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Difference between revisions of "Angelo Paternostraro"
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| ing from all sides of the sword of the enemy. | | ing from all sides of the sword of the enemy. | ||
| − | Pulling this consists of four things, the movements of the arm and the hand, the advancing of the feet, the refusal of the body, and the judgment of the four things creates all ways and strikes, and thrusts to which we will stop ourselves, letting the right hand reverse and cut backwards, being the most beautiful thrust and the most principle part of the sword alone, that we will divide into five types, to know inquartade, or fourth, the third, the | + | Pulling this consists of four things, the movements of the arm and the hand, the advancing of the feet, the refusal of the body, and the judgment of the four things creates all ways and strikes, and thrusts to which we will stop ourselves, letting the right hand reverse and cut backwards, being the most beautiful thrust and the most principle part of the sword alone, that we will divide into five types, to know inquartade, or fourth, the third, the pass below, the beat, and to enter the fourth above the sword. |
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| + | The fourth is done by advancing firstly the hand like the right edge, and then turning it inwards close to arriving, advancing the right foot refusing from the right shoulder forward, and with the left backward passing the left foot backward to dodge better, carrying the arm well extended in the manner that your hand would be also higher than your shoulder, keeping to the right shoulder of the enemy. Many other observations are there who omit one other time. | ||
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| + | The fourth of the left foot is done like the right foot, with the same conduct of the sword and the turning of the body, and differs only from passing the left foot which is done forward, instead that the right foot is done backward. Now the occasion to use the fourth is when the enemy finds himself discovered inwards. | ||
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| + | The third is done by advancing firstly the right hand and foot turning the fist outwards the arm well extended in front, of the way that it arrives from the right foot carrying the flank of the body, the right shoulder always in front and the left backward, in order that there | ||
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Latest revision as of 20:49, 29 August 2025
| Angelo Paternostraro | |
|---|---|
| Died | 16th century |
| Occupation | Fencing master |
| Influenced | Girolamo Cavalcabo |
| Genres | Fencing manual |
| Language | |
| Notable work(s) | Traité ou instruction pour tirer des armes (1595) |
Angelo Paternostraro was a 16th century Italian fencing master. He seems to have been a professional fencing master, and to have written his treatise by 1595 as it was published after his death. He was Roman and have been active in Rome: Torquato d'Alessandri named a Angelo Paternostraro among the masters teaching in Rome.[1]
Paternostraro's treatise covers the sword alone.
Paternostraro's manuscript was not published in his own lifetime, but it was credited and included in Girolamo Cavalcabo's fencing manual (presumably as the "late Paternostrier of Rome") subtitled Un discours pour tirer de l'espée seule (A discourse on drawing the sword alone).
Treatise
Illustrations |
French Translation (1597) |
German Translation (1611) | |
|---|---|---|---|
| VERY BEAUTIFUL DISCOURSE FOR
fencing with the sword alone, by the late Patenostrier of Rome. We say in the first place with the common opinion from all fencers to have four guards, which are named in consecutive order, which then could be reduced to two, putting the first and second in one, the third and fourth in the other. Now then to be on guard consists of two things that accompany the body and the sword, and in order to deduce how we put the third in game as perfectly as possible, and in which all the observations put themselves well to guard better, jointly that what will be said on it can partly be accommodated with the others. So the accommodation of the body in order to be on guard will be the body quite curved, the left side and the head is positioned and aligned with the left leg of which the knee must be bent, the left arm raised near the face like a half-circle, the right leg extended or slightly bent, the two heels face to face to one another, showing the flank that will run from your right hand well extended down, and a bit forward to above the right thigh, the point of the sword watching in front of the right shoulder of the enemy a bit higher than the equipment, and crossing a bit inward, properly for go- |
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| ing from all sides of the sword of the enemy.
Pulling this consists of four things, the movements of the arm and the hand, the advancing of the feet, the refusal of the body, and the judgment of the four things creates all ways and strikes, and thrusts to which we will stop ourselves, letting the right hand reverse and cut backwards, being the most beautiful thrust and the most principle part of the sword alone, that we will divide into five types, to know inquartade, or fourth, the third, the pass below, the beat, and to enter the fourth above the sword. The fourth is done by advancing firstly the hand like the right edge, and then turning it inwards close to arriving, advancing the right foot refusing from the right shoulder forward, and with the left backward passing the left foot backward to dodge better, carrying the arm well extended in the manner that your hand would be also higher than your shoulder, keeping to the right shoulder of the enemy. Many other observations are there who omit one other time. The fourth of the left foot is done like the right foot, with the same conduct of the sword and the turning of the body, and differs only from passing the left foot which is done forward, instead that the right foot is done backward. Now the occasion to use the fourth is when the enemy finds himself discovered inwards. The third is done by advancing firstly the right hand and foot turning the fist outwards the arm well extended in front, of the way that it arrives from the right foot carrying the flank of the body, the right shoulder always in front and the left backward, in order that there |
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For further information, including transcription and translation notes, see the discussion page.
| Work | Author(s) | Source | License |
|---|---|---|---|
| Images |  |
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| Translation | Kevin Maurer | Meyer Freifechter Guild |  |
| Archetype |  |
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| French Translation | |
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| German Translation | |
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.
- None.
References
- ↑ "...the good and honoured masters of Rome, such as Messrs. Oratio and Cesare Cavalcabo, Camillo Paladino [sic], most excellent men, known as the Bolognese; Messers. Francesco and Vincenzo Marcelli, most exquisite men, known as the Abruzzese; and Messrs. Appio Castelli, Gio[vanni]. Angelo Paternostraro and Antonio Rinaldi, most fine and famous men, known as the Romans." D’Alessandri, Torquato. Il cavaliere compito. Viterbo, 1609. p.109.
