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| <p>[11] </p>
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| <p>[11] The next is a guard in ''seconde'' with the sword dagger, better and more convenient than the guard in ''prime'', because the arm is not so strained, and safer, because the sword covers the lower part and keeps the adversary at a distance. Further cuts the head can be parried with this guard, but with the weapons in conjunction for greater strength, and in the same ''time'' you may hit. Thrusts are parried with the dagger alone. This guard will be most successful if you are careful to hit with the right foot, raising the left foot and carrying it somewhat back, but in a circle, and recovering the right foot close to it. In hit-ting the right side should go forward. Carrying away the foot must be done with great care, so that the body in recovering may describe a circle and get out of the line of the adversary's point, while you are covered from the line of the dagger, without movement and the distance is enlarged. In closing distance also you should move in a circle towards the adversary's right side and with short steps, in order not to close except on hitting; also you should keep the body out of distance while continuing to move in a circle. When you hit, advance in a straight line and recover in a circle. With this caution you will be very secure in this guard in comparison with some others. With the same steps as in approaching you can also withdraw, preserving the guard without any disadvantage, or you can proceed according to the occasion by advancing more or less without any change of line.</p>
 
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| <p>[12] </p>
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| <p>[12] The position here shown arises after you have carried the left foot back, leaving the sword and the right side of the body advanced; thus the dagger has been shortened and remains near the hilt of the sword; the left side too has been left exposed above, but at such a distance that the adversary cannot easily reach it. It is seen that you are carrying your feet towards the adversary's left side, in order to withdraw your own left side and find an opening to hit him above or below the dagger by advancing the right foot in a circle towards that part with the same motion of the body, and without moving the dagger from its position. In this way if it happens that your adversary tries to hit the exposed left side by closing the distance, you could while parrying change from ''seconde'' to ''quarte'' and hit at the same moment, and then recover in a circle to the same guard. This is the true reason of this position; he who knows how to use it can also provoke his adversary to hit by a ''time'' or an ''appel'', in order to use the ''counter-time''. Moreover the dagger is safer in this position than with the arm extended.</p>
 
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| <p>[13] </p>
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| <p>[13] Now follows a guard in ''seconde'' formed with the left foot, much better than the first one formed on that foot, because the body is more ready for every event, and more protected by its low position so that you can both hit and parry with less movement. With this guard you can close distance on the outside of the adversary's sword, while engaging his sword with your dagger. With this guard too you can hit by advancing the right foot, always leaving your dagger on his sword without beating it. You can pass right on to the adversary's body; but if you wish to recover you must meet his sword with yours and dis-order it, so that he cannot hit while you are recovering, since you will actually have passed so far forward that you cannot break ground in one step. If your adversary's sword is on the outside of the dagger and he offers a ''time'' to hit, then you must change from ''seconde'' to ''quarte'' with the sword and dagger in conjunction, so that you may be defended above and below the dagger, and turn the body in order to lengthen your thrust and be better defended; in order to recover safely you must let your sword fall on the adversary's in a guard of ''tierce'', after hitting. As to engaging his sword without being deceived by a disengagement, you must remember when within reach of his sword with your dagger to put him into subjection at that moment, by showing that you intend to hit, so that by that fear he may be prevented from freeing his sword, except by fleeing from the danger and retiring. In that case you should not advance nor do anything but try to engage his sword again without beating it, so that he cannot hit in any lime, you must then take care not to let your dagger fall in order to avoid the danger of being hit on the outside over the dagger.</p>
 
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| <p>[14] </p>
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| <p>[14] This next guard in ''seconde'' with the right foot forward, the point of the foot turned outwards and the whole weight of the body on that foot, is really an excellent position, because the exposed parts of the body are well withdrawn and in consequence there is little the adversary can reach. Moreover in this position the body can pass with great swiftness. In advancing take short steps and try to engage your adversary's sword; when you have found it with the dagger, do not beat it but glide along the blade, and hit by passing in order better to change the front of the body and to bring out of the line of his point all that part which might be hit. With this guard you may hit in ''quarte'' as well as in ''seconde''. Also you give the adversary no chance of a ''time'' but press him resolutely and assault him without changing time or being disconcerted in any way.</p>
 
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| <p>[15] </p>
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| <p>[15] The guard shown in the next plate is also a guard in seconde, but little used and perhaps unknown. The sword is held foreshortened, the dagger upright, the body bent, and the weapons so low that only the part on the outisde[!] over the sword is exposed, and there only can the adversary hit. This guard must be carefully formed, with the sword somewhat lower than the adversary's as long as his point is as high as his hand. If his point is lower than the hand, you must proceed above the part covered, taking natural steps and moving in a circle towards his right side; by this means you will withdraw the part above the sword which is exposed and, when you have found his sword with your dagger, your whole body will be covered when on guard. You should never proceed, until you have first advanced far enough to engage the adversary's sword with your dagger; but when engaged, you should continue resolutely with natural steps. The lower the body is the more successful the stroke will be. You must make the hit with the body low, without stopping or waiting, but always continuing in a circle. Even if your adversary should thrust, you should not stop but keep the union of your weapons; you must not become disordered nor rush, but glide along the blade of his sword with your dagger as far as the hilt. Thus you may hit in ''seconde'' or ''tierce'' or ''quarte'' according to the opportunity. But throughout you must always keep the weapons in conjunction both when on guard, and when hitting in whatever manner, so that the adversary cannot enter with his sword between your hands.</p>
 
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Revision as of 00:08, 2 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.