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<p>This next ''tierce'' against a ''quarte'' has followed when both were in ''tierce'' on the inside. You have made a feint of hitting in ''quarte'' on the inside. Your adversary has tried to hit in counter ''quarte'' through your ''faible''. In the same ''time'' you have lowered your sword hand to tierce, carried your left hand to his approaching sword, lowering and turning the body with the left side forward, so that your hand has carried his sword away and you have hit him in the chest. It might arise in another way: you being on the outside have pushed the adversary's sword away. He has tried to disengage and hit in ''quarte'' on the inside. You have parried with the hand and hit him below as shown. Or it might very well be that both were on the outside,[!] The adversary has tried to engage; you have changed your hand to ''quarte'' in order to avoid the engagement; he has tried to hit with another quarte in the line seen to be uncovered, and in that ''time'' you have parried and made the hit.</p>
 
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<p>The next is a hit in ''seconde'' against a tierce. Both being in ''tierce'' on the outside you have made an ''appel'' by turning the sword from tierce to second[!] and carrying the point inwards out of line. You have brought your left side so far forward as to uncover the whole chest to the adversary, but with the sword so low that he could only hit above, and holding the left hand before the face. While your adversary has seized the ''time'' to hit in the part uncovered, with the left hand you have pushed his sword outside your left flank, in the same ''time'' advancing the left foot, and with the body low have disengaged in ''seconde''. Thus you have made a hit in the chest by extending the right arm as far as possible and bringing forward the right side also, but with the point of the left foot turned outwards in order to carry the body away from his sword. The result is here seen.</p>
 
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<p>This is another ''seconde'', but against a ''quarte'', with the right foot advanced. Both combatants being in tierce on the outside, you have disengaged without waiting for a ''time'' or provocation of your adversary. He has seized the opportunity and tried to hit in ''quarte''. You have at once turned your hand into ''seconde'', brought the left side of the body forward, turned the heel of the right foot, placed the edge of your left hand over his sword, and hit in ''seconde'' in the chest. It might have arisen from both being in tierce on the inside; you have lowered your sword, leaving yourself uncovered, and he has thrust in ''quarte''. Then you have raised your hand into ''seconde'', changing the front of your body and keeping the right side back, as being in the most danger. In this manner you have parried with your hand, for this low ''quarte'' is forced down by the parrying hand whereas the point would naturally make a hit in the chest.</p>
 
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<p>This is a ''quarte'' with a turn, which has hit against another ''quarte'' with the left foot advanced. The one who has passed has made a feint of hitting on the outside over the sword, and you have moved to parry. The adversary has placed his left hand on your sword in order to parry, and in the same ''time'' has disengaged in ''quarte'' on the inside, advancing the left foot, so as to hit in this ''quarte''. But you, who have moved to parry the feint on the outside, seeing that your adversary was going to defend with the left hand, have disengaged your sword, which was above, on the outside of his hand, and thrust at his advancing body, bringing yourself out of line with a turn of the left foot. You would not have hit so low with the point, had you not found his ''faible'' with your ''forte'', so that you were more defended. In this manner the attempt of the hand to parry has been deceived, as shown.</p>
 
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<p>This is another ''quarte'' hitting against a ''tierce'' designed to hit under the sword. You have made a feint of hitting towards the right side of your adversary's face. He has tried to parry with the left hand, lowering his body so as to hit under the sword on the inside. But you, who have made a feint, have seized the ''time'' of his raising his hand to defend the head, lowered your point to the space between his two arms in the ''time'' of his making the opening, and, changing your hand into ''quarte'' and turning the body with the left foot, have made the hit. The adversary has been unable to parry, because your sword was shut in between his two arms and could not be pushed aside without a change of plan.</p>
 
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<p>This is the last hit, in ''quarte'', against a ''seconde''. The adversary meant to parry with the left hand but has failed. Both were in ''tierce'' on the inside, and he, who has tried to parry, has so far, withdrawn his guard that his ''forte'' could not defend him and he has trusted to the defence of the hand only, which was too high for the face. You have made a feint of hitting in the angle of the right side. Your adversary has turned his body in order to withdraw that part, carried his hand to the defence and changed to a guard of ''seconde'', in order to make a hit in the chest. Seeing his purpose you have disengaged your sword from the line of the fingers of his hand and hit him in the chest in ''quarte'' in the ''time'' of his advance. Turning the body out of line you have also covered yourself with the hilt, so that his sword has passed in vain, although the angle of his ''seconde'' was directed towards the line into which you were turning the body.</p>
 
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Revision as of 01:36, 1 May 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. 12.0 12.1 12.2 There's no conclusion of this word on the next page, just a new sentence.
  13. Originally "occcsione", but corrected in the errata.
  14. Originally "albassare", but corrected in the errata.
  15. Originally "& migliore", but corrected in the errata.
  16. Originally "temerariemente", but corrected in the errata.
  17. Originally "bisogna", but corrected in the errata.
  18. The letter 'F' was omitted in the print and hand-corrected in all copies.
  19. Originally "guardia", but corrected in the errata.
  20. Originally "equali", but corrected in the errata.
  21. Originally "poco", but corrected in the errata.
  22. Originally "poco", but corrected in the errata.
  23. Originally "non buoni", but corrected in the errata.
  24. Originally "queui", but corrected in the errata.
  25. Originally "che spada", but corrected in the errata.
  26. Originally "accorgendosi", but corrected in the errata.
  27. Originally "con pugnale", but corrected in the errata.
  28. Originally "mouendolo", but corrected in the errata.
  29. Originally "diuersi", but corrected in the errata.
  30. Originally "dentro la spada", but corrected in the errata.
  31. Originally "andere", but corrected in the errata.
  32. Originally "richede", but corrected in the errata.
  33. Originally "in suoi", but corrected in the errata.
  34. Originally "della", but corrected in the errata.
  35. Originally "la dette", but corrected in the errata.
  36. Originally "è passare", but corrected in the errata.
  37. The errata adds "l’".
  38. 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.
  39. 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.
  40. Should be 183.
  41. Originally "ineguale", but corrected in the errata.