Marc'Antonio Pagano

Marc'Antonio Pagano
Born	Early XVI century
Died	ca. 1560
Relative(s)	Pietro Pagano (father) Gioan Girolamo (nephew) Mutio Pagano (nephew)
Occupation	Fencing master
Patron	Juan Ramires de Montalvo Luigi Carafa, prince of Stigliano
Movement	Neapolitan Swordmanship
Genres	Fencing manual
Language	Italian
Notable work(s)	Le tre giornate (1553)

Marc'Antonio Pagano (ca. 1500-1560) was a Neapolitan fencing master, who lived in the first half of the 16th century and wrote the first known treatise of southern Italy. He was born around the beginning of the 16th century, probably in the area between Salerno and Naples. He belonged to an old noble family, deeply involved in warfare and administration, and very close to the royal house of Aragon. With the advent of the viceroyalty, the family obtained relevant positions inside the military and a lot of its members followed the career under the Imperial sign. Many of them died during military actions, like one of the young protagonists of the dialog, Mutio, who was killed in Flanders.

Little is known about his life; the most significant information about Marc'Antonio is reported in a book written by one of his nephews, Cesare. Cesare states that from the age of 7, Marc'Antonio was dedicated to fighting on foot and on horse. At the age of 49, he dedicated himself to teaching. He died ten years later. In his work about equitation, Antonio Ferraro gives another clue about the career of Marc'Antonio as a teacher. It seems, in fact, that he was master of arms for a branch of the house of Carafa, one of the most important in the Naples. This branch was the same that held the title of princes of Stigliano and duke of Mondragone, the place where the dialog is set. He was also the master of other relevant personalities. The famous erudite and historian Summonte reported the interesting point that Marc'Antonio was a member of the Seat of Porto, one of the organizational structures of the nobility in the city of Naples. In 1547 he took part in the uprising against the introduction of the inquisition: citizens armed with capes and swords and other weapons assaulted the garrison of Castelnuovo, which was defended with pikes and muskets.

In 1553 he published his most remarkable work, Le tre giornate. Throughout his work we can find different references to the martial traditions of other parts of Italy and of other European countries, and this could be evidence of the mobility of the author (or, at least, of the exchange of knowledge between Naples and the rest of Europe).

Treatise

Inside Le tre giornate we can find a lot of pieces concerning fencing theories and on the art of arms in general. They are scattered in several places in the text, although we have a concentration in the section dedicated to the single-hand sword. If we put all the information together, the scene is quite interesting, revealing an advanced theoretical system which clearly gives details that were not transmitted by other contemporary authors (specific kinds of plays, guards, etc.).

For the two-handed sword, we have two plays that go from Gioco Largo to Stretto, ending with grappling actions. Unfortunately, we had no explicit information about guards, but the text is rich in actions such as feints and strikes, combinations of strikes and arm locks with their counters. There are also other elements of interest: plays which are executed with light metallic armour, probably a fine chainmail under the clothes (“sotto coverta armati in bianco”). The players also had hats that appeared normal, but, with a touch, a metal visor could descend to cover the face.

The topic on which Pagano is most superficial is wrestling. Though he tells us that the discipline was widespread in Italy, he gives us just an overview, naming some actions used in various Italian regions and reporting some customs of other countries. In particular, he says that in Naples some people were professional masters of wrestling and all the foreign styles are known and performed.

Pagano offers a unique example of detailed fighting with the coltello inastato, with explicit information about guards. The name of the weapon immediately recalls the one used by the imperial guards of Carlo V and of his successors in the Holy Roman Empire, as recalled also by Altoni. This could partially explain the presence of a long duel with many techniques inside the work of Pagano, traditionally tied to Iberian and imperial influenced backgrounds. However, the weapon used by Pagano had some differences, such as a hook (“gancietto”) on one edge and eventually other little spikes. At the end of the staff there is a metal point, called “pedicone” or “calcio”. So, coltello inastato could be considered as a weapon similar (if not equal) to the Italian falcione inastato, and known all over Europe mainly under the category of glaive.

Finally, the influence of the battlefield is still strong and this is also evident in the last confrontation inside Le tre giornate, which is executed with the pike and then with dagger. As in the previous plays, they pass from Gioco Largo to Gioco Stretto and to the fighting with the short weapon. Some techniques are similar to what we can see in other authors, and also this time the fighters are equipped with foot armor (arme da piede), probably the typical defensive equipment of pikemen on the battlefield. Pagano specifies that the weapon is a picca tedesca, very flexible.

Currently, only a passage on the use of the two-handed sword has been transcribed and translated.

Two handed sword

Draft Translation by Niccolò Menozzi

Transcription by Niccolò Menozzi

They could see Gioan Girolamo Pagano, and Mutio of Pagani's family too, which with two two handed sword, grumbling against each other, with such blows that anyone was surprised even if of brave heart. But Sir don Costantino like the one who was aware of their play, immediately said speaking loud, stop you all Sirs of mine, as you will see two gentlemen. And to those words many objected, saying disturbed, that such a play was not to be allowed to go on between two young men with two handed swords and unarmed as they seemed. And the Prince, and the Duke of Amalfi, who are knights unafraid of such plays, were disturbed too: and they would have been even more if they were not called by Pagano saying that the play would have had happy ending between the two relatives. And this was because, since they only showed the first flower on the cheeks, they stepped forward with the spadoni and even if their clothing seemed ordinary, they were nonetheless armed in white under the cover, in such a way that none of the audience, as smart as he could have been, could have told it. And what seemed for the most part, was that they had hats on their heads, and tailored in such a way that as soon as they were touched on top, the face was covered by an iron mask. And they pretended the same thing I say, while suddenly, giving a step backward, pretending from that act to give place to more proud beating, and put the hands on their hats, in a way that they were armed, then they were with the hand on the sword; and for God's sake with so much speed that they seemed two bolts twirling. And so with so fast movement, Mutio performing a man dritto (which is called like this among fencers) went on the way of the head, pushing forward with the left foot. In which act Gioan Girolamo, moved forward the left foot, giving his sword, in the middle of the other, doing such a cross where he then came to defend from the blow and, moving the right one, with mutual mandritto to the legs he did respond. Because the adversary, with a right parry, from the low, found soon his defense; and without esitation, returned with a rouerso to the face of Gioan Girolamo. Whom, dodged it from behind, didn’t loose time in going forward and in running on him, with the thrust to the breast: while Mutio beating it with the right cut, pulled himself as well the tip of his sword and he had him already uncovered, if he didn’t make vane the blow of that thrust with the hilt (that so is named the transverse iron on the edge of the handle): given that in that time he could have not have any other ease and time. So that once deviated it, he gave immediately a rouerso to his legs, while at the same time drawing back his right foot. The one thing was imitated by Mutio himself while drawing back, who found the same defense dodging the blow; so that Gioan Girolamo, with powerful mandritto came back to the head; in such a way that, while doing cover from dritto, if he wasn’t wise and fast, nothing would have helped to have the head covered by iron; so that without giving time, crossing the swords, went through Gioan Girolamo, putting his left hand, over the right arm, going to grab the handle of the adversary’s sword, while straightening in one time, the tip of his own against the breast. For the thing, aware of the danger to loose his sword, then leaving the weapon with the right one, he grappled him with the arm to the waistband. And while forcing him to his hip (because with any other little movement, he would have left him to the ground) Mutio, like wise and sly in such wrestlings, left the hand from the adversary’s sword with good timing and with it he did binding to the neck of Gioan Girolamo, making to him a garzana; that among wrestlers in this way is named the act that is done by the leg, while interposed between the other contrary two, similar to ivy or snake around, comes to bind one of those, because then with a pushing effort it slides the other’s foot, making a fall. But aware of this act Gio. Ger., as disposed to a similar discipline, given that the grappling was not all tight with the right elbow due to bad timing, pulled with big force that part of Mutio which is under the left armpit, lowering the head so much that he freed himself from the grappling, and with so much dexterity that he made the bystanders widen their eyes. And as soon as Mutio found himself with no grappling, he would have fallen to the ground, if he wasn’t so vigorous, and of such wise judgement, even though he appeared to stand improperly. Nonetheless, in an eye’s blink, and with well measured time, he regained himeslf, putting the hand to the sword. and which thing Gioan Girolamo was not late doing from his side: and with so fast movement they appeared ready that it seemed to the viewers that one gave space to settle to the other; thing that wasn’t nor happened with intention. And so, with no rest they ran one against the other: and firstly Mutio gave a thrust to the face, and the left foot forward, passing then with the right; due to be able to beat his legs with a mandritto. But the effect didn’t come out as wished; because Gioan Girolamo, watching out, in agility had the thrust, and with mandritto he defended himslef, because the thrust with the mezzo mandritto above was impeded, and from the mandritto with the same one to the low he defended himself. And in that moment he went further with a thrust, deviating him from the intention of blowing, following on with a rouerso to the legs, and with so much speed, that he had no time to find cover with the sword advance if not only with the tip. And if while drawing back the foot he had not dodged the rouerso, Mutio would have been hit, whom immediately moved the foot back in the lost place, giving a thrust to the right of the face. And pretending to give a mandirtto, he changed it into a rouerso passing the left foot forward. In a way that Gioan Girolamo, having no agility to dodge it back, as much as he could, he went forward, blocking the sword in the transverse of the other: he found himself covered so soon, that Mutio could not bind him to perform the hook’s wrestle, so named, moving forward the same left foot, putting it behind Gioan Girolamo’s right foot, putting at the same time the left hand on his chest. And if he wasn’t aware of his malice, his shoulders would have taken dust from the ground. But Gioan Girolamo was so fast in rising the right foot that any Mutio’s effort and intention was in vain. And seeing his left hand not on his sword, he gave a thrust to his breast; which Mutio was not slow to parry, moving to the side, without loosing space in putting his hand on the sword, and in handling it properly; because with rapid rouerso in the right of the right shoulder he threw his sword, having in mind to assault him while uncovered, that is when not behaving to cover himself. But Gioan Girolamo, like a lion, soon to his covers, lifting up the hands, in a way that the tip of his sword (like it happened) was downward, made sure that in the middle of the sword, fell the enemy’s one. Nor much it lingered a grappling; leaving the right hand from his sword, throwing it downward, to arrive over the enemy sword, in such a way that with the arm he did a binding to both Mutio’s hands. And while trying to leverage with the arm, that is a force act, in a way to make Mutio’s sword falling from his hands, as soon as he realized this risk, he left his right hand from his weapon, and he put it on the handle of the other one. And after followed Gioan Girolamo who, without freeing himself from that binding in any other way, with his right he grabbed Mutio’s right arm, doing leverage; in such a way that the sword fell to the ground; and at the same time he extended again his right foot in front of Mutio’s right, pulling him to himself from the arm, as to be followed by his falling to the ground. But Mutio well skilled in the fight of such weapons, and second to a few, immediately extended the left foot from behind between one and the other leg, to reach the adversary’s left foot, crossing it from the front, while giving a big shove with the left hand on the right humerus; such that he gave sign to fall more than a time, and he would have be of company to Mutio’s sword, if the wall that he found as a support wasn’t a firm backup, and Mutio was so fast to regain his sword that some of the bystanders were sure it to be another sword put in his hand by other hands. Oh what sweet clapping followed to the two young men. Oh how much was the turmoil from this and from that voice that followed confusedly, whose aim was no more than common praise meshed with marvel, praising the courage, the dexterity, the force and the experience of two such experienced weapons champions. But Pagano, as a master of so rare disciples, would have shown public tears for inner joy, if it was not forbidden by having seen many signs of competition, not without turmoil, which heats up anger inside the two young men, when the thoughtless youth rises superb for the hunger for victory. And stood a while willing to say something, not without showing this will, he said to them. Now listen young sons, as your fond blood lead me to say this. The good-looking and the vague that is used during the games while doing grappling is the undoing of it. And given that is not good to see stubbornness in grapplings, nonetheless you both didn’t fall in such an error, it can be said to be fault one having made vain the other’s action. And given that the ways of going were praiseworthy and nice, not for this can be said that the game was a joke but rather a hassle. Because it would have been praiseworthy, that such was the beginning of the game, if of such quality was the end too, I say the fact that you refrained yourself on it, with the simple ways of going, and slowly to the composed, and too few times on the doubled ones, changing them nonetheless, and walking with them while attacking and while defending; respecting the times, when one foot and the other one must change, or when flowingly facing forward, or when turning to one of the sides, or when moving backward. For the young men is not enough to fully know the game, because it can’t be named full without observing more measure then the observed, in covering from stationary to stationary, and in the way of going of wounding as a counterattack, and in impeding the adversary sword from going backward and going forward wounding, and to sum it up in alternating the times, showing when one should begin the sword movement of right cut, when of false, and when thrusting, and now before the time, now in time, and now after the time. The which thing I want to remind you, how one must vary the games, and even if you hinted many to the opportunity and like is convenience to actual combatants, was it to make it clearer to these gentlemen too, you should have done it, giving birth to a game from the other, like it should be from the large to the tight, from the determined to the attempted, from the attempted to the thick, but alternating it along the way, now in game of assault, now in searching by sword, when with movement of the person, when of posted game, when in the vices of weak sword tempted with deception, when of still sword, and when avoiding. And this is just a little, you should have varied dodging; that a thousand times you heard from me how it should be done, now with the sword, now with the person. And it should have been vague sight, to show us the defense of all the guards, with the breaking of them; and then proceeding to those deceptions, used to win the enemy, when he proceeds in wounding; or when he stands waiting the contrary offense, or when he needs to walk to one side, and when to the other one, or when he needs to cross the feet, and on the blows during the changement of those. I won’t proceed any further, to not annoy these gentlemen; because it is not allowed by this time more suited to quite then to these talks. But to fix this occured fail, come tomorrow, when these gentlemen will be back from hunting, to give them new step with other weapon stormings; remembering not to give me reason to correct you, the which thing would be not suited to me and to you in this place for many good reasons. And with these and with other words, it seems to everyone (even if it was still night time) that Pagano made the two young men blush, who then took leave; the honorable Duke of Amalfi, turning to the others, said this abbattimento was wonderful, even if it gave me joy and trouble at the same time. Joy, in having seen blows with so much space and proportioned measure, and given with good time, to the level that while eating it with the eyes it has been a sweet food. Trouble then to the other side, having seen deliberate blows, with so much dexterity and force, without leaving time the one to the other, and given with pride, like they set a capital matter, as it didn’t seem a playful act. And this even more, what has been seen, that one has stolen the time to the other one, which has been possible cheating with faints, varying the terms of the sword, and any other movement with the intent to overtake the other: without having consideration the one to the other, because they were branches of the same offspring. And so that the game could fill more with joy, they came to the grappling and wrestling with good timing, that has been seen, how resolute they have been, that they left almost no space to see them, for the terrible acts and for the novelty never seen. But sir Marcantonio, as a wise knight, didn’t want to praise them for what has been seen; knowing as judicious, of what danger it is to give prize to young bold men for what they boldly do, seeing that, so far as they are praised for some praiseworthy act, they don’t attempt to improve, but they stand for that; they believe they reached the top of all virtues due to the received praise. And the Duke would have talked further; if it wasn’t for abbot Artuso who interposed him, and interrupted him joyfully saying; Gentlemen what I have seen tonight with the two swords is no marvel to me; because all of them who are of the Pagani have the brain on the bonnet. But however, as slumber invites us already, let’s go I pray you, and if you don’t know the way, here I am as first I will be guide for everyone. And while saying this and moving on the way abbot Artuso, not only he led the nice party to lough and play, but he caused everyone to stand up in agreement and to go to their accommodations. The mounter, as always, did what was the Prince’s will, who liked him to prepare the hunt on the Palco way: a place well walled, and abundant in game, besides being suited by nature to nothing else, so much that is rare in the world to the judgement of the ones who see it; and accordant to all the immense and rare greatnesses of its Lord. The end of the first day.

si poterono raffigurar Gioan Girolamo Pagano, & Mutio pur d’e Pagani, i quali con due spade a due mani, iusi s’appresentorno, barbottando lun uerso laltro, con colpi sì fatti, che ne stupiua ciascuno per coraggioso ch’ei fusse. Ma il S. don Costantino come quegli ch’era consapeuole del lor gioco, disse di subito ad alta vuoce, Fermateui Signor miei tutti, che uederete duo qualent’huomini. Alle quai parole furono di molti che contradissero, affermando turbati, che non si douea permettere, che duo giouani con spade a due mani, & disarmati come pareano, seguissero cotal giuoco. Et il Principe, & il Duca d’Amalfe a punto, auenga sien caualieri da non trarre da tai giuochi spauento, pure e si turbarono da repentini motiui: & più si sarebbeno, se non che furono dal Pagano accennati, che tra duo cotali congiunti, haurebbe il giuoco hauuto felice fine. Il perche, dato a pena il primo fiore sù le guancie mostrauano, si ferono inanzi con’ gli spadoni. & tutto che il loro uestire paresse ordinario, erano non di meno sotto couerta armati in bianco, che niuno d’e circostanti per molto accorto che fusse, l’haurebbe stimato. Et quello che parue più corrispondere, si era che in testa Cappelli haueano, & fatti in guisa, che nel subito toccargli sù, il uolto da una maschera di ferro ne ueniua couerto. Et il medemo ch’io dico, diero a diuedere ambedue, mentre ad un tratto, dato un passo indietro, mostrando da quell’atto far nascere piu fiere percosse, & date le mani sù lor Cappelli, ondei ui si rimasero armati, tosto furono con la man sù la spada; & per Dio con tanta rattezza, che sembraro duo folgori che si raggirino discorrendo. Et cosi in rattissimo moto, il Mutio con atto di man dritto, (che tra schermitori così si chiama) procese per la uia de la testa, spingendosi auanti co’l destro piede. Nel qual’atto il Gioan Girolamo, trapassò inanzi il pie manco, porgendo la sua spada, nel mezzo de laltra, con iui farci una croce cotale oue non sì tosto egli uenne a schermirsi dal colpo, che pingendo il destro, con uicendeuol mandritto uer le gambe gli fè risposta. perche l’auuersario, con dritto parare, per basso, trouò subito sua difesa; & senza indugio, ritornò con rouerso per lo uolto di Gioan Girolamo. Il quale schifatolo a dietro, non perdè tempo nel farsi inanzi & nel corrergli addosso, con la punta uerso il petto: quando Mutio ribattendola co’l dritto taglio, pinse pur’egli inanzi la punta de la sua spada & già l’hauea discouerto, se colui con l’elsa (che tal si noma il trauerso ferro nel confine del manico) non facea uana la percossa di quella punta: Impero che a quell’hora non haurebbe potuto hauere ne altro agio, ne altro tempo. onde suiata che l’hebbe, diede subitamente andamento ad un rouerso per le sue gambe, con ritrare insieme il suo destro piede in dietro. Il che imitando pur’esso Mutio co’l farsi indietro, trouò la medema difesa con ischifare il colpo; allhora che Gioan Girolamo, con poderoso mandritto ritornò per la testa; sì che, se nel farci riparo per dritto, non era colui aueduto et presto, nulla gli haurebbe giouato il trouarsi di ferro couerto il capo; onde senza dar tempo, con incrocicchiare le spade, trapassò del Gioan Girolamo, ponendo la sua manca mano, soura il destro braccio, scorrendo a prendere il manico della contraria spada, con indrizzare ad un tempo, la punta de la sua uerso il petto. Per la qual cosa, colui accortosi del periglio di perder la spada, tosto con la destra abbandonando l'arme, lo cinse co’l braccio ne la cintura. & nel far forza, per ridurlo sù l’anca (perche con ogni altra picciola smouitura, l’hauerebbe a terra posto) Mutio, come auisato et scaltro in sì fatte lutte, lasciò con giusto tempo la man della spada auuersa, et con quella fè legame al collo del Gioan Girolamo, ordendogli una garzana; che, così tra luttanti si noma l’atto che fà la gamba, mentre trapponendosi tra le due altre contrarie, quasi hedera che serpe intorno, uiene ad auolgere una di quelle, perche poscia con uno sforzo di spinta, ne facci scorrere l’altrui piede, et ruina uenire. ma auedutosi di quest’atto il Gio. Ger. come uersato in una disciplina medema già che la presa, per lo difetto del tempo, non era in tutto ristretta co’l gomito destro, a gran forza spinse quella parte del Mutio, che è sotto l’ascella manca, abbassando cotanto il capo, che dal legame si sciolse, & con tanta destrezza, che fece a circostanti inarcar le ciglia. Et già che il Mutio si ritrouaua di presa uoto, sarebbe per l’urto caduto a terra, s’egli non fusse stato della persona sì aiutante, & di giuditio tanto accorto, auenga che sconcio a uedere nell’attitudine fusse rimaso. non di meno, ad un batter d’occhio, & con tempo ben misurato, si riscosse in se stesso, giungendo la man sù la spada. al che fare, non fù tardo anchora dal suo lato il Gioan Girolamo: & con moto sì destro rassettati si uiddero, che parue a riguardanti, luno hauer dato a laltro, cotale spatio d’accomodarsi; cosa che non fù già, ne con intendimento auenuta. Et così, senza dimora alcuna s’auentorono lun uerso laltro: & primieramente il Mutio inviò una punta per lo uolto, & il piè manco inanzi, trapassando di poi co’l dritto; perche gli uenisse in acconcio, di percuotergli con mandritto le gambe. Ma ‘effetto non riuscì conforme al uolere; perche Gioan Girolamo standosì sù l’auiso, in agilità hebbe la punta, & con mandritto se ne schermì, per cioche la punta co’l mezzo mandritto al di sopra l’impedì, & il mandritto con’l simile al di giù si difese. Et in quello stante si fè oltre con punta, suiandolo dall’intendimento del colpeggiare, seguendo poi con rouerso che fea cenno alle gambe, & con tanta uelocità, che non hebbe colui tempo di trouarci riparo con l’auanzo de la spada, fuori che con la punta. Et se con ritrare il piè, non hauesse schifo il rouerso, sarebbe stato percosso il Mutio, il quale tornò di subito il piè nel luogo perduto, menando una punta per lo dritto del uiso. & facendo sembiante di tirar di mandritto, lo cangiò in rouerso con trappassare il piè manco inanzi. In modo che il Gioan Girolamo, non ritrouandosi in agilità di schifarlo in dietro, a quanto più egli poteò, si fece inanzi, sbarrando la spada nel trauerso de laltra: ne fù si presto n’e suoi ripari, che’l Mutio non si legasse con esso lui, per farci la lutta del’uncino, così nomata, facendo inanzi il medemo pie manco, con porlo dietro il pie dritto del Gioan Girolamo, dandogli ad un punto medemo la manca mano su’l petto. Et se de la malitia non si fusse di presente auisto, hauerebbeno le spalle da terra pigliata poluere. Ma fù il Gioan Girolamo così presto ad alzare il piè destro, che fè uano ogni sforzo, & ogni intentione del Mutio. Et uedendogli la manca mano fuor de la spada, l’inuiò una punta uerso il petto; la quale non fù Mutio tardo a schifare, co’l darsi di banda, senza perder punto di spatio in giunger la mano sù la spada, et in d’adoprarla co’l debito; impero che con repentino reuerso nel dritto de la destra spalla auuiò la sua spada, hauendo per fermo, iui a la scouerta assalirlo, ouero non in atto di farci scudo. Ma il Gioan Girolamo, a guisa di Leone, a suoi ripari prestissimo, inalzando le mani, tal che la punta de la sua spada (si come auenne) si trouasse al diggiù, fece in modo; che nel mezzo di essa spada, ne uenne la nimica a darle sù. Ne molto indugiò a farsi la presa; lasciando la destra mano da la sua spada, con cacciarla per lo basso di quella, ad arriuare soura la spada nimica, in guisa; che co’l braccio fè legame ad amendue le mani del Mutio. Et in quella; che co’l braccio tentaua far leua, cioè un’atto di forza, acciò la spada del Mutio, gli fusse fuor de le mani caduta, incontanente colui che se ne uidde a rischio, lasciò la sua destra mano da la sua arme, et nel manico de l’altra la puse. Onde seguì: che il Gioan Girolamo, senza altramente slegarsida quel legame, con la sua destra, fè presa nel destro braccio del Mutio, facendo leua; tal che la spada ne cadde a terra; & ad un tempo stese anchora il suo destro piede inanzi al destro del Mutio, tirandolo per lo braccio a se, acciò ne fusse seguito il suo gire a terra. Ma Mutio nelle lutte di cotai arme esperto, & a pochi secondo, subito il manco piè da dietro, tra luna & laltra gamba distese, ad arriuare pur’ il piè manco del’auersario, inanzi attrauersandolo, con darli la man sinistra per un gran urto su’l humero destro; talche diè segno di cadere più d’una uolta, & haurebbe fatto compagnia a la spada di Mutio, se’l muro, ch’ei trouò per appoggio, non gli fusse stato saldo sostegno, & fù si presto il Mutio a ripigliar la sua spada, che ui furono tra circostanti, che hebber per certo che fusse stata altra spada, & per altre mani nella sua posta. O che dolci applausi indi seguirono uerso i due giouanetti. o quanto fu in uero il tumolto che di questa & di quella uoce confusamente seguì, il cui fine non era poi altro, saluo commune lode mescolata con merauiglia, che l’ardire, la destrezza, la forza, & l’esperienza lodaua, di duo così esperti campioni d'arme. Ma il Pagano, come maestro di sì rari discepoli, haurebbe per gioia interna mostrate lagrime aperte, se non gliene hauesse uetate da laltro canto, l’hauer uisto ne i duo giouani del suo sangue, molti segni di gara, non senza bollore, che riscalda la collera, allhor che la giouanezza incosiderata, s’insuperbisce nell’appetito del uincere. Et stato alquanto in atto di uoler dire, non senza darne aspettatione bramata, a quegli riuolto disse. Hor’udite figliuoli, poi che la tenerezza del sangue mi sprona a questo. Il bello & il uago che ne i giuochi è tenuto, facendosi presa, è il disfar di quella. Et tutto che, sia sconcio uedere la ostination nelle prese, non di meno, se ben’amendue, non sete in questo errore incorsi, fallo si può già dire essere stato, che luno nimicheuolmente habbi fatto uano l’atto de l’altro. Et auenga, gli andamenti siano stati lodeuoli & belli, non per ciò si può dire che il giuoco sia stato da scherzo, si come da scoruccio più tosto. perche, saria stato lodeuole, che quale fù il principio del giocare, tale si fusse anchora mostrato il fine, dico l’esserui trattenuti sù quello, con gli andamenti semplici, & pian piano ne composti, & un po’ poco ne i raddoppiati, uariandogli però tutta uia, & con quei caminando & nell’offese & ne le difese; con osseruarci i tempi, quando lun piede et laltro uariare si debbono, o quando discorreuoli farsi inanzi, o quando ad un d’e lati girarsi, o quando a dietro muoversi. Non basta o giouanetti sapere il giuoco compiutamente, poi che egli non si può chiamare compiuto, non osseruandoci più misura dell’’osseruata, nel ripararui da fermo a fermo, & nell’andamento del ferir per risposta, & nel’impedire la contraria spada al farsi in dietro & al pingersi inanzi ferendo, & in somma nel’alternare i tempi, con fargli uedere quando si dee uenire all’auuiamento della spada di dritto taglio, quando di falso, & quando di punta, & hora inanzi il tempo, hora nel tempo, & hora doppo il tempo. Il perche, parmi di ricordarui, come si debbono uariare i giuochi, & benche n’habbiate molti accennati, secondo l’opportunità, & come a combattenti, si conuien ueramente, pure affine che questi signori n’hauessero hauuto, piu distintamente contezza, doueuate già farlo, facendo da lun giuoco nascere laltro, come farebbe dal largo al ristretto, dal determinato al tentato, dal tentato al fitto, alternandogli però tutta uia, hora in giuoco d’assalto, hora in ricercare di spada, quando con mouimenti di persona, quando di giuoco appostato, quando nei uity di spada debole tentata ad inganno, quando si spada ferma, & quando di sfuggita. Et già che questo e pur poco, deueuate hauer’auertenza di uariar lo schifare; che mille fiate hauete inteso da me, come egli si dee fare, hora con la spada, hora con la persona. Et sarebbe stata uaga uista anchora, mostrarci la difension di tutte le Guardie, con le rotture di quelle; & indi procedere a quegli inganni, con che si uince il nimico, allhora ch’egli procede al ferire; ouero qualhora sta sù l’auiso per attendere la contraria offesa, ò quando dee passeggiare da luna, & quando da laltra banda, ò qualhora si debba stare su’l trapasso d’e piedi, & ne i colpi de la cambiata di quegli. Perche io la lascierò di procedere più inanzi, per noia non recare a questi Signori; sì perche non si consente dal tempo, assai piu atto a spendersi ne la quiete, che in sì fatti discorsi. Ma talche s’amendi il fallo già scorso, apprestateui dimane, tornati che sieno questi signor da la caccia, a dare lor nuouo spasso con altri stormenti d'arme; recandoui a mente, che non habbiate a darmi cagione, che io habbi a coreggerui, cosa, che in si fatto luogo si disconuerrebbe Et a me & a uoi per tanti giusti rispetti. Et con queste & con altre parole, parue a tutti ( anchora che notte fusse) che il Pagano inducesse rossore nelle guancie de i duo giouani. i quali in quello che preser congiedo; l’honorato Duca d’Amalfe, uerso gialtri uolgendose disse, Questo abbattimento è stato bellissimo, anchora che ad un tempo n’habbi dato & gioia & noia. Gioia, nel’hauer uisti i colpi con tanto aere, & proportionata misura, & così bene a tempo mossi, che nel pascerci gli occhi, n’è stato soaue cibo. noia poi da laltro canto, l’hauer uisti i colpi delliberati, & con tanta destrezza & forza, senza luno dar tempo a laltro, & tirati con fierezza, quasi hauessero diffinita capital lite, che non n’è parso un’atto di giuoco. & ciò tanto più, quanto s’è uisto, che luno habbi rubbato il tempo, che gli è stato possibile, a laltro, ingannadosi con gli atti fittity, uariando i termini della spada, & ogni altro mouimento, affine che laltro ne uenisse a preuaricare: senza hauere luno a laltro riguardo, perche fussero rami d’un rampollo medemo. Et talche il giuoco piu n’empisse di gioia, sono a bel tempo, uenuti & alle prese & alle lutte, che pur s’è uisto, come sono state sì risolute, che a pena n’han dato spatio di rispirare in uederle, sì per gli atti terribili, sì per la nouità non più uista. Ma il signor Marcantonio, come Caualier saggio, non hà uoluto fare lor buono, quanto s’è uisto; sapendo come giuditioso, che pericolo sia, il dar uanto a giouani arditi, in quello che essi oprano arditamente, ueggendosi che i sì fatti, qualhora sono lodati di qualche loro atto lodeuole, non si sforzano a douerci auanzare, ma standosi in quello; si credono per le lodi hauute, ch’essi siano gionti al sommo d’ogni uirtu. Et piu oltre haurebbe seguito il Duca; se non che l’Abbate Artuso, ui si trapose, & gioiosamente interrompendolo, disse; Signori a me non par marauiglia quanto hò uisto sta notte con le due spade; perche tutti costoro che sono dei Pagani, hanno il ceruello su la berretta. Et però, già che il sonno c’inuita, andiancene io ue ne prego, & se non sapete la strada, ecco ch’io come primo, sarò la guida di tutti. & dicendo così, & inuiandosi l’Abbate Artuso, non solo mosse riso & giuoco a la bella brigata, ma fù cagione che tutti d’accordio si leuarono sù, & a gli alberghi n’andorono. Il Montiere, secondo il suo solito, mandò ad effetto il uolere del Prencipe, a cui piacque ch’egli ordinasse la caccia per la uia del Palco: luogo sì bene di mura cinto, & copioso di fiere, oltre a l’esserci da la natura non ad altro disposto, che al giuditio di quanti lo ueggono, è raro nel mondo; & conforme a tutte le immense & rare grandezze del suo Signore. Il fine della prima Giornata.

Copyright and License Summary

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

Work	Author(s)	Source	License
Transcription	Niccolò Menozzi	The Spadone Project
Translation	Niccolò Menozzi	The Spadone Project

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.

• De Filippo, Marco (2015). Le tre giornate di Marc'Antonio Pagano, gentil'huomo napoletano, d'intorno alla disciplina de l'arme et spetialmente della spada sola. Edizioni Spring. ISBN 978-88-9703-323-3.
• Gotti, Roberto (2023). "The Dynamic Sphere: Thesis on the Third State of the Vitruvian Man." Martial Culture and Historical Martial Arts in Europe and Asia: 93-147. Ed. by Daniel Jaquet; Hing Chao; Loretta Kim. Springer.