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| name                = [[name::Federico Ghisliero]]
 
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| wiktenauer compilation by=[[Michael Chidester]]
  
 
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'''Federico Ghisliero''' (Ghislieri; d. 1619) was a Bolognese soldier and fencer. Little is know about his early life, but he came from a Bolognese family and studied fencing under [[Silvio Piccolomini]].<ref>Mentioned on [[https://wiktenauer.com/wiki/Page:Regole_di_molti_cavagliereschi_essercitii_(Federico_Ghisliero)_1587.pdf/10|p. +ⅱ]] of his dedication to Ranuccio and again on [[Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/108|p. 94]].</ref> He lead a long military career that included serving under the famous commander Alessandro, Duke of Parma, in Flanders in 1582. He was also a friend of Galileo Galilei and a prolific writer, though unfortunately most of his writings were destroyed in a fire at the University of Turin in 1904.<ref name="Anglo 30">Anglo 1994, p. 30.</ref>
+
'''Federico Ghisliero''' (Ghislieri; d. 1619) was a Bolognese soldier and fencer. Little is know about his early life, but he came from a Bolognese family and studied fencing under [[Silvio Piccolomini]].<ref>Mentioned on [[Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/10|p. +ⅱ]] of his dedication to Ranuccio and again on [[Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/108|p. 94]].</ref> He lead a long military career that included serving under the famous commander Alessandro, Duke of Parma, in Flanders in 1582. He was also a friend of Galileo Galilei and a prolific writer, though unfortunately most of his writings were destroyed in a fire at the University of Turin in 1904.<ref name="Anglo 30">Anglo 1994, p. 30.</ref>
  
In 1587, he published a fencing treatise called ''[[Regole di molti cavagliereschi essercitii (Federico Ghisliero)|Regole di molti cavagliereschi essercitii]]'' ("Rules for Many Knightly Exercises"); two versions of the first edition exist, and it's unclear which was created first. One is dedicated to dedicated to Antonio Pio Bonello, a well-known soldier and distant relative, and the other to Ranuccio Farnese, who was 18 years old at the time and Alessandro's heir.<ref name="Anglo 30"/>
+
In 1587, he published a fencing treatise called ''[[Regole di molti cavagliereschi essercitii (Federico Ghisliero)|Regole di molti cavagliereschi essercitii]]'' ("Rules for Many Knightly Exercises"); two versions of the book exist, and it's unclear which was created first. One is dedicated to Antonio Pio Bonello, a well-known soldier and distant relative of Ghisliero, and the other to Ranuccio Farnese, who was 18 years old at the time and Alessandro's heir.<ref name="Anglo 30"/>
  
 
Ghisliero's treatise is notable for his use of geometry in relation to fencing, using concentric circles centered on where the fencer has placed most of their weight (often, but not always, the back foot), and sometimes including multiple versions of each figure in an illustration to show the progression of the movements he describes. He also seems to be the first author to reference the ''Vitruvian Man'' in a fencing treatise.<ref>See pp. 7-9. See also Gotti 2023, pp. 130-133.</ref> However, his treatise is unique in that it was printed without any illustrations at all, and they had to be drawn in by hand. It's unclear whether this indicates that he intended to have printing plates made but was unable to do so, or that his plan from the start was to have the books vary based on how much art each buyer was willing to pay for.
 
Ghisliero's treatise is notable for his use of geometry in relation to fencing, using concentric circles centered on where the fencer has placed most of their weight (often, but not always, the back foot), and sometimes including multiple versions of each figure in an illustration to show the progression of the movements he describes. He also seems to be the first author to reference the ''Vitruvian Man'' in a fencing treatise.<ref>See pp. 7-9. See also Gotti 2023, pp. 130-133.</ref> However, his treatise is unique in that it was printed without any illustrations at all, and they had to be drawn in by hand. It's unclear whether this indicates that he intended to have printing plates made but was unable to do so, or that his plan from the start was to have the books vary based on how much art each buyer was willing to pay for.
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{{TOC limit|3}}
 
{{TOC limit|3}}
 
== Treatise ==
 
== Treatise ==
 +
 +
The illustrations in this presentation are based on the copy in the [[Bibliothèque nationale de France]], but a few have been modified by [[Michael Chidester]] to include additional details present in the [[Biblioteca Universitaria di Bologna]]'s copy in order to offer a single point of reference for the descriptions in the text. The unmodified illustrations can be viewed in the gallery on the [[Regole di molti cavagliereschi essercitii (Federico Ghisliero)|treatise page]].
  
 
{{master begin
 
{{master begin
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|-  
 
|-  
 
| rowspan="4" | [[File:Ghisliero 03.jpg|400px|center]]
 
| rowspan="4" | [[File:Ghisliero 03.jpg|400px|center]]
<div style="text-align: center;">''Prospetiva &emsp; Scortio &emsp; Profilo''</div>
+
{| style="width: 399px; margin-right: auto; margin-left: auto;"
 +
|-
 +
| style="text-align: left; width: 133px;" | ''Prospetiva''
 +
| style="text-align: center; width: 133px;" | ''Scortio''
 +
| style="text-align: right; width: 133px;" | ''Profilo''
 +
|}
 
| <p>'''T'''his fencer will have three proportions in his body; his front, his ''scurzo'',<ref>''Scurzo'', does not translate appropriately from Italian. As with a number of words in Ghisliero’s treatise, it is likely a Catalase word or a unique spelling. Analysis of other treaties such as Jarod Kirby’s ''Italian Rapier Combat'' (Kirby, 2004) shows the following two definitions, on page 14 of the text, of a similar sound word that is contextually a more likely approximation of what ''scurzo'' means; “''Scanso'', A voidance, any evasive manoeuvre that moves the body of the direct line” and “''Scanso del pie dritto'', A voidance made by moving the right foot slightly off the direct line while turning the body.” So for the purposes of this translation, scurzo will mean in this text the middle stance as shown in Figure 3, i.e. a partial voiding stance halfway between perspective and profile.</ref> and his profile. When he stands in balance the front always shows the whole surface of the body.</p>
 
| <p>'''T'''his fencer will have three proportions in his body; his front, his ''scurzo'',<ref>''Scurzo'', does not translate appropriately from Italian. As with a number of words in Ghisliero’s treatise, it is likely a Catalase word or a unique spelling. Analysis of other treaties such as Jarod Kirby’s ''Italian Rapier Combat'' (Kirby, 2004) shows the following two definitions, on page 14 of the text, of a similar sound word that is contextually a more likely approximation of what ''scurzo'' means; “''Scanso'', A voidance, any evasive manoeuvre that moves the body of the direct line” and “''Scanso del pie dritto'', A voidance made by moving the right foot slightly off the direct line while turning the body.” So for the purposes of this translation, scurzo will mean in this text the middle stance as shown in Figure 3, i.e. a partial voiding stance halfway between perspective and profile.</ref> and his profile. When he stands in balance the front always shows the whole surface of the body.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/26|1|lbl=12.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/26|1|lbl=12.1}}
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|-  
 
|-  
| rowspan="2" | [[File:Ghisliero 04.jpg|400px|center]]
+
| rowspan="3" | [[File:Ghisliero 04.jpg|400px|center]]
 
| <p>In the first of the two forms [figure 4] the man, when standing in the balance describes a circle around his feet, the center of which he stands perpendicular.</p>
 
| <p>In the first of the two forms [figure 4] the man, when standing in the balance describes a circle around his feet, the center of which he stands perpendicular.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/31|8|lbl=17.8}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/31|8|lbl=17.8}}
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|-  
 
|-  
| rowspan="2" class="noline" | [[File:Ghisliero 05.jpg|400px|center]]
 
 
| <p>'''T'''he first of the four forms of the man, when finds himself in the state of in stillness in the already mentioned position of second; and when his stance is not stable where the bodyweight resides, with one leg in the centre of the circle, it allows other leg to describe the edge of the circle, [this is the position] which we use to keep ourselves on guard.</p>
 
| <p>'''T'''he first of the four forms of the man, when finds himself in the state of in stillness in the already mentioned position of second; and when his stance is not stable where the bodyweight resides, with one leg in the centre of the circle, it allows other leg to describe the edge of the circle, [this is the position] which we use to keep ourselves on guard.</p>
  
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|-  
 
|-  
 +
| class="noline" | [[File:Ghisliero 05.jpg|400px|center]]
 
| class="noline" | <p>The second one, when you take one step, then standing in that quiet step, stopping your other foot from moving describe another circle: through this we enter a with traversal<ref>The act or process of passing across, over, or through.</ref> motion to exit the points: it also forms the third, whereas, the fourth state is what we will enter when the attack is made, and when he moves into the fifth step, as this figure shows, it is what he will use to fight the enemy.</p>
 
| class="noline" | <p>The second one, when you take one step, then standing in that quiet step, stopping your other foot from moving describe another circle: through this we enter a with traversal<ref>The act or process of passing across, over, or through.</ref> motion to exit the points: it also forms the third, whereas, the fourth state is what we will enter when the attack is made, and when he moves into the fifth step, as this figure shows, it is what he will use to fight the enemy.</p>
 
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/33|2|lbl=19.2}}
 
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/33|2|lbl=19.2}}
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|-  
 
|-  
| rowspan="4" | [[File:Ghisliero 06''.jpg|400px|center]]
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| rowspan="6" | [[File:Ghisliero 06''.jpg|400px|center]]
 +
 
 +
{| style="width: 400px; margin-right: auto; margin-left: auto;"
 +
|-
 +
| style="text-align: left; width: 133px;" |
 +
| style="text-align: center; width: 133px;" | ''Fendente.''
 +
| style="text-align: right; width: 133px;" |
 +
|-
 +
| style="text-align: right; width: 133px;" | ''Traversale.''
 +
| style="text-align: center; width: 133px;" |
 +
| style="text-align: left; width: 133px;" | ''Traversale.''
 +
|-
 +
| style="text-align: left; width: 133px;" | ''Tondo.''
 +
| style="text-align: center; width: 133px;" |
 +
| style="text-align: right; width: 133px;" | ''Tondo.''
 +
|-
 +
| style="text-align: right; width: 133px;" | ''Falso.''
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| style="text-align: center; width: 133px;" |
 +
| style="text-align: left; width: 133px;" | ''Falso.''
 +
|-
 +
| style="text-align: left; width: 133px;" |
 +
| style="text-align: center; width: 133px;" | ''Montante.''
 +
| style="text-align: right; width: 133px;" |
 +
|}
 
| <p>Of these three natures of the cut,</p>
 
| <p>Of these three natures of the cut,</p>
 
* the first is the ''fendente'',<ref>''Fendente'' means vertical cut.</ref>
 
* the first is the ''fendente'',<ref>''Fendente'' means vertical cut.</ref>
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|-  
 
|-  
|
 
 
| <p>On the other hand, by occupying the imagined line, it does not allow a place for the opposite sword to enter in defense, as is the case with oblique cuts, which are all those lines that follow the angle formed by the line of the ''fendente'' and the ''tondo fendente''.</p>
 
| <p>On the other hand, by occupying the imagined line, it does not allow a place for the opposite sword to enter in defense, as is the case with oblique cuts, which are all those lines that follow the angle formed by the line of the ''fendente'' and the ''tondo fendente''.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/48|4|lbl=32b.4}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/48|4|lbl=32b.4}}
  
 
|-  
 
|-  
|
 
 
| <p>Therefore, the more these transversal cuts approach the perpendicular descent towards the center of the world; and the more they make an acute angle with the line of direction, the more they will approach the perfection of the cut. And on the contrary, the more they move away from it, and approach the horizontal line of the ''diritto tondo'', the less they will make an acute angle; and consequently they will be more oblique; and therefore of less weight and strength.</p>
 
| <p>Therefore, the more these transversal cuts approach the perpendicular descent towards the center of the world; and the more they make an acute angle with the line of direction, the more they will approach the perfection of the cut. And on the contrary, the more they move away from it, and approach the horizontal line of the ''diritto tondo'', the less they will make an acute angle; and consequently they will be more oblique; and therefore of less weight and strength.</p>
 
|  
 
|  
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|-  
 
|-  
 
| rowspan="8" | [[File:Ghisliero p35.jpg|400px|center]]
 
| rowspan="8" | [[File:Ghisliero p35.jpg|400px|center]]
| <p>And the two terms, or extremities of the line are two points, as is seen in this example: {{dec|s|――――}}</p>
+
| <p>And the two terms, or extremities of the line are two points, as is seen in this example:</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/51|2|lbl=35.2}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/51|2|lbl=35.2}}
  
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|-  
 
|-  
| <p>A straight line is one which extends from one point to another with the shortest possible length, and is as follows: {{dec|s|――――――――}}</p>
+
| <p>A straight line is one which extends from one point to another with the shortest possible length, and is as follows:</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/51|4|lbl=35.4}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/51|4|lbl=35.4}}
  
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|-  
 
|-  
 
|  
 
|  
| <p>Since the fortresses, which were naturally built on strong sites, have become weak through use, man has used his art to devise a plan for building a fortress which would be less subject to the defects which have become apparent through a new way of building.This, with the various order of ''Bellouards''; cauldrons, flattenings, finials, curtains, shoulders, parapets, ramparts, matte houses, buttresses, ditches, and ramparts; and of so many other parts, and membranes, as are seen in the books of Teti, Tartaglia Castriotto, all of whom have dealt with this.</p>
+
| <p>'''S'''ince the fortresses, which were naturally built on strong sites, have become weak through use, man has used his art to devise a plan for building a fortress which would be less subject to the defects which have become apparent through a new way of building.This, with the various order of ''Bellouards''; cauldrons, flattenings, finials, curtains, shoulders, parapets, ramparts, matte houses, buttresses, ditches, and ramparts; and of so many other parts, and membranes, as are seen in the books of Teti, Tartaglia Castriotto, all of whom have dealt with this.</p>
 
|  
 
|  
 
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/107|2|lbl=93.2|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/108|1|lbl=94.1|p=1}}
 
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/107|2|lbl=93.2|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/108|1|lbl=94.1|p=1}}
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|-  
 
|-  
 
|  
 
|  
| <p>There are three ways in which fortresses are offended, namely, </p>
+
| <p>'''T'''here are three ways in which fortresses are offended, namely, </p>
 
* the hidden underground;  
 
* the hidden underground;  
 
* with the battery, the hoe, the shovel, and the stove; or  
 
* with the battery, the hoe, the shovel, and the stove; or  
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|-  
 
|-  
 
|  
 
|  
| <p>The aerial offence is made when a hill is created on the outside [of the fortress] and with it one stands at a knight’s level [at the same level] with those on the inside. [Those on the inside] cannot appear to the defence because the greatest offence to the ''cortina'' is that this position shows every part inside it.</p>
+
| <p>'''T'''he aerial offence is made when a hill is created on the outside [of the fortress] and with it one stands at a knight’s level [at the same level] with those on the inside. [Those on the inside] cannot appear to the defence because the greatest offence to the ''cortina'' is that this position shows every part inside it.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/116|2|lbl=102.2}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/116|2|lbl=102.2}}
  
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}}
 
}}
 
{{master subsection begin
 
{{master subsection begin
  | title = Chapter 15
+
  | title = Chapter 1
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
|  
 
|  
| <p>Whenever our opponent is placed in</p>
+
| <p>'''W'''henever our opponent is placed in</p>
 
* the first or second guard, or  
 
* the first or second guard, or  
 
* the guard against the face, or  
 
* the guard against the face, or  
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|-  
 
|-  
 
|  
 
|  
| <p>If the enemy were to be placed in the same guards, but would keep his sword fixed on our left-hand point, we would immediately place our left foot of the same diameter as the right foot that held the enemy in front of us, and then, coming out with our right foot in a transversal movement in the second circle, we would form the third guard, and from above to below we would strike with our cross, leaving the defence to be carried out naturally by our left arm, as if it were one piece, with both hand and dagger.</p>
+
| <p>'''I'''f the enemy were to be placed in the same guards, but would keep his sword fixed on our left-hand point, we would immediately place our left foot of the same diameter as the right foot that held the enemy in front of us, and then, coming out with our right foot in a transversal movement in the second circle, we would form the third guard, and from above to below we would strike with our cross, leaving the defence to be carried out naturally by our left arm, as if it were one piece, with both hand and dagger.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/131|1|lbl=117.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/131|1|lbl=117.1}}
  
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|-  
 
|-  
 
| [[File:Ghisliero 19.jpg|400px|center]]
 
| [[File:Ghisliero 19.jpg|400px|center]]
| <p>But when the enemy has his sword in preference,<ref>This probably means that the sword has mechanical advantage in a thrusting position.</ref> but obliquely under the center of our body, we will then appear in the united state, and with the body well protected in the first guard, opposing the dagger, a body is resistant to the oblique line, so that it does not rise, we will choose the best attack possible that can be made. But we must prepare ourselves against all the danger that lies in the fact we are approaching the dagger when we strike it, and therefore, with the premeditated ''tempo'' (since the oblique line cannot be used in a short time for anything other than a straight line), we will place our dagger on the imaginary line, on which the sword must fall, and this imagined line appears below in this figure.</p>
+
| <p>'''B'''ut when the enemy has his sword in preference,<ref>This probably means that the sword has mechanical advantage in a thrusting position.</ref> but obliquely under the center of our body, we will then appear in the united state, and with the body well protected in the first guard, opposing the dagger, a body is resistant to the oblique line, so that it does not rise, we will choose the best attack possible that can be made. But we must prepare ourselves against all the danger that lies in the fact we are approaching the dagger when we strike it, and therefore, with the premeditated ''tempo'' (since the oblique line cannot be used in a short time for anything other than a straight line), we will place our dagger on the imaginary line, on which the sword must fall, and this imagined line appears below in this figure.</p>
 
| {{pagetb|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf|133|lbl=119|p=1}}
 
| {{pagetb|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf|133|lbl=119|p=1}}
  
 
|-  
 
|-  
 
| [[File:Ghisliero 20.jpg|400px|center]]
 
| [[File:Ghisliero 20.jpg|400px|center]]
| <p>If the enemy were to hold his sword obliquely in the second way, we would immediately, after having reached the diameter (with the body in perspective) enter the smallest circle of distance. [The smallest circle] is marked with dots, as is the other small circle which we also form in the state. And placing our feet on the cord<ref>''Corda'' means rope or cord, but in this context means the diameter of the circle.</ref> of the said large circle we would form the first guard: that thus gaining the distance (in case he attacks). We shall likewise attack, by placing our sword in the diagonal and our dagger in the imagined line; in which that sword must come obliquely, as this figure shows very well, in which we see the effect which our attack makes; and the effect which the enemy’s attack makes.</p>
+
| <p>'''I'''f the enemy were to hold his sword obliquely in the second way, we would immediately, after having reached the diameter (with the body in perspective) enter the smallest circle of distance. [The smallest circle] is marked with dots, as is the other small circle which we also form in the state. And placing our feet on the cord<ref>''Corda'' means rope or cord, but in this context means the diameter of the circle.</ref> of the said large circle we would form the first guard: that thus gaining the distance (in case he attacks). We shall likewise attack, by placing our sword in the diagonal and our dagger in the imagined line; in which that sword must come obliquely, as this figure shows very well, in which we see the effect which our attack makes; and the effect which the enemy’s attack makes.</p>
 
| {{pagetb|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf|135|lbl=121|p=1}}
 
| {{pagetb|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf|135|lbl=121|p=1}}
  
 
|-  
 
|-  
 
| [[File:Ghisliero 21.jpg|400px|center]]
 
| [[File:Ghisliero 21.jpg|400px|center]]
| <p>The opposite of ours may be found with the sword oblique to our body, in the third way, as has been said of the sword. That is to say, angular, but we shall have ascertained if the extremity of the sword is at the right angle to our left parts; and immediately on arriving at the distance we shall place ourselves in the fourth guard. And we shall attack with the greatest length of the body; moving it first; and then following the movement with the right foot we shall cut that line and we shall help it with the dagger to its circumference. We are certain that the sword, being in this angle, will be able to make a straight line, and that we, by carrying the weight of the body to the missing leg, will overcome it by attacking it on first guard. If, when we appear, the same angular line is made straight, we will return to the first circle on first guard, and we will operate as we have said, on first guard.</p>
+
| <p>'''T'''he opposite of ours may be found with the sword oblique to our body, in the third way, as has been said of the sword. That is to say, angular, but we shall have ascertained if the extremity of the sword is at the right angle to our left parts; and immediately on arriving at the distance we shall place ourselves in the fourth guard. And we shall attack with the greatest length of the body; moving it first; and then following the movement with the right foot we shall cut that line and we shall help it with the dagger to its circumference. We are certain that the sword, being in this angle, will be able to make a straight line, and that we, by carrying the weight of the body to the missing leg, will overcome it by attacking it on first guard. If, when we appear, the same angular line is made straight, we will return to the first circle on first guard, and we will operate as we have said, on first guard.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/137|1|lbl=123.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/137|1|lbl=123.1}}
  
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 16
+
  | title = Chapter 2
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
| <p>Since we have no intention of attacking our enemy every time that he holds his sword in the rear, the same facilitates our work. And we will keep as a rule that we must spread out from the enemy’s sword as far as it is from us and in doing so we will seek out the enemy’s body, and keeping the body in the rear, we will go out into the smallest part of the circle, and staying in the cord of the said circle, we will attack in front of the ''tempo'' and in ''tempo'' in the same way – as appears here in this figure which follows.</p>
+
| <p>'''S'''ince we have no intention of attacking our enemy every time that he holds his sword in the rear, the same facilitates our work. And we will keep as a rule that we must spread out from the enemy’s sword as far as it is from us and in doing so we will seek out the enemy’s body, and keeping the body in the rear, we will go out into the smallest part of the circle, and staying in the cord of the said circle, we will attack in front of the ''tempo'' and in ''tempo'' in the same way – as appears here in this figure which follows.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/139|2|lbl=125.2}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/139|2|lbl=125.2}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Ghisliero 23.jpg|400px|center]]
 
| rowspan="2" | [[File:Ghisliero 23.jpg|400px|center]]
| <p>Finally, when the enemy returns to his stationary position with his left foot forward, in this posture he concedes only one point of his surface. However, when he wishes to attack, he must pass with the whole perspective of his body into the attack and this he will do with the greatest possible movement: which will be described in the ''tempo'' of a maxim, which is eight strokes. We shall therefore enter into the distance, placing ourselves in the lesser position to first guard our life, which will be closer to the profile than otherwise; and we shall hold the dagger high if the enemy is on falcon guard.</p>
+
| <p>'''F'''inally, when the enemy returns to his stationary position with his left foot forward, in this posture he concedes only one point of his surface. However, when he wishes to attack, he must pass with the whole perspective of his body into the attack and this he will do with the greatest possible movement: which will be described in the ''tempo'' of a maxim, which is eight strokes. We shall therefore enter into the distance, placing ourselves in the lesser position to first guard our life, which will be closer to the profile than otherwise; and we shall hold the dagger high if the enemy is on falcon guard.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/141|1|lbl=127.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/141|1|lbl=127.1}}
  
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|-  
 
|-  
 
| rowspan="3" | [[File:Ghisliero 24'.jpg|400px|center]]
 
| rowspan="3" | [[File:Ghisliero 24'.jpg|400px|center]]
| <p>Whenever we give motion to these, which are in a state of being with the left foot in front, they force themselves to adapt; because by raising the point we cover ourselves behind the line of their body: so that, not discovering a place where they can attack, they move. Therefore it will be time to attack them in that movement, either of the right foot or of the left.</p>
+
| <p>'''W'''henever we give motion to these, which are in a state of being with the left foot in front, they force themselves to adapt; because by raising the point we cover ourselves behind the line of their body: so that, not discovering a place where they can attack, they move. Therefore it will be time to attack them in that movement, either of the right foot or of the left.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/143|1|lbl=129.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/143|1|lbl=129.1}}
  
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|-  
 
|-  
| <p>All these things, which have been said, we must know how to reproduce, according to need. For if the enemy (for example) can put himself:</p>
+
| <p>'''A'''ll these things, which have been said, we must know how to reproduce, according to need. For if the enemy (for example) can put himself:</p>
 
* on guard to enter and then lower that line, and  
 
* on guard to enter and then lower that line, and  
 
* after that release it, and
 
* after that release it, and
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|}
 
|}
 
{{master subsection end}}
 
{{master subsection end}}
 +
{{master end}}
  
{{master subsection begin
+
{{master begin
  | title = Chapter 17 - Advertisements of the Sword and Dagger
+
  | title = Advertisements of the Sword and Dagger
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
|  
 
|  
| <p>'''ADVERTISEMENTS''' OF THE SWORD <small>AND DAGGER</small></p>
+
| <p>'''Advertisements of the Sword and Dagger'''</p>
  
 
<p>''If we want to use our first guard, there are five ways in which we could go against this posture: but all will be in vain if we operate according to reason and the knowledge of the weapon.''</p>
 
<p>''If we want to use our first guard, there are five ways in which we could go against this posture: but all will be in vain if we operate according to reason and the knowledge of the weapon.''</p>
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|-  
 
|-  
 
|  
 
|  
| <p>In the first way, he will try to approach from a distance, and with speed he will move his sword across, in order to attack with his dagger. But this is remedied by attacking the enemy in motion, before he reaches the distance. In addition, with every little movement we raise our sword, we will put it into the attack in a straight line. Moreover, we shall pass with our left foot and attack with our dagger.</p>
+
| <p>'''I'''n the first way, he will try to approach from a distance, and with speed he will move his sword across, in order to attack with his dagger. But this is remedied by attacking the enemy in motion, before he reaches the distance. In addition, with every little movement we raise our sword, we will put it into the attack in a straight line. Moreover, we shall pass with our left foot and attack with our dagger.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/147|2|lbl=133.2}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/147|2|lbl=133.2}}
  
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|}
 
|}
{{master subsection end}}
+
{{master end}}
  
{{master subsection begin
+
{{master begin
  | title = Chapter 18 - Advertisements of the Single Sword
+
  | title = Advertisements of the Single Sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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| <p>'''Advertisements of the single sword'''</p>
 
| <p>'''Advertisements of the single sword'''</p>
  
<p>Whenever the sword is engaged, it can be freed by withdrawing the left foot to the rear, and if the other side attacks it, it will be attacked at the same time.</p>
+
<p>'''W'''henever the sword is engaged, it can be freed by withdrawing the left foot to the rear, and if the other side attacks it, it will be attacked at the same time.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/150|1|lbl=136.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/150|1|lbl=136.1}}
  
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|}
 
|}
{{master subsection end}}
+
{{master end}}
  
{{master subsection begin
+
{{master begin
  | title = Chapter 19 - Treatise on the Sword and Cloak
+
  | title = Treatise on the Sword and Cloak
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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| <p>'''Treatise on the sword and cloak'''<ref>''Cappa'' means both cloak and cape (there is no differentiation in Italian). I will use cloak for the purpose of consistency. The Spanish cloak or cape is short compared with what we normally consider to be a cloak. It is usually worn anywhere from below the shoulder blade length to the hip.</ref></p>
 
| <p>'''Treatise on the sword and cloak'''<ref>''Cappa'' means both cloak and cape (there is no differentiation in Italian). I will use cloak for the purpose of consistency. The Spanish cloak or cape is short compared with what we normally consider to be a cloak. It is usually worn anywhere from below the shoulder blade length to the hip.</ref></p>
  
<p>When we use the cloak for defense, we must always remember that it differs from the dagger in that it can be cut and pierced, which is not the case with the dagger, and therefore we will never parry with the cloak in the same way as with the dagger. And just as the dagger cannot be used to parry stabbings, so the cloak cannot be used to parry them. And since we try to keep the dagger free from injury, the cloak cannot be kept in the hands of the enemy.</p>
+
<p>'''W'''hen we use the cloak for defense, we must always remember that it differs from the dagger in that it can be cut and pierced, which is not the case with the dagger, and therefore we will never parry with the cloak in the same way as with the dagger. And just as the dagger cannot be used to parry stabbings, so the cloak cannot be used to parry them. And since we try to keep the dagger free from injury, the cloak cannot be kept in the hands of the enemy.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/151|1|lbl=137.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/151|1|lbl=137.1}}
  
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|-  
 
|-  
 
|  
 
|  
| <p>If, however, we allow the enemy to pass with a right hand, the respondent, taking advantage of this point of view will be able to make a mortal wound, leaving behind his cloak, which will close the way for the enemy’s sword.</p>
+
| <p>'''I'''f, however, we allow the enemy to pass with a right hand, the respondent, taking advantage of this point of view will be able to make a mortal wound, leaving behind his cloak, which will close the way for the enemy’s sword.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/157|1|lbl=142.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/157|1|lbl=142.1}}
  
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|}
 
|}
{{master subsection end}}
+
{{master end}}
  
{{master subsection begin
+
{{master begin
  | title = Chapter 20 - Treatise on the Buckler
+
  | title = Treatise on the Buckler
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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| <p>'''Treatise on the Buckler'''</p>
 
| <p>'''Treatise on the Buckler'''</p>
  
<p>Many people have used the buckler in the same way as a dagger, and they have used it as a parry, accompanying it with the sword. However, since it is difficult for a man to show what he is capable of by means of some instrument, if he does not first make known what it belongs to, it is necessary, in order not to be mistaken, for them to know the quality and properties of the very instrument with which he intends to represent that essence. Since, therefore, we have to deal with the defensive instrument (as I said), we will begin by discussing it in this way.</p>
+
<p>'''M'''any people have used the buckler in the same way as a dagger, and they have used it as a parry, accompanying it with the sword. However, since it is difficult for a man to show what he is capable of by means of some instrument, if he does not first make known what it belongs to, it is necessary, in order not to be mistaken, for them to know the quality and properties of the very instrument with which he intends to represent that essence. Since, therefore, we have to deal with the defensive instrument (as I said), we will begin by discussing it in this way.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/158|1|lbl=144.1}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/158|1|lbl=144.1}}
  
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|-  
 
|-  
 
|  
 
|  
| <p>However, we shall note that on this occasion the sword will have the opposite effect, specifically in a straight line or in power; i.e. in an oblique line. When it is in a straight line, we shall regard it as a single ray of the Sun, and we shall oppose it with the at the same point; but when it is oblique to our body, we shall oppose it using the buckler at the body of the fist at the origin of the ray, or of the line, so that we will be covered by the shadow of the opaque body of the buckler.</p>
+
| <p>'''H'''owever, we shall note that on this occasion the sword will have the opposite effect, specifically in a straight line or in power; i.e. in an oblique line. When it is in a straight line, we shall regard it as a single ray of the Sun, and we shall oppose it with the at the same point; but when it is oblique to our body, we shall oppose it using the buckler at the body of the fist at the origin of the ray, or of the line, so that we will be covered by the shadow of the opaque body of the buckler.</p>
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/161|2|lbl=147.2}}
 
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/161|2|lbl=147.2}}
  
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|}
 
|}
{{master subsection end}}
+
{{master end}}
  
== Temp ==
+
{{master begin
{{master subsection begin
+
  | title = Treatise Against a Left-Handed Person
  | title = Chapter 21 - Treatise Against a Left-Handed Person
 
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
|  
+
| class="noline" |  
| <p>The right hand will allow all cuts to pass through, and will wound after the time of the slash; or it will help him to decline, and will attack backwards: it will also be able to parry covered, and will make all the same attacks, that we have said, that are made before the tempo.</p>
+
| class="noline" | <p>The right hand will allow all cuts to pass through, and will wound after the time of the slash; or it will help him to decline, and will attack backwards: it will also be able to parry covered, and will make all the same attacks, that we have said, that are made before the tempo.</p>
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/166|2|lbl=152.2}}
+
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/166|2|lbl=152.2}}
  
 
|}
 
|}
{{master subsection end}}
+
{{master end}}
== Temp ==
+
 
 +
{{master begin
 +
| title = Combat at the Barriers
 +
| width = 100%
 +
}}
 
{{master subsection begin
 
{{master subsection begin
  | title = Chapter 22 - Treatise Against a Left-Handed Person
+
  | title = Chapter 1
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
|  
 
|  
|  
+
| <p>'''Combat at the Barriers'''</p>
|  
+
 
 +
<p>'''I'''n all Cavalier’s armies, the Cavalier must demonstrate the agility, dexterity and strength of his body which are played at as a game. And it should be noted that there are two reasons why this type of spectacle is usually done: the first is to show the assistants the similarity of an event of arms; the second is so that each of the combatants can show the valour of his person. Therefore, of all the games of arms, that of the barriers is the noblest, which is nothing more than the representation of two battles, in which the first battle is fought with the pike, and then the sword is drawn, and the victory, which is its end, is sought.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/167|1|lbl=153.1}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>When the crowd has been assembled, they fight hand-to-hand; and this is done in order that each individual may not only show his strength, but may also make the spectator aware of the general battle.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/167|2|lbl=153.2}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>The Cavalier, therefore, imitates the truth in all his actions, as if he were in the very act of fighting with softened irons, but at the same time he avoids all extremes; he does not do things completely from where he stands, nor does he do them completely by play; and he takes care to do all his natural movements, both of the whole body and of its parts, and this always without any affectation.</p>
 
|  
 
|  
|  
+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/167|3|lbl=153.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/168|1|lbl=154.1|p=1}}
 +
 
 +
|}
 +
{{master subsection end}}
  
 +
{{master subsection begin
 +
| title = Chapter 2
 +
| width = 90em
 +
}}
 +
{| class="master"
 
|-  
 
|-  
|
+
! <p>Images</p>
|  
+
! <p>{{rating|C}}<br/>by [[Nicola Boyd]]</p>
|
+
! <p>Transcription<br/>by [[Nicola Boyd]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>''In this combat there are two types of weapons, the pike and the rapier, or the sword, which we shall now deal with in particular.''<br/><br/></p>
|  
+
 
 +
<p>'''T'''he pike has three proportions, namely, the ''piombo'',<ref>''Piombo'' means the part made of lead or can mean to plummet down.</ref> which is the perpendicular, the median, and the horizon. The ''piombo'' is when it departs from the perpendicular and moves downwards; the horizon is when it moves in a straight line from the eye to any apparent point in the plane of the horizon.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/168|2|lbl=154.2}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>Six things are done with the pike:</p>
 +
# The first is that it is used to walk the field a little.
 +
# The second is, that with it one presents oneself to battle.
 +
# The third is, that with it one walks to the attack.
 +
# The fourth is, that with it one wounds oneself.
 +
# The fifth is, that it is thrown to the ground, in order to be able to put one’s hand to the hook.
 +
# The sixth and last step is to walk with the pike in armour.
 
|  
 
|  
|  
+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/168|3|lbl=154.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/169|1|lbl=155.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>The walk which a man makes with a pike when he enters the field must be such that the combatant shows ease in his legs, by holding them in place, and strength in his waist, disdaining the weight of his weapons. It is important to take care not to take large or small steps, but to take them naturally and without any affectation. Hold the pike on the straight shoulder, with the ''calce''<ref>''Cálce'' means, a ventplate of a tilting staffe or place to hold it by. (Florio 1611)</ref> under the horizon, and in such a way that, when a line is drawn from the knee, an acute angle is formed with it: and keep the arm straight, not in the plane of the shoulder, but a little slanting, in order to avoid slicing.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/169|2|lbl=155.2}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>And every time that the Cavalier raises his arm from the shoulder to strengthen it, he should do so in the proper manner, not making any movement which is not done in time and in concert. This will be most successful if, in raising the pike, he lifts his foot straight up; and in lowering it, he draws back his right foot, with his sight towards the point; and in the same way, in raising the pike, in order to put it back on the shoulder, he lifts his foot, always making the same stroke.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/169|3|lbl=155.3}}
  
 
|-  
 
|-  
 +
| [[File:Ghisliero 29.jpg|400px|center]]
 +
{| style="width: 399px; margin-right: auto; margin-left: auto;"
 +
|-
 +
| style="text-align: left; width: 100px;" | ''Postura.''
 +
| style="text-align: center; width: 200px;" | ''Passeggio à man diritta.''
 +
| style="text-align: right; width: 100px;" | ''Volta.''
 +
|}
 +
| <p>The body is to be presented to the battle with the body straight and upright, and because it is customary to wait for the Maintainer to be in order. At this time, therefore, one must make some movement, sometimes with the head, sometimes with the foot, sometimes with the hand, and sometimes with the whole ''calce'', in order to show courage and so that one does not look like a statue with the pike. Besides this, the body is to be held plumb in line under the right foot, and with the straight arm stretched upwards. As this figure shows, in which there is the proportion of the body, which, departing from tranquillity, is done in passing to our left hand, and the other which is done in turning to walk with the right hand, which shows the perspective of the body.<p>
 
|  
 
|  
|  
+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/169|4|lbl=155.4|p=1}} {{pagetb|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf|170|lbl=156|p=1}}
|  
 
  
 
|-  
 
|-  
|  
+
| [[File:Ghisliero 30.jpg|400px|center]]
|  
+
{| style="width: 399px; margin-right: auto; margin-left: auto;"
|  
 
 
 
 
|-  
 
|-  
|  
+
| style="text-align: left; width: 200px;" | ''Passeggio à man manca''
|  
+
| style="text-align: left; width: 100px;" | ''volta.''
|  
+
| style="text-align: right; width: 100px;" | ''Ferrita.''
 +
|}
 +
| <p>'''I'''n departing from the state to enter the ''passeggio'',<ref>''Passeggio'' means a walk or turn in a walking.</ref> which is the third operation, which is done with the pike, this is done transversally, trying to gain ground and approach the enemy. And since our body has three portions, namely, perspective, ''scurzo'', and profile, it will be done in such a way that the pike and the body always form the same view: and because one cannot enter into perspective in profile without passing through the middle, which is the ''scurzo''. However, in order to avoid the error of the extremes, one should always enter the other in the order we have shown in the preceding figures. Nevertheless, one should always try to keep the body as much as possible in ''scurzo'', in order to form a more better view. The pike should be kept in the middle line, as shown in the two figures, which have the views that our body makes; that is, the ''scurzo'' and the perspective.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/172|1|lbl=158.1}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>The fourth operation to be performed with the pike is the attack, which, in accordance with the rules established among combatants, must be made in a particular place of the body, if it is to be made from the gorget upwards: and the pike, in order to maintain its strength, must be made in a straight line and in its third horizontal position: as can be seen in the following demonstration, in which we show first of all the profile that the body makes with the pike when it walks with a right hand, and then the second way, when the body turns to enter ''scurzo'', which the man does, either to lower the pike to attack, or even to walk, and the third figure is the attack that is being discussed here.</p>
 
|  
 
|  
|  
+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/172|2|lbl=158.2|p=1}} {{pagetb|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf|173|lbl=159|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>'''A'''nd since the real operation of the pike is done with the weight of the body, the Cavalier must make this attack with a force, and no more. This force will be three steps forward, which is important in terms of the length of the man, who, once he has exceeded this amount, will begin another force.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/175|1|lbl=161.1}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>I would elect the best way to break the pike, since it can be broken in four ways. In the first, you can put the ''calce'' of the pike in the left side, in order to advance its length: you can also break it by driving the pike straight into the left side: but apart from the fact that this makes it difficult to see, it is difficult to avoid the point, because the pike is out of sight. Nor would a pike, if it were made to stand up, be kept in such a state: nor is the body in a position to use its strength properly.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/175|2|lbl=161.2}}
  
 
|-  
 
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|  
 
|  
|  
+
| <p>But when one is a Maintainer, one will be able to vary one’s attacks in these other ways better and with more reason.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/175|3|lbl=161.3}}
  
 
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+
| <p>In the second, by moving the arms away from the body, one can injure by breaking the pike in the body, since it is difficult to insert it in any other part of the body; but all blows are oblique and very disconcerting, and this is the true operation of the pike.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/175|4|lbl=161.4}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>In the third (and this is more perfect) one can, with three steps of strength, pass from the right foot, and attack with one hand.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/176|1|lbl=162.1}}
  
 
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|  
+
| <p>In the fourth and last step (which is the one on which we are going to attack, once we have put the body in perspective), little by little the pike will be lowered and received by the other hand. When we have arrived in distance, with it in the horizon, we must make sure that the end of the pike is pointing straight at the point where we want to attack. Withdrawing the left foot from the right one, and adjusting the attack, the three steps are moved, first moving the left foot and then the right, and finally the descending of the weight and the force of the man are brought to bear on the left hand. In order to make the attack in a straight line, the right arm is held at an angle and the fist is held close to the belt.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/176|2|lbl=162.2}}
  
 
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|  
+
| <p>The fifth operation, which is done with the pike, is the retreat, after the attack has been made: and this is done in order to do battle again with another pike, or to use the hook; which pike, broken by the Cavalier, he will throw to the ground. And there are three ways of throwing it to the ground: First, behind, or by the side, or over the straight shoulder; but this, apart from the fact that the pike cannot be thrown, is mostly thrown on the head, and to the godfathers, and to those around.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/176|3|lbl=162.3}}
  
 
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|  
+
| <p>In the second, one may throw the pike out of contempt for the enemy: but since it is in the power of the enemy to send back his ''scalzo'',<ref>''Scalzo'' means bare-footed or unshod. (Florio 1611)</ref> it is not, in my opinion, a matter of vilifying the enemy; since he will have to strike with his spear without fail, in which (being the greater value) others may remember the contempt and give bread for cake:<ref>Render pane per focaccia is a proverb which means ‘give bread for cake’ or to render like for like. p105 (Macadam, 1924)</ref> because where one waits for deeds little care is taken for the contempt.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/177|1|lbl=163.1}}
  
 
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|  
+
| <p>In the third, which we shall use well, is used immediately after we have made the attack. We shall lift the ''calce'' of the pike with our left foot, retreating, and with our right foot, retreating again, this same ''calce'' will make the left hand slip, and we shall throw it to the ground through our right side: which, as well as being a beautiful thing to see, is more likely to be true, because if we drop it on the ground, we come to the crowd, and immediately draw our sword.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/177|2|lbl=163.2}}
  
 
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|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>The sixth operation is that when the Cavalier has departed from the field, and the battle is over, and he finds himself stationary with his pike in the pendicular, he will start up with his left foot; and then, with his right foot following it, he will place the ''calce'' of his pike in the same position: and after he has taken about five or six steps, stretched out in the proper manner, he will lower his pike and put it on his shoulder, and follow his course.</p>
|  
+
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/177|3|lbl=163.3}}
  
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|}
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{{master subsection end}}
|  
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|  
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{{master subsection begin
 +
| title = Chapter 3 - Treatise on the ''Stocco''
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|C}}<br/>by [[Nicola Boyd]]</p>
 +
! <p>Transcription<br/>by [[Nicola Boyd]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>'''Treatise on the ''Stocco'''''<ref>''Stocco'', means a short or arming-sword, a tuck. Also a short bat or truncheon. (Florio 1611)</ref></p>
 +
 +
<p>'''T'''he Cavalier in beating with the ''stocco'' has three parts, that is to say, fluency, strength and prestige: the fluency consists in freeing the blows well - which is of great advantage - because the ''stocco'' is not left tangled with the opposite ''stocco'', the strength is a gift of nature. Nevertheless, since the hit of the ''stocco'' is made with movement, it is necessary to take the precaution of choosing the best one and with this method one may strike with greater force. And nimbleness, being the most precious gift of nature in the use of arms, will ensure that the Cavalier is well resolved in all the ways in which he wishes to strike; and this he will also do with a very short tempo.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/178|1|lbl=164.1}}
 +
 +
|-
 
|  
 
|  
 +
| <p>Since we have already dealt in full with the nature of motion and the nature of the cuts, and which of them are the greatest, in accordance with their descent, we need not go into greater detail here. We will only say that natural
 +
motion, aided by the power of movement, will have the greatest effect on a resisting party, and that the real blow will be when the hook with the arm forms a straight line with the shoulder.</p>
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/178|2|lbl=164.2|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/179|1|lbl=165.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>And it can be beaten in several ways: in the one with round blows; in the other with cross blows, and with doubled rights; or it can be beaten with the arm open, and the weight is carried with the shoulder, moving from the centre of the body upwards.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/179|2|lbl=165.2}}
 +
 +
|-
 
|  
 
|  
 +
| <p>When we strike with rounded blades then the ''stocco'' is not well freed and the blow is not the greatest that can be made.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/179|3|lbl=165.3}}
 +
 +
|-
 
|  
 
|  
 +
| <p>When we strike with traversal cuts, aided by the greater movement and weight of the body, this is the best way to do it, because by this means we strike in the middle of the temple and the jaw, which is the easiest place to stun the opponent, and to help him decline.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/179|4|lbl=165.4}}
  
 
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|-  
 
|  
 
|  
 +
| <p>The beating with the fifth doubling ''cétro''<ref>''Cétro'' means ‘a Scepter, a mace of dignity.’ (Florio 1611)</ref> is done for the same reason, so that, since these blows are of short duration, the enemy is more quickly stunned: but these are of little weight; so there is the danger of incurring some disorder.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/179|5|lbl=165.5}}
 +
 +
|-
 
|  
 
|  
|  
+
| <p>When the arm is held open with the motion of the body and is struck on the chin, this act is womanish, and takes a long time, so that the ''stocco'' may fall, and it is brutish to behold.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/179|6|lbl=165.6}}
  
 
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|-  
 
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 +
| <p>It remains, therefore, that our Cavalier should be the first to attack the enemy: for it is always a good thing and an advantage to be the first to attack: and this with a transversal ''mandritto'' centred on the left foot, so that the circumference is greater. Moreover, he will be deceived by the opposite of distance; and he will be attacked while in motion.</p>
 
|  
 
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 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/179|7|lbl=165.7|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/180|1|lbl=166.1|p=1}}
 +
 +
|-
 
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 +
| <p>If the Cavalier should find that one of the combatants is disconcerted by his blows, he may present himself as stationary to strike with the forehand; or he may be the first to strike with a right slash, but doing so with weakness; and then, if the opponent strikes with a right slash, he will have to help him to the ground, where his weight will be hanging.<ref>I think he is describing a downward bind here and I also think ‘blow’ should be noted here as ‘beat’.</ref></p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/180|2|lbl=166.2}}
  
 
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|-  
 
|  
 
|  
 +
| <p>It should be noted that if the opponent is disconcerted by the blow, the same blow will be made, just as if he is disconcerted by the right blow, we will double the right blow.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/180|3|lbl=166.3}}
 +
 +
|-
 
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|  
 +
| <p>If the hoofs should become entangled in the hands, we must take care not to pull towards ourselves, but towards the ground, at which time we must place our left knee under the barrier, and use both hands to help ourselves.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/180|4|lbl=166.4}}
 +
 +
|-
 
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 +
| <p>And if, as is usually the case, the opposite should happen, and the body should come over the barrier, the left hand should be brought down towards the barrier, and the hand above the helmet should be brought to the centre.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/180|5|lbl=166.5}}
  
 
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 +
| <p>There are two ways in which the ''stocco'' can be made to fall backwards: first, when it is attacked with a cut, by striking it in the arm with a cut; secondly, when it wishes to form a reversal, if we place our ''stocco'' with the point over his straight shoulder, and form a line with it.</p>
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/180|6|lbl=166.6|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/181|1|lbl=167.1|p=1}}
 +
 +
|-
 
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 +
| <p>'''B'''ut to come to a more practical point, the Cavalier must know the rules and regulations laid down by the Masters, so that he may act in accordance with them: and so, with the order of the pages, godfathers and drummers, he will enter the field.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/181|2|lbl=167.2}}
  
 
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|  
+
| <p>But as he boldly walks through the field, when he has arrived in the presence of the ladies, he bows his pike and pays reverence to them in the manner already indicated. Then he will do the same before the Judges, if only with less humility.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/181|3|lbl=167.3}}
  
 
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 +
| <p>When he has arrived at the place set aside for the game, the Cavalier, raising his pike in the proper manner, will present himself in state for the battle, and will show himself to be brave in arms. When he raises his straight foot, he will raise the pike with his right hand; and with his left hand he will press it away from his right hand at an honourable distance; and withdrawing his right hand he will pay homage to the ladies. Lastly by finishing the beat with the same foot, the pike will finish its transversal declination.</p>
 
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+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/181|4|lbl=167.4|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/182|1|lbl=168.1|p=1}}
  
 
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+
| <p>Then the Cavalier, having his foot right, will return the pike, passing with his foot, and with the pike in perspective, and with the beat of the forehand; with the body in ''scurzo'', and the pike in the said proportion, then he will take only the pike with the right hand; and raising the right foot, he will raise the pike high. At this point, making an act of reverence with the hand, the pike is lowered; and with the hand, entering the passage, and with the body in ''scurzo'', the pike is raised high; and held in the middle position, always making the same strokes with the foot and hand.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/182|2|lbl=168.2}}
  
 
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|  
+
| <p>Then, when he has arrived at the end of the walk, he will beat the Cavalier one beat, looking at the opposite of what he is doing: and seeing that he still does not enter the battle, he will return to the same walk with a movement of life indicating that his will to fight was ready. But seeing the maintainer come to battle, he will go and attack him in the manner already mentioned: and having made the attack he will withdraw, taking up the other pike. He will do this from hand to hand: and when he has broken the last pike, he will immediately take up his ''stocco''.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/182|3|lbl=168.3}}
  
 
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|  
 +
| <p>And in order that all this may proceed in concert, it should be known that instead of the retreat, which is made in raising the hand foot, and then in withdrawing it, the pike is raised; and then in withdrawing the forearm, the same is thrown underneath the right flank. Then in this act of raising the hand, the pike is raised, and when the foot is struck, the pike is thrown underneath the right-hand flank: and underneath the sword, aided by the left hand, and then with the right hand back, the hand is thrown at the same time to the ''stocco''; and following the retreat, the action is carried out as follows.</p>
 
|  
 
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|  
+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/182|4|lbl=168.4|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/183|1|lbl=169.1|p=1}}
  
 
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+
| <p>Reverence is to be paid with the right foot, and with the body turned towards the Ladies, holding the ''stocco'' crossed above with the left hand. Then, passing with the right forehand in that line, the ''stocco'' shall be raised high, turning to the Judges; and with the short forehand making an act of reverence. Then with all speed, passing again with the left hand, he will pick up the ''stocco'' in its extremity with the left hand above: and looking at the barrier, the Cavalier will stand two paces away in a state of attack with his left foot in front; and while he is arriving, drawing his breath with all his strength, he will attack with a transversal cut. Repeating the reversal, he will finish his blows – which, once they are completed – he will withdraw his right foot one step backwards; and with his ''stocco'' raised in the act of attacking, will make a bracing movement of the head.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/183|2|lbl=169.2}}
  
 
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 +
| <p>It may be doubted whether the ''stocco'' should be used to make the reverence, because if the pike is broken, the battle with the ''stocco'' is proposed. So I reply that because the pike and the ''stocco'' are different weapons, and because each of them is awarded a prize, and because to pay homage gives the spectators time to prepare themselves for the rest; but this must be done if it is of little importance for the battle.</p>
 
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+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/183|3|lbl=169.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/184|1|lbl=170.1|p=1}}
  
 
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|  
+
| class="noline" |  
|  
+
| class="noline" | <p>The Cavalier will then always retreat with his body in perspective, and with the steps mentioned above, but he will brandish his ''stocco''; which, once he has reached his godfather, he will immediately re-sheathe, to give way to the other combatants.</p>
|  
+
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/184|2|lbl=170.2}}
  
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|}
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{{master subsection end}}
|
 
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 +
{{master subsection begin
 +
| title = Chapter 4 - Treatise on the Crowd
 +
| width = 90em
 +
}}
 +
{| class="master"
 
|-  
 
|-  
|
+
! <p>Images</p>
|  
+
! <p>{{rating|C}}<br/>by [[Nicola Boyd]]</p>
|
+
! <p>Transcription<br/>by [[Nicola Boyd]]</p>
  
 
|-  
 
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|  
 
|  
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+
| <p>'''Treatise on the Crowd'''</p>
|
 
  
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+
<p>'''I'''t is broken, according to the agreement of one or three pikes in the manner described above: once this has been done, it comes to the scuffle with the ''stocco''; and if one wishes to pass against it, it is necessary for the first to put on his right hand, so that he can push his companions with his left hand. And he must always attack with his right hand, since if he is attacked sideways, he cannot succeed because his companions are hindered: and all the blows, whether of his enemies or of his friends, will be received by his arm. And this is all I need to say about the combat which takes place in the barrier.</p>
|
 
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 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/184|3|lbl=170.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/185|1|lbl=171.1|p=1}}
  
 
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+
| <p>It remains for me, however, to admonish the Fathers, that when they give the pike into the hand of their combatant, they must first take their right hand with their left hand: and thus hand them the same pike, having placed it in his hand, at the appropriate ''calce'': so that the combatant may not have cause to put both hands together in order to place it well in his right hand: which is an ugly thing to see.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/185|2|lbl=171.2}}
  
 
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+
| <p>The Drummers, when they arrive at the field, must beat the call: when the walk begins, they must beat the call: when the pike is lowered to attack, the battle; when the pike is broken, the retreat; and so they do from hand to hand, according to need. This same order must be followed when fighting with the ''stocco''.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/185|3|lbl=171.3}}
  
 
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+
| class="noline" |
|  
+
| class="noline" | <p>I have not wished to treat here of certain vain ''leuate'',<ref>The name of a march upon a drum and trumpet in a time of war.</ref> which can sometimes be made by galloping: for the invention of this belongs to the Maintainers: for, when they proceed with the reasons and rules which I have stated above, they will be able to make them themselves, and compose them in their own way for the Cavaliers: who will at least endeavour to keep as far as possible on the side of the truth.</p>
|  
+
| class="noline" |  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/185|4|lbl=171.4|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/186|1|lbl=172.1|p=1}}
  
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+
|}
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+
{{master subsection end}}
|
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{{master end}}
|
 
  
 +
{{master begin
 +
| title = Treatise of a Fighter on Foot Against a Fighter on Horseback
 +
| width = 90em
 +
}}
 +
{| class="master"
 
|-  
 
|-  
|
+
! <p>Images</p>
|  
+
! <p>{{rating|C}}<br/>by [[Nicola Boyd]]</p>
|
+
! <p>Transcription<br/>by [[Nicola Boyd]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>'''Treatise of a Fighter on Foot Against a Fighter on Horseback'''</p>
|
 
  
|-
+
<p>'''I'''f a man on foot wishes to fight against a man fighting on horseback, he must act in accordance with the nature of the horse, which, being formed of a single body on four legs, has the natural movement of walking along the right side, and walking with any other kind of movement, that movement will be the centre of the legs in front of it.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/186|2|lbl=172.2}}
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 +
| <p>It is therefore natural for all animals to flee from things which are harmful to their good being (since they are moved by the concupiscent power which nature grants them for this purpose), whence it follows that the horse, when struck in some part of its body, yields on the same side in order to escape from the offence: And if there be any offence in the flanks by the spurs, when, nevertheless, he is struck in another part of the body, which is nobler than the flanks, with greater offence than the spurs, he will yield on that side, in which he will receive greater offence.</p>
 
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|  
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+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/186|3|lbl=172.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/187|1|lbl=173.1|p=1}}
  
 
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|  
+
| rowspan="2" | [[File:Ghisliero 31.jpg|400px|center]]
|  
+
| <p>The enemy, therefore, when he is on horseback, will try to strike the opposite side, putting the horse to flight; or he will try to take away the right hand of the horse in order to attack it with his sword. But he who fights on foot will seek to flee from that side with his own right hand, in order to get away from the enemy’s attack, and to approach the opposite side, as this figure shows.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/187|2|lbl=173.2}}
  
 
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|  
+
| <p>'''I'''n the same way, since the horse will never be able to strike us with its natural motion except by its right, we will always have to ride to the horse’s right: thus we will prevent the enemy from seeing us, who will be on horseback: and standing in mid-step, and united in strength, and placed with the sword outstretched, out of our body, and with the cloak drawn in the fist, so that, if we can deprive ourselves of it, we shall, as soon as the horse is at a distance, make a cut in the horse’s muzzle, or a thrust in the same place, passing from the right foot, followed by the left foot, to our right sides, and attacking the reins with a transverse blow. Then, placing ourselves in the middle of the circumference, which forms the horse in the state in which a circle is drawn around its body, we will stand here without more condemning the enemy, but continuously attacking either the horse or the man.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/189|1|lbl=175.1}}
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>It will also be possible to frighten the horse when it is at a distance with the cloak, or to pull it over the head, making the same passes and attacks.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/189|2|lbl=175.2}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>It will also be necessary to use the left hand on the bridle, or with the same hand to leverage his foot, and thus to dismount him.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/189|3|lbl=175.3}}
  
 
|-  
 
|-  
|  
+
| class="noline" |
|  
+
| class="noline" | <p>And if the horse should pass against him, it will be necessary to make a cut in the bridle.</p>
|  
+
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/189|4|lbl=175.4}}
 +
 
 +
|}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Treatise of One on Horseback Against Another on Horseback
 +
| width = 100%
 +
}}
 +
{{master subsection begin
 +
| title = Chapter 1
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|C}}<br/>by [[Nicola Boyd]]</p>
 +
! <p>Transcription<br/>by [[Nicola Boyd]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>'''Treatise of One on Horseback''' ''who fights with his sword against another also on horseback.''</p>
 +
 +
<p>'''T'''he same reason that we use to gain a straight line when we are on foot will be the same when we are on horseback, and this will be easier: because the movement of the horse will take longer than ours did when we were on foot, and the horse is of no use to man for anything other than the comfort of the rider’s legs.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/190|1|lbl=176.1}}
 +
 +
|-
 
|  
 
|  
 +
| <p>And because the horse is long-bodied, it forms a line, which, when it is carried in a transverse motion, remains stationary at one end; at the other end it forms a circle. In the same way, the horse, in violent motion, forms a circle with the rest of its body by centering its rear legs.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/190|2|lbl=176.2}}
 +
 +
|-
 
|  
 
|  
 +
| <p>And just as, on foot, by gaining the diameter of the circle, we gain the straight line, and the enemy is obliged to pass through it, so, on horseback, we shall always gain the diameter of the circle: and so we shall say that which we may gain some knowledge of it.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/190|3|lbl=176.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/191|1|lbl=177.1|p=1}}
 +
 +
|-
 +
| [[File:Ghisliero 32.jpg|400px|center]]
 +
| <p>We must always ride against the enemy in a straight line, that is to say, head to head: and if the opponent should go astray, this will facilitate our aim much more: for we shall keep our horse in the centre with greater ease, forming a much smaller circle than the enemy will make with his: and we shall also endeavour to keep in a straight line. Assuming, however, that the enemy will come into [range for] collision, when he has arrived at the distance from which the horse will turn his head, we shall enter by the straight line, and hold our sword with our fist in front of our [saddle] bow, and cross it in such a way that the point of the sword faces the horse’s left ear: which in this way is in a state to parry and attack. Not by standing on horseback other attacks than these two; that is; a point from below upwards at the length of the horse’s neck; and the reversal by the same path: as this figure shows, in which that drawn line shows the posture; & and sword the attack.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/191|2|lbl=177.2}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>And if the enemy should turn and take the charge, we must follow him in a straight line with the head of our horse to the breech of his: and if he wants to turn, we will hunt him in the rear: and when we have a good horse under us, we can tail him by putting him under our right hand, so that we can attack him in the head or in the side of the horse.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/193|1|lbl=179.1}}
 +
 +
|-
 +
| class="noline" |
 +
| class="noline" | <p>If the Cavalier finds himself on a horse which is not sufficient for the blow, he may resolve to flee the encounter, and meet the enemy, who will then come to meet him on the parade; and putting his horse to flight, he will have to put his right arm out in a straight line, and in force: and in so doing he will always find the opposite party, who will have his arm out of force: and from this point he will easily be able to drop his sword or ''stocco''.</p>
 +
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/193|2|lbl=179.2}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 2
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|C}}<br/>by [[Nicola Boyd]]</p>
 +
! <p>Transcription<br/>by [[Nicola Boyd]]</p>
 +
 +
|-
 
|  
 
|  
|  
+
| <p>''The practice of running with lances was invented in order to amuse and enliven the Cavaliers, and to make them practised and trained in these operations, so that they would be experts when it came to doing their duty. Therefore, in order to facilitate this method, the ring race was invented: if it is still customary to break the spears in the Quintana; or to meet inside the lace; or to practise without it. But all these ways of exercising are done for a single purpose, which is the open field and war: and since, of all these games, that of the ring race is the most common and the most used, we will deal with it at length.''<br/><br/></p>
 +
 
 +
<p>'''F'''irst of all there are six circumstances which contribute to the good running of the lance. The first is to hold the spear well above the thigh. The second is to lift it with an attitude from the thigh. The third is to stop it gracefully. The fourth is to lower it in time. The fifth is to attack at the right time. The sixth is to collect it in the proper manner.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/194|1|lbl=180.1}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>In the first. There are three ways of holding the lance above the thigh: the Cavalier first being aware that when he is armed, he must hold it between his partner<ref>''Conscia'' is Latin and means partner or accomplice, which in this case appears to mean the horse. (DictZone, 2022)</ref> and saddle bow, since the weapon does not allow it to rest on him. In the first way, therefore, the spear is held with the point towards the right side of the Albanian: and this is called an open spear. In the second, the point is held with the hand to the left, but in order to avoid the extremities we must hold it in the middle, so that it has the same view of the body. The third way, in between [the positions in the first and second] we will hold it with the arm straight ahead in such a state that it forms an angle with the elbow; and this, neither high nor low; but naturally in such a way that we can feel comfortable in our strength.</p>
 
|  
 
|  
|  
+
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/194|2|lbl=180.2|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/195|1|lbl=181.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>The second circumstance, which is the raising of the lance from the thigh, can be done in six ways.</p>
 +
 +
# In the first, the lance is raised with the fist in the air; and, holding it with the wrist, it is stopped little by little.
 +
# In the second, it is raised by extending the arm downwards along the straight side.
 +
# In the third, he rises by extending his fist from his body with his arm outstretched like an Albanian.<ref>It is uncertain how an Albanian, which might also be a Stratioti in this case, would hold the lance.</ref>
 +
# In the fourth it rises up, and immediately stops at the Stradiota.<ref>Stradiotto means ‘the kind of soldiers that Venitians use, like our Carbines, Freebooters or bootie-halers.’ Stratioti ‘An estradiot was a fighter of the mercenary light cavalry units who fought on European battlefields during the first half of the sixteenth century.’ (https://educalingo.com/en/dic-fr/stradiot accessed 17/10/2021)</ref>
 +
# In the fifth it rises with his arm extended from his straight side, but a little bent. With the hand turned inwards.
 +
# In the sixth (and this is the manner in which we shall act: for it is the best) it is raised  from the thigh, leaving the fist in that plane, & with the wrist, holding it, the point of it is placed on the right side of the ring; and the arm is bent a little: thus it is more easily supported; and is more likely to stop with greater ease: and this is according to the custom of war.
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/195|2|lbl=181.2|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/196|1|lbl=182.1|p=1}}
 +
 +
|-
 
|  
 
|  
 +
| <p>The third circumstance, which is the stopping of the spear, is done in four ways.</p>
 +
 +
# In the first it is stopped at the beginning of the career.
 +
# In the second, when the horse is sent.
 +
# In the third, when the Cavalier approaches his opponent at a distance of one lance. These three ways, as well as being ugly to see, and if it is possible to do the latter, nevertheless, when one is running with the lance in the saddle, because of the movement of the horse, the lance is easily dislodged, and if it has to be held still, the result is a very ugly effect. The way of halting can be done with the hand turned upwards, when running unarmed, and turned upwards, when running unarmed, and turned downwards: and this way is considered the best, since it is natural motion, just as any other is violent.
 +
# In the fourth, it stops at the same time that the lance arrives in a straight line in the attack.
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/196|2|lbl=182.2}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>The fourth circumstance, which is to lower the lance, is done in four ways.</p>
 +
 +
# In the first, it is lowered immediately after it is stopped.
 +
# In the second, when the man approaches the enemy, he lowers it a little.
 +
# In the third, he lowers himself, and wounds himself at the same time; the first should not be done in any way; the second is more manageable; the third is a beautiful act, when it can be done; but it is difficult.
 +
# The fourth, which is the best of all, is done by lowering the lance a little at a time, until the lance is hard enough to finish its descent into the attack.
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/196|3|lbl=182.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/197|1|lbl=183.1|p=1}}
 +
 +
|-
 
|  
 
|  
 +
| <p>The fifth circumstance, which is the attack, if we wish to ascertain the point, immediately upon leaving, we shall place the lance in such a way that its extremity is on the right side of the point, which is to be attacked: and that our view, passing beyond the lance, discovers the point, or the Ring.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/197|2|lbl=183.2}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>The sixth circumstance, which is the recovery of the lance, is done in two ways.</p>
 +
 +
# In the first, the ''calce'' of the lance is raised up and placed over the thigh.
 +
# In the second, the lance is thrown behind the right thigh, making the point of the lance look backwards, and then, when the horse is stopped, it is put back on the thigh.
 +
 +
<p>And I would distinguish between these two modalities: that when running to the ring, once the attack has been made, the fist should be raised high; and once the horse has been parried, the lance should be put back into the thigh: because the whole lance should be held in the act of attacking: but if the lances are broken, I would praise them for having the trunk of the lance placed behind the right thigh.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/197|3|lbl=183.3}}
 +
 +
|-
 +
| [[file:Ghisliero 33.jpg|400px|center]]
 +
| <p>When a straight line has been drawn from the ring to the line of the carriage, two parallel lines should be formed, and the line of the lance in the ring will form an acute angle with the given line, as is shown in this demonstration below: therefore, the lance should always be held in such a position that it will be able to attack with the least possible movement. In addition, the ring should be six feet high from the ground, but as a rule, each person who wishes to run should first determine the height of the ring, which should be such that the rider can touch the ring with the tips of his fingers, so that in this state the runner will be more accustomed to running with a high lance, so that when he comes to meet it, either in the lance or in the open field, he will easily strike the head, which is the most important place for injury.</p>
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/197|4|lbl=183.4|p=1}} {{pagetb|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf|198|lbl=184|p=1}}
 +
 +
|-
 
|  
 
|  
 +
| <p>'''T'''he lance must be ten feet in length, and the ''calce'' up to the handle must be one foot and a quarter in length, so that it is comfortable. Finally, the ''calce'' should be made thick so that its circumference at the handle is six ounces.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/200|1|lbl=186.1}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>And because this activity of riding with a lance is primarily a matter of knowing how to ride a horse, because almost everything depends on it, even though this is the profession of a rider, we will speak of it here in sufficient detail.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/200|2|lbl=186.2}}
 +
 +
|-
 
|  
 
|  
 +
| <p>It is therefore necessary for the rider to know the nature of the horse on which he is going to ride; that is to say, whether it is going to be easy or difficult. When it is easy, it will not be necessary for him to spur it, since it will almost by itself take flight from the bridle. But when the horse is difficult, the Cavalier can bring his legs close together in such a way that with every little movement he can push him to move, but he will do this so cautiously that those around him will not notice. And in order to drive the horse away with the hands, it is necessary to know that for those horses that are submissive with their head, the hand should be brought so far forward that it reaches the top of the neck; for those that have their head up, the hand that holds the bridle should be lowered. But it is necessary to take care that the Cavalier’s will is not so great that the horse runs so far forward on the back of the horse’s shoulder as this is very ugly to see. [In this case] one must flee in every way possible, and this is all the more harmful when one is running to meet the enemy, because one is making a target of the enemy’s left parts: one is disabling the lance; as well as many errors, which one can run into from here: and the Cavalier, in order to appear more handsome and more graceful on horseback, will keep his body straight and will not sit comfortably on the horse: and will turn his sight to pass through the middle of the horse’s ears: And, tightening his knees, he will let his legs fall perpendicularly and naturally: and in this state he will bar them, showing such strength with his foot in the plane, that the point of it is at the right of the horse’s shoulder; and that it does not descend to the bottom, nor aim upwards.</p>
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/200|3|lbl=186.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/201|1|lbl=187.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>And the Cavalier will divide his carriage into five parts; and these divisions he will have to keep distinct in his imagination, and in the operation they will be linked together in such a way that those around him will not be able to distinguish them for this operation; that is to say; in raising the lance, in gathering, in declining, in attacking, and in reaping.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/201|2|lbl=187.2}}
 +
 +
|-
 
|  
 
|  
 +
| <p>When the Cavagliero is ready in his position, he will first raise his lance from his thigh,and then spur his horse: and in the first part, which he will have done, he will raise his lance from his thigh in the manner we have said, and in the second part he will raise his arm, which will form an angle. When he is at the level of the shoulder, in the third part, he will stop the lance by lowering it: in the second part, he will make sure that the lance is struck at the end of the descent; in the fifth part, in the same way, he will pick up the lance on the thigh.</p>
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/201|3|lbl=187.3|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/202|1|lbl=188.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>The Cavalier, armed only with his armour, may also first practise running on foot, and in this way he will have a good pulse: and as soon as he is ready, he will surely mount his horse, running either on the ring or on the gauntlet, after which he will be able to break every lance.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/202|2|lbl=188.2}}
 +
 +
|-
 
|  
 
|  
|  
+
| <p>Once he has shown that he knows how to run with every reason, in order to prove himself practical and skillful, he will proceed in several ways: such as with an open lance, and from behind, putting the ''calce'' of the lance in his left hand. When he breaks the lance, it may sometimes be done in the air with a jolt, or by the back of the neck, or by putting it on his shoulder in the opposite direction, or by throwing it back into its original place, or by taking it by the ''calce'', and breaking it from top to bottom.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/202|3|lbl=188.3}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>It is also customary to break the lances on the ground, which is too ordinary a method, or in the quintain. In the quintain (to say this a little more), in order that it may have more truthfulness, a man made of wood is pretended to be on horseback, and on a cart, so that when he moves, the Cavalier is better able to run to meet him.</p>
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/202|4|lbl=188.4|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/203|1|lbl=189.1|p=1}}
 +
 +
|-
 
|  
 
|  
 +
| <p>For this quintain exercise, the lynchpin is to be set up, which will be two hundred feet long and five feet high: the counter-lynchpin is also to be set up, which will be fifty feet long and two and a half feet high from the ground; and it is to be turned inwards towards the lynchpin, so that it is not struck when the legs are stretched out to beat the horse; that is to say, the distance above is to be three and a half feet and four feet below.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/203|2|lbl=189.2}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>And in order that a few lances may be broken in the practice, to save money, the trunk of the lance may be made four feet long, with a pipe at the top, well adapted, and made in such a way that the other part of the lance, six feet long, may be fitted into it.</p>
 +
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/203|3|lbl=189.3}}
 +
 +
|-
 
|  
 
|  
 +
| <p>It should also be remembered that, when running across an open field, one should take care not to strike the horse with the left spur, so that it does not escape the impact, and to clench one’s fist, so that the spear does not choke one’s hand, when it happens that the spear rises up and is crushed by the blow.</p>
 
|  
 
|  
 +
{{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/203|4|lbl=189.4|p=1}} {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/204|1|lbl=190.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>For the last warning, I also say that when one runs, not for fun, but for duty, with a softened iron, one should know that, on coming up against the enemy, he should lean his horse against him in order to attack him; and this in a straight line, as much as possible: and he should strike in the left side; or he should nail the thigh, which is the most unarmed part.</p>
|  
+
| {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/204|2|lbl=190.2}}
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | <p>'''The End.'''</p>
 +
| class="noline" | {{section|Page:Regole di molti cavagliereschi essercitii (Federico Ghisliero) 1587.pdf/204|3|lbl=190.3}}
  
 
|}
 
|}
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{{sourcebox
 
{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
  | authors    = [[Nicola Boyd]]
+
  | authors    = [[translator::Nicola Boyd]]
  | source link =  
+
  | source link = https://wiktenauer.com/images/3/31/Rules_of_many_knightly_armies_%28Nicola_Boyd%29.pdf
  | source title= ''[[:media:Rules of many knightly armies (Nicola Boyd).pdf|Rules of many knightly armies]]''
+
  | source title= ''Rules of many knightly armies''
 
  | license    = noncommercial
 
  | license    = noncommercial
 
}}
 
}}

Latest revision as of 00:45, 29 March 2024

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

Federico Ghisliero (Ghislieri; d. 1619) was a Bolognese soldier and fencer. Little is know about his early life, but he came from a Bolognese family and studied fencing under Silvio Piccolomini.[1] He lead a long military career that included serving under the famous commander Alessandro, Duke of Parma, in Flanders in 1582. He was also a friend of Galileo Galilei and a prolific writer, though unfortunately most of his writings were destroyed in a fire at the University of Turin in 1904.[2]

In 1587, he published a fencing treatise called Regole di molti cavagliereschi essercitii ("Rules for Many Knightly Exercises"); two versions of the book exist, and it's unclear which was created first. One is dedicated to Antonio Pio Bonello, a well-known soldier and distant relative of Ghisliero, and the other to Ranuccio Farnese, who was 18 years old at the time and Alessandro's heir.[2]

Ghisliero's treatise is notable for his use of geometry in relation to fencing, using concentric circles centered on where the fencer has placed most of their weight (often, but not always, the back foot), and sometimes including multiple versions of each figure in an illustration to show the progression of the movements he describes. He also seems to be the first author to reference the Vitruvian Man in a fencing treatise.[3] However, his treatise is unique in that it was printed without any illustrations at all, and they had to be drawn in by hand. It's unclear whether this indicates that he intended to have printing plates made but was unable to do so, or that his plan from the start was to have the books vary based on how much art each buyer was willing to pay for.

Ghisliero died in Turino in 1619.[2]

Treatise

The illustrations in this presentation are based on the copy in the Bibliothèque nationale de France, but a few have been modified by Michael Chidester to include additional details present in the Biblioteca Universitaria di Bologna's copy in order to offer a single point of reference for the descriptions in the text. The unmodified illustrations can be viewed in the gallery on the treatise page.

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.

  • Anglo, Sydney (1994). "Sixteenth-century Italian drawings in Federico Ghisliero's Regole di molti cavagliereschi essercitii." Apollo 140(393): 29-36.
  • 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.

References

  1. Mentioned on p. +ⅱ of his dedication to Ranuccio and again on p. 94.
  2. 2.0 2.1 2.2 Anglo 1994, p. 30.
  3. See pp. 7-9. See also Gotti 2023, pp. 130-133.
  4. 4.0 4.1 Cavagliereschi is Corsican for "chivalrous", while the Italian is "knightly".
  5. La gratia is Catalan for "grace".
  6. Ghisliero is telling his reader that he is a soldier not a civilian swordsman, so it will have a different perspective to others, hence his later comments on siege craft. [note from Henry Fox]
  7. This and the previous paragraph are commending the work to the patron, justifying the work’s existence and its purpose, common in treatises of the period. [note from Henry Fox]
  8. It was common to refer to “ancients” in the justification of the art of swordsmanship. [note from Henry Fox]
  9. When ‘this art’ or ‘the art’ is referenced it means the art of fencing. [More expansively the ars militari (military arts) or for the more classical, the Arts of Mars, of which swordsmanship falls within.] [note from Henry Fox]
  10. Further justification by demonstration of the benefits to those who practice the art in question, also common, especially referring to defense of the person and the realm. [note from Henry Fox]
  11. The version dedicated to Antonino instead reads "...for the instruction of the Most Illustrious Lord Antonio Pio Bonello".
  12. Cavalier – cavaliere – knights – so indicating the noble nature of the art which he is presenting. [note from Henry Fox]
  13. The Humours.
  14. Means sad.
  15. Means calm.
  16. Means optimistic.
  17. Means bad-tempered.
  18. Hot-tempered.
  19. Moti has a number of meanings in modern Italian aside from "motion", including "motorcycle, bike, watercraft, riot, scooter".
  20. The use of square brackets [] shows the insertion of the translator to aid in clarity of meaning throughout the document.
  21. Contextually, transportar is in modern Italian trasporto and has been translated such.
  22. Where the word operante which means the operator or the person taking action or more simply the will is used elsewhere, I translate it to fencer as operator has the wrong connotations in English for what Ghisliaro appears to wish to convey.
  23. This is an application of Aristotle’s Causes, in some ways more easily explained due to the application of the sword (though this could be my fencer’s brain), especially as it develops. Ghisliero uses seven rather than four as Aristotle does, or at least using the same method of explanation. [Henry Fox]
  24. The spelling of secóda is seconda in modern Italian. This shortening of words through the removal of ‘n’ is common in documents of the period.
  25. Public roads means the location is a public road.
  26. Of Vitruvius’ Ten Books on Architecture. [This same book is referenced in Thibault] [note from Henry Fox]
  27. Or capacity.
  28. Flavius Vegetius Renatus' On Roman Military Matters is likely the text to which he is referring. Which was a fourth century commentary on the training of Roman legions harking back to older methods. [note from Henry Fox]
  29. Onde is Catalan. It is dove in Italian. Both mean ‘where’ in English.
  30. A second century book written by a Roman in the Attica region which encompasses the city of Athens.
  31. Dodrans is a Latin contraction of de-quadrans which means “a whole unit less a quarter” or three-quarters.
  32. Referencing the ‘ancients’ for authority was commonly used by authors of the time to demonstrate their comprehensive knowledge of the subject. It is intended to add gravitas to the treatise.
  33. All’hora is Catalan. Modern Italian is al tempo.
  34. The Elder.
  35. Scriue is Catalan. Modern Italian is lui scrive.
  36. Scurzo, does not translate appropriately from Italian. As with a number of words in Ghisliero’s treatise, it is likely a Catalase word or a unique spelling. Analysis of other treaties such as Jarod Kirby’s Italian Rapier Combat (Kirby, 2004) shows the following two definitions, on page 14 of the text, of a similar sound word that is contextually a more likely approximation of what scurzo means; “Scanso, A voidance, any evasive manoeuvre that moves the body of the direct line” and “Scanso del pie dritto, A voidance made by moving the right foot slightly off the direct line while turning the body.” So for the purposes of this translation, scurzo will mean in this text the middle stance as shown in Figure 3, i.e. a partial voiding stance halfway between perspective and profile.
  37. "Perspective" means front facing forward.
  38. Also could be interpreted as "figure".
  39. George Silver’s theory of the time for the hand and foot from his 1599 text Paradoxes of Defense mirrors this framework. [note from Henry Fox] (Silver, 1599)
  40. Et is Latin for ‘and’ in English and e in Italian.
  41. This is not an exact translation – it is the best approximation based on context.
  42. Balancia translates into ‘balance’.
  43. Membro translates to ‘member’, but in English a better word is limb.
  44. ò á mano manca la fontanella directly translates to something like ‘the hand missing the fontanelle’. This made no contextual sense, so it has been translated to ‘from the fountain of the body’ as fonta can mean ‘source’ in modern Italian. In the it states that “Fontánella, a little fountaine. Also a fontanell or cauterie [something to cauterise wounds], or rowling [turning round about, whirling or turning round], used also for the chiefe vein of a man’s body.” (Florio, 1611)
  45. ‘Perspective’ is forward facing as can be seen in Figure 3.
  46. No good translation found, contextually translating spatio to ‘space’.
  47. Polykleitos's Doryphoros is an early example of this position called contrapposto. See https://en.wikipedia.org/wiki/Polykleitos for examples of sculptures with this stance. (Wikipeadia, 2021)
  48. Polykleitos wrote a lost treatise called ‘Artistic canons of body proportions’ in 5th Century Greece which provided a reference for standard body proportions. For more information https://en.wikipedia.org/wiki/Artistic_canons_of_body_proportions (Wikipeadia, 2021)
  49. The act or process of passing across, over, or through.
  50. Aristotle’s fifth book of the Physica, which considers how motion occurs. “Book V classifies four species of movement, depending on where the opposites are located. Movement categories include quantity (e.g. a change in dimensions, from great to small), quality (as for colours: from pale to dark), place (local movements generally go from up downwards and vice versa), or, more controversially, substance. In fact, substances do not have opposites, so it is inappropriate to say that something properly becomes, from not-man, man: generation and corruption are not kinesis in the full sense.” (Aristotle, Physica (Book 5), (384–322 BC) 2007) “Generally things which come to be, come to be in different ways: (1) by change of shape, as a statue; (2) by addition, as things which grow; (3) by taking away, as the Hermes from the stone; (4) by putting together, as a house; (5) by alteration, as things which ‘turn’ in respect of their material substance.” Book 1, Physica, Aristotle (Aristotle, Physica (Book 1), (384-322 BC) 2007)
  51. Change of shape.
  52. By addition or by growing.
  53. Also taking away or removing.
  54. Putting things together or building.
  55. Change of material substance or alteration of its substance.
  56. “Three kinds of motion - qualitative, quantitative, and local” Book 5, Physica, Aristotle (Aristotle, Physica (Book 5), (384–322 BC) 2007)
  57. This same concept is present in Chapter 5 ‘Of tempo’ in Ridolfo Capo Ferro da Cagli’s 1610 publication Gran Simulacro dell'Arte e dell'Uso della Scherma and can be translated into the actions of the fencer undertaking the correct movements - from ward (stillness) to attack or defence (movement) to ward (stillness) again. It propounds that the fencer should always end an action in a ward. The same concept is raised in Angelo Viggiani dal Montone’s 1551 (published 1575) text Lo Schermo d'Angelo Viggiani (Montone, 1575) and Antonio Manciolino’s 1531 Opera Nova (Manciolino, 1531).
  58. "Violence" in this instance means outside force or against nature. The same concepts of natural and violent actions are used in Iberian swordsmanship, and they take higher guards to take advantage of this principle. [note from Henry Fox]
  59. Springimento is likely Springáre means ‘yarke, kicke or winze’ (Florio, 1611). Which likely means in context a preparation or a marshalling of position prior to deployment.
  60. Fighting at the barriers was a form of tournament bout usually performed by armoured combatants in which: a fence, a barrier, was imposed between fencers, combatants fought over the fence, and blows below the waist did not count as tournament points. [note by Henry Fox]
  61. Bases mean "legs". I have used "legs" wherever relevant in the translation.
  62. Lacertoi, the arme from the elbow to the pitch of the shoulder. Also the brawne of sinnewes or muskles of a mans armes or legges. Also a Lizard. Also a Muskle because it is like a Lizard. Also a certain disease in a harse amongs the muskles and sinnuewes. Also a fish that grunteth as a Hog. Some have taken it also for a makrell fish.” (Florio, 1611) Thus lacertoi will be translated as the arm from the elbow to the shoulder joint.
  63. Keeping the elbow near the body.
  64. Rascetta, the wrist of one’s hand. Also a kind of fine silke-rash.” (Florio, 1611)
  65. Direct translation is ‘good blade’.
  66. Costa “the back of a knife or weapon.” (Florio, 1611) There isn’t a common English equivalent which is a single word.
  67. This is consistent with Giacomo di Grassi’s treatise Ragione di adoprar sicuramente l'Arme (Grassi, 1570) which states that there is more power existing at the circumference of a circle than there is closer to the centre. [note from Henry Fox]
  68. Debole refers to the half of the blade from tip of the blade to one third down towards the hilt.
  69. Forte refers to the first third of the blade from the hilt to towards the tip.
  70. Placing the edge over the debole like this is the basis of the Italian gaining stringere of the sword, or the Spanish atajo. It's used to close and control the line to prevent the opponent from hitting us. [Note by Táriq ibn Jelal ibn Ziyadatallah al-Naysábúrí]
  71. Here Ghisliero’s methods conforms to common Italian approaches of defence to: always counter an opponent’s attacks with consideration for returning the attack, always attack with concern for defence, and not attack unless secure against the opponent’s attack. [note from Henry Fox]
  72. Justifications for use of the cut seem to be relatively rare in fencing treatise of the time. Ghisliero’s justifications may even be unique. [note from Henry Fox]
  73. The same justification for the thrust is given for the thrust being used by the legionary with the gladius, remaining more covered and it being more deadly than the cut. [note from Henry Fox]
  74. Fendente means vertical cut.
  75. Traversale – transversal or diagonal cut [sometimes squalembrato for downward or falso if rising] [note from Henry Fox]
  76. Tondo – horizontal cut
  77. Dritti – straight/forward [forehand cut, or natural cut, sometimes called mandritta] [note from Henry Fox]
  78. Roversi – reverse [backhand or cross-wise cut] [note from Henry Fox]
  79. The division for the cuts on most diagrams usually go through the navel, or heart rather than the groin in most treatise of the period. [note from Henry Fox] Gérard Thibault d'Anvers’ 1630 treatise Academie de l'Espée ‘Book 1 – Tableau/Plate 2 – Comparing the ideal figure to a real Figure; Sword Scabbards’ shows the division at the naval (d'Anvers, Academie de l'Espée, 1630) – in the text it is found in the section that begins Pour venir à la Pratique de tout ce qui a efté discouru, or “To come to the Practice of all that has been discussed” (d'Anvers, Academie de l'Espée – Book 1 – Tableau/Plate 1 – Philosophical Discussion; Construction and Mathematics of the Circle; Concerning the Sword: Proper Length and Introduction explanation of the first plate., 1630). Salvator Fabris, in his 1606 text, Sienza e Pratica d’Arme also has an illustration in the section Discorso sopra laprima guardia formata nel cauare la spada del fodero or “Discourse in the first guard formed in pulling the sword from the scabbard” demonstrates the where cuts should be made and these also shows the division at the navel rather than the groin. (Fabris, 1606)
  80. Diritto ridoppiato literally means right redoubled or a falso traversale meaning a diagonal rising cut.
  81. Stramazzóne means a circular cut where the hand is the centre of rotation for the cut. [Note by Táriq ibn Jelal ibn Ziyadatallah al-Naysábúrí] Florio describes it as ‘Stramazzóne, a downe-right blow. Also a rap, a cuffe or wherret on the cheeke.” (Florio, 1611)
  82. Molinello, or Molinelli means a circular cut. [Note by Táriq ibn Jelal ibn Ziyadatallah al-Naysábúrí] As an aside, the Molinello for flags described in Francesco Fernando Alfieri’s 1638 treatise La Bandiera “The molinello is delightful. To perform it comfortably, you should have the standard in your right hand. You complete a full turn above the head, then throw it up in the air, catching it around the middle of the standard as the figure shows. The molinello is then turned towards the rear foot. After several rotations, as the hand becomes fatigued, you should grip the butt of the flag with your other hand and repeat the same lesson, again throwing it in the air as described above.” (Alferi, 1638)
  83. ‘World’ is translated from the word Mondo which means “the world, the universe. Also, a Mound or Globe, as Princes hold in their hands. Also, cleane, cleansed, pure, neate, spotlesse, purged. Also, pared, pilled. Also, winnowed, &c. Also, as we say, a world, a multitude or great quantitie.’ (Florio, 1611)
  84. Fendente tondo means the upper half of the circle as shown in figure 6B. When speaking of the reverses, he is speaking of the lower half of the circle in figure 6B.
  85. Segáre, to sawe. Also to part, to cut or devide through the middle.’ (Florio, 1611)
  86. Riversa’ [singular] t de’roversi, which means ‘to turn around, a reversion, reverting, reverse or a backblow. A powering down or overwhelmed’ – in short the riversa is a back-hand. (Florio, 1611) Note how even the cut from the wrist is aided by motion of the body, no doubt using the feet to move the body as the cut is made as well, all in their correct motion, to affect the cut. [Note from Henry Fox]
  87. Imbroccata means a descending thrust. Stoccata, means a violent thrust ascending or rising. Punta riversa means a reverse thrust with the point of the sword.
  88. Auentáta, a hurling, looke Auentáre.” (Florio, 1611) “Auentáre, to hurle, to fling, to dart or cast with violence. Also, to leape or seaze greedily upon, to souse downe as a hawke, also to fill or puff with winde.” (Florio 1611 Dictionary). Therefore imbroccata aventata or imbroccata aventate means to violently attack using a thrust of the rapier over the dagger.
  89. The first two lines on the page are printed, but the second two needed to be drawn in by the artist.
  90. Here the page numbers jump from 35 to 38, correcting the error of having two 32s and 33s
  91. This is the reason that the direct thrust from the shoulder in a straight line is the longest and most preferable and the reason to learn to thrust straight rather than aiming up toward the head. [Note by Henry Fox]
  92. 92.0 92.1 92.2 92.3 92.4 92.5 There is a gap in the text here for a circle to be drawn in.
  93. The effect of these causes is the fencer hitting their opponent using the technique. Poor technique means the fencer misses and/or dies.
  94. The material causes are the movements of the fencer’s body and sword.
  95. The formal cause is how the fencer uses the movements of the material cause.
  96. The factual cause is the fencer, with their measurements and proportions, and their ability to perform the material causes.
  97. The final cause is the actual technique the fencer is trying to achieve.
  98. Measure also often called distance. The measure of something is fluid due to the fencer’s, and their opponent’s, relative proportions in each combat and other considerations regarding weaponry. “The Spanish attempt to make it more certain by using proportionality, measuring against the length of the individual.” [note by Henry Fox] Gérard Thibault d'Anvers 1628 treatise Academie de l'Espée (d'Anvers, Academie de l'Espée, 1630) “…the Distances and Instances (i.e. steps in the process of fighting) to be observed in training (which are the basic foundations and support for all the following parts) proceed from the proportions of Man, therefore without this same awareness, they cannot be duly comprehended, nor practiced with confidence. And the same goes for the Steps and Approaches, short and long, required by the variety of positions in the performance of these Exercises. From which it is apparent that one must begin with a good knowledge of the proportion of limbs and body parts, that one may at least be able to make some reasonable judgement on the reach of each movement, proportionally to the limb, or limbs, on which the movement depends, and from which it must be continued, ended, turned, returned, released, bound, or changed in a thousand different ways.” (d'Anvers, Academie de l'Espée - – Book 1 – Tableau/Plate 1 –Philosophical Discussion; Construction and Mathematics of the Circle; Concerning the Sword: Proper Length and Introduction explanation of the first plate., 1630)
  99. Approximately 46 to 50 inches or 117cm to 127cm.
  100. Approximately 69 to 75 inches or 175cm to 191cm.
  101. Distance can be measured by Time, and Time measured by Distance so in effect one is the other, and every action toward or away from an opponent is measured in both Time and Distance; he seems to say much the same thing further along. [note by Henry Fox]
  102. Aristotelian motion is the consideration of “a stillness and motion” and is used by Capo Ferro as a method of reading the opponent in Chapter 5 ‘Of Tempo’ (Cagli’, 1610) [note by Henry Fox]
  103. Obligatory motion is the beginning of second intention. The fencer moves in a particular way so that the opponent has to do something in response, and then the fencer can follow on with their plan. [Note by Henry Fox]
  104. I will start using tempo from this point on instead of time when describing time as a measure of distance, to differentiate between it and the common use of the word time. Following Ghisliero’s explanation of tempo, it will be easier to use tempo to encapsulate this meaning.
  105. Sometimes extended to botta lunga, depending on the author [note by Henry Fox].
  106. “Attack into preparation” is what it is called in modern nomenclature, catching the opponent while they are preparing to act. [note by Henry Fox]
  107. An action in half-time, because the action is in motion, thus not completed, interrupted. [note by Henry Fox]
  108. This is an important note; the sword is extended and the fencer is covered by the extension of the sword in a straight line. [note from Henry Fox]
  109. Strongest third of the blade from the hilt toward the middle.
  110. Strongest third of the blade from the hilt toward the middle.
  111. Note the positions of the weapons relative to one another. This is consistent with the Aristotelian and the Iberian approaches. [note from Henry Fox]
  112. The position of the hand and blade position in this initial stage is vital to the techniques that will follow. [note from Henry Fox]
  113. This appears to be discussing taking the line or stringeri.
  114. A “reversed thrust” in this instance.
  115. in presentia’ means the sword is on the line of engagement. [Note by Táriq ibn Jelal ibn Ziyadatallah al-Naysábúrí]
  116. This explains the advantages of Ghisliero’s guard position, demonstrating that the guard is the foundation of a fencing system. [note by Henry Fox]
  117. Punta scavizzata means hollow point.
  118. Gobba means hump or hunchback.
  119. Puinta riversa is a spelling variation from punta riversa.
  120. Incapocchiato does not translate, it suggests the word incapacitate. Incapocchiársi means ‘to become a doult or logger-head, to take a foolish conceite’ (Florio 1611) It might also mean encompassing in modern Italian.
  121. Guardia di falcone means "falcon’s guard". This is what the Bolognese authors call guardia alta. [Note by Táriq ibn Jelal ibn Ziyadatallah al-Naysábúrí]
  122. Coda longa, & larga or coda lunga e larga means "long and broad tail guard".
  123. scanso del corpo means void the body. Basically, these are the body turns we use to take the body off the line of engagement. [Note by Táriq ibn Jelal ibn Ziyadatallah al-Naysábúrí]
  124. Inquartata means quartering step. It is a voiding action of the body which closes the inside line.
  125. “Long and high tail” guard.
  126. The sequence of the combatant should always be ward – blow – ward, or stillness – motion – stillness, it is a common and practical method in quite a few treatises. [note from Henry Fox]
  127. Examine di Grassi’s (Grassi, 1570) diagram of the thrust and movement of the arm for an example of this motion. [note from Henry Fox]
  128. Nature means their passions.
  129. Parate – parade – often later used, especially in smallsword in place of ‘parry’. [note from Henry Fox]
  130. Mezzo mandritto means a half-leg cut.
  131. Mezzo riverso means a half-reversed cut.
  132. Garatusa is Spanish for thrust. In fencing it is a technique composed of nine movements, and the participation of two and three angles, that they make to [through, from] both parts [locations, sides], from the outside and from the inside, arrojando the sword with force to the sides, and from there they return to raise it [the sword] to wound with a thrust in the face or chest. It is not safe [sure]. (Ghost Sparrow Publications, 2021)
  133. Polykleitos's Doryphoros is an early example of this position called contrapposto. See https://en.wikipedia.org/wiki/Polykleitos for examples of sculptures with this stance. (Wikipeadia, 2021)
  134. Pili (pilum or pila) was the javelin of which the Romans were armed with two along with their sword. [note by Henry Fox]
  135. Cortina means a long wall running level from one bulwark to another.
  136. A strada coperta is a close walk or passage made on the top of a counter-scarpe in which the besieged may cover themselves from the enemies (Florio 1610)
  137. Archibuseria likely is an alternative spelling of archibugiera, which are a wall with slits, in a fortress, through which a weapon can be fired.
  138. Riverso traversale means a transverse or diagonal blow during retreat. “It’s equivalent to a riversa squalembrato or falso manco, depending on whether ascending or descending.” [note from Henry Fox]
  139. Imbroccata aventata means a hurling or forceful thrust given over the dagger.
  140. Gabionate fortifications or fences made of Gabions – cages or baskets full of earth set with ordinance to hide and defend Cannoniers. (Florio 1611)
  141. Trincerone means a large, well-equipped trench.
  142. No translation of this word is available.
  143. Manca means missing, and probably means back or voided leg.
  144. This probably means that the sword has mechanical advantage in a thrusting position.
  145. Corda means rope or cord, but in this context means the diameter of the circle.
  146. ‘A reference to the ‘sword fist’ is made in Antonio Manciolino’s Opera Nova where it states “Of the narrow iron gate guard. The sixth guard is called “porta di ferro stretta”. In which the body must be arranged diagonally in such fashion that the right shoulder (as is said above) faces the enemy, but both the arms must be stretched out to encounter the enemy, so that the sword arm is extended straight down in the defense of the right knee, and so that the sword fist be near and centered on the aforesaid knee.” (Wiktenauer, 2022) It is then clear that ‘sword’s fist’ means the hand holding the hilt of the sword.
  147. Cappa means both cloak and cape (there is no differentiation in Italian). I will use cloak for the purpose of consistency. The Spanish cloak or cape is short compared with what we normally consider to be a cloak. It is usually worn anywhere from below the shoulder blade length to the hip.
  148. Stringeremo appears to mean the same as stringere or a drawing close posture. Most commonly used as stringere la spada where using the stronger part of the sword you engage with the weaker part of the opponent’s sword and take the line or advantage so the point of the opponent’s sword can no longer strike you.
  149. Ghisliero assumes all fencers are right hand dominant in this treatise and writes as such.
  150. Piombo means the part made of lead or can mean to plummet down.
  151. Cálce means, a ventplate of a tilting staffe or place to hold it by. (Florio 1611)
  152. Passeggio means a walk or turn in a walking.
  153. Scalzo means bare-footed or unshod. (Florio 1611)
  154. Render pane per focaccia is a proverb which means ‘give bread for cake’ or to render like for like. p105 (Macadam, 1924)
  155. Stocco, means a short or arming-sword, a tuck. Also a short bat or truncheon. (Florio 1611)
  156. Cétro means ‘a Scepter, a mace of dignity.’ (Florio 1611)
  157. I think he is describing a downward bind here and I also think ‘blow’ should be noted here as ‘beat’.
  158. The name of a march upon a drum and trumpet in a time of war.
  159. Conscia is Latin and means partner or accomplice, which in this case appears to mean the horse. (DictZone, 2022)
  160. It is uncertain how an Albanian, which might also be a Stratioti in this case, would hold the lance.
  161. Stradiotto means ‘the kind of soldiers that Venitians use, like our Carbines, Freebooters or bootie-halers.’ Stratioti ‘An estradiot was a fighter of the mercenary light cavalry units who fought on European battlefields during the first half of the sixteenth century.’ (https://educalingo.com/en/dic-fr/stradiot accessed 17/10/2021)