Wiktenauer logo.png

Difference between revisions of "Salvator Fabris"

From Wiktenauer
Jump to navigation Jump to search
Line 92: Line 92:
 
|-  
 
|-  
 
| [[File:GI.kgl.Saml.1868.4040 1r.jpg|400px|center]]
 
| [[File:GI.kgl.Saml.1868.4040 1r.jpg|400px|center]]
| [[File:Scienza d’Arme (Fabris) Title 1.jpg|400px|center]]
+
| [[File:Scienza d’Arme (Fabris) Title 1.png|400px|center]]
 
| <p>[1] '''Fencing''', or '''the Science of Arms''' by Salvator Fabris.</p>
 
| <p>[1] '''Fencing''', or '''the Science of Arms''' by Salvator Fabris.</p>
 
|  
 
|  
Line 484: Line 484:
 
| <p>[18] '''Discourse of the plate showing the nature of the cuts and where they hit.'''</p>
 
| <p>[18] '''Discourse of the plate showing the nature of the cuts and where they hit.'''</p>
  
<p>This plate shows the nature of all the cuts, which a hand can make. The names are placed against them so that you may see where each of them naturally hits, although they may hit higher or lower according to whether they are made with the hand or the arm. At least their path is seen, and from a knowledge of that follows a knowledge of the second point, what sort of defence can he made in order to parry them and hit at the same time. Therefore the names on the plate are placed not in the part from which the cuts are delivered, but where they hit; for the cut of ''mandiritto'' is delivered from the right and hits the adversary's left shoulder, and the cut of ''riverso'' is delivered from the left and hits somewhere on the right side, as may be seen. Whoever examines and ponders on these cuts, will easily discover the principles of proceed¬ing against each one of them, bearing in mind that even if all the cuts are made by the same arm they may not have the same strength, and therefore against the stronger it is necessary to find a stronger defence in order to resist and hit. Although it might appear that we should here treat of the differences in the cuts, still we think we have treated of them sufficiently in speaking of the defence and the attack, and of thrusting and cutting. It is our intention to base our instruction, not on these, but on more subtle and profitable principles.</p>
+
<p>This plate shows the nature of all the cuts, which a hand can make. The names are placed against them so that you may see where each of them naturally hits, although they may hit higher or lower according to whether they are made with the hand or the arm. At least their path is seen, and from a knowledge of that follows a knowledge of the second point, what sort of defence can he made in order to parry them and hit at the same time. Therefore the names on the plate are placed not in the part from which the cuts are delivered, but where they hit; for the cut of ''mandiritto'' is delivered from the right and hits the adversary's left shoulder, and the cut of ''riverso'' is delivered from the left and hits somewhere on the right side, as may be seen. Whoever examines and ponders on these cuts, will easily discover the principles of proceeding against each one of them, bearing in mind that even if all the cuts are made by the same arm they may not have the same strength, and therefore against the stronger it is necessary to find a stronger defence in order to resist and hit. Although it might appear that we should here treat of the differences in the cuts, still we think we have treated of them sufficiently in speaking of the defence and the attack, and of thrusting and cutting. It is our intention to base our instruction, not on these, but on more subtle and profitable principles.</p>
 
|  
 
|  
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/34|2|lbl=27}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/34|2|lbl=27}}
Line 515: Line 515:
 
| [[file:GKS 1868 1 detail 05.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 05.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 002.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 002.jpg|400px|center]]
|  
+
| <p>[20] '''Explanation of a well formed guard in prime.'''</p>
 +
 
 +
<p>If you wish to form a sound guard in ''prime'' the position of the body and sword must be as shown in the plate, the feet close together, body bent, arm extended, with the sword in front with the point as straight as possible; for the point will naturally incline towards the ground. Thus your adversary cannot thrust over the sword; this part being the weaker must be better defended. Moreover you must keep the feet together and the body bent, so that the lower parts may be so far withdrawn that the adversary cannot reach them without penetrating with his head half the sword's length. Your sword will have to defend only the head and part of the chest, which it can easily do, as the ''forte'' is already so far advanced that the adversary's sword can never extend so far as not to be always nearer the forte than the body. This guard is excellent against cuts, for with it you can defend and attack without turning the hand. It would be as good as any other guard in fencing if it were not so laborious for the arm, that you cannot long endure this position. With this guard you can advance to engage and harass your adversary's sword without changing guard, always approaching so as to hit on the outside over the sword, or below, in case your adversary disengages, by lowering your body still further, moving the feet apart, and keeping the arm in the same guard; as soon as you have hit, bring the feet together again and try to engage his sword above, even though his sword is on the inside, and push it out. This you can easily do, for your adversary cannot resist, as in this line your guard is strongest.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|36|lbl=28}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|36|lbl=28}}
Line 528: Line 530:
 
| [[file:GKS 1868 1 detail 02.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 02.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 003.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 003.jpg|400px|center]]
|  
+
| <p>[21] '''The guard in ''seconde''. Arising from the guard in ''prime'' formed on drawing the sword from the scabbard.'''</p>
 +
 
 +
<p>From the position of the hand in drawing the sword from the scabbard arises this guard, with the arm somewhat lowered and turned downwards. This has caused a slight change in the front of the body. It is called the guard in ''seconde'' because it is the first movement which the hand can make in changing from the guard in ''prime.'' It is easier than the guard in ''prime'', as the arm is not so strained; owing to the change of the position of the hand the weak part has changed. In the first it was above, now it is on the outside. It is true that as the feat are rather far apart the leg is in some danger towards the knee; still if you can keep your sword free, your adversary will only with difficulty hit you so low before he is himself hit above. Although in this guard the arm is somewhat withdrawn, the ''forte'' is so far forward that it can parry excellently both on the outside and the inside; but the hand must be turned in ''quarte'', or you must parry with the hand. If the feet are kept closer together this guard will be safer on both sides. But we shall form another guard like the first but much better.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|37|lbl=29}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|37|lbl=29}}
Line 540: Line 544:
 
| [[file:GKS 1868 1 detail 06.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 06.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 004.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 004.jpg|400px|center]]
|  
+
| <p>[22] '''A well formed guard in seconde.'''</p>
 +
 
 +
<p>This is the position in which you should form the guard in ''seconde'' for greater safety. Although it is fatiguing, it is less so than the guard in ''prime,'' for the arm is somewhat lower. Its weakest part is on the outside, therefore you must hold the point so straight that your adversary cannot come in there. Although it is the most covered part, only a little of the head showing above the right arm, your adversary might come in there, put you to the necessity of defending the spot, and then proceed to hit below. If then he should attack on the outside you should disengage, without advancing, if you have not been able to hit whilst he was moving on the outside. The lower parts are still more secure than with the guard in ''prime''. The defences are somewhat different, for you must defend the ''mandiritto tondo'' by turning into ''quarte'', as also the ''sottomano''. All the others are parried with the guard <sup>of</sup> ''seconde'' except some thrusts on the inside, which are likewise parried with a turn to ''quarte''. You will do well with this guard, as your sword is advanced and straight. If you understand its principles you will find it excellent and advantageous; it leaves little uncovered for the adversary to hit, and the body is so far withdrawn that he cannot reach it without first subjecting your sword, which is difficult as the disengage is with this guard made with little movement and quickly. But as we have said above it is somewhat laborious to maintain for long.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|38|lbl=30}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|38|lbl=30}}
Line 555: Line 561:
 
| [[file:GKS 1868 1 detail 12.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 12.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 005.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 005.jpg|400px|center]]
|  
+
| <p>[23] '''Principles of another guard in seconde formed with the arm foreshortened as in the plate.'''</p>
 +
 
 +
<p>This strained position is a guard in ''seconde''. In spite of its appearance it has great swiftness and power, because of the union of forces. You begin to form it when upright, as the adversary approaches so you lower the body and withdraw the sword in such a manner, that, when within distance, you are so low and the sword so far drawn back, that it can be taken no further and the point still kept in, nor the body further lowered. Your sword must form a straight line from the hand to the point, so that the adversary cannot proceed on the outside. Also you must keep the hand to the front to defend yourself from any rush which might he made before you had completed the guard. When completely formed and your adversary approaches so far that his point just penetrates your point, if your sword is free, you must quickly change into ''quarte'' on the inside. For this purpose you keep your right foot so far across, that, when you lunge the body goes out of line before the feet move; in this way your lunge will be longer and pass right to the adversary's body. But if the adversary's point is directed towards yours, you must rush with your body under the point, thrusting in ''seconde'' past the ''faible'' of his sword, and pass right on to his body. If you see that your adversary's sword so far impedes yours that you cannot hit in that line, you must disengage from ''seconde'', leaning your left hand on the hilt, so that the adversary's sword cannot push yours aside, and hit in the upper lines on the outside.</p>
 +
 
 +
<p>Cuts are easily defended in ''secondo'' or in ''quarte'' according to the part they are directed against. These rules will succeed very well against those who do not understand the foundation of this guard. He who uses this guard, when making a hit will generally parry with the hand, and in all his hits will pass with determination. The guard is fatiguing and confined, still one who is well practised in it can effect much.</p>
 
|  
 
|  
 
|  
 
|  
Line 575: Line 585:
 
| [[file:GKS 1868 1 detail 13.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 13.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 006.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 006.jpg|400px|center]]
|  
+
| <p>[24] <br/><br/><br/></p>
 +
 
 +
<p>In this plate the sword is shown foreshortened, and the left side as far forward as the right. You have formed a guard in ''tierce'' and changed into ''seconde''. The sword is turned so far to the left as to be quite foreshortened, and therefore only the cross or hilt is seen. This movement has been made in order to let the adversary approach. The body is bent forward so that it may not be hit save on the head and chest, and if the adversary attempts to hit you can parry with the left hand, which is held before the face, hitting with the same movement of the body and extending your sword into ''seconde''. If you have completed the position when your adverysary[!] advances, you can change to ''quarte'' and hit below or above his sword, according as he comes low or high, and can carry the body out of line without parrying, though you may parry and hit with this ''seconde''. If your adversary does not respond to this ''appel'', you must not remain in this position, but change your line, remaining steady on your feet, so that he may not take the ''time'' on that change; for if your feet were being brought together you could not parry, but if you were withdrawing it would be well to parry, since your adversary could be sure of making a hit. If when he took the ''time'', you were steady, you could advance or retreat according to the distance and intention of the adversary, because you would have adapted yourself for attack or defence at the same time.</p>
 
|  
 
|  
 
|  
 
|  
Line 589: Line 601:
 
| [[file:GKS 1868 1 detail 16.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 16.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 007.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 007.jpg|400px|center]]
|  
+
| <p>[25] '''On what occasion you may make the extension in ''seconde'' seen in this plate.'''</p>
 +
 
 +
<p>The extension seen in this plate is made in ''seconde'' with the right foot, and can be made on the inside or the outside of the adversary's sword in the time when he is passing. The lunge is made with the idea of letting his sword pass in the air without parrying, if, as might be, he is in a guard of ''tierce'' or ''quarte''; but if he is in ''seconde'' you will not succeed with this lunge. If the adversary does not pass, it is not a good movement, for the body is so low and the feet so far apart that you cannot recover quickly enough to protoot yourself. You should certainly make this stroke if your adversary passes in order to save yourself from the impact of his sword without parrying, and hit him at the moment of his passing. If you realise the opportunity it is quite safe, because the body is so low, that the knee and the head are covered under the line of the arm in such a way, that even if the adversary attempts to hit at the centre of your body, he will pass far above. Thus the position deceives the adversary; but you must have a care not to form it at too great a distance, for he could then lower his point again before it had passed, and your head would be in greater danger than before. If the movement is made within the proper distance this danger ceases, for at the moment when your adversary's sword approaches, your body goes to meet him and causes his sword to pass with even greater celerity.</p>
 
|  
 
|  
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/41|2|lbl=-}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/41|2|lbl=-}}
Line 601: Line 615:
 
| [[file:GKS 1868 1 detail 19.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 19.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 008.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 008.jpg|400px|center]]
|  
+
| <p>[26] How to make this extension in seconde by advancing the left foot in order to make a long extension.<br/><br/></p>
 +
 
 +
<p>This extension is made with the guard in ''seconde'', with the left foot brought forward in the time of the adversary's movement. Here you may clearly perceive how low a body may go and pass right to the adversary's body with swiftness, when you know how to control the body. This figure is drawn from life like all the others. With this manner of advancing the foot the lunge is very long. The body is protected by its low position. The left foot is carried forward, as is seen, but the right shoulder and side also go forward in such a manner that the lunge is as long as possible. The occasion for its use may arise, not only when the adversary tries to lunge or pass, but at the slightest ''time'' offered, when you are within such distance, that at the first movement you can pass the adversary's point. You may take the ''time'' to make such a lunge whether on the outside or the inside, for the body is so low that your adversary's sword remains far out of line, and all the more when his point has been no lower than your chest. Further this extension is made with great velocity, much more so than the first extension.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|42|lbl=34}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|42|lbl=34}}
Line 613: Line 629:
 
| [[file:GKS 1868 1 detail 03.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 03.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 009.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 009.jpg|400px|center]]
|  
+
| <p>[27] <br/><br/><br/></p>
 +
 
 +
<p>This plate illustrates the guard in ''tierce'', which arises from the guard in ''prime'', as does the guard in ''quarte'', as will be seen. The guard in ''tierce'' is less fatiguing than the other two, because the arm is in a natural position. But the hand is too low and the point inclined upwards at an angle, so that there are many exposed parts. If you draw a straight line from the point to the body you will see how great is the angle, and all the space between that straight line and the hand is exposed, where you may be hit on the outside and on the inside. On some sides it is not strong; further you may be hit before your hily is reached. If you wish to defend the upper parts you make so large a movement with the hand, that you cannot reach the defence in time, and your adversary can easily deceive you. Again, as your sword is at such an angle, in parrying you often go out of line, offering a great advantage to your adversary. Again, by bringing the sword into the straight line you weaken it, for the sword is always weakened by being extended, with great danger that your adversary's sword, if already extended, will remain the stronger, since the sword is always stronger after coming to rest than in its passage. Further, one who stands in this manner with his sword at an angle, can make little use of the disengagement, since his point has to make too great a circle and too large a movement. Nevertheless this guard may be used, because its nature is not always known. Though the sword is at a great angle and the body much uncovered, still you can sufficiently deceive your adversary by avoiding and freeing your sword by a half disengagement. Therefore he who can use these devices in time will defend and easily protect himself. The desire of the adversary to hit is increased by the sight of so much exposure, with the result that you may readily save yourself and hit your adversary. But we shall form a safer guard in ''tierce''.</p>
 
|  
 
|  
 
| <p><br/><br/><br/></p>
 
| <p><br/><br/><br/></p>
Line 630: Line 648:
 
| [[file:GKS 1868 1 detail 07.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 07.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 010.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 010.jpg|400px|center]]
|  
+
| <p>[28] </p>
 +
 
 +
<p>This plate shows the manner of forming a sword guard in ''tierce''. The position of the arm and sword requires exactness for the hand should not be turned at all. Where the natural guard in tierce is weaker, this guard, also in ''tierce'', is stronger. By the change of position the posture of the body has been changed to great advantage and improvement, since the angle of the side is well drawn back. The outside is defended and there is little uncovered on the inside. This is the true method of trying to engage the adversary's sword whether on the inside or the outside, for there is little or no movement to be made with the arm, but with the point of the sword only, which will so subject the adversary's sword as to keep it always underneath; your hand will then be between ''seconde'' and ''quarte'' in such a way, that you can engage with little movement in the one or the other line according to opportunity. Therefore we consider it to be one of the best guards.</p>
 
|  
 
|  
 
| <p><br/></p>
 
| <p><br/></p>

Revision as of 04:23, 30 April 2022

Salvator Fabris
200px
Born 1544
Padua, Italy
Died 11 Nov 1618 (aged 74)
Padua, Italy
Occupation
Nationality Italian
Alma mater University of Padua (?)
Patron
  • Christianus IV of Denmark
  • Johan Frederik of Schleswig-
    Holstein-Gottorp
Influenced
Genres Fencing manual
Language Italian
Notable work(s) Scienza d’Arme (1606)
Manuscript(s)
Translations

Salvator Fabris (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – 17th century Italian knight and fencing master. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.[citation needed] The French master Henry de Sainct Didier recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s.[1] In the 1580s, Fabris corresponded with Christian Barnekow, a Danish nobleman with ties to the royal court as well as an alumnus of the university.[2] It seems likely that Fabris traveled a great deal during the 1570s and 80s, spending time in France, Germany, Spain, and possibly other regions before returning to teach at his alma mater.[citation needed]

It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as Supremus Eques ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.[3] It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership.

Fabris' whereabouts in the 1590s are uncertain, but there are rumors. In 1594, he may have been hired by King Sigismund of Poland to assassinate his uncle Karl, a Swedish duke and competitor for the Swedish crown. According to the story, Fabris participated in a sword dance (or possibly a dramatic play) with a sharp sword and was to slay Karl during the performance when the audience was distracted. (The duke was warned and avoided the event, saving his life.)[4] In ca. 1599, Fabris may have been invited to England by noted playwright William Shakespeare to choreograph the fight scenes in his premier of Hamlet.[5][2] He also presumably spent considerable time in the 1590s developing the fencing manual that would guarantee his lasting fame.

What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled Scientia e Prattica dell'Arme (GI.kgl.Saml.1868 4040).[2]

In 1601, Fabris was hired as chief rapier instructor to the court of Christianus IV, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title Sienza e Pratica d’Arme ("Science and Practice of Arms") or De lo Schermo, overo Scienza d’Arme ("On Defense, or the Science of Arms"). Christianus funded this first edition and placed his court artist, Jan van Halbeeck, at Fabris' disposal to illustrate it; it was ultimately published in Copenhagen on 25 September 1606.[2]

Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo.

The importance of Fabris' work can hardly be overstated. Versions of his treatise were reprinted for over a hundred years, and translated into German at least four times as well as French and Latin. He is almost universally praised by later masters and fencing historians, and through the influence of his students and their students (most notably Hans Wilhelm Schöffer), he became the dominant figure in German fencing throughout the 17th century and into the 18th.

Treatise

Additional Resources

References

  1. Didier, Henry de Sainct. Les secrets du premier livre sur l'espée seule. Paris, 1573. pp 5-8.
  2. 2.0 2.1 2.2 2.3 Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. pp XVIII-XIX.
  3. Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. p XXIX.
  4. Andersson, Henrik. Salvator Fabris as a Hired Assassin in Sweden. Association for Renaissance Martial Arts. Retrieved 2011-12-18.
  5. Barbasetti, Luigi. Fencing Through the Ages.[Full citation needed]
  6. Originally "asseruatore", but corrected in the errata.
  7. Originally "richeide", but corrected in the errata.
  8. Originally "dirarsi", but corrected in the errata.
  9. Originally "longuezza", but corrected in the errata.
  10. Originally "mettre", but corrected in the errata.
  11. Originally "volto", but corrected in the errata.
  12. There's no conclusion of this word on the next page, just a new sentence.
  13. Originally "occcsione", but corrected in the errata.
  14. There's no conclusion of this word on the next page, just a new sentence.
  15. Originally "albassare", but corrected in the errata.
  16. Originally "& migliore", but corrected in the errata.
  17. Originally "temerariemente", but corrected in the errata.
  18. Originally "bisogna", but corrected in the errata.
  19. The letter 'F' was omitted in the print and hand-corrected in all copies.
  20. Originally "guardia", but corrected in the errata.
  21. Originally "equali", but corrected in the errata.
  22. Originally "poco", but corrected in the errata.
  23. Originally "poco", but corrected in the errata.
  24. Originally "non buoni", but corrected in the errata.
  25. Originally "queui", but corrected in the errata.
  26. Originally "che spada", but corrected in the errata.
  27. Originally "accorgendosi", but corrected in the errata.
  28. Originally "con pugnale", but corrected in the errata.
  29. Originally "mouendolo", but corrected in the errata.
  30. Originally "diuersi", but corrected in the errata.
  31. Originally "dentro la spada", but corrected in the errata.
  32. Originally "andere", but corrected in the errata.
  33. Originally "richede", but corrected in the errata.
  34. Originally "in suoi", but corrected in the errata.
  35. Originally "della", but corrected in the errata.
  36. Originally "la dette", but corrected in the errata.
  37. Originally "è passare", but corrected in the errata.
  38. The errata adds "l’".
  39. Originally "farmarsi", but corrected in the errata. The errata says it should be on page 232, but this is the only instance of the word in the book.
  40. Originally "sforza", but corrected in the errata. The errata says it should be on page 241, but this is the only instance of the word on the correct line.
  41. Should be 183.
  42. Originally "ineguale", but corrected in the errata.