lock.<section end="dagger 7"/></p>
+| <p>[7] I’ll make this cover very quickly,<br/>So you will be placed in the lock.</p>
 | {{section|Page:Cod.1324 30v.jpg|30v-a}}
 |-
-| <p>'''[8]''' <section begin="dagger 8"/>I will leap to a play using this cover,<br/>And with my dagger I’ll open the way.<section end="dagger 8"/></p>
+| <p>[8] I will leap to a play using my cover,<br/>And with my dagger I’ll open the way.</p>
 | {{section|Page:Cod.1324 30v.jpg|30v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 31r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_31r.jpg]]
+| rowspan="2" | [[File:Cod.1324 31r.png|300px|center]]
-| <p>'''[9]''' <section begin="dagger 9"/>With this cover that you want to do,<br/>I’ll make you go into the lower lock.<section end="dagger 9"/></p>
+| <p>[9] By this cover that you want to do,<br/>I’ll make you go into the lower lock.</p>
 | {{section|Page:Cod.1324 31r.jpg|31r-a}}
 |-
-| <p>'''[10]''' <section begin="dagger 10"/>I can take the dagger or strike,<br/>If I don’t want to completely fail the art.<section end="dagger 10"/></p>
+| <p>[10] Thus I can take the dagger from you and also strike,<br/>If I don’t want to completely fail the art.</p>
 | {{section|Page:Cod.1324 31r.jpg|31r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 31v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/Fie:Cod.1324_31v.jpg]]
+| rowspan="2" | [[File:Cod.1324 31v.png|300px|center|link=http://commons.wikimedia.org/wiki/Fie:Cod.1324_31v.jpg]]
-| <p>'''[11]''' <section begin="dagger 11"/>If I push the dagger towards the ground,<br/>You will make no more war with it to me.<section end="dagger 11"/></p>
+| <p>[11] If I push the dagger towards the ground,<br/>You will make no more war against me with it.</p>
 | {{section|Page:Cod.1324 31v.jpg|31v-a}}
 |-
-| <p>'''[12]''' <section begin="dagger 12"/>Here I look for your hand to strike it<br/>I’ll make you come under the lock.<section end="dagger 12"/></p>
+| <p>[12] Here I look for your hand to strike it<br/>I’ll make you enter the lower lock.</p>
 | {{section|Page:Cod.1324 31v.jpg|31v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 32r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_32r.jpg]]
+| rowspan="2" | [[File:Cod.1324 32r.png|300px|center]]
-| <p>'''[13]''' <section begin="dagger 13"/>This crossing that I make against you<br/>I’ll place you in the lock without difficulty.<section end="dagger 13"/></p>
+| <p>[13] With this crossing that I make against you<br/>I’ll place you in the lock, where you will be frustrated.</p>
 | {{section|Page:Cod.1324 32r.jpg|32r-a}}
 |-
-| <p>'''[14]''' <section begin="dagger 14"/>This strike I make with the fist,<br/>I’ll stick your dagger into your body.<section end="dagger 14"/></p>
+| <p>[14] I make this strike with my fist,<br/>I’ll stick your dagger into your body.</p>
 | {{section|Page:Cod.1324 32r.jpg|32r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 32v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_32v.jpg]]
+| rowspan="2" | [[File:Cod.1324 32v.png|300px|center]]
-| <p>'''[15]''' <section begin="dagger 15"/>I make the cover of one hand,<br/>I make your dagger go to the ground.<section end="dagger 15"/></p>
+| <p>[15] I make the cover with one hand,<br/>I’ll make your dagger go to the ground.</p>
 | {{section|Page:Cod.1324 32v.jpg|32v-a}}
 |-
-| <p>'''[16]''' <section begin="dagger 16"/>From the way I have grabbed you I do not doubt<br/>That you’ll go to the ground, I say immediately!<section end="dagger 16"/></p>
+| <p>[16] From the way I have grabbed you I do not doubt<br/>You’ll go to the ground, I mean now!</p>
 | {{section|Page:Cod.1324 32v.jpg|32v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 33r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_33r.jpg]]
+| rowspan="2" | [[File:Cod.1324 33r.png|300px|center]]
-| <p>'''[17]''' <section begin="dagger 17"/>By the way that I have got you<br/>I’ll break the arm and the dagger very quickly.<section end="dagger 17"/></p>
+| <p>[17] By the way that I have got you I’m ready<br/>To break your arm and the dagger very quickly.<ref>It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.</ref></p>
 | {{section|Page:Cod.1324 33r.jpg|33r-a}}
 |-
-| <p>'''[18]''' <section begin="dagger 18"/>You see well the way that I have you,<br/>So you and your dagger will be my pawn.<section end="dagger 18"/></p>
+| <p>[18] You clearly see by the way that I hold you,<br/>That you and your dagger will be my pawn.</p>
 | {{section|Page:Cod.1324 33r.jpg|33r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 33v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_33v.jpg]]
+| rowspan="2" | [[File:Cod.1324 33v.png|300px|center]]
-| <p>'''[19]''' <section begin="dagger 19"/>I see that this play will not fail me.<br/>As I break your arm over my shoulder.<section end="dagger 19"/></p>
+| <p>[19] I see this play does not fail me.<br/>As I break your arm over my shoulder.</p>
 | {{section|Page:Cod.1324 33v.jpg|33v-a}}
 |-
-| <p>'''[20]''' <section begin="dagger 20"/>Because of this way that the arm is grabbed,<br/>I will lock you with this dagger.<section end="dagger 20"/></p>
+| <p>[20] By this way that I want to grab the arm,<br/>I will use your dagger to lock you.</p>
 | {{section|Page:Cod.1324 33v.jpg|33v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 34r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_34r.jpg]]
+| rowspan="2" | [[File:Cod.1324 34r.png|300px|center]]
-| <p>'''[21]''' <section begin="dagger 21"/>I saw that you are bound and going to the ground,<br/>I break the arm and you’ll lose the dagger.<section end="dagger 21"/></p>
+| <p>[21] You saw that you are bound and going to the ground,<br/>break your arm and you will lose the dagger.</p>
 | {{section|Page:Cod.1324 34r.jpg|34r-a}}
 |-
-| <p>'''[22]''' <section begin="dagger 22"/>In this way I have you, and I make a burden,<br/>And I can then follow the close and wide.<section end="dagger 22"/></p>
+| <p>[22] In this way I hold [you] and press down,<br/>I can follow with the close and the wide.<ref>This is a reference to ''giocco largo'' and ''giocco stretto''. Vadi means that from here he can do whatever kind of technique he likes.</ref></p>
 | {{section|Page:Cod.1324 34r.jpg|34r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 34v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_34v.jpg]]
+| rowspan="2" | [[File:Cod.1324 34v.png|300px|center]]
-| <p>'''[23]''' <section begin="dagger 23"/>I come at you with crossed arms,<br/>And I can do all the previous plays.<section end="dagger 23"/></p>
+| <p>[23] I come at you with crossed arms,<br/>And I can do all the previous plays.</p>
 | {{section|Page:Cod.1324 34v.jpg|34v-a}}
 |-
-| <p>'''[24]''' <section begin="dagger 24"/>You’ll go to the ground by the backhand,<br/>By this play your life is lost.<section end="dagger 24"/></p>
+| <p>[24] You’ll go to the ground by the backhand,<br/>By this play you will lose your life.</p>
 | {{section|Page:Cod.1324 34v.jpg|34v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 35r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_35r.jpg]]
+| rowspan="2" | [[File:Cod.1324 35r.png|300px|center]]
-| <p>'''[25]''' <section begin="dagger 25"/>I say you are badly taught in this art;<br/>You will find yourself suddenly on the ground.<section end="dagger 25"/></p>
+| <p>[25] I say you are so poorly trained in this art;<br/>You will find yourself suddenly on the ground.</p>
 | {{section|Page:Cod.1324 35r.jpg|35r-a}}
 |-
-| <p>'''[26]''' <section begin="dagger 26"/>By this grip I say I have you,<br/>I am certain you will go into the lock.<section end="dagger 26"/></p>
+| <p>[20] By this grip I say I have you,<br/>I am certain that you will go into the lock.</p>
 | {{section|Page:Cod.1324 35r.jpg|35r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 35v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_35v.jpg]]
+| rowspan="2" | [[File:Cod.1324 35v.png|300px|center]]
-| <p>'''[27]''' <section begin="dagger 27"/>I make a lock to this, your elbow;<br/>I’ll break your arm for you without doubt.<section end="dagger 27"/></p>
+| <p>[27] I press down on this elbow of yours;<br/>I’ll break your arm without a doubt.</p>
 | {{section|Page:Cod.1324 35v.jpg|35v-a}}
 |-
-| <p>'''[28]''' <section begin="dagger 28"/>This is a very strong destruction of the arm,<br/>The pain that you’ll have will ruin your composure.<section end="dagger 28"/></p>
+| <p>[28] This is a very strong destruction of the arm,<br/>You’ll be unable to bear the pain.</p>
 | {{section|Page:Cod.1324 35v.jpg|35v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 36r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_36r.jpg]]
+| rowspan="2" | [[File:Cod.1324 36r.png|300px|center]]
-| <p>'''[29]''' <section begin="dagger 29"/>I have put you in the lock, to your despite,<br/>Because you are not perfect in the Art.<section end="dagger 29"/></p>
+| <p>[29] I have put you in the lock in spite of you,<br/>Because you are not so perfect in the Art.</p>
 | {{section|Page:Cod.1324 36r.jpg|36r-a}}
 |-
-| <p>'''[30]''' <section begin="dagger 30"/>With my right hand I have made this move;<br/>I will stick the dagger in your thigh.<section end="dagger 30"/></p>
+| <p>[30] With my right hand I have made this move;<br/>I will stick the dagger in your thigh.</p>
 | {{section|Page:Cod.1324 36r.jpg|36r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 36v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_36v.jpg]]
+| rowspan="2" | [[File:Cod.1324 36v.png|300px|center]]
-| <p>'''[31]''' <section begin="dagger 31"/>When you’re on the ground you’ll say,<br/>“I didn’t believe it would come to this”.<section end="dagger 31"/></p>
+| <p>[31] When you’re on the ground you will say,<br/>“I didn’t believe it would come to this.”</p>
 | {{section|Page:Cod.1324 36v.jpg|36v-a}}
 |-
-| <p>'''[32]''' <section begin="dagger 32"/>This is a strong way to throw someone to the ground;<br/>If I wish it, you will die.<section end="dagger 32"/></p>
+| <p>[32] TThis is a way to throw someone to the ground that is quite strong;<br/>If I wish it, you will die.</p>
 | {{section|Page:Cod.1324 36v.jpg|36v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 37r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_37r.jpg]]
+| rowspan="2" | [[File:Cod.1324 37r.png|300px|center]]
-| <p>'''[33]''' <section begin="dagger 33"/>I have you, by the way that I parried;<br/>You will go to the ground against your wishes.<section end="dagger 33"/></p>
+| <p>[33] I have you, in the way that I like;<br/>You will go to the ground against your wishes.</p>
 | {{section|Page:Cod.1324 37r.jpg|37r-a}}
 |-
-| <p>'''[34]''' <section begin="dagger 34"/>You must just go to the ground,<br/>And you’ll make no more war with the dagger.<section end="dagger 34"/></p>
+| <p>[34] You must simply go to the ground,<br/>And you’ll make no more war with your dagger.</p>
 | {{section|Page:Cod.1324 37r.jpg|37r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 37v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_37v.jpg]]
+| rowspan="2" | [[File:Cod.1324 37v.png|300px|center]]
-| <p>'''[35]''' <section begin="dagger 35"/>By the pass that I do under the arm,<br/>You’ll go to the ground with much trouble.<section end="dagger 35"/></p>
+| <p>[35] By the pass that I do under the arm,<br/>You’ll go to the ground with much trouble.</p>
 | {{section|Page:Cod.1324 37v.jpg|37v-a}}
 |-
-|
+| class="noline" |
-'''[36]''' <section begin="dagger 36"/>'''THE MEASURE OF THE DAGGER'''
+[36] '''The measure of the dagger'''
-<p>The length of the dagger should be just to the elbow, with an edge and two corners. The grip should be the length of the fist, as the shape is shown depicted here below.<section end="dagger 36"/></p>
+The length of the dagger should reach the elbow, with an edge and two corners. The grip
-| {{section|Page:Cod.1324 37v.jpg|37v-c}}
+should be the width of the fist,<ref>''Sommesso'' can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.</ref> as the shape is shown depicted here below.</p>
+| class="noline" | {{section|Page:Cod.1324 37v.jpg|37v-c}}
 |}
@@ Line 1,639: / Line 1,804: @@
 {{master begin
   | title = Miscellaneous Plays
-  | width = 84em
+  | width = 90em
 }}
-{| class="floated master"
+{| class="master"
 |-
-! id="thin" | <p>Images</p>
+! <p>Illustrations</p>
 ! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 ! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 |-
-| rowspan="2" | [[File:Cod.1324 38r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38r.jpg]]
+| rowspan="2" | [[File:Cod.1324 38r.png|300px|center]]
-| <poem>I defend myself just as well as I can,
+| <p>[1] I defend myself just as much as I can,<br/>As you strike I will charge at you.</p>
-As you strike I will overcome you.</poem>
 | {{section|Page:Cod.1324 38r.jpg|38r-a}}
 |-
-| <poem>As you throw, your blow will be lost;
+| <p>[2] As you throw, the blow will for naught;<br/>I’ll beat away your weapon with a ''roverso''.</p>
-I’ll beat away your weapon with a backhand blow.</poem>
 | {{section|Page:Cod.1324 38r.jpg|38r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 38v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38v.jpg]]
+| rowspan="2" | [[File:Cod.1324 38v.png|300px|center]]
-| <poem>I am in guard with a good forehand blow,
+| <p>[3] I am in guard with a good ''mandritto'',<br/>As you throw at me you’ll understand the text.</p>
-As you throw at me you’ll understand the text.</poem>
 | {{section|Page:Cod.1324 38v.jpg|38v-a}}
 |-
-|
+| <p>[4] Continuing the work, some dagger techniques will follow. It is necessary to consider the act, the grip, the start and the finish in order to understand the way. Knowing how clever human nature is, everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, first of the sword, the axe, the spear and the dagger.</p>
-Following the work are some dagger techniques as follows. You must consider the act, the grip, the principle and the finish to understand the way. Knowing how cunning human nature is, and for everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, mainly of the sword, the axe, the spear and the dagger.
 | {{section|Page:Cod.1324 38v.jpg|38v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 39r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_39r.jpg]]
+| rowspan="2" | [[File:Cod.1324 39r.png|300px|center]]
-|
+| <p>[5] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 39r.jpg|39r-a}}
 |-
-|
+| <p>[6] End of technique.</p>
-End of the technique
 | {{section|Page:Cod.1324 39r.jpg|39r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 39v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_39v.jpg]]
+| rowspan="2" | [[File:Cod.1324 39v.png|300px|center]]
-|
+| <p>[7] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 39v.jpg|39v-a}}
 |-
-|
+| <p>[8] End of technique.</p>
-End of the technique
 | {{section|Page:Cod.1324 39v.jpg|39v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 40r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_40r.jpg]]
+| rowspan="2" | [[File:Cod.1324 40r.png|300px|center]]
-|
+| <p>[9] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 40r.jpg|40r-a}}
 |-
-|
+| <p>[10] End of technique.</p>
-End of the technique
 | {{section|Page:Cod.1324 40r.jpg|40r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 40v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_40v.jpg]]
+| rowspan="2" | [[File:Cod.1324 40v.png|300px|center]]
-|
+| <p>[11] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 40v.jpg|40v-a}}
 |-
-|
+| <p>[12] End of technique.</p>
-End of the technique
 | {{section|Page:Cod.1324 40v.jpg|40v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 41r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_41r.jpg]]
+| rowspan="2" | [[File:Cod.1324 41r.png|300px|center]]
-|
+| <p>[13] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 41r.jpg|41r-a}}
 |-
-|
+| <p>[14] End of technique.</p>
-End of the technique
 | {{section|Page:Cod.1324 41r.jpg|41r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 41v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_41v.jpg]]
+| rowspan="2" | [[File:Cod.1324 41v.png|300px|center]]
-|
+| <p>[15] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 41v.jpg|41v-a}}
 |-
-|
+| <p>[16] End of technique.</p>
-End of the technique
 | {{section|Page:Cod.1324 41v.jpg|41v-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 42r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_42r.jpg]]
+| rowspan="2" | [[File:Cod.1324 42r.png|300px|center]]
-|
+| <p>[17] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 42r.jpg|42r-a}}
 |-
-|
+| <p>[18] End of technique.</p>
-End of the technique
 | {{section|Page:Cod.1324 42r.jpg|42r-c}}
 |-
-| rowspan="2" | [[File:Cod.1324 42v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_42v.jpg]]
+| rowspan="2" | [[File:Cod.1324 42v.png|300px|center]]
-|
+| <p>[19] Dagger technique.</p>
-Dagger technique
 | {{section|Page:Cod.1324 42v.jpg|42v-a}}
 |-
-|
+| class="noline" | <p>[20] End of technique.</p>
-End of the technique
+| class="noline" | {{section|Page:Cod.1324 42v.jpg|42v-c}}
-| {{section|Page:Cod.1324 42v.jpg|42v-c}}
 |}
@@ Line 1,768: / Line 1,913: @@
 <section begin="sourcebox"/>{{sourcebox header}}
 {{sourcebox
-  | work        = Images
+  | work        = Illustrations
   | authors     = [[Biblioteca Nazionale Centrale di Roma]]
-  | source link = http://commons.wikimedia.org/wiki/Category:Cod.1324
+  | source link = http://digitale.bnc.roma.sbn.it/tecadigitale/manoscrittoantico/BNCR_Ms_VE_1324/BNCR_Ms_VE_1324/1
-  | source title= WikiMedia Commons
+  | source title= Biblioteca Digitale
-  | license     = default
+  | license     = noncommercial
 }}
 {{sourcebox
   | work        = Translation
-  | authors     = [[Guy Windsor]]
+  | authors     = [[translator::Guy Windsor]]
   | source link = http://www.scribd.com/doc/141095594/De-Arte-Gladiatoria-translation
   | source title= The School of European Swordsmanship
@@ Line 1,793: / Line 1,938: @@
 == Additional Resources ==
-* [[Philippo di Vadi|Vadi, Filippo]]. ''Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi''. Trans. Luca Porzio and Gregory Mele. Union City, CA: [[Chivalry Bookshelf]], 2002. ISBN 978-1891448164
+{{bibliography}}
-* [[Philippo di Vadi|Vadi, Filippo]]; [[Marco Rubboli|Rubboli, Marco]]; and [[Luca Cesari|Cesari, Luca]]. ''L'arte Cavalleresca del Combattimento''. Rome: [[Il Cerchio Iniziative Editoriali]], 2005. ISBN 88-8474-079-7
-* [[Guy Windsor|Windsor, Guy]]. ''Veni Vadi Vici. A Transcription, Translation and Commentary of Philippo Vadi's De Arte Gladiatoria Dimicandi.'' The School of European Swordsmanship, 2013. ISBN 978-952-93-1686-1
 == References ==
-{{reflist}}
+{{reflist|2}}
 {{DEFAULTSORT:Vadi, Philippo di}}
 {{Early Italian masters}}
@@ Line 1,814: / Line 1,957: @@
 [[Category:Pole Weapons]]
 [[Category:Staff Weapons]]
+[[Category:New format]]

Philippo di Vadi Pisano

Born	1425 Pisa, Italy
Died	1501 Urbino, Italy (?)
Occupation	Fencing master
Nationality	Pisa, Italy
Ethnicity	Ligurian
Citizenship	Pisan
Patron	Guidobaldo da Montefeltro
Influences	Fiore de'i Liberi
Genres	Fencing manual
Language	Middle Italian Renaissance Latin
Notable work(s)	De Arte Gladiatoria Dimicandi
Manuscript(s)	MS Vitt. Em. 1324 (1482-1487) Vatican Archives MS (1480s)
First printed english edition	Porzio and Mele, 2002
Translations	Alternate English translation Alternate English translation

Difference between revisions of "Philippo di Vadi"

Latest revision as of 19:59, 26 January 2024

Contents

Treatise

Preface

Introduction

Chapter 1

Chapter 2 - Measure of the two-handed sword

Chapter 3 - Theory of the sword

Chapter 4

Chapter 5 - Of thrusts and cuts

Chapter 6 - The seven blows of the sword

Chapter 7 - Of the thrust

Chapter 8 - The dispute of the cuts and thrusts

Chapter 9 - Of the Cross

Chapter 10 - Theory of the half sword

Chapter 11 - Theory of swordplay

Chapter 12 - Theory of the feints of the sword

Chapter 13 - Theory of the half sword

Chapter 14 - Theory of the half tempo of the sword

Chapter 15 - Theory of the sword against the rising blow

Chapter 16 - Instruction of the sword

Diagrams

Sword

Ax in Armor

Sword in Armor

Spear

Dagger

Miscellaneous Plays

Copyright and License Summary

Additional Resources

References

Navigation menu

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