Difference between revisions of "Fiore de'i Liberi"

Fiore Furlano de’i Liberi
Fiore Furlano de’i Liberi
	; This master with a forked bear appears sporadically throughout both the Getty and Pisani Dossi mss., and may be a representation of Fiore himself.
Born	1340s; Cividale del Friuli, Friuli
Died	after 1420; France (?)
Relative(s)	Benedetto de’i Liberi
Occupation	Diplomat ; Fencing master ; Mercenary ;
Nationality	Friulian
Patron	Gian Galeazzo Visconti (?) ; Niccolò III d’Este (?) ;
Influences	Johane Suveno ; Nicholai de Toblem ;
Influenced	Philippo di Vadi
Genres	Fencing manual ; Wrestling manual ;
Language	Middle Italian ; Renaissance Latin ;
Notable work(s)	The Flower of Battle
Manuscript(s)	MS M.383 (1400s) ; MS Ludwig.XV.13 (1400s) ; Pisani Dossi MS (1409) MS Latin.11269 (1410s?) ; Codex LXXXIV (before 1436) ; Codex CX (before 1436) ; MS XXIV (1699) ;
Concordance by	Michael Chidester
Translations	Traduction française ; Magyar fordítás ; Traducción castellano ;

Revision as of 20:27, 29 December 2013

Fiore Furlano de’i Liberi de Cividale d’Austria (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; ca. 1340s - 1420s^[1]) was a late 14th century knight, diplomat, and itinerant fencing master. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.^[2]^[3]^[4] The term Liberi, while potentially merely a surname, more probably indicates that his family had Imperial immediacy (Reichsfreiheit), either as part of the nobili liberi (Edelfrei, "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.^[5]^[6]^[7] It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Henry V,^[8]^[9]^[10] but this has yet to be confirmed.^[11]

Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands.^[2]^[3]^[4] He had ample opportunity to interact with both, being born in the Holy Roman Empire and later traveling widely in the northern Italian states. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student.^[4] He further mentions that on five separate occasions he was forced to fight duels for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp longswords, unarmored except for gambesons and chamois gloves, and he won each without injury.^[2]^[3]

Writing very little on his own career as a commander and master at arms, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one Johane dicto Suueno, who he notes was a disciple of Nicholai de Toblem;^[4] unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well known in Fiore's time. He further offered an extensive list of the famous condottieri that he trained, including Piero Paolo del Verde (Peter von Grünen),^[12] Niccolo Unricilino (Nikolo von Urslingen),^[13] Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),^[14] Lancillotto Beccaria di Pavia,^[15] Giovannino da Baggio di Milano,^[16] and Azzone di Castelbarco,^[17] and also highlights some of their martial exploits.^[2]^[3]

Based on Fiore's autobiographical account, he can tentatively be placed in Perosa (Perugia) in 1381 when Piero del Verde likely fought a duel with Pietro della Corona (Peter Kornwald).^[18] That same year, the Aquileian War of Succession erupted as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly appointed Patriarch, Philippe II d'Alençon. Fiore seems to have sided with the secular nobility against the Cardinal as in 1383 there is record of him being tasked by the grand council with inspection and maintenance on the artillery pieces defending Udine (including large crossbows and catapults).^[6]^[19]^[20] There are also records of him working variously as a magistrate, peace officer, and agent of the grand council during the course of 1384, but after that the historical record is silent. The war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records five times in 1384, it would be quite odd for him to be completely unmentioned over the subsequent five years,^[6]^[21] and since his absence after May of 1384 coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.

After the war, Fiore seems to have traveled a good deal in northern Italy, teaching fencing and training men for duels. In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean II le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. Both Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua, were in attendance. The duel was to begin with spears on horseback, but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.^[22]^[20]^[14]

Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on 24 June and attended by Gian Galeazzo Visconti, Duke of Milan, as well as the Duchess and other nobles. The duel was to consist of three bouts of mounted lance followed by three bouts each of dismounted poleaxe, estoc, and dagger. They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor (and the fact that all of the weapons were blunted), both combatants reportedly emerged from these exchanges unharmed.^[16]^[23]

Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco and Giovanni degli Ordelaffi, as the latter is known to have died in 1399.^[24] After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career.^[20] Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as Fior di Battaglia, Florius de Arte Luctandi, and Flos Duellatorum). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort;^[4] as evidence suggests that two longer versions were composed some time before this,^[25] we may assume that he devoted a considerable amount of time to writing during this decade.

Beyond this, nothing certain is known of Fiore's activities in the 15th century. Francesco Novati and D. Luigi Zanutto both assume that some time before 1409 he accepted an appointment as court fencing master to Niccolò III d’Este, Marquis of Ferrara, Modena, and Parma; presumably he would have made this change when Milan fell into disarray in 1402, though Zanutto went so far as to speculate that he trained Niccolò for his 1399 passage at arms.^[26] However, while two surviving copies of "the Flower of Battle" are dedicated to the marquis, it seems more likely that the manuscripts were written as a diplomatic gift to Ferrara from Milan when they made peace in 1404.^[23]^[20] C. A. Blengini di Torricella stated that late in life he made his way to Paris, France, where he could be placed teaching fencing in 1418 and creating a copy of a fencing manual located there in 1420. Though he attributes these facts to Novati, no publication verifying them has yet been located.^[27] The time and place of Fiore's death remain unknown.

Despite the depth and complexity of his writings, Fiore de’i Liberi does not seem to have been a very significant master in the development of Italian fencing. That field was instead dominated by the tradition of his near-contemporary the Bolognese master Filippo di Bartolomeo Dardi. Even so, there are a number of later treatises which bear strong resemblance to his work, including the writings of Philippo di Vadi and Ludwig VI von Eyb. This may be due to the direct influence of Fiore or his writings, or it may instead indicate that the older tradition of Johane and Nicholai survived and spread outside of his direct line.

Treatise

Four illuminated manuscript copies of this treatise are currently known to exist (as well as a 17th century fragment), and there are records of at least two others whose current locations are unknown.^[28] The MS Ludwig XV 13 and the Pisani Dossi MS are both dedicated to Niccolò III d'Este and state that they were written at his request and according to his design. The MS M.383, on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence while the MSS Latin 11269 lost any dedication it might have had along with its prologue. Each of the extant copies of the Flower of Battle follows a distinct order, though both of these pairs contain strong similarities to each other in order of presentation. In addition, Philippo di Vadi's manuscript from the 1480s, whose second half is essentially a redaction of the Flower of Battle, provides a valuable fifth point of reference when considering Fiore's teachings.

The major sections of the work include: abrazare or grappling; daga, including both unarmed defenses against the dagger and plays of dagger against dagger; spada a un mano, the use of the sword in one hand (also called "the sword without the buckler"); spada a dui mani, the use of the sword in two hands; spada en arme, the use of the sword in armor (primarily techniques from the shortened sword); azza, plays of the poleaxe in armor; lancia, spear and staff plays; and mounted combat (including the spear, the longsword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as bastoncello, or plays of a small stick or baton against unarmed and dagger-wielding opponents; plays of longsword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the chiavarina against a man on horseback.

The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters (or Teachers), figures in golden crowns who each demonstrate a particular guard for use with their weapon. These are followed by a master called "Remedio" (remedy) who demonstrates a defensive technique against some basic attack (usually how to use one of the listed guards to defend), and then by his various Scholars (or Students), figures wearing golden garters on their legs who demonstrate iterations and variations of this remedy. After the scholars there is typically a master called "Contrario" (counter), wearing both crown and garter, who demonstrates how to counter the master's remedy (and those of his scholars), who is likewise sometimes followed by his own scholars in garters. In rare cases, a fourth type of master appears called "Contra-Contrario" (counter-counter), who likewise wears the crown and garter and demonstrates how to defeat the master's counter. Some sections feature multiple master remedies or master counters, while some have only one. There are also many cases in which an image in one manuscript will only feature a scholar's garter where the corresponding image in another also includes a master's crown. Depending on the instance, this may either be intentional or merely an error in the art.

The concordance below includes Zeno's transcription of the Getty preface for reference, and then drops the (thereafter empty) column in favor of a second image column for the main body of the treatise. Generally only the right-side image column will contain illustrations—the left-side column will only contain additional content when when the text describes an image that spans the width of the page in the manuscripts, or when there are significant discrepancies between the available illustrations (in such cases, they sometimes display two stages of the same technique and will be placed in "chronological" order if possible). There are likewise two translation columns, with the the two manuscripts dedicated to Niccolò on the left and the two undedicated manuscripts on the right; in both columns, the short text of the PD and Paris will come first, followed by the longer paragraphs of the Getty and Morgan.

First Italian Preface

Fiore de'i Liberi/First Italian Preface

Latin Preface

Fiore de'i Liberi/Latin Preface

Second Italian Preface

Fiore de'i Liberi/Second Italian Preface

Seven Swords

Fiore de'i Liberi/Seven Swords

Grappling

Fiore de'i Liberi/Grappling

Baton

Fiore de'i Liberi/Baton

Dagger

Fiore de'i Liberi/Dagger

1st Master

Fiore de'i Liberi/Dagger/1st master

2nd Master

Fiore de'i Liberi/Dagger/2nd master

3rd Master

Fiore de'i Liberi/Dagger/3rd master

4th Master

Fiore de'i Liberi/Dagger/4th master

5th Master

Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[66] I want each of my students to know That you cannot defend against the collar grab unless you move quickly. And with the strike that I make against your elbow, I will quickly feel your arm dislocate. I am the Fifth Dagger Remedy Master who defends against the collar grab made by this player. Before he can strike me with his dagger I destroy his arm like this, because the grip he has on me is actually to my advantage. And I can do all of the covers, holds and binds of the other remedy masters and their students who came before me. And I say this from experience: all who study this art should be aware that you cannot successfully defend the collar grab unless you move quickly.	You would grasp my chest. Thus far you have not been able to wound me. I will, nevertheless, dislocate this, your shoulder, during wrestling.	[38r-d] ¶ Io son Quinto Re Magistro per lo cavezzo tenudo di questo zugadore. Inanzi ch'ello mi traga cum sua daga, per questo modo gli guasto lo brazo, per che lo tenir ch'ello mi tene a mi e grande avantazo. Che io posso far tutte coverte prese e ligadure degl'altri magistri rimedii e di lor scolari che sono dinançi. Lo proverbio parla per exempio. Io voglio che ognun'ch'a scolaro in quest'arte sazza, che presa di cavezo nissuna deffesa no impaça.	[10a-e] Io voio che çaschadun de mi magistro saça Che presa de caveço defesa nesuna impaça Per lo ferir che io faço in lo tuo cubito Sentira deslogare lo tuo braço ben subito	[33v-d] ¶ Pectore me prendis. Nec adhuc mihi ledere posses. Denodabo tuum tamen hunc luctando lacertum.
[67] After striking against your elbow, I will continue on To quickly seek to find your dagger. This is another way to destroy the arm. And from this play I can move to other plays and holds…	I would now strike close by your elbow. You will then move past me, And I, the strong one, will unexpectedly attempt your dagger.	[38v-a] ¶ Questo e un altro modo di guastarte lo brazzo. E per venir in altri zoghi q e prese, io questo zogho fazo. Anchora digo che se fossi afferradi d'una lanza cum tal firir in lei, overo che me disferraria, overo che l'asta del ferro io partiria.	[10a-f] Per questo ferire apresso el tuo cubito me conven lassar E subito La tua daga vegniro a'trovar	[34r-b] ¶ Te prope nunc cubitum feriam. me deinde relinques. Atque tuam validus dagam tentabo repente.
[68] I will get rid of your spear with my arms in this way, Then I will turn and hit you, And if I cannot do it this way Then I will use the technique I described before. …Also, if you are pinned by a spear then by making this strike against it you will either unpin yourself or break off the haft from the spearhead.			[16b-d] Cum li braçi a'questo modo me voio disferare Cum lo ferire che faro e cum lo mio voltare E si per questo modo non sero ben disferato Tosto in lo zogho denançi io si sero intrato
[69] If I want to get this spear off me, I had better hit it hard from above, So that I will break the staff of your spear And then I will want to come to the close. This is another way to make you let go, and is also a better method of breaking off the head of a spear…		[38v-b] ¶ Questo e un altro far lassar anchora e meglor da disferar una lanza. Anchora digo che se cum forza io ti fiero in la zuntura dela man che mi tene per lo cavezzo, Io mi tegno certo che io te la dislogaro, se tu non la fuzi via. Lo contrario io lo voglio palentare. In quello che lo scolar vene zo cum gli brazzi per dislogar la mane delo zugadore, subito lo zugadore de tore via la mano del cavezzo delo scolar. E subito cum la daga in lo petto lo po guastar.	[16b-c] Si de questa lança me voio disferare Sopra lei un grande colpo me conven fare Si che rompero tua lança in la doiia E de venire ale strete avero voiia
[70] By striking to your wrist or to your elbow, I will either dislocate it, or you will quickly let go. …Also if I strike you hard in the wrist joint of the hand holding my collar, I am certain to dislocate it unless you let go. I wish to tell you the counter. As the student strikes down with his arms to dislodge the player's hand, the player quickly withdraws his hand from the student’s collar, and he then quickly strikes the student in the chest with his dagger.	Either I will strike over the elbow, or near the fist, And in this place I will dislocate the wretched one. Henceforth you will quit the entire chest.^[29]		[10b-a] Apresso tuo pugno feriro o sopra el cubito Dislogarote in lo logo e'lassarame subito	[34r-d] ¶ Vel supra cubitum feriam vel deprope pugnum. Inque loco miserum^[30] denodabo. Hinc pectora linques.
[71] I am confident and certain that you will go to the ground, And I care little or nothing for your dagger. This play will make you let go of me. And in addition, if I advance my right foot behind your left foot, you will be thrown to the ground without fail. And if this play is not enough, I will try others on your dagger, because my heart and my eyes are never focused anywhere other than upon taking away your dagger quickly and without delay.	I am able to safely believe that you will go into the ground now; Neither will your dagger be able to accomplish harming me.	[38v-c] ¶ Per questo modo in terra ti voglio butare inanzi che la daga mi vegna aproximare. E si la daga tua sara a'mezo camm per me ferire, Le prese ch'io lassaro e la tua daga voro seguire. Che tu no mi pora offender per modo che sia, che cum li zoghi deli rimedii ti faro vilania.	[10b-c] De andar in terra tentene certo e seguro E de tua daga pocho o niente me curo	[34v-d] ¶ Tutus ut in terram nunc vadas, credere possum. Nec tua daga michi poterit profecto nocere.
[72] I choose to try this method of throwing you to the ground, And if this does not work I will try a different play. I will throw you to the ground like this, before your dagger can get near me. And if your dagger comes down the center line to strike at me, I will release my grip and deal with your dagger, so that you will not be able to injure me in any way. Then with the remedy plays I will make you suffer.	I put to the test where I would at once lay you sharply on your back.^[31] If, perchance, I do not strew you, I will [scribal error] <actually try> something better.	[38v-d] ¶ Questo e un zogho di farse lassar, Salvo che si lo mio pe dritto dredo lo tuo stancho io faczo[!] avanzare, tu porissi andar in terra senza fallo. E si questo zogho a mi non basta, Cum altri, dela tua daga ti faro una tasta. Pero che'l mio chore e'l'ochio altro non guarda, che a tor ti la daga senza dimora e tarda.	[10b-b] Per riverssarte in terra io voio provare aquesto modo Si per questa non vaii farote uno altro zogho	[34v-b] ¶ Experior quo te resupinem protinus actum. Si te non sternam meliorem forte parabo.^[32]
[73] You will find out that over my right shoulder I will not fail to break your arm. This player had me grabbed by the collar, but before he could strike me with his dagger I quickly seized his left hand with my hands and pulled his arm over my shoulder so as to dislocate it, and then I completely dislocated it. But this play is safer to do in armor than unarmored.	I will not have been cheated of breaking the left shoulder;^[33] I am holding that which is loaded^[34] down on the right using the leg during wrestling.	[15r-a] ¶ Questo zugadore mi tegniva per lo cavezzo. & io subito inanzi che ello tressi cum la daga, cum ambe le mie man presi la sua man stancha. E'l so brazzo stancho zitai sopra lo mio dritto per dislogargli lo ditto brazzo. Che ben gl'elo del tutto dislogado. Questo faria piu siguro armado che disarmado.	[10b-d] Tu senti che sopra la mia drita spalla A ronper tuo stancho braço non me falla	[35r-b] ¶ Non deceptus ero levum frangendo lacertum. Quem dextra teneo spatula luctando gravatum.
[74] By the way I seize you and hold you, I will force you to the ground shoulders first. In this way I will hurl you to the ground without fail. And I will surely take your dagger. And if you are armored that may help you, since I will be aiming to take your life with your own dagger. But even if we are armoured, this art will not fail me. And if you are unarmored and very quick, other plays can be made besides this one. [In the Getty and Paris, the Scholar's right foot is inside (in front) of his opponent's left leg.]	I hold you using this form, and I will catch the lamenting one; Now, with the leg, you will be strewn as deep into the earth as possible.	[15r-b] ¶ In questo modo te zitiro per terra che non mi po fallire. E la tua daga prendero a non mentire. Se tu saray armado, lo te pora zovare, che cum quella propia ti toro la vita. Se noii semo armadi, l'arte non o fallida. Ben che si uno e disarmado e sia ben presto, degl'altri zoghi po far asai & anchora questo.	[10b-e] Per lo modo ch'io ti tegno e t'o preso Cum le spalle in terra andaraii disteso	[35r-d] ¶ Te tali teneo forma / prendoque gementem / Quam nunc cum spatulis terram sterneris in imam.
[75] To take your dagger I make a cover like this, And then with other plays I will make you suffer. This cover is very good in armor or without armor. And against any strong man such a cover is good for covering an attack from below as well as from above. And from this play you can enter into a middle bind as shown in the third play of the First Dagger Remedy Master. And if the cover is made in response to an attack from below, the student will put the player into a lower lock also known as “the strong key”, as shown in the sixth play [38] of the Third [Dagger] Remedy Master who plays to the reverse hand attack.	Now I make this cover, for which reason <read: in order that> I would be able to take away the dagger, Not to mention [that] I can strike you using many plays.	[15r-c] ¶ Questa coverta in Arme e senz'arme e molto bona. E contra zaschun homo forte, tanto e bona a chovrir di sotto mane quanto di sopra. E questo zogho intra in ligadura mezana, çoe al terzo zogho del primo Re e rimedio di daga. E si la ditta coverta si fa sotto mane, lo scolaro mette lo zugadore in ligadura de sotto, zoe in la chiave forte ch'e sotto lo terzo Re e rimedio ch'e zoga a man riversa a lo Sesto zogho.	[10b-f] Per tor tua daga tal coverta io faço E cum altri zoghi asai ti faro impaço	[35v-b] ¶ Hanc nunc tecturam facio /^[35] quo tollere dagam / Possim. Sed multis possum te ledere ludis.
[76] If I can turn this arm of yours, Then I will force you into the lower lock. If I can turn this arm I will be certain to put you into the lower lock also known as “the strong key”. I will however be able to do this more safely if I am armored. I could also do something else against you: if I grip your left hand firmly and seize you under your left knee with my right hand, then I will not lack the strength to put you to the ground.	If I can now twist your shoulder while fighting, I will readily cause [that] you will be overwhelmed in the lower key.	[15r-d] ¶ Si questo brazzo posso voltare io non mi dubito che in la ligadura de sotto e chiave forte ti faro intrare. Ben che siando armado piu sigura mente se poria fare. Ancho poria altro contra ti fare se io tegno la mane stancha ferma e cum la dritta ti piglio sotto al zinochio la gamba stancha per metter te in terra forza non mi mancha.	[11a-a] Si io posso aquesto tuo braço voltare In la sotana chiave ti faro intrare	[35v-d] ¶ Volvere si possum tibi nunc certando lacertum / Inferiore cito faciam te in mergere clave.
[77] Whether you try to strike at me from above or below, You will lose your dagger from this crossing. With arms crossed I await you without fear. And I don't care whether you come at me from above or below, because however you come at me, you will be bound. You will be locked either in the middle lock or the lower lock. And if I wished to make the plays of the Fourth Dagger Remedy Master, I would cause you great harm with these plays. And I will have no difficulty in taking your dagger. [In the Getty, the Scholar's left foot is forward.]		[15v-a] ¶ Cum gli brazzi crosadi t'aspetto senza paura. Tra voii di sotto e voii di sopra che non fazzo niente cura, che per ogni modo che tu mi trara tu sarai ligado. O in la ligadura mezana, o in la sottana tu saraii serato. Ben che se volesse far la presa che fa lo quarto Re, rimedio di daga cum gli zogi soii, asai male te faria. E a torti la daga non mi mancharia.	[11a-b] Si de soto, o de sovra tu te miti a'trare Perderaii la daga per questo incrosare
[78] By holding your arm with my two hands, I will take away the dagger from you, as you deserve. This grip is sufficient to prevent you being able to touch me with your dagger. And from here I can do the play that comes after me. And I could also certainly do other plays to you. I disregard the other plays for now, however, because this one is good for me and very fast.	Now because I am holding you using both hands during wrestling, I certainly would take hold of [your] dagger just as if you had truly deserved.	[15v-b] ¶ Questa presa mi basta che cum tua daga non mi poii tochare. Lo zogho che m'e driedo quello ti voglo fare. E altri zoghi asaii ti poria fare sença alchun dubito. I'lasse gl'altri per che questo m'e bon e ben subito.	[11a-c] Per lo tuo braço che cum due man e tegno. De man ti toro la daga con tu e degno	[36r-b] ¶ Nunc quia te manibus teneo luctando gemellis Arripiam dagam veluti tu nempe mereris.
[79] The student who came before me did not make this play, So I show how to take away the dagger in his place. This is the play referred to by the student who came before me, and I take away this dagger as he indicated. And to disarm him I push his dagger downwards and to the right as written above. And then by making a turn with his dagger I will thrust the point into his chest without fail. [In the Getty and Paris, the Scholar's left foot is forward, and his opponent's right foot is forward.]	Now I teach taking the dagger away while wrestling the associate; This first student does not know how to play.	[15v-c] ¶ Questo Scolaro che m'e denanzi questo e suo zogho pero che questo tore di daga io lo façço in suo logho, che cargo la sua daga inverso la terra dritto, per torgli la daga como si sopra e scritto. E per la volta che ala daga faro fare. La punta in lo petto gli mettero senza fallare.	[11a-d] Lo scolar che denanci non fa suo zogho E a tore la daga io mostro in suo logho	[36r-d] ¶ Tollere nunc doceo dagam ludendo sodalj. Hoc quam discipulus nescivit ludere primus.
[80] So that this student cannot dislocate my arm, I pull it towards me and bend it. And the farther I pull it towards me and bend it, the better, because in this way I make the counter to the Remedy Master of the close play of the dagger.		[15v-d] ¶ A ço che questo scolaro non mi possa lo Brazzo dislogare io lo tegno curto e linzinado. E si io li tignisse piu linçinado saria anchora meglio, per chi i faço lo contrario del Re e magistro del zogho stretto dela daga.

6th Master

Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[81] There is no man who knows more about dagger versus dagger than I. Whether in armor or without, I will gravely injure you, And when fighting at the barrier I truly love To vanquish everyone with these close plays. I am the Sixth [Dagger Remedy] Master and I tell you that this cover is good either in armor or without armor. And with this cover I can cover attacks from all directions and enter into all of the holds and binds, and strike to finish, as the students who follow me will show. And each of my students will make this cover, and then they will make the plays shown after, as they are qualified to do.	I do not recognize the man with whom I can’t play. If we both lead while turning dagger in dagger, Either I would be armed [with both], or by chance we would be without weapons, And that movement is pleasing, provided that it would be a close play.	[16r-a] ¶ Sesto Magistro che son digo che questa coverta e fina in arme e senç'arme. E cum tal coverta posso covrire in ogni parte. E intrare in tutte ligadure. E far prese e ferire segondo^[36] che gli scolari miei vignirano a ferire finire. E questa coverta façça çaschuno mio scolaro. E poii faça li zoghi dredo che si po fare.	[11a-e] De daga a daga non cognoscho homo che sia In arme e sença gli farò grande vilania E de conbater in sBara aquello e mio dileto Che zaschum vinçero per tal zogho streto	[36v-a] ¶ Non cognosco hominem cum quo non ludere possem, Si dagam in dagam vertendo ducimus ambo, Armatus vel sim vel forte carentibus armis. Et placet iste motus, sit strictus dummodo ludus.
[82] I made the cover of the Sixth [Dagger Remedy] Master who preceded me. And as soon as I have made this grip I will be able to strike you. And because I position my left hand in this way, I will not fail to take away your dagger. I can also put you in the middle bind, which is the third play [3] of the First Dagger Remedy Master. I could also make other plays against you, without abandoning my dagger.		[16r-b] ¶ I'o fatta la coverta del Sesto Magistro che m'e denanzi. E subito io fici questa presa per ferir te che far la posso. E a torti la daga non mi mancha per tal modo teglo la mia man stancha. Anchora ti posso metter in ligadura me[!] mezana ch'e lo terzo zogo del primo Magistro çoe rimedio di daga. Anchora d'altri zogi te poria fare, senza mia daga abandonare.
[83] From the cover of my Master which is so perfect, I will strike you in the chest with a half turn of my dagger. I have made this half turn from the cover of my Sixth Master and I have quickly positioned myself to strike you. And even if you were armored I would care little, for in that case I would thrust this dagger in your face. However, as you can see, in this case I have thrust it into your chest because you are not armored and you do not know the close range game.		[16r-c] ¶ Meza volta o fatta tegnando la coverta del mio Magistro Sesto. E a ferirte so stado ben presto. E si tu fossi armado, pocha di ti faria cura, che questa daga te meteria in lo volto a misura. Ben che mituda te l'o in lo petto, perche tu non e armado, ne saii zogo stretto.	[11b-a] Per la coverta del magistro ch'e tanto perfeto Cum meça volta t'o ferito in lo peto
[84] With my Master’s cover and with a half turn to the outside, I can still strike or bind you or take away your dagger. I have not abandoned the cover of my Sixth [Dagger Remedy] Master. I turn my left arm over your right. And moving my right foot at the same time as my left arm I turn myself to the outside. You are now partly bound, and you will have to admit that you will quickly lose your dagger. And I make this play so quickly that I have no concern or fear of your counter. [In the Paris, the Scholar wears a crown, and both he and his opponent have their right feet forward.]		[16r-d] ¶ Del Sesto mio Magistro non habandonaii la coverta. Lo mio brazzo stancho voltaii per di sopra lo tuo dritto. E concordando lo pe dritto cum Lo brazo stancho voltandome a parte riversa. Tu e, mezo ligado, e la tua daga tu poi dire io l'o tosto persa. E questo zogo io lo fazo si subito che de contrario non temo, ne non ho dubito.	[11b-b] Per la coverta del magistro cum meça volta di'fora Ferir e ligar e la daga tore posso anchora
[85] From the cover my Master made With this grip and cover I will give you grief. Having made the cover of my Master, I made this grip. And I can strike you whether you are armored or unarmored. And I can also put you into the lower lock of the first scholar of the Fourth Dagger Remedy Master.		[16v-a] ¶ Fatta la coverta del mio Magistro i'o fatta questa presa. Armado e disarmado ti posso ferire. E anchora ti posso metter in ligadura soprana del primo scolar del quarto Magistro rimedio di daga.	[11a-f] Per la coverta che a fato el mio magistro In questa presa e coverta, ti faço tristo
[86] Without abandoning the cover of the Sixth [Dagger Remedy] Master, I make this turn [with my dagger]. Your right hand will lose the dagger, and seeing that you have been reversed, my dagger will quickly strike you, and your dagger will be lost to you. Also I can make a turn with my left arm and make you suffer in the lower lock.		[16v-b] ¶ Non abandonando la coverta del Magistro Sesto, i' fazo questa volta. La mano tua dritta per perder e la daga, e vedi che tu la riversi, la mia subito ti ferira, e la tua daga da ti sera persa. Anchora tal volta cum lo brazo stancho posso fare che in la sotana ligadura ti faro stentare.
[87] If you and I are both armored, I will thrust the knife into your hand, as you can see. ~~Although I am placed after the counter-remedy to the Sixth Master, I should logically be placed before him, because~~ I am a student of the Sixth [Dagger Remedy] Master and my play belongs to him. And this play makes more sense in armor than unarmored, because if he is armored I can strike him in the hand where he cannot fully protect himself; whereas if he is unarmored, I would aim to strike him in the face or in the chest, or in some other vulnerable place. [This play has been moved to its proper location as given in Fiore's explanation.]		[16v-d] ¶ Ben che sia posto dredo lo contrario del Sesto zogo io vo per rasone denançi de luii, per che io son so scolaro e questo zogo si e suo zoe del Magistro Sexto. E vale piu questo zogo in arme che senç'arme, pero fiero costuii in la mano, per che in quello logo non si po ben armare. Per che se uno e disarmato çercheria de ferirlo in lo volto o in lo petto. Overo in logo che pezo gl'avenisse.	[12a-a] Siando ti armato e mi armato Tu vidi che lo cortello in la man t'ò ficato
[88] With my left hand I will turn you and expose you And with this counter, I will be able to strike you hard. I make the counter-remedy of the Sixth King [Dagger Remedy Master], turning your body with an elbow push, and in this way I can strike you, because with this elbow push that I quickly do, I will be able to defend against many close plays. And this is a particularly good counter-remedy to the all of the holds of the close-range game.		[16v-c] ¶ Lo contrario del Re Sexto io faço, penzando lo lo^[37] tuo cubito faro la tua persona voltare E in quello te poro ferire. Pero che questo penzere che subito faraii de molti zogi stretti defender si pora. E maximamente e contrario dele prese del zogo stretto.	[11b-d] Cum la man mancha e ti faro voltar o discovrire E per tal contrario e ti poro ben ferire
[89] With my left hand placed in my defense as shown, I will quickly cause you harm with this counter.			[11b-c] La man stancha o'metuda a'tal deffesa Che questo contrario subito ti fara offesa

7th Master

Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[90] If I am armored this is a good cover to choose, And from here I can enter quickly into the middle bind, And the fight will be over For there is no good defense against it.	I, well-fortified, make this cover in arms, And suddenly, I will enter^[38] into the middle key, which ends all Wars; neither is any strong against the conducting of war, Nor is any opposition able to oppose me.		[11b-e] Siando arma questa coverta voio pigliar E subito in la chiave mezana voio intrar Aquella ch'e finimento de bataiia E contra lei non ne deffesa che gli uaiia	[36v-c] ¶ Hanc ego tecturam facio munitus in armis Et subito in mediam clavem quae terminat omne Bellum, nec contra valet ullus bellica tractans, Intrabo. nec obesse potuit mihi quisque reluctans
I am the Seventh [Dagger Remedy] Master and I play with arms crossed. And this cover is better made when armored than unarmored. The plays that I can do from this cover are the plays that came before me, especially the middle bind which is the third play of the first Dagger Remedy Master. Also I can turn you by pushing your right elbow with my left hand. And I can strike you quickly in the head or in the shoulder…		[17r-a] ¶ Lo Setimo Magistro son che zogo cum le brazze incrosade, e piu vale questa coverta in arme che senç'arme. Quello che posso fare cum tal coverta gli miei zogi sono denançi, zoe la ligadura mezana ch'e lo terzo zogo del primo magistro rimedio di daga. Anchora te posso voltar pençando te cum la mia man stancha lo tuo dritto cubito. E poii ferirte in la testa o in le spalle di subito. E questa coverta e piu per ligare che per far altro, ed'e fortissima coverta contra daga.
[91] In armour this is a very strong cover Because from here you can bind either above or below; One way you go to the lower bind, The other way you go to the upper bind or the middle bind.	That movement certainly prevails over the dagger while held in the cross[ing], And on the other hand it can work above and beneath in armor. This lower play openly goes to the outside Bind. The middle [bind] lies below, or perhaps [the] highest.		[12a-c] In arme aquesto e un fortissimo incrosar Che desopra e desota se'po ligar Aquesto va ala ligadura sotana E quello de'sopra va ala meçana	[37r-c] ¶ Praevalet iste motus cruce dagam nempe tenentj. Supra nanque^[39] potuit operarj & subter in armis. Vadit ad extremam nexuram hic ludus aperte Inferior. Mediana iacet sub forte supermo.
…And this cover is better for binding than any other cover, and is a very strong cover to make against the dagger. [In the Paris, this Scholar wears a crown.]
[92] You will not be able to put me into the middle bind, Whereas I am going to strike you as I turn you.			[11b-f] In la ligadura meçana non son per intrare Anche son per ferirte in'farte voltare
This is the counter remedy to the plays of the Seventh [Dagger Remedy] Master who came before me. With the push that I make to his right elbow, let me tell you that this counter-remedy is good against all close range plays of the dagger, the poleaxe, and the sword, whether in armor or unarmored. And once I have pushed his elbow I should quickly strike him in the shoulder. [In the Getty, the Master's right foot is forward.]		[17r-b] ¶ Questo e lo contrario del Setimo Magistro che m'e denançi. Per la penta ch'io fazo al so destro cubito. Anchora digo che questo contrario si'e bon a ogni zogo stretto di daga, e d'azza, e de Spada in arme e senç'arme. E fatta la penta al cubito, lo ferir in le spalle vol esser subito.

8th Master

Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[93] I am the Eighth [Dagger Remedy] Master and I cross with my dagger. And this cover is good both armored or unarmored. And some of my plays are shown before me, and some are shown after me…	In this way, I carry my dagger while fighting during the cross[ing]. Any defense Which the dagger offers does not oppose itself in the play, But I will be strong to lay waste in playing using many moves.	[17r-c] ¶ L'otavo Magistro son, e incroso cum mia daga. E questo zogo e bon in arme e senç'arme. E li miei zogi sono posti alchuni denanzi alchuni di driedo. Lo zogo chi m'e denanzi zoe lo quarto zogo çoe chi fere lo zugadore in la man cum la punta di sua daga per lo simile poria ferir costuii di sotta mano, come ello lo fere di sopra. Anchora poria piglar la sua mano in la zuntura cum la mia man stancha, e cum la dritta lo poria ben ferire, segondo che trovarete dredo di mi lo nono scolaro del nono Magistro, che fere lo zugadore nel petto. Anchora poria fare Lo ultimo zogo ch'e dredo abandonando la mia daga.		[37r-a] ¶ Hac cruce porto meam dagam luctando. nec obstat Ulla sibi in ludo dantis defensio dagae. Sed multis ludendo motis vastare valebo
[94] …In the play that is shown before me, three plays back [72], the Zugadore was struck in his hand with the point of his opponent's dagger. Similarly in this play I could strike downwards to his hand just as in the earlier play I struck upwards to his hand. Also, I could seize his hand at the wrist with my left hand, and then strike him hard with my right hand, just as you will find demonstrated by the ninth student [108] of the Ninth [Dagger Remedy] Master, who strikes the Zugadore in the chest. Also, I could do the last play that follows after [109] where I drop my own dagger and take his.
[95] I am the counter-remedy to the Eighth [Dagger Remedy] Master that preceded me, and to all of his students… [This counter was moved before [97] and [98] because it is unclear how they relate to the Eight Master.]		[17r-d] ¶ Io son lu contrario del otavo zogo che m'e dinanzi e di tutti soii scolari. E se io alungo la man mia mancha al suo cubito, penzerolo per força, a modo che lo poro ferire ala traversa. Anchora in quello voltare che gli faro, poria butargli lo brazo al collo e ferirlo per asaii modi che si po fare.
[96] After this turn that I make you do I will strike you and force you to the ground. …If I extend my left hand to his elbow, I can push it so strongly that I can strike him obliquely. Also, as I make him turn I can throw my arm around his neck and hurt him in a variety of possible ways.			[12a-b] Per la volta che presta t'o fata far Ferendoti in terra ti faro andar
[97] This is a guard that is a strong cover in armor or unarmored. It is a good cover because from it you can quickly put your opponent into a lower lock or “strong key.” This is what is depicted by the sixth play [54] of the Third [Dagger Remedy] Master who defends against the reverse hand strike and who uses his left arm to bind the Zugadore’s right arm.		[17v-a] ¶ Questa si e una guardia e si'e zogo forte in arme e senç'arme. & e bona per che la e subita de mettere uno in ligadura de sotto e chiave forte ch'e depenta lo Sexto zogo del terço Magistro che zoga a man riversa che tene lo zugadore ligado cum lo suo brazo stancho lo suo dritto.
[98] This cover that I make like this with arms crossed is good in armor or unarmored. And my play puts the Zugadore into the lower lock, which is also called the “strong key,” which the scholar who preceded me told you about, namely the sixth play [54] of the Third Master who defends with his right hand against the reverse hand strike. And this play is made similarly to the play that immediately preceded me, but is begun in a slightly different way. And our counter–remedy again is the elbow push. [The Master in the right image is missing both garter and crown.]		[17v-b] ¶ Questa coverta che io fazzo a questo modo cum li brazzi incrosadi, si'e bona in arme e senç'arme. El mio zogo si'e di metter questo zugadore in la ligadura di sotto, zoe quella ch'e chiamada chiave forte, in quella che dise lo scolaro che m'e denanzi, zoe in lo Sesto zogo del terço Re che zoga cum la mane dritta a man riversa. E questo zogo si fa simile mente che se fa questo primo che m'e denançi, ben che'l sia per altro modo fatto. E'llo nostro contrario si'e a pençere ve[!] lo cubito.

9th Master

Illustrations	Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
	[100] From this grip that I have I can do many plays. Take away the dagger, break, strike or bind. And the quickest is to take the dagger from your hand, so as to avoid any risk of harm from the player. I am the Ninth King [and Dagger Remedy Master] and I no longer have a dagger. And this grip that I make from the low attack is similar to the grip made by the Fourth King [and Dagger Remedy Master], only this one is made against the low attack instead of the high attack, and my plays are not the same as his. This grip is good whether in armor or unarmored, and from it you can make many good strong plays, as shown below. Whether in armor or unarmored there is no doubt of their effectiveness.		[17v-c] ¶ Lo nono Re son, e piu non e di daga, e tal presa che io fazo de sotto, tale presa fa lo Quarto Re di sapramane ch'io faço di sotta. Ma gli miei zogi non si fano cum gli soi nigotta. Questa presa vale in arme e senza che io posso fare zogi assai e forti. E maxima mente quelli che mi fano seguito. In arme e senza di loro non è dubito.	[12a-d] Per questa presa'che'i'o asaii zoghi posso far Tore la daga romper ferir e ligar E la piu presta si'e a'tore la daga de mano Per non recevere dal compagno nesum ingano
	[101] If I rotate the dagger close to your elbow, Your dagger will be mine for certain. I have followed on from the presa of the Ninth [Dagger Remedy] Master. Taking my right hand from the grip, I seize your dagger as shown and I rotate it upwards close to your elbow. And I will then thrust the point into your face for certain, or I will deal with you as the next student will demonstrate.		[17v-d] ¶ Lo mio Magistro Nono cum la presa ch'ello ha fatta quella ho seguita Lassando la mia mano dritta dela presa, Piglai la tua daga commo io fazo per apresso lo tuo cubito gli daro volta in erto. La punta ti metero in lo volto per certo. Segondo che lo scolar fa chi m'e dredo. In quello modo ti faro come i'credo.	[12a-e] Si io volto la daga per apresso tuo cubito Tua daga sera mia de zo non dubito
	[102] The first student of this Master Takes away the dagger and makes this play. I complete the play of the student who came before me, and from his grip this is how he should finish his play. Other students will make different plays from his grip. Watch those who follow, and you will see their techniques.	The student will perhaps be able to make this play of that master [of yours], And would have snatched the powerful dagger away. [In the Paris, the Scholar wears a Master's crown.]	[18r-a] ¶ Questo zogo che fa lo scolar che m'e denanzi, io fazzo suo complimento, per che dela sua presa qui si finisse lo zogo suo. Ben che gl'altri soii scolari farano de tal presa altri zogi. Guardate dredo e vederete gli loro modi.	[12b-c] De questo mio magistro lo primo suo scolar Po tore la daga, e questo zogho po far	[37v-b] ¶ Hunc ludum poterit istius forte magistri Discipulus facere. dagam que auferre^[40] potentem
	[103] I can dislocate your arm like this, And I can also bind you in the lower bind. My Master's grip has already been demonstrated. Here my right hand leaves his grip. And if I grip you under your elbow, I can dislocate your arm. And also from this grip I can put you into a bind, namely the “strong key” [lower bind], which is one the third King and [Dagger Remedy] Master showed in his plays In his sixth play [38] he shows you how this one is done. [In the Getty, the Scholar's right foot is forward.]	I can truly dislocate your shoulder in this same way; Furthermore, I can lead to using the lower key. [In the Paris, the Scholar wears a crown.]	[18r-b] ¶ La presa del mio Magistro quella o fatta vista. E la mia man dritta lassai dela sua presa. E si t'o preso sotto lo tuo dritto cubito, Per dislogarte lo brazzo. E anchora cum tal presa ti posso metter in ligadura zoe in chiave forte. Che lo terço Re e magistro reze soi zogi. In lo Sesto zogho sono gli soi modi.	[12b-b] A'questo modo ti posso lo braço dislogare^[41] Anche in la chiave desoto ti poria ligare	[38r-c] ¶ Denodare modo simili tibi nempe lacertum Inferiore etiam clave connectere possum.
	[104] If I can give your arm a half turn, You will quickly find yourself in the lower bind. I have arrived at this position from the grip of my Master [Ninth Dagger Remedy Master], and I do not remain in this grip but move into the lower bind, also known as the “strong key.” This I can do without difficulty, and I can then easily take your dagger. [In the Getty, the Scholar's right foot is forward.]	I prepare to take away your life using the Lower bind, if by chance I can twist your shoulder. [In the Paris, the Scholar wears a crown.]	[18r-c] ¶ Per la presa del mio magistro io son venudo in questa. E di questa presa non faro resta che te mettero in ligadura sottana çoe in chiave forte. Che a mi e pocha di briga. Ben che la tua daga ben possa avere senza fadiga.	[12b-a] Si a tuo braço posso dare meça volta In la ligadura de soto la vita ti sera tolta	[38r-a] ¶ Inferiore tibi nexura tollere vitam Praeparo / si possum tibi voluere forte lacertum.
	[105] Without releasing my grip I enter underneath your arm, And from behind your shoulder I will hurt you grievously. I have not abandoned the grip of my Master [the Ninth Dagger Remedy Master], but I have quickly entered under his right arm, to dislocate it with this grip. I can do this whether he is wearing armor or not, and once I have him held from behind and in my power, I will show him no mercy as I hurt him.	Behold! I crossed beneath the shoulder during play, And furthermore, I left behind the taking. But I will burden the back.	[18r-d] ¶ La presa del mio magistro non o abandonada. Anche subito intrai per sotto lo suo brazzo dritto per dislogargli quello cum tal presa. O armado o desarmado questo gli faria. E quando io lo tegniro dredo de lu'in mia bailia per mal fare no gli rendero cortesia.	[12a-f] Non lassando la presa pasaii per soto tu^o braço De'dredo le tue spalle ti faro impaço	[37v-c] ¶ En ego transivj subter ludendo lacertum. Capturamque etiam liquj. Sed terga gravabo.
	[106] Although this play is not often employed, It can be done well, if you practice it. I did not abandon the grip of my Master [the Ninth Dagger Remedy Master] and the Zugadore saw that he could not break my grip on his arm. And as he pressed downwards towards the ground with his dagger, I quickly reached through his legs from behind and grabbed his right hand with my left hand. And once I had a good grip on his hand, I passed behind him. And as you can see in the picture, he cannot dismount his own arm without falling. And I can now also do the play that follows me. If I let go of the dagger with my right hand, and I grab his foot I will send him crashing to the ground, and I cannot fail to take his dagger.	It is granted that this play could scarcely be learned by this art, Yet this one honestly succeeds by means of the practiced man.	[18v-a] ¶ La presa del mie magistro non abandonai in fin che questo zugador vidi vidi^[42] che non lassava la presa. E luii se inchina cum la daga in verso terra E io subito piglai la sua mano cum la mia mancha per enfra le soi gambe. E quando la sua mano hebbe ben afferada, dredo de lu passai. Comomo possete vedere ch'ello non si po discavalcare sença cadere. E questo zogho che m'e dredo posso fare. La man dritta dela daga lassa, e per lo pe lo vegno a piglare, per farlo in terra del tutto andare, e a torgli la daga no mi po manchare.	[12b-d] Ben che aquesto zogho non sia tropo usado Ello ven ben fato a chi l'à pratichado	[43r-a] ¶ Iste licet ludus vix sit hac cognitus arte, Experto tamen ipse viro succedit honeste.
	[107] The student who preceded me performed the first part of this play, and I make the finish by driving him into the ground, as has already been explained. Although this play is not commonly performed in the art, I wish to show you that I have a complete knowledge of it.		[18v-b] ¶ Questo scolaro che m'e denanzi, a fatto lo principio. & io fazo del so zogho la fine, de mandarlo in terra como ello ha ben ditto. Per che questo zogho non habia corso in l'arte, volemo mostrare che in tutta liei habiamo parte.
	[108] I made the cover of my Master [the Ninth Dagger Remedy Master] and then quickly I gripped him in this way with my left hand. And then I drew my dagger and thrust it into his chest. And if I do not have time to draw my dagger, I will make the play that follows me.		[18v-c] ¶ Del mio magistro fese sua coverta e subito cum mia mano stancha, presi la sua a questo modo. E cum la mia dagha gli fazo una punta in lo suo petto. E si la daga mia no fosse sufficiente, Faria questo zogo che a mi e seguente.
	[109] With this play I complete the play of the student who preceded me, who left his [sheathed] dagger where it was and instead decided to take your live dagger. I have already explained how this play is performed.		[18v-d] ¶ Questo zogo complisco de questo scolaro che m'e denanzi che lassa la sua daga cativa e vole la tua bona. Questo che io ti fazo, a luii tu la rasona.
[No Image]	[110] The Counter-remedy to this Ninth [Dagger Remedy] Master's play is as follows: when the Zugadore with his left hand has seized your right hand that has the dagger, then you should quickly seize your dagger near the point and strongly draw or pull it back towards you so that he has to let go of it, or alternately press the dagger point into his elbow to make him think twice.		[18v-f] ¶ Lo contrario dello Nono Magistro si'e questo, che quando lo zugadore a presa la man dritta cum la daga cum la sua man stancha, che subito lo zugadore, pigli la sua daga a presso la punta e tragala overo tiri in verso di si si forte che'la convegna lassare, overo gli daga penta al chubito per farlo svariare.

Longsword vs. Dagger

Fiore de'i Liberi/Longsword vs. Dagger

Longsword in One Hand

Fiore de'i Liberi/Longsword in One Hand

Longsword in Two Hands

Fiore de'i Liberi/Longsword in Two Hands

Wide Plays

Fiore de'i Liberi/Longsword in Two Hands/Wide Plays

Close Plays

Fiore de'i Liberi/Longsword in Two Hands/Close Plays

Longsword vs. Spear

Fiore de'i Liberi/Longsword vs. Spear

Armored Longsword

Fiore de'i Liberi/Armored Longsword

Armored Poleaxe

Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Michael Chidester	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[1] The Stance of the Shortened Serpent I am the Shortened Stance, the Serpent, with axe in hand; If my thrust does not miss, I will made trouble for you. I am the Short Serpent Guard and I consider myself better than the other guards. And whoever receives one of my thrusts will bear the scars.^[43] This guard delivers a powerful thrust that can penetrate cuirasses and breastplates. Fight with me^[44] if you want to see the proof.	Behold, with grasping hands I am called the Short Spear Position Among mortals. And if the spear point would not try to deceive, Perhaps I will deceive you, Man. Jupiter is near on a mountain.	· Posta breve serpentina · [35v-a] ¶ Io son posta breve la serpentina che megliore dele altre me tegno. A chi daro mia punta ben gli parera lo segno. Questa punta si'e forte per passare coraze e panceroni, deffende ti che voglio far la prova.	[27a-a] Posta breve son la serpentina cum la aça in mano Se la punta non me mancha e ti faro ingano	[8v-c] ¶ Manibus astringens Jaculum / brevis^: en vocor inter Mortales / situs^:. et ni cuspis fallere tentet Decipiam te forte Virum. modo(?) Jupiter adsit.
[2] The Stance of the True Cross I am the strong stance called the Cross: Neither blows of the axe nor thrusts can bother me. I am named the Guard of the True Cross, since I defend myself by crossing weapons, and the entire art of fencing and armed combat is based on defending yourself with the covers of crossed weapons. Strike as you wish, I’ll be waiting for you. And just as the student of the First Remedy Master of the sword in armor does, so I can do with a step and a thrust with my poleaxe.	Behold, I am a Position of strength, and I am called the Cross. No blow is Bothersome to me, nor as yet the point of the poleaxe^[45] at any time.	· Posta de vera crose · [35v-b] ¶ Io son posta di vera crose, pero che cum crose me defendo. E tutta l'arte di scarmir[!] e de armizare se defende cum coverte dello armizare incrosare. Tra pur, che ben t'aspetto, che zo che fa lo scolar primo dello magistro remedio della spada in arme cum lu modo e cum lo passar tale punta cum la azza mia ti posso far.	[27a-b] Io son posta forte chiamada la crose Colpi de azza ne punte niente mi nose	[8v-d] ¶ Sum situs en fortis. vocor et crux. nec(?) mihi quesquam ^[46] Ictus obest. nec adhuc cuspisque tricuspidis unquam.
[3] [The Stance of the Queen] I am the Stance of the Queen, of pure loyalty: I make great blows from a different measure. I am the Guard of the Lady, and I go against the Boar’s Tusk guard. If he waits for me, I will make a powerful strike at him, in which I move my left foot off the line, and then I pass forwards, striking downwards at his head. And if he blocks strongly under my poleaxe with his, then even if I can’t strike him in his head I will not fail to strike his arms or hands.	Behold, I am pure of faith standing in the Position of the Woman. And I work deadly things by doubling a strike of strikes.	[35v-c] ¶ Posta de donna son contra dente zengiaro, Si ello mi aspetta uno grande colpo gli voglio fare, zoe che passaro lo pe stancho acressando fora de strada, e intraro in lo fendente per la testa. E si ello vene cum forza sotto la mia azza cum la sua, se non gli posso ferire la testa, ello no me mancha a ferirlo o in li^[47] brazzi o en le man.	[27a-c] Posta de dona son de lielta pura Grandi colpi io faço oltra mesura	[9r-a] ¶ Sum fidei sincerus ego situs en^[48] muliebris. Letiferosque operor geminatis ictibus ictus.
[4] [The Wild Boar's Tusk/Middle Iron Gate] I am the Boar's Tusk, full of daring: Blows of the axe can do nothing to me. If my Middle Iron Gate is opposed by the Guard of the Lady, we both know each other’s game, for we have faced each other many, many times in battle with swords and with poleaxes. And let me tell you, what she claims she can do to me, I can do better against her. Also let me tell you that if I had a sword instead of a poleaxe, then I would thrust it into my opponent’s face as follows: when I am waiting in the Middle Iron Gate with my two-handed sword, if he attacked me with his poleaxe with a powerful downward strike from the Guard of the Lady, then I quickly advance forward striking him strongly under his poleaxe as I step off the line, and then I quickly grasp my sword in the middle with my left hand and make the thrust into his face. While there is little difference between we two guards, I am the more deceptive.	I am the strong Boar’s Tooth and, horribly daring, By no means do I fear those strikes you make. It cannot be believed. [The Paris image resembles the Pisani Dossi.]	[35v-d] ¶ Si posta di donna a mi porta di ferro mezana e contraria, io cognosco lo suo zogo e'llo mio. E piu e piu volte semo stade ale batagle e cum spada e cum azza. E si digo che quello ch'ella dise de poder fare, piu lo posso far a lei ch'ella lo po far a mi. Anchora digo che se io avesse spada e non Aza che una punta gli metteria in la fazza, zoe, che in lo trar che posta di donna fa cum lo fendente, e io son in porta de ferro mezana cum la spada a doii mane,^[49] che subito in lo suo venire, io acresco e passo fora de strada, sotto la sua azza per forza io entro, E subito cum la mia man stancha piglio mia spada al mezo e'la punta gli metto in volto. Si che tra noii altro che de malicia e pocha conparacione.	[27a-d] Dent de zenchiar son pieno de ardiment Colpi de aça a'mi non po fare niemt[!]	[9r-b] ¶ Dens aprinus ego sum fortis et horridus audax. Quos facis^[50] haud vereor ictus. nec posse fatemur
[5] [The Stance of the Long Tail] I am the Long Tail, used against the Window Guard, and I can strike at any time. With my downward strikes I can beat every poleaxe or sword to the ground, setting me up nicely for close play. As you see the plays that follow, please consider each one in sequence.		[36r-a] ¶ Coda longa Io son, contra posta de Fenestra voglio fare de tutto tempo posso ferire. E cum mio colpo di fendente ogni Azza e spada in terra sbateria, E al zogo stretto, forte me faria. Come voii troverete qui gli zoghi di dredo, de guardagli a uno a uno che ven prego.
[6] [The Stance of the Casement Window on the Left] I am named Window Guard on the left, and I am made with the right arm pulled back.^[51] This is not a good guard to wait in.^[52] Everything I do is deceptive. You think that I am going to strike a downward strike, but I pass backwards and switch guards. So while I began on the left, I actually enter on the right. And I can quickly transition to the plays that follow.		[36r-b] ¶ Posta de Fenestra son chiamata la sinestra, uno picolo brazo se fa de mi ala destra. Noii non avemo stabilita. Una e l'altra cerca la falsita. tu credera che io vegna cum lo fendente, e io tornero un pe indredo e mi mudero di posta. Li che era in la sinestra, io entrero in la destra. E crezo entrare in gli zoghi che vegneno dredo ben presta.
[7] I have beaten your axe to the ground; And mine will quickly be thrust in your face. These are the plays that these guards put to the test. Each guard can do them, and each guard believes it will prevail. As is drawn here, whoever beats his opponent’s poleaxe to the ground can do these plays, and will succeed as long as the opponent fails to counter him. [In the Getty and Pisani Dossi, the Master is missing his crown.]	I will certainly throw your poleaxe down to the earth, But mine will strike the face with listless wounds.	[36v-a] ¶ Questi sono gli zoghi delli quali le guardie fano questione. Zaschuna le vol pigliare, e crede aver rasone. Quello che po sbatter la azza dello compagno a terra come e qui depento, questi zoghi quello fazza, Tutti gli fara se lo contrario non lo impaza.	[27b-a] La'tua aça in terra o rebatuda Tosto la mia in lo volto ti ser^a metuda	[9r-c] ¶ In terram projecta fuit tua nempe tricuspis. Sed me^a percutiet languenti vulnere vultum.
[8] This student puts his axe between his opponent’s legs, and covers his eyes with his left hand. When the opponent, who cannot see, tries to turn, he will surely fall to the ground.		[36v-b] ¶ Lo scolaro ch'a'zza alo zugadore la sua azza enfra le gambe. e cum la man stancha ello gli covra la vista. E quando lo zugador non vede, e se vole voltare, tosto va in terra senza fallare.
[9] I have come from the Boar's Tusk with my axe, And with that I have wounded you in the face. The previous student can also do this play when he is at close range, as you can see here. He steps with his left foot on top of his opponent’s poleaxe head, and draws back his own poleaxe, then thrusts it into his opponent’s face. [In the Getty, the Scholar's right foot is on his opponent's poleax.]	Now from the Boar’s Tooth and the particular poleaxe, ready I immediately sprang forth. And I pierced the face using that thing with the strength of oak. [In the Paris, the Scholar wears a crown.]	[36v-c] ¶ Anche lo scolaro che m'e denanzi po fare questo zogho quando ello e ale strette come veder possete Lo pe stancho pogna sopra la sua azza, e tra la sua in dredo. e la punta metta allo zugadore in la fazza.	[27b-b] De dent de zenchiar son ensudo cum mia aza E cum quella io t'o ferido in la tua faca	[9v-a] ¶ Dente ab aprino nunc propriaque tricuspide praesto^[53] Erupi. atque illa percussi robora vultus.
[10] I have lifted your visor—you can feel it— And I will bore out your teeth with my axe. The previous student saw that it was not possible to strike his opponent in the face with his poleaxe, because his opponent’s visor is too strong. So he advances his left foot forward and lifts the opponent’s visor, and drives his point into his face with as much force as he can give to his poleaxe. You can add on this play to any of the previous plays, as well as to any of the plays which follow.	Lo, I press your very own face with the strong hand, and you feel that. My sacred poleaxe will now extract these, your very own teeth. [In the Paris, the Scholar wears a crown.]	[36v-d] ¶ Lo scolaro ch'e denançi vede che cum la punta dela Azza non a possudo far niente a lo zugadore in lo volto per la visera ch'e forte. Ello acresse lo pe stancho, e levagli la visera e la punta gli mette in la fazza, cum tanta forza ch'ello po dare a la sua azza. Questo zogho che fazo seguisse quelli ch'e denançi, e poii quelli de dredo tutti quanti.^[54]	[27b-c] La tua visera t'o levada tu lo senti E cum mia aça te chavaro li denti	[9v-d] ¶ En premo forte manu tibi vultum. sentis et istud Extrahet ac dentes haec nunc mea^[55] sacra tricuspis.
[11] Because of my hand which I have under your arm I will cause you trouble in the strong key. With this hold^[56] I can strike you in the head with my poleaxe, and with my left arm I will put you in the Strong Lower Bind, which is more deadly than any other lock. [These two images seem to show the beginning and end of the technique.]		[37r-a] ¶ Per questa presa che io chosi te tegno cum mia Azza te feriro in la testa. e cum mio brazzo mancho ti mettero in ligadura de sotto la forte, che piu che le altre e pericolosa di morte.	[27b-d] Per mia mane che o soto el tuo braço In la forte chiave ti faro impaço
[12] I will make a quick rotation from this catch: Your axe will be lost, and mine will strike you in the face. With a half-turn of this poleaxe I will take it from your hands. And once I have taken it from you with this particular turn, I will strike you in the head with it, as the next student shows. And I do not believe you will survive this.	By means of this taking, I will possibly have made a whirling around. From here yours will be plundered, but my poleaxe will strike your forehead. In this way fate wants the strong to survive. [In the Paris, the Scholar's right foot is forward and he wears a crown.]	[37r-b] ¶ Cum meza volta ti cavaro questa Azza dele mane. E tolta che io te'lla avero, in quello proprio voltare, io ti feriro in la tua testa come fa questo scolar che m'e dredo, tu cazera morto comme io credo.	[28a-a] Per questa presa io faro una volta presta Tua aça perderai la mia te ferira in la testa	[10r-b] ¶ Hac ego captura^[57] the faciam fortasse rotatum. Hinc tua perdetur / mea secundum te fronte tricuspis Percutiet / modo fata velint superesse potenti.
[13] This play follows on from the student before me. As he clearly told you, you will likely drop to the ground dead after being struck in the head like this. And if this blow is not enough then I can give you another. If I choose I can also drag you to the ground by your visor, which is drawn next.		[37r-c] ¶ Questo zogho e dello scolaro che m'e denançi che fazo, Quello ch'ello a ditto ben lo crezo che in terra cazerai morto per lo colpo che in la testa io t'o fatto. E se questo colpo non ti basta, uno altro ten posso dare, e poii per la visera in terra te voro tirare. Chome qui dredo depento, e quello ti faro se non mi pento.
[14] I am demonstrating what the student before me said he would do to you, that is dragging you to the ground by your visor. This is a grappling technique that is one of the better ones you can do.^[58]		[37r-d] ¶ Quello che dise lo scolaro ch'e denanzi quello io ti fazzo, che per la visera in terra ti voglio zitare. E se volesse quello ti faria cum lo abrazare, che meglio che li altri, e quello so ben fare.
[15] This play is easy to understand, and you can clearly see how I can drag him to the ground. And when I have him on the ground, I can drag him behind me. And when the long tail of my poleaxe can no longer hold him, then he’ll feel my strikes.		[37v-a] ¶ Questo zogho e liçero de intender che ben se vede ch'ello posso in terra zitare. E quando lo sara in terra dredo me'llo voro strassinare. E quando la corda piu non lo tegnera, delle mie feride asai ello avera.	[36a-cd] [No text]
[16] This poleaxe of mine is filled with a powder and is hollow and perforated.^[59] And this powder is so strongly corrosive that the moment it touches your eye, you will no longer be able to open it, and you may be permanently blinded. I am the poleaxe, heavy, vicious and deadly. I deliver blows more powerful than any other hand-held weapon. If my first strike misses, then my poleaxe becomes risky to hold on to and is no more of any use to me. But if my first blow is powerfully made on target, then I can stop any other hand-held weapon. And if I am accompanied with good protective armor, then I can defend myself with any of the powerful striking guards of the sword. My most noble lord, my Marquis, there are some vicious things shown in this book that you would never do. I show you them purely to aid your knowledge.^[60]		[37v-b] ¶ Questa mia Azza era piena de polvere, e si'e la ditta Azza busada intorno intorno.^[61] & e questa polvere si forte corrosiva che subito come ella tocha l'ochio, l'omo per nissun modo no'l po avrire, e fuorsi maii non vedera piu. ¶ Azza son ponderosa crudele e mortale. mazori colpi fazo che altra arma manuale. E se io falisso lo primo colpo che vegno a fare, la Azza m'e di danno e niente piu non vale. E se io fiero lo primo colpo ch'io fazzo, Tutte le altre Arme manuale io cavo d'impazo. E se son cum bone arme ben acompagnada, per mia deffesa piglio le guardie, pulsative de spada. Signore nobilissimo Signor mio Marchese, assaii chose sono in questo libro che voii tale malicie non le fareste. Ma per piu savere, piazavi di vederle.	[36a-b] [No text]
[17] This is the powder that you use in the poleaxe drawn above. Take the sap of the spurge,^[62] and dry it in a warm oven to make a powder. Now take two ounces of this powder and one ounce of powder of fior d'preda,^[63] and mix them together. Now load this powder into the poleaxe shown above. You can do this with any good caustic powder, but you won’t find a better recipe than the one in this book.		[37v-d] ¶ Questa e la polvere che va in la Azza penta qui sopra. Pigla la latte delo titimallo, e seccalo al sole overo in forno caldo e fane polvere, e piglia di questa polvere unce ·ⅱ· e una unza de polvere de Fior de preda, e mescola in sembre. e questa polvere si de metter in la Azza qui de sopra, ben che se po fare cum ogni rutorio che sia fino, che ben ne trovereti di fini in questo libro.	[36a-b] [No text]

Spear

Illustrations	Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Morgan Transcription (1400s) [edit] by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Michael Chidester	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[No Image]	[1] The extended lance which is used in hand; The more it is extended, the less it deceives. Six Masters stand in guard with it, And with a step and a beat, they suddenly strike, Both from the right side and from the left (for certain): The beat is made to the side and not up; And the beat wants to be one arm's length on the lance, And whoever goes against it will make such a failure.				[15b] La lança longa che se usa in mano Quanto e piu longa tanto ha men ingano Sie magistri cum lei in guardia si stano Cum passo e rebater subito lor ferir fano Tanti de parte drita che de'rivssa[!] per'certo Lo rebater se fa fora de'strada e non in erto E llo rebater vol esser un braço in la lança E chi contra fara tanto piu fara falança
	[2] I wait in this guard with my lance shortened: My method is to beat and to exchange thrusts. We are three masters using spear guards that are closely related to the sword guards. I am the first, which is the Full Iron Gate. I am positioned to quickly beat aside my opponent’s spear, and to do that I step crosswise off the line with my right foot, crossing his spear and beating it to the left. When you step and beat aside together, that combination is hard to beat.	This is commonly employed: changing, and withdrawing The spear which has been extended in opposition; now I delay all with a short javelin. We are three Masters in guard with our lances, and we conform to the grips of the sword. And I am the first, and I am set in the Full Iron Gate to beat the lance of the player quickly—that is, that I will step with my right foot out of the way to the side, and crossing his lance I will beat it to the left side such that the step and the beat are made in a single pass with the strike. This is a thing that cannot fail.	[9r-a] Nuii semo tri magistri in guardia cum nostre lanze e convegnemo piglare aquelle della spada. E io non son lo primo che in tuta porta di ferro son posto per rebatter la lanza dello zugadore tosto zoe. Che passaro cum lo pe drito ala traversa fora de strada. E atraversando la sua lanza rebatero in parte stancha. Si che llo passar e llo rebater se fa in uno passo cum lo ferire. Aquesta cosa che non se po falir.	[39r-a] ¶ Noi semo tre Magistri in guardia cum nostre Lanze, e convegnemo piglare quelle dela spada. E io son lo primo che in tutta porta di ferro son posto per rebatter La lanza del zugador tosto, zoe che passaro cum lo pe dritto ala traversa fora de strada, E traversando la sua lança rebattero in parte stancha. Si che'llo passar e'llo rebatter se fa in un passo cum lo ferire. Questa e chosa che non se po fallire.	[15b-a] In questa guardia io speto cum curta lança Rebater e scambiar de punta e mia usança	[6v-c] ¶ Consuetus mutare tamen, contraque referre Cuspide pertenta, breve nunc moror omnia telo.^[64]^[65]
	[3] Your lance is extended and mine is shortened: Attack and do not flee, so I may do you villainy. I am positioned in the Middle Iron Gate. My method is to beat aside then counter-strike. Come against me as you will with short spear or staff, when I beat your weapon aside as I step I will never fail to strike you. When you are using a short spear or sword, all guards that are made with the point offline are sufficient for you to wait in when facing any long hand-held weapon. Guards that cover from the right are followed with a step and a thrust. Guards from the left side can also cover and beat aside, but these will wound with a strike, because they cannot effectively place a thrust.	Although my very own spear is shortened, nevertheless you will Go away pierced. And you would throw only if it pleased you before. Do not Flee from that place. Tearful rewards would flow to gloomy you. I have set myself in the Middle Iron Gate with shortened lance, and to beat and to strike is always my method. Come whoever wishes with extended lance or staff and I will beat with a step and I won't botch the strike. And all the guards that stay off to the side with shortened lance or shortened sword are sufficient to await any extended hand-held weapon; those of the right side cover, and with the cover step and thrust the point, while the guards of the left side cover or beat and then strike with blows, but cannot thrust very well with the point.	[9r-b] In meza porta di ferro io me ho posto cum curta lanza lo rebater e llo ferire, e sempre mia usanza. E vegna chi vole cum longa lanza, o stanga, che rebater cum passo lo ferire non mi mancha. Che tute le guardie che stano fora de strada, cum curta lanza, e curta spada, Sono soficienti a'spetar, ogni arma manuale longa. E aquelle della parte drita, covrano, e cum coverta passano, e meteno punta. E lle guardie de parte sinistra covrano, o rebateno, e di colpi fierano e non po metere acosi ben punta.	[39r-c] ¶ In meza porta di Ferro io me o posto cum la lanza Lo rebatter e Lo ferire e sempre mia usanza. E vegna chi vole cum meza lanza o stanga, che rebatter cum passo lo ferir non me mancha. che tutte le guardie che stano fora de strada, cum curta lanza e curta spada sono sufficienti a spettare ogni arma manuale longa. E quelle dela parte dritta covrano e cum coverta passa e metteno punta. E le guardie de parte sinistra covrano e rebatteno e di colpo fierano, e non po metter chossi ben punta.	[15b-b] La tua lança e longa e curta la mia Tra e non fuzir che te faro vilania	[7r-a] ¶ Sit brevior licet hasta michi, traiectus abibis Tu tamen. et iacias modo si libet ante. nec inde Effugito. lacrimosa manent te praemia mestum.^[66]
	[4] I will beat your [lance] with my lance as I step And then I will quickly encase it in your chest. I am the noble Right Side Window, always ready to beat aside and counter-strike, and a long spear hardly bothers me. Also if I was using a sword I would wait for the long spear in this same guard, which beats aside and obstructs all thrusts. I can also exchange thrusts, or beat them to the ground without difficulty. I would finish this play with the play shown next.	Now penetrating, my spear refutes your javelin, And in your chest I will rush forth a great wound. I am the noble Stance of the Casement Window on the right; I am always quick to beat and to strike, and of extended lances I care little. I would also await an extended lance with a sword by standing in this guard, which beats and retards every thrust. I could also make the exchange of thrusts, or beat them to the ground (which cannot fail). In the play hereafter I want to finish. [In the Paris, the Master's spear leaves his face uncovered, appearing to go behind his head.]	[9r-c] Io son in la nobele posta de fenestra dextra che in rebater, e ferir sempre io son presta. E de lanza longa me curo pocho. Ancora cum la spada e aspetaria la longa lanza siando in questa guarda che ogni punta rebate e si la intarda. E llo scambiar de punta io posso fare. E llo rebater a terra non se po falar. In lo zogo che n'e dredo volemo finire.	[39v-a] ¶ Io son la nobele posta di Finestra destra, che in rebatter e ferir sempre io son presta. e de lanza lunga me curo pocho. Anchora cum la spada io spetteria la longa lanza stando in questa guardia che ogni punta rebatte, e si la intarda. E llo scambiar de punta io posso fare. E llo rebatter a terra non se po fallare, In lo zogho che n'e dredo volemo finire.	[15b-c] Cum mia lança rebatero la tua in lo mio passar E in lo tuo peto te vegnero subito incassar	[7r-c] ¶ Hasta tuum telum mea nunc penetrando refellet. Inque tuum pectus prorumpam vulnere grandi.^[67]
	[5] This is the strike of these three previous Masters, And in this way their lance should end in your face or chest. The three guards shown above (Full iron Gate, Middle Iron Gate and the overhead Right Side Window) should all finish with this strike, which is used to end the play and demonstrate their skill. Here I show the finishing strike for each of them. [In the Getty, the Master is missing his crown.]	This particular thing lies in ruins by means of the three preceding masters; it concerns striking back, And the method is to cross the man through the chest with the javelin, Or sooner the face and the visage with sad blood. The three guards which came before should finish in this play—that is, the Full Iron Gate and the Middle Iron Gate and the Stance of the Casement Window, high on the right. In this play they finish the plays of their art. And I strike this man in the face on their behalf… [In the Morgan, the Master is missing his crown.]	[9r-d] In questo zogo finisseno li tre guardie che denanci son zoe, tuta porta di ferro, e porta di ferro la mezana, e posta di fenestra dextra la soprana in questo zogo elle finisseno li zoghi e la lore[!] arte. Como io fiero a costui in lo volto^[68] per lor parte. Aquesto e lo contrario deli tri magistri dela lanza che finisseno in questo zogo, e'l modo voglo dire. Quando gli magistrii credeno la mia lanza fora de lor persona cazare io do volta ala mia lanza, e ferischo cum lo pedale. che a E acosi o bon Ferro in lo pedale ch'ala punta, gli zoghi de quisti magistri pocho me monta.	[39v-c] ¶ In questo zogho finiseno le tre guardie che denanzi sono, zoe, tutta porta di ferro, e porta di ferro La mezana, e porta[!] de fenestra La soprana destra. In questo zogho elle finisseno li zoghi e la'lor arte. Come io fiero chostuii per lor parte.	[15b-d] De questi tri magistri denançi aquesto e lor ferir E per tal modo lor lança in volto o peto deve finir	[7v-a] ¶ Hoc tribus ante iacet proprium referire magistris. ^[69]Et modus est transire hominem per pectora telo / Seu faciem vultumque prius cum sanguine tristi.
	[6] This is the counter to the three spear masters shown above, who all finish their play with the strike shown above. Let me explain how to do it: When the Master believes he has driven my spear off-line, I rotate my spear and will strike him with the butt end, which is steel-capped, like the point. Thus, the plays of these masters pose little threat to me.	So that you would not harm me more, I stir up counters in opposition, And I wedge into you, resisting, with beaten spikes.^[70] …This is the counter to the three Masters of the lance that would finish in this play and in the way that was said. When the Masters believe my lance to be away from harming their persons, I give a turn to my lance and strike with its butt, since it has as good iron in the butt as in the point. The plays of these Masters bother me little.		[39v-d] ¶ Questo e lo contrario delli tre Magistri dela lanza che finisseno in lo zogho che m'e denanzi, El modo voglo dire. Quando gli magistri credeno la mia lanza fora de lor persona caçare, io do volta ala mia lanza o ferisco cum lo pedale, e chossi o ben ferro in lo pedale che ala punta, Gli zoghi di questi magistri pocho mi monta.		[7v-d] ¶ Ne michi plus noceas / contraria ⁺^[71] misceo contra. Teque reluctantem pulsatis dentibus arcto.^[72]
	[7] We are three Masters who play on the left side: Come one by one whoever wishes and we will waste him. And for the fourth Master that finishes our plays in the art, We have given him his fair share of the Crown. This guard can suffice for me against any lance, I cover myself both above and below by beating and stepping; I do it with the butt low and with the other end high, And I could make a cover and a strike without trouble. We are three left side guards, and I am the first, in the Boar’s Tusk. The left side guards do the same as the right side guards. We step offline advancing our lead foot, and then we strike with our thrusts on the left side. Both right side and left side guards beat aside then thrust, because other attacks with the spear are not as effective.	We are three guards of the left side and I am the first, in the Boar's Tusk. Those guards that are on the right side do the same as we do on the left side: we step out of the way, first advancing the foot which is behind (as was said, out of the way), and with our thrusts on the right side we make a bargain. And to finish the beat, both the right side and the left converge in a thrust so that other offenses with the lance cannot follow.	[9v-a] Nuii semo tre guardie di parte riversa, e io son la prima in dente de zenghiar. Aquelle guardie che sone de parte drita fanno, aquello che fazemo della riversa. Nuii passamo fora de strada innanci acresendo lo pe ch'e denanci como ditto, Fora de strada. E de nostre punte de parte riversa fazemo derada. E tute de parte dritta, e riversa convegnemo in punta rebatendo finir, Che altr^a offesa cum la lanza non ne po seguir.	[40r-a] ¶ Noii semo tre guardie di parte riversa, e io son la prima in dente di zengiaro. Quelle che sono da parte dritta fano quello che fazemo dela riversa. Noii passamo fora de strada inanzi acressando lo pe ch'e denançi come ditto fora de strada. E de nostre punte de parte riversa fazemo derada. E tutte de parte dritta e riversa convegnemo in punta rebatendo finire, che altra offesa cum la lanza non de po seguire.	[16a-a] Noii semo tri magistri che de parte riverssa çugaremo A uno a'uno vegna chi volle che noii lo guastaremo Lo quarto magistro che finisse nostri zoghi in l'arte De corona ghi avemo ben data la sua parte Questa guardia contra ogni lanca me po bastar De'sopra e de'soto me covro cum rebater e passar Cum lo pedalle de soto e cum l'auanço de'sopra faço Coverta e ferir posso far sença nessum impaço.
	[8] I know how to ward any lance with this guard: Strike, for I want to harm you with mine in your chest. I am waiting for you in the Guard of the True Cross. You have clearly approached too close to me. I will pass backwards with my leading right foot, beating your spear offline to my right. My thrust will not fail me. Yours however will fail you.	I wait in the Stance of the True Cross, for you are too close for my play. I return backward the right foot which is in front, and I will beat your lance out of the way toward the right-hand side. My thrust will not fail: yours will be the failure.	[9v-b] Io in posta de vera croxe, io aspeto, tu m'e tropo apresso zoga netto. Lo pe deritto che m'e denanci in dredo lo tornero. E la tua lanza rebatero fora de strada, in verso man dritta. La mia punta non falira la tua sera falita	[40r-b] ¶ In posta di vera crose io aspetto. tu m'e troppo apresso, zoga netto. Lo pe dritto che m'e denanzi in dredo Lo tornero, E lla tua lanza rebattero fora de strada, Inverso la man dritta, La mia punta non fallita, La tua sara fallita.	[16a-b] Cum questa guardia d'ogni lança mi so reparare Tra, che la mia in lo tuo peto te voio caçare.
	[9] I will finish you without fail in my turn, Because I am the Master of all exchanges. I am positioned in the Left Side Window Guard. If I do not strike you with a thrust you will be lucky. I will step offline to the left with my left foot, with my point held high and my arms low. Then I will thrust into your face and you will have no defense. The play that follows is the finish used by all three Masters. If you try it once, you won’t wish to try it again.	I appear in the Stance of the Casement Window on the Left; if I don't strike you with the point, you will have a good deal. I will hold the point high and I will carry my arms low, and I will step out of the way to the left-hand side with the foot that is behind. Then I will thrust the point in your face without any possible defense. We three Masters can all make the play which is after me; once you try it, you will not want to taste any more.	[9v-c] In posta fenestra sinistra io son aparechiado se non ti fiero cum punta tu naii[!] I bon mercato. La punta tegnero erta, e lli brazi bassi portero cum lo pe ch'e dredo cum quello io passaro fora de strada a man riversa. La punta ti metero in lo volto senza nesuna defesa. El zogo che m'e dredo noii tre magistri aquello possemo noi fare una volta lo provi non lo voraii piu provare.	[40r-c] ¶ In posta de fenestra sinistra io son aparechiado, Se non ti fiero cum punta tu naii[!] bon merchado. La punta tegniro erta e li brazzi bassi portero cum lo pe ch'e dredo cum quello io passaro fora de strada a'man riversa, La punta ti mettero in lo volto senza nissuna deffesa. El zogho che m'e dredo, noii tre Magistri quello possemo fare. Se una volta lo provi, non lo voraii piu provare.	[16a-c] Io ti firiro sença fallo in lo mio voltar Pero che son magistro de tuto lo scambiar.
	[10] The art of the lance makes its end here. armor and without, this is its greatest defense. Here we end the plays of the spear that are made from the left side against threats and attacks. These three guards shown above are carefully chosen to easily defeat the long or the short spear, since they are effective in offense or defense. The counter to this thrust is easily done: when your thrust is beaten offline, you turn the butt of your spear and strike with that. And with that I have now shown you enough of the plays of the spear. [In the Getty, the Master is missing his crown.]	The play of the lance finishes here and I make it from the left side; I am besotted with their plays. These three guards which were previously make me think that they will not fail against lance extended or shortened, for they are guards of great protection (in that in one jaunt they make both defense and offense). And the counter to this thrust can be done well. When the thrust is broken with that strike, the butt should be turned [forward]. This may be enough of the play of the lance. [In the Morgan, the Master is missing his crown.]	[9v-d] Lo zogo dela lanza aqui finisse che io lo fazo della parte riversa de lor zoghi me impazo. Aqueste tre guardie che sono denanci fano pensir, de lanza longa, o curta, de non la falir, che le sono guardie de si grande difesa, che in uno vargo le fanno defesa e ofesa. E llo contrario de questa punta, aquello bene si po fare. Quando cum quello ferir la punta se rompe lo pedale se de voltar. Dello zogo dela lanza bene po aquesto bastare.	[40r-d] ¶ Lo zogho dela lanza qui finisse che io lo fazo dela parte riversa de'lor zoghi mi impazo. Queste tre guardie che sono denanzi fano pensier de lanza longa, o curta de non la fallir, che elle sono guardia de grande deffesa che in uno vargo elle fano offesa e deffesa. E llo contrario di questa punta ben si po fare, quando la punta se rompe lo pedal se de voltare, e cum quello ferir dello zogo dela lanza ben po questo bastare.	[16a-d] L'arte dela lança aqui fa sua finisone In arme e sença aquesta e soprana sua deffensione

Spear vs. Other Weapons

Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Morgan Transcription (1400s) [edit] by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Michael Chidester	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[11] In this way I wait with the dagger and with the staff: The staff will make a cover, the dagger will strike you in the chest. And that which I do with a staff, I could also do with a sword, Although I could find much stronger plays with the sword. This master awaits these two with their spears. The Master, who is waiting with a staff and a dagger, sees that the first intends to attack with an overhand strike, while the second intends to strike underhand. Before one opponent attacks with his spear,^[73] the Master tilts his staff to the right, similar to the guard Full iron Gate, turning himself without moving his feet nor lifting the staff off the ground. And the Master waits in this guard. As one opponent attacks, the Master pushes the spear aside with his staff to the left, using his dagger too if needed. Following that cover, the Master steps and strikes. Both attackers with their spears will discover that this is his defense.	In the same way, holding fast to dagger and staff, I delay you while the staff offers cover to me, and that Dagger strikes the breast. Nevertheless, I drive out everything the sword would have accomplished, Using the staff. However, we can use the better Plays herein easily, exercising the nimble shoulders. For this play, which is of staff and dagger against a lance, the Scholar awaits him of the lance in the Full Iron Gate, turning his body but not moving his feet from the ground nor his staff toward the right side. And as he of the lance attacks the Scholar with his lance, the Scholar advances his left foot out of the way, beating and voiding the lance. And he steps close to him without delay and with the dagger he can strike him. This play he wants to make without fail.	[18r-c] Ad aquesto partito si e de bastone, e daga contra lanza lo scolar aspeta quello da la lanza in tuta porta di ferro voltandose la persona, e non movendo gli pie di terra nel bastone inverso parte dritta. E come quello dal lanza tra al scolaro cum sua lanza. Lo scolaro acresce lo pe stancho fora de strada rebatendo, e schivando la lanza. E passa adosso de lui senza tarda, e cum la daga lo po ferire, questo zogo se vole fare a non falire.	[31r-c] ¶ Questo magistro spetta questi^[74] doi cum le lor lanze lo primo vol trar cum la punta sopra man, E l'altro vol trare sotto man. questo si vede. Lu magistro che aspetta cum lo bastone e cum la daga, quando uno di questi gli vol trare cum sua lanza, lo magistro piega lo baston in verso parte dritta zoe quasi in tutta porta di ferro voltando la persona, non amovendo gli pie ne lo baston di terra. E rimane lo magistro in guardia. E come uno di questi tra, ello rebatte la sua lanza cum lo bastone, e cum la daga s'ello bisogna a man stancha, e cum quello rebatter ello passa e fieri. E questa e la sua deffesa come troverete dredo questi doi de lanze.	[15a-a] In tale forma cum la daga e cum el baston aspeto Lo baston fara coverta, la daga te ferira in lo peto, E quello che cum baston faço cum la spada lo faria Ben che piu forti zoghi cum quella io trovaria	[8r-a] ¶ In simili forma, daga clavaque tenaci Te moror, At clava tegmen mihi prebet. et ista Daga ferit pectus. Quicquid tamen exigo clava, Efficeret mucro. quamvis melioribus uti Possumus hoc ludis, faciles agitando^[75] lacertos.
[12] This is the play of the Master who awaits the two opponents with their spears. The Master has a dagger in his right hand, and with his left hand he holds a staff vertically in front of him. He can show you this play, but I will demonstrate it for him. If my opponent had known what to do he could have easily avoided my dagger strike. If he had widened his grip on his spear, and made cover under my dagger (that is, a crossing) with the back end of his spear, then this would not have happened. If he had known how to do this counter with his spear, he would have destroyed me.			[31r-d] ¶ Eramo ambi doi disposti de ferire questo magistro ma segondo lo so ditto non poremo far niente. Salvo se noii no l'inganamo per questo modo zoe noi volteremo gli ferri dele lanze di dredo, e traremo cum lo pedale dela lanza. E quando ello rebattera lo pedale dela lanza, noii volteremo nostre lanze, E feriremo lo del'altra parte cum gli ferri dele lanze. E questo fara[!] lo suo contrario.
[13] In that way that the previous Master has said, I strike that one in the chest with the dagger. This is the play of the Master who waits for those two with spears. The Master has in his right hand a dagger, and he keeps a stave straight in front of him in his left hand. He can do the play in this way. And I do it for him in his place. But if this player knew how to do well, he could have avoided the dagger’s point. If he had lifted his hands with the spear, and with the rest of the spear which remains at the rear-end, he had covered under my dagger, which means crossing, it would not have happened to him. And he could have damaged me with his spear, if he knew how to do this counter to me.			[31v-a] ¶ Questo si'e lo zogo del magistro che aspetta quelli doe cum doe lanze. Lo magistro a in la'mane drita una daga, e in la'mancha tene lo'bastone in pe dritto. denanzi defi[!].^[76] Ello po fare in questo modo zogo. & io lo fazo per luii in so scambio. Ma se questo zugadore avesse sapiudo ben fare di questa punta de daga se posseva ben schivare, Se ello avesse largado le mane dela lanza, e cum lo avanzo dela lanza che avanza di dredo avesse coverto sotto la mia daga zoe incrosado, questo non gli saria incontrado. E cum sua lanza mi posseva guastare, si tal contrario m'avesse sapudo fare.	[15a-b] Per quello modo che lo magistro denançi a'deto Per quello cum la daga io te fiero in lo peto
[14] I wait here with two sticks and a dagger: The one I will throw at you and with the other I will cover, coming to the narrow, And quickly I will strike you in the chest with my dagger. This Master defends with two cudgels against a spear, as follows: when the spear man approaches to attack, the Master with strikes at his opponent’s head with the cudgel in his right hand. Then he quickly strikes with the cudgel in his left hand so as to make cover against the spear, and then he strikes his opponent in the chest with his dagger, as is shown next.	Here, I delay you with two clubs at the same time and also a dagger. But I will throw the first [club], and I will hold the remaining Covering limb in that place, when we will both press in. From here I would strike you quickly, but with the dagger in the opening of the breast.		[31v-b] ¶ Questo magistro fara deffesa cum questi^[77] doi bastoni contra la lanza in questo modo, che quando quello dela lanza gli sara apresso per trare, lo magistro cum la mane dritta tra lo bastone per la testa di quello dela lanza. E subito cum quello trare, va cum l'altro bastone ala coverta dela lanza, e cum sua daga gli fieri in lo petto segondo ch'e depento a qui dredo.	[15a-c] Cum duii bastoni e una daga aqui t'aspeto L'un te traro, cum l'altro croviro[!] vegnando al streto E subito cum mia daga te feriro in lo peto	[8r-c] ¶ Hic te cum binis baculis / simul et quoque daga Conmoror. at primum iaciam. reliquumque tenebo ^[78]Illo membra tegens / cum nos arctabimus ambos. Hinc cito te feriam sed aperto pectore daga.
[15] That which the Master has said, so do I do, I have placed the dagger in your chest without trouble. I show the play of the Master before me. If he had known the counter, he would have obstructed me as follows: he would have lifted my hands with his spear by rotating it under my dagger, and in that way he would have been able to obstruct me and destroy me. So take this, since you know nothing.	This deed having been done, [that] which the master now says will be told, And however I affix this particular dagger in the breast.		[31v-c] ¶ Io fazo lo detto del magistro qui denanzi. Si lu contrario avesse sapudo, averissi mi fatto impazo per tal modo. Avere levado le mane cum la tua lanza sotto la mia daga. e per tal modo m'aresti possudo guastare. Habi questo che non sapesti niente fare.	[15a-d] Aquello che a'dito lo magistro aquello faço La daga in lo peto t'o posta per men impaço	[8v-a] ¶ Hoc operor factis, quod nunc narrando magister Inquit. et hanc dagam proprio sed pectore figo.
[16] Here are three opponents who wish to kill this Master. The first intends to strike underhand, and he carries his spear at the mid-point. The second carries his lance couched and fully extended. The third intends to throw his spear. They have agreed that no one will make more than one strike each. Also they will take it in turns.	Here are three companions who want to strike this Master: the first wants to strike underhand and carries his weapon at the middle of the lance; the other carries his weapon in rest at the full of the lance; the third wants to throw his lance. And they are agreed that none should strike more than one blow per man, and that they should do it one by one.	[8r-c] Aqui sono tri compagni che volemo ferire aquesto magistro lo primo vole ferire sotto man che porta sua lanza a meza lanza l'altro porta sua lanza a restada a tuta lanza, lo terzo lo vole alanza cum sua lanza E si a de patto che nesuno non debia fare piu de uno colpo per homo, anchora debano fare a uno a uno.	[46r-a] ¶ Qui sono tre compagni che voleno alçider questo magistro. Lo primo lo vole ferir sotto man che porta sua lanza a meza lanza, L'altro porta sua lança restada a tutta lança, Lo terzo lo vole alanzare cum sua lanza. E si'e de patto che nissuno non debia fare piu d'un colpo per homo, Anchora debano fare a uno a uno.
[17] Even if Rolando and Pulicano were to make me an invitation with lances, I would await them in this match with spear or with staff; I will beat their lances and I will strike their heads As I depart from this guard. Attack me one after another if you choose. For I am not going anywhere. I am ready and waiting for you in the Boar’s Tusk guard. When the spear is launched against me, whether fixed grip or thrown from the hand, I quickly step off line by advancing my right foot and stepping crosswise with my left foot, beating aside the spear that comes to strike me. Even if I were attacked a thousand times, my defense would not fail me even once. What I can do with my ghiavarina I could also do with a staff or a sword. The defense I make against the spear I could also make against a sword or a staff. My plays are shown next.	If Roland, and likewise Pulicanus and the rude one, would attack me, the foot-soldier With ashen spear, I would wait while considering, And on the right he would hold either a javelin or a wild staff. And I will strike a more furious blow against the spears. To the greatest extent with this action I would withdraw while striking down the high heads. Come one by one whoever wants to come, and I will run from no one. Again, I am positioned in the Boar's Tusk to wait, and when the lance will come against me (carried or thrown by hand) I immediately avoid its path—that is, I advance my right foot out of the way and with my left I step on the traverse, beating the lance that comes to strike me such that of a thousand, I couldn't fail to beat even one. This I do with the spear, and with the staff or with the sword I would also do it, and the defense that I make which is against the spear, I could also make against the sword or the staff. I ask that you view the plays that are hereafter.	[8r-d] Vegna a uno a uno chi vole venire, che per nesun di qui non per partir. Anche in dente de zenghiar sono posto per aspetare, quando la lanza contra me vignira portada overo de man zitada, subito io schivo la strada zoe che io acresco lo pe dritto fuora de strada, e cum lo stancho passo ala traversa rebatendo la lanza che mi vene per ferir. Si che de mille una non poria falir. Aquesto io fazo cum la chiavarina cum bastone cum spada lo faria. E la defesa ch'io Fazo le contra le lanze contra spada contra bastone aquello faria li mie zoghi sono di dredo, guardagli ch'io ven prego.	[46r-b] ¶ Vegna a uno a uno chi vol venire, che per nessuno di qui non mi son per partire, Anche in dente di cenghiaro son presto per aspettare. Quando la lanza contra me vignira portada overo de mane zitada, subito io schivo la strada zoe che io acresco lo pe dritto fora de strada e cum lo stancho passo ala traversa rebattendo la lanza che mi vene per ferire. Si che de mille^[79] una non poria fallire. Questo ch'io façço cum la ghiavarina, cum bastone e cum spada lo faria. E'lla deffesa ch'io fazo contra le lanze, contra spada e contra bastone, quello faria li mie zoghi che sono dredo.	[34a-b] Si rolando e pulicano cum lanca me fesse invito Cum ghiavarina o bastone lo spetaria a'questo partito Rebatero lor lançe e la testa io feriro Como de questa guardia io me partiro	[6r-b] ¶ Si me rolandus^[80] peditem pulicanus^[81] et asper Fraxinea^[82] peterent hasta spectando morarer /^[83] Dextraque vel iaculum teneat vel turbida clavam^[84]. Atque repercussis feriam furibundior^[85] hastis./ Quamprimum hoc actu retraham capita alta prementum.^[86]
[18] I cut you in the head with my spear From the guard of the Master which is so quick. This is the play of the Master who waits with his ghiavarina in the Boar’s Tusk for an attack from the three on horseback. To enter into this play he steps off line and beats aside his opponent’s spear. And although he knows this play, I will demonstrate for him that my ghiavarina is so fast that I can strike my opponent with both thrusts or cuts against his head.	Now that lance cuts your gloomy head with a great wound. And he moves with the caution of a proud master.^[87] This play belongs to the Master who came before, who awaits him of the horse with his spear in Boar's Tusk. In stepping out of the way and beating as he does, he enters into this play and so that it is understood, I do according to his word and with the edge and the point I could strike him in the head, since I carry my spear with such readiness.	[8v-a] Aquesto zogo si e delo magistro ch'e denançi che aspetta cum la chiavarina quisti da cavallo in dente de zenghiar. In pasar fora de strada e rebater ch'ello fa ello intra in questo zogo, e perch'ello sia inteso, io lo fazo in suo logo. Che cum taglio e punta lo posso ferir^[88] in la testa. Tanto porto la mia chiavarina ben presta.	[46r-c] ¶ Questo si'e zogho del magistro ch'e denanzi che aspetta cum la ghiavarina quegli da cavallo in dente di çenghiaro in passar fora de strada e rebatter ch'elo fa ello intra in questo zogho. E per che ello sia inteso, io lo fazo in suo logo, che cum taglio e punta lo posso ferire in la testa, Tanto porto La mia ghiavarina ben presta.	[34a-c] Cum mia ghiavarina te tagio la testa Per la guardia del magistro ch'e tanto presta	[6r-d] ¶ Nunc secat ista tuum caput amplo vulnere mestum^[89] Lancea. meque movet tum:idi cautela magistri.^[90]
[19] With the butt I have struck you with my spear, But I have another point which is even sharper. This is also a play made by the Master above, who waits in the Boar’s Tusk. In his place I can make this play instead of the other: if he beats aside my spear with his spear, I rotate my spear and strike him with the butt, which is capped with well-tempered steel.	I, the clever one, strike your lips with this hard thrust, Anticipating renewing a wound with the heavy point. Again is this the play of the aforesaid Master who was previously in the Stance of the Boar. In his stead I do this, which he also could have done: when the lance is beaten, I turn my spear and I strike him with the butt (since it is well-tempered iron).	[8v-c] Anchora e aquesto zogo dello ditto magistro che denanci in posta de zenghiar in suo scambio io fazo aquesto ch'ello po fare, quando la lanza e rebatuda Io volto mia lanza e si lo fiero cum lo pedale. Che aquesto ferro si e temperado e de tuto azale.	[46r-d] ¶ Anchora e questo zogho del ditto magistro ch'e denanzi in posta de dente de zenghiaro, in suo scambio io fazo questo ch'ello lo po fare. Quando La lanza e rebattuda, io volto mia lanza, e si lo fiero cum lo pedale, che questo ferro si'e temperado e di tutto azale.	[34a-d] Cum lo pedalle t'o ferido dela ghiavarina Pero che tegno quella da'l'altra punta piu fina	[6v-b] ¶ Callidus hoc ictu percussi labia duro, Expectans reparare^[91] gravi cum cuspide vulnus.

Mounted Fencing

Illustrations	Novati Translation by Michael Chidester Getty Translation by Colin Hatcher	Paris Translation by Kendra Brown and Rebecca Garber Morgan Translation by Michael Chidester	Morgan Transcription (1400s) [edit] by Michael Chidester	Getty Transcription (1400s) [edit] by Michael Chidester	Pisani Dossi Transcription (1409) [edit] by Michael Chidester	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
[No Image]	[1] I am a noble weapon, Lance by name: In the beginning of battle I am always used. And whoever watches me with my dashing pennant Should be frightened with great dread. And if in the beginning I make my due, Axe, sword, and dagger will I upset.	Here begins the art of the noble weapon called Lance; in the beginning of battle, on horse and on foot, is its use. And whoever watches it with its dashing pennant should be frightened with great dread. And it makes great thrusts which are dangerously strong, and with a single one it can give death. And if in the first blow it makes its due, then axe, sword, and dagger will all be upset.^[92]	[9r] Aqui comenza l'arte de nobele arma chiamada lanza principio de bataglia a cavallo, e a pe e sua usanza. E chi la guarda cum so bello penone e polito de grande paura doventa smarido. E la fa grande punte, e pericolose forte. E cum una sola po dar la morte. E si lo primo colpo el suo debito ella fara, Azza spada e daga de impazo tute le cavara.		[29a-a] Io son la nobelle arma per nome lança Principio de bataia e sempre mia usança E chi me guarda cum mio penone ardito De grande paura deventa smarito E se alo principio el mio debito faço Azça spada e daga io cavo de impaço
	[2] I carry my lance in the Boar's Tusk: To deviate yours, I will make mine enter. I carry my lance in the guard Boar’s Tooth, because I am well-armoured and have a shorter lance than my opponent. My intention is to beat his lance offline as I raise mine diagonally. And this will result in our lances crossing each other at about an arm’s length from the point. My lance however will then run into his body, while his will pass offline far from me. And that is how this is done. (This text applies to the drawing on the right.)^[93]	[Now] I bear [my] spear, but brandishing with the Boar’s Tooth And by my hand, I would be able to mark you with contrasting colors; I will penetrate your marrow. I carry my lance in the Stance of the Wild Boar's Tusk because I am well-armored and have a shorter lance than my companion. And so I make my strategy to beat his lance out of the way (so that it is off to one side and not high), and thus will I strike with my lance to his and enter with an arm on my haft, and my lance will run into his person. And his lance will go out of the way far from me, and in such fashion will I do it as is written and depicted here.		[41r-a] ¶ Io porto mia lanza in posta di dente di cenghiaro per che io son ben armado, e si, o curta lanza piu che lo compagno, e si fazo rasone de rebatter sua lanza fora de strada zoe ala traversa overo in erto. E si firiro cum la mia lanza in la sua, uno brazo in entro cum uno brazo dela mia hasta, E la mia lanza discorrera in la sua person^a.^[94] E lla sua lanza andara fora di strada lonze de mi e per tal modo faro.
			[3r-b] Io porto mia lanza in posta di dente di zenghiar perche io son bene armado, e si o curta lanza piu che lo compagno. ¶ E si fazo rasone de rebatere la sua lanza fora de strada, zoe ala taiversa[!] e non in erto. E si firiro Cum la mia lanza in la sua uno brazo in entro cum uno brazo dela mia asta. ¶ E la mia lanza discorrera in la sua persona. E lla sua lanza andera fora de strada lonze de mi e per tal modo faro como e dipento e scripto aqui.	[41r-b] ¶ Questa glosa va al Re di qua.	[29a-b] Io porto mia lança a'dent de çenchiar Per svariar la tua la mia io faro intrar	[2r-b] Nunc hastile gero sub aprino dente coruscans. Utque [??] variare queam / penetrabo medullas.^[95]^[96]
	[3] In the Boar's Tusk I carry my lance; To beat and to strike are always my method. This is the counter to the previous play when one rides against another with sharp steel, but one has a shorter lance than the other. When he who has the shorter lance carries it low in the Boar’s Tusk, then he with the longer lance should similarly carry his lance low, as drawn here, so that the short lance cannot beat aside the long lance.			[41r-c] ¶ Questo si'e lo contrario dello zogho de lanza ch'e denançi che quando uno corre contra l'altro a ferri moladi, e uno a corta lança piu che l'altro. Quando quello che a curta lanza porta la sua lanza bassa in dente di cenghiaro quello che a la lanza longa debia simile mente portarla bassa la sua, per che la curta non possa rebattere la longa per lo modo che qui e depento.	[29a-c] A dent de cenchiar io porto la mia lança Rebater e ferir e sempre mia usança
	So that you won't have advantage over me with your lance, This carry of yours I will also make with mine. [In the Getty, the Master on the right is missing his crown.]	This is the counter to the play of the lance which came before, that here one runs against the other with sharp iron and he has a shorter lance than the other. When he that has a short lance carries his low in the Boar's Tusk, he that has the long lance should similarly carry it low in the way which is depicted here, so that the short cannot beat the long.	[3r-d] Aquesto si e lo contrario dello zogo de lanza ch'e denanzi. Che qui uno corre contra l'altro a ferri amoladi, e uno a curta lanza piu che l'altro. ¶ Quando aquello che a curta lanza la porta la sua bassa in dente de zenghiar, Aquello che ala lanza longa debia similmente portarla bassa la sua, ¶ perche la curta non possa rebater la longa per lo modo ch'e aqui dipento.		[29a-d] Pero che cum tua lança de mi non habii avantaço Aquello portare dela tua, dela mia el faço
	[4] Because of the short lance that I hold, I come in the Stance of the Queen: To beat and to strike, I hold myself certain. This is another way to carry your lance when fighting another lance. This Master has a short lance, so he carries it in Guard of the Lady on the left as you can see, so he can beat aside his opponent’s weapon and strike him.	Behold! I come, holding the lance in the Woman’s [Position] at the chest. I do not fear touching the earth with pliant knees. And I would strike a bargain by staining, nevertheless your lance will thrust forward.^[97] This is another way to carry the lance. This Master has a short lance and carries it in the Stance of the Queen on the Left as you can see, to beat and then to strike his companion.	[3v-b] Aquesto e uno altro portar de lanza. Aquesto magistro a curta lanza, e si la porta in posta de dona la sinistra como voii vedite, per rebater, e ferire lo compagno.	[41v-b] ¶ Questo e un altro portar de lanza contra lanza. Questo magistro a curta Lanza e si la porta in posta de donna la sinistra como voii vedete, per rebatter a ferir lo compagno.	[29b-b] Per curta lança che io ho in posta de dona vegno Per rebater e ferir certo io me tegno	[2r-d] ¶ En venio retinens muliebrj pectore telum. Nec vereor terram genibus contingere lentis. Et feriam variata tamen tua lancea praedet.
	[5] To waste you or your horse, I make this throw: And I will come to you to attack with my sword. [In the Getty, the Master on the left is missing his crown.]	If I throw my lance into the chest of your horse, your beat will fail. And as soon as I’ve thrown my lance, I will take up the sword for my defense and with your lance you will not do me offense.	[3v-c] S’io lanzo mia lanza in lo petto dello tuo cavallo, lo tuo rebatere fallo. E subito lanzada mia lanza la spada pigliro per mia defesa. E cum tua lanza non mi faraii offesa.		[29b-c] Per guastar ti o tuo cavallo faço questo lançar E po cum mia spada io te vegnero a'trovar
	This Master also carries his lance in Guard of the Lady on the left, in order to knock aside the spear his opponent is about to throw at him. Just as he can beat it aside using his lance, so too he could beat it aside using a staff or a short sword. [In the Pisani Dossi, the Master on the right is missing his crown.]	Again, this Master carries his lance in the Stance of the Queen on the Left to beat the lance that the companion wants to throw. And that beat which he wants to strike with the lance he could also do with a staff or with a sword—except that if he throws his lance into the chest of my horse, my beat will be turned to failure. [In the Morgan, the Master on the right is missing his crown.]	[3v-d] Anchora a questo magistro porta la sua lanza in posta di donna sinistra per rebater la lanza che lo^[98] compagno gli vole lanzare. E aquello rebatere che lo vol cum la lanza fare, Aquello cum uno bastone o curta spada far lo poria. Salvo che s'ello buta sua lanza in lo peto delo mio cavallo lo mio rebater tornera fallo.	[41v-d] ¶ Anchora questo magistro porta la sua lanza in posta de donna la sinistra per rebatter la lanza che lo compagno gli vole lanzare. E quello rebatter ch'ello vole cum la lanza fare, quello cum uno bastone o curta spada far lo poria.
	[6] Fleeing, I cannot make any other defense And so I turn myself to the right and will make you offense. This master who is fleeing is not wearing armor and rides a horse built for speed, and as he flees he constantly throws his lance point behind him so as to strike at his opponent. And if were to turn his horse to the right he could quickly enter into the Boar’s Tusk guard with his lance, or he could take the left side Guard of the Lady, to beat aside his opponent’s weapon and finish him in similar fashion to the first and the third plays of the lance. [In the Pisani Dossi, the Master is missing his crown.]	Correct in opposition, I would make you strong pains. Whoever <I> runs away cannot defend his own body. This Master who flees is not armored and is on a running horse, and he is always throwing thrusts with his lance backward to strike his companion. And if he were to turn to the right side he could easily enter into the Boar's Tusk with his lance or into the Stance of the Queen on the Left, and beat and strike as he could do in the first and third plays of the lance [on foot].	[4r-b] Aquesto magistro che fuge non e armado, e si e bene a cavallo corrente, e sempre va butando le punte cum la sua lanza deriedo da si, per ferire lo compagno. E s'ello si voltasse della parte dritta ben poria intrar in dente de zenghiar cum sua lanza, overo in posta di donna la sinistra, e rebater, e ferire como si po fare, in lo primo & in lo terzo zogo de lanza.	[42r-b] ¶ Questo magistro che fuzi non e armado, e si a bon^[99] cavallo corente, e sempre va buttando le punte cum la sua lanza dredo de si per ferire lo compagno. E si ello se voltasse dela parte dritta ben poria intrar in dente di zenghiaro cum sua lanza, overo in posta di donna la sinistra, e rebatter e finire come si po far in lo primo e in lo terzo çogho de lanza.	[30a-b] Fuçando non posso far altra deffesa E se me volto del drito farote offesa	[3r-b] ¶ Rectus in oppositum faciam tibi forte dolores. ^[100]Qui fugiens proprium nequeo defendere corpus.
	[7] With my sword, I will beat your lance, And with either the point or the edge I will strike you. This method of carrying the sword against the lance is well suited for beating aside your opponent’s lance when you are passing him on his right side. And this guard is effective against all hand held weapons, namely pole axe, staff, sword etc.	The regal Form of the Woman is suitable, and piercing you With the sword <with the point> and raging against [you], this spirit sends To the shadows; the divine will of heaven would favor that manner. This carry of the sword against the lance is very good for beating the lance while riding to the right side of your companion. And this guard is good against all other handheld weapons—that is, against the ax, the staff, the sword, and so forth. [Morgan text accompanies subsequent pairing.]	[4r-d] Aquesto portar de spada contra lanza e molto fino per rebatere la lanza, cavalcando dela parte dritta delo compagno. E aquesta guardia si e bona contra tute altre arme manuale, zoe contra azza, bastone spada, &c.	[42r-d] ¶ Questo portar de spada contra lanza e molto fino per rebatter la lança cavalcando dela parte dritta dello compagno. E questa guardia si'e bona contra tutte altre arme manuale, zoe contra Aza, Bastone, spada, & cetera.	[30b-b] Cum la spada tua lança io rebatero O de punta o de taglio io te feriro	[2v-b] ¶ Regia forma decet muliebris. teque mucrone^[101] Percutiens contra que furens transmittet ad umbras Hic animus / faveant illi modo numina caeli.
	[8] I make the counter to your guard, And your horse I will strike without any trouble. This is the counter to the previous play. This Master attacks with his lance held low in order to strike his opponent’s horse either in the head or the chest, and the opponent will be unable to beat aside such a low attack with his sword. [In the Getty, the Master on the right is missing his crown. In the Pisani Dossi, both Masters are missing their crowns.]	This is the counter to the play that came before. And this Master with the lance carries it low to strike the horse in the head and in the chest, because his companion cannot reach so low with his sword.	[4r-c] Aquesto si e lo contrario dello zogho ch'e denanci. Che questo magistro cum la lanza la porta bassa per ferire lo cavalo in la testa, o in lo petto, che lo compagno non po rebater cum la spada tanto basso.	[42v-a] ¶ Questo si'e contrario del zogho ch'e denanzi che questo magistro cum la lanza la porta bassa per ferir lo cavallo, o in la testa, o in lo petto che lo compagno non po rebatter cum la spada tanto basso.	[30a-c] Lo contrario dela tua guardia io faço Tuo cavallo feriro sença nessun impaço
		This carry of the sword is very fine, and it is called by a name that was said before: I carry my sword in the left Queen's Stance. And if this one comes to me with the lance in rest (to strike me and not my horse), I will beat his lance and I will strike him with my sword without fail. Note that the sword cannot defend below the neck of a horse. [Morgan text accompanies previous pairing.]	[4v-b] E aquesto portare di spada e molto fino ch'e ditto denanci che se porta contra lanza come e ditto denanci. Che porto la mia spada in posta donna sinistra. E da questo mi vene cum la lanza in resta per ferirmi, e non el cavallo, rebatero la sua lanza, e cum mia spada lo feriro senza fallo che la spada non po defendere basso per lo collo del cavallo.
	[9] So that you do not beat my lance out of the way, Under my left arm I carry it in rest. This is another counter of lance versus sword. In this one, the man with the lance couches his lance under his left arm, so that his lance cannot be beaten aside. And in this way he will be able to strike the man with the sword with his lance.	Again this is another counter of lance against sword. He of the lance sets his lance in rest under his left arm so that his lance cannot be beaten aside. And in this fashion he can strike him of the sword with his lance. [In the Morgan, the Master's opponent is wearing a crown.]	[4v-d] Anchora e aquesto uno altro contrario de lanza contra spada. Che aquello dela lanza, meti e resta sua lanza sotto lo suo brazo stancho perche non sia rebatuda sua lanza. E per tal modo pora ferir cum sua lanza aquello della spada.	[42v-d] ¶ Questo e un altro contrario de lanza contra spada, che quello dela lanza metti e resta sua lanza sotto lo suo brazo stancho per che non gli sia rebattuda sua lanza. E per tal modo pora ferir cum sua lança quello della spada.	[30b-d] Perche tu non rebati mia lança fora destrada Soto el braço mancho io la porto arestada
	[10] At mid-lance thus I come, well-enclosed So that you will delay in beating my lance. I trust I will strike your horse without fail; You will see my play carried out hereafter. [In the Pisani Dossi, the Master on the right is missing his crown.]	Drawing the members close at the same time, I, the harsh one, seize the javelin <I delay the javelin> In the middle. You will have been hindered in breaking [me] open. Finally, Your steed <horse>, having been struck a lethal wound, will depart. [In the Paris, the Master on the right is missing his crown.]	[5r-a] [No text]	[43r-a] [No text]	[31a-a] A meça lança io vegno acossi ben asserato Che a'rebater mia lança tu sera intardato De ferir el tuo cavallo sença fallo el'credo Vederaii Lo mio çogho conpire aqui dedredo	[2v-c] ¶ Stringens membra simul, iaculum complector^[102] acerbus In medio. tardatus eris refringere^[103] tandem Vulnere letali sonipes^[104] tuus ictus abibit.
	Here the man with the sword awaits the man with the lance, and he is waiting in the Boar’s Tusk guard. As the man with the lance approaches him, the Master with the sword beats aside the lance to the right side, covering and striking with one turn of the sword. [In the Getty, the Master on the left is missing his crown.]	This one with the sword awaits him with the lance. He waits in the Boar's Tusk as he with the lance comes, and then the Master with the sword beats his lance away toward the right side. And thus can the Master do with the sword—that is, he can cover in one rotation of the sword. [In the Morgan, the Master on the left is missing his crown.]	[5r-b] Aquesto cum la spada aspeta aquesto cum la lanza, e si lo aspeta in dente de zenghiare, como aquello cum la lanza gli vene apresso, lo magistro cum la spada rebati sua lanza in fora verso parte dritta. E acosi po far lo magistro cum la spada. ch'ello po covirre[!] in uno voltar de spada.	[43r-b] ¶ Questo cum la spada spetta questo cum la lanza e si lo spetta cum dente di cenghiaro, Come quello cum la Lanza gli vene apresso, lo magistro cum la spada rebatti sua lanza in fora in verso parte dritta. E chossi po far lo magistro cum la spada, ch'ello po covrir e ferir in un voltar di spada.	[31a-b] [No text]	[2v-d] [No text]
	[11] So that you cannot cross your sword with my [weapon], I carry it low to waste your horse. This is the counter to the preceding play of lance versus sword. Here the man with the lance strikes his opponent’s (the man with the sword) horse in the head, because he cannot beat aside the lance with his sword since it is too low. [In the Pisani Dossi, the Master is missing his crown.]	This is the counter of the play of the lance and the sword that came before: that is, that he with the lance strikes to the head of the horse of his enemy (that is, of him with the sword), because he cannot beat a lance or sword which is so low. [In the Morgan, the Master's opponent wears a crown.]	[5r-c] Aquesto e lo contrario dello zogo de lanza, e spada ch'e denanzi zoe che aquello cum la lanza fieri in la testa lo cavallo del suo inimigo zoe aquello dela spada perché non po rebater la lanza cum la spada si a basso.	[43r-c] ¶ Questo e lo contrario dello zogho di lanza e de spada ch'e denanzi, çoe che quello cum la lanza fieri in la testa lo cavallo dello suo inimigho, zoe quello della spada, per che non po rebatter la lanza cum la spada si basso.	[31a-c] Perche cum tua spada cum mi non possi incrosar Bassa la porto per lo tuo cavallo guastar
	[12] Such a carry of the sword gives me four plays to make: I could strike with the point and the edge without fail, And also throw someone from horseback or take his sword. Seldom are these things failures to me. This way of carrying the sword is named “the Long Tail Guard”. When you are riding to your opponent’s right side, this is a very good guard to use against the lance and all other hand held weapons. Keep firmly in your mind that thrusts and strikes from the left side should be beaten aside to your outside line, beating them diagonally upwards, not vertically. And the downward strikes should similarly be beaten aside to the outside, lifting your opponent’s sword a little as you do so. You can make these plays as these drawings show.	Truly there are four ways of carrying a sword; Verily he moves toward the plays. And by means of the sharp point being forward, I would hit you. And he will cut the open limbs with cutting, And again from your seat you will plainly depart Without a sword. And that method seldom disappoints a man. This carry of the sword is called the Stance of the Long Tail, and it is very good against lance and sword and against all other handheld weapons, while riding to the right side of the enemy. Bear in mind well that the thrusts and the backhand blows should be beaten out to the side and not upward, and the downward blows should also be beaten to the side (lifting the sword of the enemy slightly); [this guard] can make all the plays corresponding to the figures that are depicted.	[5v-b] Aquesto portar di spada si chiama posta de coda longa e si e molto bona, contra lanza e sp[ada], e contra ogni arma manuale. Cavalcando della parte dritta delo suo iminigo. E tente bene a mente che le punte e li colpi riversi si dibano rebater in fora zoe ala traversa e non in erto. E lli colpi di fendent si dibano rebater anche in fora levando un pocho la spada dello suo inimigo, e po fare gli zoghi segondo le figure depente	[43v-b] ¶ Questo portar di spada se chiama posta de coda longa, e si e, molto bona contra lanza, e contra ogni arma manuale, cavalcando dela parte dritta dello suo inimigho. E tente ben a mente che le punte e li colpi riversi si debano rebatter in fora, zoe, ala traversa e non in erto. E li colpi de fendenti, si debano rebatter per lo simile in fora, levando un pocho la spada dello suo inimigo, E po fare gli zoghi segondo le figure depente.	[31b-a] Tal portar de spada quatro zoghi me fa far De punta e de taglio ferir posso sença fallar Anchora butar da cavallo e tore de spade^[105] Rare volte queste cosse me son fallade	[3r-d] ¶ Quattuor iste modus gestandi nempe mucronem Ne movet ad ludos. et acute^[106] cuspide prorsus Te feriam. caedetque artus cesura patentes Atque iterum de sede tua manifestus abibis Ense carens. et raro hominem modus iste fefellit^[107]
	[13] Of these two guards I make no comparison; Whoever knows more, his judgment will overcome. And whoever will know to watch for deception Will be able to make the four aforesaid plays well. This version of the Long Tail Guard is a good guard when your opponent attacks you from his sword on his left shoulder, as this opponent is shown doing here. And be advised that this guard will work against all attacks from both the right and the left sides, and against anyone, whether right handed or left handed. Hereafter begin the plays from the Long Tail that always begin with beating aside the opponent’s weapon, as you saw drawn in the first guard of the Long Tail. [In the Getty, the Master on the left is missing his crown.]	Again this same Stance of the Long Tail is good when one comes against you with the sword on the left-hand side, as this enemy of mine does, and know that this guard counters all blows from the right side and from the left side, and counters anyone, be they right- or left-handed. And hereafter commence the plays of the Long Tail, which always beats in the fashion that was said earlier in the first Guard of the Long Tail.	[5v-d] Anchora aquesta propria guardia de coda longa si e bona quando uno gli vene in contra cum la spada a man riversa, come vene questo mio inimigo, e sapia che questa guardia e contra tuti colpi de parte dritta e di parte riversa, e contra zaschuno che sia drito o manzino. E aqui de driedo comenzano gli zoghi de coda longa che sempre rebati per lo modo ch'e ditto denanci in prima guardia de coda longa.	[43v-d] ¶ Anchora questa propia guardia de choda longa si'e bona quando uno gli vene incontra cum la spada, a man riversa come vene questo mio inimigo. E sapia che questa guardia e contra tutti colpi de parte dritta e di parte riversa, e contra zaschun che sia, o dritto o manzino. E qui dredo cominzano gli zoghi di coda longa che sempre rebatte per lo modo ch'e ditto denanzi in prima guardia de coda longa.	[31b-c] De queste due guardie io non faço conperacion Chi piu savera e pora vinçera sua oppinion E chi dele viste falsse se savera guardar, Aquilli quatro zoghi dicti ben li pora far
	[14] This is an equal crossing, without advantage; Whoever has more art and malice begins the action.	These two Masters are here crossed at the full of the sword. And that which one can do, the other can do also—that is, he can do all the plays of the sword with this crossing. But crossing is of three categories (that is, from the full of the sword to the tip of the sword), and whoever is crossed at the full of the sword can withstand a little, and whoever is crossed at middle of the sword can withstand less, and whoever at the tip of the sword can withstand nothing at all. So the sword, as such, has three matters—that is, a little, less, and nothing.	[6r-b] Quisti doi magistri sono aqui incrosadi a tuta spada. E zo che po far uno po far l'altro, zoe che po fare tuti zoghi de spada cum lo incrosar. Ma lo incrosar si e de tre rasone, zoe a tuta spada, e punta de spada. E chi e incrosado a tuta spada pocho gle po stare. E chi e incrosado a meza spada meno gle po stare. E chi a punta de spada niente gle po stare. Si che la spada si ha in si tre cose, zoe pocho, meno, e niente.		[32a-b] Questo e uno ingualivo e sença avantaço incrosar Chi ha piu arte e malicie si li començe a far
	[15] This point I gladly have set in your throat Per the third Master [13] who demonstrates such a guard. This is the first play that comes from the Long Tail Guard shown above. Here the Master beats aside his opponent’s sword, and then places a thrust into his chest or his face, as you see drawn here.	I pierced through the exposed neck with the point of my sword. For instance, the third master taught me thoroughly using principles. This is the first play which belongs to the Guard of the Long Tail which appeared here before: that is, that the Master beats the sword of his enemy and thrusts the point into his chest, or into his face as depicted here. [In the Paris, the Scholar wears a crown.]	[6r-a] Aque[sto]^[108] e lo primo zogho che esse dela guardia de coda longa ch'e aqui denanci, zoe che llo magistro rebatti la spada delo suo inimigo, e metegli la punta in lo petto, o vole in lo volto come aqui dipento.	[44r-a] ¶ Questo e lo primo zogho che esse dela guardia de coda longa ch'e qui denanzi, zoe ch'ello magistro rebatte la spada dello suo inimigo, e mettigli la punta in lo petto, o vole in lo volto come qui depento.	[32a-a] Questa punta in la golla volentera t'o posta Per lo terço magistro che tal guardia mostra	[3v-a] ¶ Cuspide mucronis transfigo guttur apertum Tertius edocuit nam me cum lege magister.^[109]
	[16] Per the first Master that is in guard with the sword I have given this strike to your head. This is the second play that you can do after beating aside your opponent’s weapon. Here I strike this man over the head, because I see his head is unarmored.	Using a wound, I, the fighting one, terrify the neck with a wound. Prudent with regard to this sword,^[110] the first master teaches me truly. This is the second play which can give a beat. I strike this man over the head, for I see well that he is not armored on his head. [In the Paris, the Scholar wears a crown.]	[6r-c] Aquesto si e lo segondo zogo che puo de quello rebater Io fiero a costui sopra la testa che vezo bene che ello non e armado in la testa.	[44r-b] ¶ Questo si'e lo segondo zogho ch'e pur di quello rebatter, Io fiero costuii sopra la testa che vezo ben ch'ello non e armado la testa.	[32a-c] Per lo primo magistro che sta in guardia cum spada Questa ferida in'su la testa tua io t'o dada	[3v-c] ¶ Vulnere^[111] terrifico cervicem^[112] vulnere luctans Cautus in ense prior docet hoc me nempe magister.^[113]
	[17] By crossing ahead of your sword I have deviated it And with mine I have given a great blow: And also I could have given it to you with my point; And none of the weapons that you have could stop me. This is the another play, the third, where, after beating aside your opponent’s sword, you grab it with your left hand and strike him in the head. You could also strike him with a thrust.	Here is another play, which is the third that beats the sword of his enemy; he grasps with his left hand and strikes the [enemy's] head, and he could also strike thusly with the point.	[6r-d] Aquesto e uno altro zogo ch'e llo terzo che rebatuda la spada dello suo Inimigo ello la pigla cum la mane stancha e si gle feri la testa e acosi gle poria ferire de punta.	[44r-c] ¶ Questo e un altro zogho lo terzo, che rebattu da la spada dello suo inimigho, ello la piglia cum la mane stancha, E si gli fieri la testa. e cossi gli poria ferir de punta.	[32a-d] Per lo incrosar denançi tua spada io o'suariada E cum la mia io t'o dada una rea spadaçada E cussi io t'averia possu dare cum'la punta Per li arme che tu non ha quello niente me monta
	[18] You will lose your sword because of this catch Or you will go to the ground without any defense. This is the fourth play, in which the student strikes his opponent in the head and then takes his sword in the manner shown here.	You, shamefaced, on account of this will either perhaps abandon your sword, Or you will lie down, prostrate on the ground; there is no preventing [this].^[114] This is the fourth play that the scholar wants to make—that is, take the sword in this way that you can see depicted here. [In the Paris, the Scholar wears a crown.]	[6v-a] Aquesto si e lo quarto zogo che lo scolar gle vole fare zoe tore la spada per questo modo che vuii possite vedere aqui depento.	[44r-d] ¶ Questo si'e lo quarto zogho che lo scolaro gli vol ferir la testa e tor gli la spada per questo modo che vedete qui depento.	[32b-a] La tua spada perderaii per questa presa O tu andara in'terra sença nesuna deffesa	[4r-b] ¶ Tu pudibundus obhoc ensem vel forte relinques Vel prostratus humi nullo prohibente iacebis.^[115]
	[19] So that my sword would not be taken from me Against you I have made this turn: Such that that which you were wanting to do to me Through this counter I will do to you. This is the sixth [fifth] play, where you take away your opponent’s sword. You use the hilt of your sword to lift his hilt upwards, which will make his sword fall from his hands. [This Master is missing his crown.]	This is the fifth play, in which he wants to take the sword of his companion with the hilt of his sword; the other hilt he will have above, and the sword will fall from [his companion's] hand for certain.	[6v-b] Aquesto si e lo quinto che vol tore la spada al compagno. Cum lo mantenir dela spada, l'altro mantenir lavera in erto. Dela mane gli cadera la spada per certo.	[44v-b] ¶ Questo si'e lo Sexto che vol tore la spada al compagno. cum lo mantenir dela spada, l'altro mantenir Levera in erto, della mane gli cadera sa[!] spada per certo.	[32b-b] Perche la mia spada non me sia tolta Contra de ti io o fata questa volta Si che quello che tu vulivi far a'mii Per lo contrario quello io faço a'tii
	[20] From horse to ground it will behoove you to go; Maybe I will then know what I should do with you. This is the fifth [sixth] play that flows from the cover where you beat aside his sword. Here I throw my arm around his neck and turn quickly, and with the base of my sword I drive him to the ground. My counter is the second play that follows me, but this counter will not work if your opponent is armored.^[116]	He disengages lest I trample the beating heart on the ground. Anything that I would like concerning you I will be able to try afterward. This is the sixth play that makes a cover with the beating of the sword. I throw my arm to his neck and quickly turn, and I will throw you to the ground, sword and all, without a doubt. My counter is here after and is the seventh play. Well that he has not achieved being armored. [In the Paris, the Scholar wears a crown.]	[6v-c] Aquesto si e lo sexto zogo che fatta la coverta cum lo rebater de spada. Io glie buto lo brazo al collo in lo voltar subito. Cum tuta la spada in terra lo butero senza dubito. E lo mio contrario de dredo si e lo septimo zogo. Benche siando armado de farlo el non ha logo.^[117]	[44v-a] ¶ Questo si'e lo quinto zogho che fa la coverta cum lo rebatter de spada. Io gli butto lo brazzo al collo allo voltar subito, cum tutta la spada in terra lu buttiro senza dubito. E lo mio contrario de dredo si'e lo segondo zogho. Ben che siando armado, di farlo, non a logo.	[32b-c] Da cavallo in terra te conven andar Poii de ti savero che debero far	[4r-c] ¶ Expedit ut terram calcato pectore pulses. Quidque velim de te potero tentare deinde.
	[21] If it would behoove me to go to the ground, [sword] and all, I could do no defense other than this strike. This is the seventh play, which is the counter to the fifth [sixth] play above. It employs a strike to your opponent’s leg. But if your opponent is armored, you can’t trust this counter to work.	This is the seventh play which is the counter—that is, the strike that he makes to the leg of the other one. If your companion were armored, you could not rely on this. [In the Morgan, the Master is missing his crown.]	[6v-d] Aquesto si e lo septimo zogo ch'e contrario dello ferire, ch'ello gli fa in la gamba aquello e desso. Se lo compagno fosse armado non te fidar in esso.^[118]	[44v-c] ¶ Questo si'e lo Settimo zogho ch'e contrario del quinto. Lo ferir ch'ello gli fa in la gamba a quello e desso. Se lo compagno fossi armado non te infidar in esso.	[32b-d] Si del tuto in terra me conven andar Altra deffesa che questo ferir non posso far
	[22] I want to make my defense against the point and the edge, Such that the sword will not be taken from me nor caught, And neither will I be thrown to the ground from my horse: I will strike your face with my pommel without fail. This is the eighth play, which is the counter to all of the preceding plays, but especially the plays of the mounted sword when the masters are in the Long Tail guard. When the Masters or their students are in this guard, and when I strike or thrust at them, and when they quickly beat my attack aside, then I quickly turn my sword and strike them in the face with my pommel. Then I move quickly from my position^[119] and strike them in the back of the head with a horizontal backhand strike.	I now protect myself from the cutting, and also the strong point. And I strike the face with the hilt <of the grip> lest this sword be seized From me. I shall not yet be thrown to the farthest ground. This is the eighth play and it is the counter to all the plays that came before, and especially of the plays of the sword on horseback and of the Masters that are in the Guard of the Long Tail. And when the Masters or Scholars stand in the aforesaid guard and I strike with a thrust or another blow, and they quickly beat my sword, I immediately give a turn to my sword and with my pommel I strike them in the face. And I can pass with my cover quickly and strike them behind the head with a backhand middle cut.	[7r-a] Aquesto si e lo ottavo zogo ch'e contrario de tuti li zoghi che mi sono denanci. E maximamente deli zoghi de spada a cavallo, e deli lor magistri che sono in guardia de coda longa. Che quan li magistri, o scolari stano in la ditta guardia e io tra una punta, o altro colpo. E subito elli me rebateno, o taio, o punta che faza. Quando elli me rebateno subito io do volta ala mia spada e cum lo pomo mio io fero in lo volto. E poii passo cum la mia coverta presta. E cum lo riverso tondo gli fero dredo la testa.	[44v-d] ¶ Questo si'e lo ottavo zogho ch'e contrario di tutti gli zoghi che mi sono denançi. e maxima mente delli zoghi de spada a cavallo, e delli lor magistri che sono in guardia de coda longa. Che quando li magistri, o scolari stano in la ditta guardia, e io gli tro[!] una punta o altro colpo, e subito elli me rebatteno o taglo o punta che faza, Quando elli me rebateno, subito e io do volta ala mia spada, e cum lo pomo mio, io gli fiero in lo volto. E poii passo cum la mia coverta presta e cum lo riverso tondo gli fiero dredo la testa.	[33a-a] Per punta e taglio voio far mia deffesa Anchora che la spada non me sia tolta ne presa Ne che sia butado per terra de mio cavalo Lo volto te feriro cum lo pomo si non fa lo	[4v-b] ¶ Protego^[120] cesura me nunc / ac cuspide forti. Et capulo^[121] faciem ferio / ne prensus hic ensis^[122] Sit mihi / sim terram nec adhuc proiectus ad imam.
	[23] So that you could not hit me in the face with your pommel, I have taken your blow with the hilt of my sword. I am the ninth play, which is the counter to the counter that preceded me. When he turns his sword, I quickly place my hilt as you see drawn here, so that he cannot strike me in the face with his pommel. And if I raise my sword up, and turn it to the left, you^[123] could well have your sword taken away. And if I am unable to do that, I could instead strike you with a backhand strike to the face, or with a quick turn of my sword strike you in the head with my pommel. Here ends the plays of sword against sword on horseback. If you know more of this, please share it. Here ends the plays of sword against sword on horseback. If you know more of this, please share it. [This Master is missing his crown.]	The ninth I am, who makes the counter to that which came before me, so that when he gives a turn to his sword I quickly thrust my hilt (as you see depicted) so that he cannot strike me in the face with his pommel. And if I raise my sword high and give a turn to the left, it could very well be that his sword will be taken from him. And if that fails me and I cannot do it, so quickly will I make the turn that I will give to his face with the false edge of my sword (or I will strike him in the head with my pommel). This finishes the mounted play of sword against sword, and whoever keeps it in mind will give a good deal.	[7r-b] Lo nono sone che fazo lo contra lo contrario che m'e denanci. Che quando ello da volta ala sua spada, subito lo mio mantenere meto como vuii vedeto depento, che cum lo pomo in lo volto non me po ferire, e s'io levo la spada in erto e dello riverso io piglo volta. Ben poria essere che la spada ti sara tolta. E si aquello mi falla che io non lo faza, dello riverso dela spada ti daro in la faza overo dello pomo ti firiro in la testa tanto faro una volta presta. Aqui finisse lo zogo a cavalo de spada a spada chi piu ne sa men dia una bona derada.	[45r-a] ¶ Lo nono son che façço contra lo contrario che m'e denançi. Che quando ello da volta ala sua spada subito lo mio mantenir metto, comme voii vedete depento che cum lo pomo in lo volto non me po ferir. E s'io levo la spada in erto, e dello riverso io piglio volta, ben poria esser che la spada ti saria tolta. E si quello mi falla che io non lo faza, dello riverso dela spada ti daro in la faza. Overo delo pomo te feriro in la testa, tanto faro mia volta presta. ¶ Qui finisse lo zogho a cavallo de spada a spada. Chi piu ne sa men dia una bona derada.	[33a-b] Perche tu non me daghi del pomo in lo volto Cum lo mio mantiner de spada tuo colpo o tolto
	[24] In such a way have I grabbed you, running up behind, That I will throw you from the horse—this I believe. This is a grappling play, that is a play of the arms,^[124] and this is how you do it: if your opponent is fleeing from you, you come up behind him to his left side. Now with your right hand grab the cheek piece of his bascinet, or if he is unarmored, grab him by the hair or by the right arm from behind his shoulder. In this way you will make him fall backwards to the ground. [In the Getty and Pisani Dossi, the Master is missing his crown.]	I hold you captured by the helmet, whereby you turn your back backward. Afterward, I will send you with flying chest into the ground. This is a play of grappling, and inasmuch as it is a play of grappling it is a play of the arms, and it is done in this way: when one flees from you and you come up behind him from the left side, grab him on the cheek of his helmet with your right hand (or, if he is unhelmed, grab him by the hair or the right arm from behind his shoulder), and in this way you will make him fall backward such that you will make him go to the ground. [In the Morgan, the Master is missing his crown.]	[7v-a] Aquesto e zogo de abrazar e tanto, e a dire zogo de abrazar che zogo di braci, e si fa per tal modo. Quando uno te fugi e dela parte stancha tu gli ven apresso Cum la man dritta tu lo pigli in lo sguança dello bacinetto, e s'ello e desarmado per gli cavili, Overo per lo brazo dritto, per dredo le sue spalle, per tal modo lo faraii arivesare, Che in terra lo faraii andare.	[45r-b] ¶ Questo e zogho de Abrazare zoe zogho de brazi, e si fa per tal modo. Quando uno ti fuzi e dela parte stancha tu gli ven apresso, Cum la man dritta tu lo pigli in le sguanze dello bacinetto, e se ello e disarmado, per gli cavigli, overo per lo brazo dritto per dredo le soy spalle, per tal modo faralo riversare, che in terra lo farai andare.	[33a-c] Acossi come io t'o preso corandoti dredo Da cavallo te butero e questo io credo	[5r-b] ¶ Te galea^[125] prensum teneo / qui terga revolvis. In terram post te currendo pectore mittam.^[126]
	[25] You wanted to throw me from my horse But with this counter you will go to the ground instead. This is the counter to the previous play, and that play will not work when this counter is quickly applied as follows: when he grabs you from behind you quickly switch hands on the reins, and with your left hand you lock him up as shown here.	It is useful that you merely beat the ground With the trampled corpse. The counter actions accomplish this. Spiteful, You nevertheless wish to attempt that same thing on myself. This is the counter to the play that came before; this counter goes in this way with the catch that was made: that is, that quickly when he grabs him from behind, [the Master] should immediately exchange the hand on the reins, and with his left arm he should grab him in this fashion.	[7v-b] Aquesto e contrario dello zogo che dinanci me va per tal modo aquesto contrario cum tal presa se fa zoe che subito quando ello per dredo lo piglia la man della brigla debia subito scambiare. E cum lo brazo stancho, per tal modo lo de piglare.	[45r-c] ¶ Questo e contrario del zogho ch'e denanzi ne val per tal modo, questo contrario cum tal presa se fa zoe subito quando ello per dredo lo piglia, La man dela briglia debia subito scambiare, e cum lo brazo stancho per tal modo lo de pigliare.	[33a-d] Da cavallo me vulisti pur butare E cum questo contrario in terra te conven andare	[5r-c] ¶ Ut modo tellurem calcato corpore tundas Est opus . hoc faciunt contraria gesta . malignus Tu tamen illud idem mihimet tentare cupisti.
	[26] I want to lift your leg with the stirrup, And because of this, to the ground you will go. This student is about to throw his opponent off his horse, by grabbing the stirrup and pulling it upwards. If his opponent does not fall to the ground, he’ll be helpless in the air, and unless his opponent is tied to his horse, this play will not fail him. If he does not have his foot in the stirrup, the student can grab him by the ankle and raise him up into the air in the same way, as I described above. [In the Getty, the Master is missing his crown.]	Lifting the leg simultaneously by the stirrup, this, my Powerful right [hand], turns you to the furthest. Nor will your leg be made better. This Scholar wants to throw this one from his horse—that is, he grabs him by the stirrup and lifts him up. If he doesn't go to the ground, he would clearly be floating in the air! Assuming he isn't lashed to his horse, this play cannot fail. If he does not have his foot in a stirrup, grab him by the ankle and it will be even easier to lift him up than I said before so do as was written here earlier. [In the Morgan, the Master is missing his crown.]	[7v-c] Aquesto scolar vole butar questo da cavallo zoe che lo pigla per la staffa e levalo in erto. S'ello non va in terra in aere stara per certo. Salvo che se non e a cavallo ligado. Aquesto zogo non po essere falado. S'elo non ha lo pe in la staffa per lo collo del pe lo pigla che piu vale levando in erto come denanci e ditto, fate aquello ch'e denanzi aqui scrito.	[45r-d] ¶ Questo scolaro vole buttar questo da cavallo çoe ch'ello lo piglia per la staffa e levalo in erto. Se ello non va in terra in aere stara per certo, Salvo s'ello non e^[127] al cavallo ligado, questo zogho non po esser fallado. E se ello non a, lo pe in la staffa per lo collo del pe lo piglia che piu vale levandolo in erto come denanzi ditto. Fate quello ch'e denanzi qui scritto.	[33b-a] La staffa cum la gamba te voio levar E per questo in terra te convien andar	[5v-b] ¶ Crure simul stafile levans / te vertet ad imum Hec mea dextra potens. nec erit quae molliat artus.^[128]^[129]
	[27] You wanted to throw me well from my horse; With this counter, to the ground you will go. Here is the counter to the previous play: when your opponent grabs your stirrup or your foot, throw your arm quickly around his neck, and in this way you will be able to unhorse him. Follow this advice and he’ll end up on the ground for sure.	Look how strongly I hold your neck by the shoulder, <in front of you> Which in this way you evade the attempt: you vainly try To fling the unarmed [man] to the ground.^[130] But the counters conquer you. This here is the counter of the play that appeared before it, so if one grabs you by the stirrup or by the foot, throw your arm to his neck. You should do this quickly, for in this fashion you could dismount him from his horse; if you do this, he will hit the ground without fail.	[7v-d] Lo contrario aqui del zogo ch'e denanci aparechiado et se uno te pigla per la staffa overo per lo pe, Butagle lo brazo allo collo, aquesto subito far se de. E per tal modo lo porai descavalcare da cavallo. S'tu fai aquesto ello andera per terra senza fallo.	[45v-a] ¶ Lo contrario del zogho denançi qui e parechiado, che se uno ti piglia per la staffa, overo per lo pe, buttagli lo brazo al collo, e questo subito far si de. E per tal modo lo poraii discavalcare da cavallo. S'tu fa questo ello andera in terra senza fallo.	[33b-b] De cavallo tu me volisti ben butare Cum questo contrario in terra te conven andare	[5v-c] ¶ Aspice quam forti teneo tua^[131] colla lacerto Qui modo per terram frustra conatus inermem^[132] Spargere^[133] tentabas. sed te contraria vincunt .^[134]
	[28] I want to throw you and your horse to the ground; The breast of mine will go to the haunches of yours: I will not release the bit of your horse, And in the end you will not avoid the ground; And when one is well-armored this is a fine hold, Because against armor you cannot make an offense. This is a method of throwing your opponent to the ground by throwing his horse. It’s done like this:^[135] when you and your mounted opponent close, ride to his right side. Then throw your right arm over the neck of his horse, and grab the bridle close to where the bit enters its mouth, and forcefully wrench it upwards and over. At the same time make sure your horse’s shoulders^[136] drive into his horse’s haunches^[137] In this way you will bring down both him and his horse at the same time. [In the Getty, the Master is missing his crown.]	I will throw you and your horse, prevented by none, By whose raging haunches the chest of mine will stay. I will not relinquish the resounding bridle of your quadruped While you would strike the muddy ground precipitously with the crown of the head. That best deception certainly prevails when [one is] wearing armor; afterward He himself begins to fear being unable to injure anyone in armor. This is a play of throwing one to the ground, horse and all: that is, the Master rides to the right side of his enemy and throws his right arm over the neck of his [enemy's] horse. And he grabs the bridle of his [enemy's] horse behind the bit, rotates the head of the horse up, and he should spur his horse with his foot striking the rump or flanks. And in this way he will fall, horse and all…	[8r-a] Aquesto e uno zogo de butare uno in terra cum tuto lo cavallo zoe che lo magistro cavalcha dela parte dritta dello suo Inimigo, e buta lo suo brazo dritto per sopra lo collo dello suo cavallo. E pigla la brena delo so cacavallo[!] apresso lo morso, revoltando la testa dello cavallo in erto e llo suo debia speronare che lo suo cavallo cum lo suo petto fiera in gropa overo in gli fianchi del suo cavallo. E per tal modo cadera cum tuto^[138] lo cavallo. Lo contrario de questo magistro che vole butare in terra lo suo inimigo cum tuto lo cavallo. Si e aquesto che subito quando lo magistro pigla la sua brena. Che ello debia butare lo brazo al collo per modo che fa lo quarto zugadore che m'e denanci per tal modo andera in terra.	[45v-b] ¶ Questo si'e un Atto de butar uno in terra cum lo cavallo. Lo rimedio di buttar uno in terra cum tutto lo cavallo per tal modo si fa. Quando tu scontre uno a cavallo. Cavalca dela sua parte dritta. E llo tuo brazo dritto buttalo per sopra lo collo del suo cavallo, e pigla la sua brena a presso lo morso che gli sta in bocha, e rivoltalo in erto per forza. E llo petto del tuo cavallo fa che vada per mezo la groppa del suo cavallo. E per tal modo convene andar in terra cum tutto lo cavallo.	[33b-c] Ti e'l tuo cavallo per terra voio butar Lo peto del mio in la gropa del tu^o faro andar Del tuo cavallo non voio lassar el morsso Infin che tu non va in terra descorsso E quando uno e ben armato questa e fina presa Por che cum arme non gli po far offesa	[4v-c] ¶ Teque tuum iaciam nullo prohibente caballum^[139] Cuius clune / mei pectus fremitando sedebit. Quadrupedis nec linquo tui resonantia frena^[140] / Donec humum praeceps limosam vertice tangas. Ista quidem armato valet optima captio / possuntque^[141] Ledere^[142] non armis ullum sibi posse pavescit^[143]
	[29] This is the counter to the play before, where you throw your opponent to the ground together with his horse. This is an easy counter: when the student throws his arm over the neck of your horse to grab the bridle, you should quickly throw your arm around the student’s neck, and you will effectively make him let go. Just do as the drawing shows.	…This is the counter of the play that came before in which he wants to throw his companion to the ground along with his horse. This is an easy thing to remember, that when the Scholar throws his arm over the neck of his horse to grab the bridle, the player should quickly throw an arm to the neck of the Scholar, and thus he is forced to release it. Following that which you see depicted here, so should you do.		[45v-c] ¶ Questo si'e lo contrario di questo zogho qui denanzi che vole buttar in terra lo compagno cum tutto lo cavallo. Questa e lizera chosa da cognossere che quando lo scolaro butta lo brazo per sopra lo collo del cavallo per piglar la brena, de subito ello gli de buttar el brazo lo zugador al collo dello scolaro, e per forza ello convien lassar. Segondo vedeti qui depento si debia fare.
	[30] I seek to take the bridle from your hands And I want to throw it over the head of your horse: And when the bridle will be thrown over its head, With my position I will lead you to a different country. In this play you take the reins of your opponent’s horse out of his hands, as you see drawn here. When you and your mounted opponent close, ride to his right side, and throw your right arm over his horse’s neck and grab the reins near his left hand with your right hand turned down. Now pull the reins over his horse’s head. This play is safer to do in armor than unarmored. [In the Getty, the Master is missing his crown.]	This is a play of taking the bridle of a horse from the hand of your companion in the way that you see depicted here. The Scholar, when he goes against another on horseback, should ride to the right side and throw his right arm over the neck of the horse, grabbing its bridle near his hand on the left-hand side, and so take the bridle off the horse's head. And this play is more secure in armor than unarmored.	[8r-b] Aquesto e uno zogho de tore la brena dello cavallo dela maane^[144] delo compagno per modo che voii vedite aqui dipento, lo scolar quando ello se scontra cum uno altro da cavallo, ello gle cavalcha dela parte dritta, e butagli lo suo brazo dritto per sopra lo collo del cavallo, e pigla la sua brena^[145] apresso la sua man sinistra cum la sua man riversa. E tra la brena delo cavallo dela testa. E aquesto zogo e piu seguro armado che disarmado.	[45v-d] ¶ Questo si'e un zogo di tore la brena delo cavallo de mane del compagno per modo che vedeti qui depento. Lo scolaro quando ello se scontra cum uno altro da cavallo, ello gli cavalca dela parte dritta, e butta gli lo suo brazo dritto per sopra lo collo dello cavallo, e pigla la sua brena apresso la sua man sinestra, cum la sua mane riversa. E tra la brena dela testa del cavallo. E questo zogo e piu siguro armado che disarmado.	[33b-d] Per tor la brena de mano aquello cercho de far E dela testa del tuo cavallo la voio tirar E quando la brena sera dela testa tirada A mia posta io te menaro in altra contrada
	[31] This Master has lashed a cord to his saddle And to the foot of his lance, which is cruel and destructive, To throw to the neck of his enemy, In order to drag him to the ground; so do I say. This Master has bound one end of a strong rope to his horse’s saddle, and the other end to the butt of his lance. First he strikes his opponent, then he will cast the lance to the left side of his opponent, over his opponent’s left shoulder, and in this way he can drag his opponent from his horse.	This Master has lashed a strong cord (that is, one end) to the saddle of his horse, and the other end is lashed to the foot of his lance. First he wants to strike, and then to put the tied part of the lance to the left of his enemy, throwing it over his shoulder, and thereby to be able to pull him off his horse and onto the ground.	[2v-a] ¶ Aquesto magistro ha ligada una forte corda alla sella dello suo cavallo, zoe uno cavo, e l'altro cavo si a ligado alo pe della sua lanza primo lo vol ferir e poii la lanza a cosi ligada della parte stancha delo suo inimigo sopra la spalla la vole butar, per poterlo zo dello cavallo strasinare.	[46v-a] ¶ Questo magistro a ligada una forte corda ala Sella del suo cavallo zoe uno cavo, L'altro cavo sia ligado allo pe dela sua lanza. Primo lo vol ferire, e poii la Lanza chossi ligada della parte stancha dello so inimigo sopra la spalla la vola buttare, per posserlo lo zo del cavallo strassinare.	[34b-a] Questo magistro si'a ligada una corda ala sella E al pe dela sua lança ch'e si crudele e fella Per butarla a lo collo delo suo inimigo Pur per strasinarlo in terra zo io ve digo
	[32] This scoundrel was fleeing from me towards a castle. I rode so hard and fast at full rein that I caught up with him closed to his castle. And I struck him with my sword in his armpit, which is a difficult area to protect with armor. Now I withdraw to avoid retaliation from his friends.			[46v-c] ¶ Questo Ribaldo mi fuziva a una forteza. tanto corsi che io lo zunsi apresso la fortezza sempre corando a tutta brena. E de mia spada lo feri sotto la lasena, Li che male si po l'omo armare. E per paura de soii amisi voglio retornare.
	Here ends the Flower of the Art of Combat, In this way one man can stand against another: Made by Fiore Furlano, son of Sir Benedetto; Those who knew him can believe his words well. Here ends this book that was written by Fiore the scholar, who has published here everything he knows about this art, that is to say, everything he knows about armed fighting is contained within this book. This same Fiore has named his book “The Flower of the Battle”. Let he for whom this book was made be forever praised, for his nobility and virtue have no equal, Fiore the Friulian, a simple elderly man, entrusts this book to you.	Florius, the most skilled authority, previously^[146] brought forth This book. It is therefore him, an accomplished, Contributing man of the Friulian people, you are honoring.		[46v-d] ¶ Qui finisse lo libro che a fatto lo scolaro Fiore che zo ch'ello sa in quest'arte, qui l'a posto, zoe in tutto la armizare, in questo libro e lo fiore Fior di Bataglia per nome ello e chiamato. Quello per chi ello e fatto sempre sia apresiato che de Nobilita e virtu non se trova Lo parechio, Fior Furlan a voii si recomanda povero vechio.	[36b-a] Aqui finisse el fior de'l'arte delo armiçar Per che modo uno homo l'altro po contrastar Facto per fior furlano de meser benedecto Chi l'a chognosudo ben po creder suo decto	[44r-c] ¶ Florius hunc librum quondam pritissimus auctor Edidit. Est igitur sibi plurima laudis honestas Contribuendo viro Furlana gente profecto.

Additional Resources

Charrette, Robert N. Fiore dei Liberi’s Armizare: The Chivalric Martial Arts System of Il Fior di Battaglia. Wheaton, IL: Freelance Academy Press, 2011. ISBN 978-0-9825911-7-8
dei Liberi, Fiore; Leoni, Tommaso. Fiore de’ Liberi’s Fior di Battaglia. 1st ed. Lulu.com, 2009. 2nd ed. Wheaton, IL: Freelance Academy Press, 2012.
dei Liberi, Fiore; Rubboli, Marco; Cesari, Luca. Flos Duellatorum. Manuale di Arte del Combattimento del XV secolo. Rome: Il Cerchio Iniziative Editoriali, 2002. ISBN 88-8474-023-1
Malipiero, Massimo. Il Fior di battaglia di Fiore dei Liberi da Cividale: Il Codice Ludwing XV 13 del J. Paul Getty Museum. Udine: Ribis, 2006. ISBN 887-44503-5-4
Mondschein, Ken. The Knightly Art of Battle. Los Angeles: J. Paul Getty Museum, 2011. ISBN 978-160-60607-6-6
Novati, Francesco. Flos Duellatorum, Il Fior di Battaglia di Maestro Fiore dei Liberi da Premariacco. Bergamo: Instituto Italiano d'Arte Grafiche, 1902.
Rapisardi, Giovanni. Fiore de’ Liberi Flos Duellatorum - in armis, sine armis equester et pedesta. Gladitoria Press, 1998. ISBN 978-888-94041-6-4
Richards, Colin. Fiore dei Liberi, 1409: Wrestling & Dagger. Arts of Mars Books, 2007. ISBN 398-11627-0-6
Vadi, Filippo. Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi. Trans. Luca Porzio and Gregory Mele. Union City, CA: Chivalry Bookshelf, 2002. ISBN 1-891448-18-8
Vadi, Filippo; Rubboli, Marco; Cesari, Luca. L’arte Cavalleresca del Combattimento. Rome: Il Cerchio Iniziative Editoriali, 2005. ISBN 88-8474-079-7
Zanutto, D. Luigi. Fiore di Premariacco ed I Ludi e Le Feste Marziali e Civili in Friuli. Udine: D. Del Bianco, 1907.

References

↑ This estimated birth date is derived from Fiore's statement that in 1409 he had been studying the art of arms for 50 years, based on the fact that nobility generally began instruction in the martial arts around the age of ten. See Mondschein, p 11. The death date listed assumes that the story about his activities in Paris is correct; see note 27, below.
↑ ^2.0 ^2.1 ^2.2 ^2.3 Fiore de'i Liberi. Fior di Battaglia [manuscript]. MS M.383. New York City: Morgan Library & Museum, ca. 1400. ff 1r-2r.
↑ ^3.0 ^3.1 ^3.2 ^3.3 Fiore de'i Liberi. Fior di Battaglia [manuscript]. MS Ludwig XV 13 (ACNO 83.MR.183). Los Angeles: J. Paul Getty Museum, ca. 1400. ff 1r-2r.
↑ ^4.0 ^4.1 ^4.2 ^4.3 ^4.4 Fiore de'i Liberi. Flos Duellatorum [manuscript]. Pisani Dossi MS. Italy: Private Collection, 1409. f 1rv.
↑ He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.
↑ ^6.0 ^6.1 ^6.2 Mondschein, p 11.
↑ Howe, Russ. “Fiore dei Liberi: Origins and Motivations”. Journal of Western Martial Art. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2012-02-08.
↑ Giusto Fontanini. Della Eloquenza italiana di monsignor Giusto Fontanini, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.
↑ Gian Guiseppe Liruti. Notizie delle vite ed opere scritte da' letterati del Friuli, vol. 4 (in Italian). Alvisopoli, 1830. p 27.
↑ Novati, pp 15-16.
↑ Malipiero, p 80.
↑ “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2012-02-08.
↑ Leoni, p 7.
↑ ^14.0 ^14.1 “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2012-02-08.
↑ “LANCILLOTTO BECCARIA (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2012-02-08.
↑ ^16.0 ^16.1 Malipiero, pp 94-96.
↑ Fiore his masters and his students. Hans Talhoffer ~ as seen by Jens P. Kleinau. Retrieved 2013-05-08.
↑ This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See Fiore his masters and his students. Hans Talhoffer ~ as seen by Jens P. Kleinau. in English and “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”. and “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. in Italian. Retrieved 2013-05-08.
↑ Malipiero, p 85.
↑ ^20.0 ^20.1 ^20.2 ^20.3 Easton, Matt. “Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum”. London: Schola Gladiatoria, 2009. Retrieved 2012-02-08.
↑ Malipiero, pp 85-88.
↑ Malipiero, pp 55-58.
↑ ^23.0 ^23.1 Mondschein, p 12.
↑ Malipiero, p 97.
↑ Fiore states in the preface to the Pisani Dossi MS that he had studied combat for fifty years, whereas the comparable statement in the MS M.383 and MS Ludwig.XV.13 mention the slightly shorter "forty years and more".
↑ Zanutto, pp 211-212.
↑ In 1907, fencing master C. A. Blengini di Torricella mentioned that “In 1904, a historical work by Francesco Novati, Director of the Academy in Milano and Gaffuri, Director of the graphical institute in Bergamo was published… These two prominent scholars uncovered documents, found in different archives, …Rules for Fencing were printed by Fiore dei Liberi in 1420… And how could then dei Liberi have taught fencing lessons in Paris in 1418?” (translated from Norwegian by Roger Norling). See Blengini, di Torricella C. A. Haandbog i Fægtning med Floret, Kaarde, Sabel, Forsvar med Sabel mod Bajonet og Sabelhugning tilhest: Med forklarende Tegninger og en Oversigt over Fægtekunstens Historie og Udvikling. 1907. p 28.^{[Full citation needed]}
↑ The Codex LXXXIV (or MS 84) consisted of 58 folia bound in leather with a clasp, and whose first page showed a white eagle and two helmets; the Codex CX (or MS 110) was a small, unbound volume consisting of only 15 folia. See Novati, pp 29-30. It is conceivable that one of the four extant versions is the MS 84, but no evidence in support of this proposition has yet surfaced.
↑ Note: pectora is plural, perhaps meant to indicate both halves of the chest.
↑ refers to elbow 'cubitum' or fist 'pugnum'
↑ Or “I put to the test where I would at once bend you back acutely.”
↑ Added later: "vel probabo(?)".
↑ Or “I will not be deceived while breaking the left shoulder.”
↑ Or possibly “weighed”.
↑ Added later: "~ ut".
↑ Written as segnodo, but with a mark that seems to indicate the letters should be switched.
↑ "lo" appears twice, but neither is struck out.
↑ N.B. “I will enter” begins the fourth line in the Latin. It was moved to fit English sentence structure.
↑ Variant of "namque".
↑ This is read as a corrected error, in which the scribe began to write aufa, crossed out the 'a', continued the 're' and used the 'er' abbreviation above the incorrect letter.
↑ There's a marginal note that's hard to interpret: "n p o" or perhaps "R P O".
↑ "vidi" appears twice, but neither is struck out.
↑ Fiore literally says “will be marked”.
↑ Fiore literally says “defend yourself”.
↑ Literally “trident”, perhaps referring to the three striking surfaces of the weapon’s head (axe or hammer, hook, and spear point).
↑ Added later: "quisquam".
↑ Corrected from "e" to "i".
↑ Marginal note: "+ ecce".
↑ The text says "a doii mane cum la spada" with symbols next to "a" and "cum" apparently indicating that it should move. Since "cum a doii mane" makes no sense, I've moved the whole phrase "cum la spada".
↑ This may be an error for fascis.
↑ Literally “I am made with a short right arm”.
↑ Literally “We do not have stability.”
↑ Added later: "scilicet subito".
↑ Word partially effaced.
↑ Added later: "+ tibi".
↑ “Presa” means a hold, a grip or a grapple.
↑ We are translating 'captura' as 'the taking' or 'the takings'. Other possible contexts for this word in Latin are from hunting (captura=prey, the fishing catch, the bag of animals brought in) or from economics, in which 'captura' refers to ill-gotten or immorally gained profits.
↑ Fiore actually writes that this grappling move is “better than the others”, but gives us no clue as to what the “others” are.
↑ As in full of holes.
↑ I believe this is not an apology for the poleaxe itself but an apology for showing the dirty trick of the corrosive powder. As such it should really be placed higher up.
↑ "intorno" appears twice, but neither is struck out.
↑ “Titimallo” refers to a plant named spurge, genus Euphorbia. Used in medieval medicine as a laxative, spurge has a poisonous milky white latex-like sap. For more information, see "Pollaxe in Armour" by Matt Easton and "Being wrong can lead to wonderful things" by Guy Windsor.
↑ Tom Leoni notes that this is a flower also used to create a powder commonly used as makeup. It had a swelling effect on the skin.
↑ Telum refers specifically to a distance weapon, which can include any of the following: missile weapon, dart, shaft, spear, javelin, sword, axe, sunbeam, lightning (the last two are the specific province of Jove)
↑ Enjambment bracket
↑ Enjambment bracket
↑ Enjambment bracket
↑ Word partially effaced.
↑ Added later: "…trare".
↑ Possibly “pulsating/throbbing teeth”.
↑ contraria is the most common term marked with a + in this text.
↑ This verse has a bracket shape to its right that encloses the second line and the space below it, similar to an enjambment bracket.
↑ Fiore actually writes “When the opponent attacks…” But the guard must be assumed before the attack, not during it.
↑ Changed from "o" to "i".
↑ A tiny note (M, perhaps) may have been removed above “agitando”.
↑ Probably meant to be "de si".
↑ Corrected from "e" to "i".
↑ Added later: "+ hoc ego".
↑ Corrected from "e" to "l".
↑ Added later: "nomen properum". Partially obliterated
↑ Added later: "nomen properum".
↑ Added later: "de fresne".
↑ To the right of the first two lines, there appear to be three lines of smudgy pencil (most likely M or F), but nothing specific can be made out.
↑ Added later: "matreque?".
↑ Added later: "four words that might be latin".
↑ There is no enjambment bracket, but grammar and syntax led to enjambment in the translation.
↑ Or “the precaution of the proud master moves me”.
↑ "e" changed to "r".
↑ Possibly "maestum"
↑ Enjambment bracket
↑ Added later: "reparer renouvelir".
↑ Note that in the Morgan, this octave is used to introduce the spear, but a very similar sestet is used in the Pisani Dossi to introduce the mounted fencing. They are included here in the mounted section rather t han the spear because the Pisani Dossi has a separate introduction for the spear.
↑ Fiore means that the text of 41r-a actually applies to the drawing at 41r-b (i.e. the drawing to the right, who is the rider winning the engagement, hence the “Re” [King]). I assume this was an error by the scribe. I've expanded the line so that it is comprehensible.
↑ The abbreviation ꝑ^a for "persona" isn't attested in Capelli, but he does list ꝑam for "personam", which is close enough. Morgan has ꝑsona.
↑ The second line has been over-written to darken worn-away letters. If there were annotations, they have not survived.
↑ This pair of verses has a bracket at the end, which has been posited as indicating enjambment of the lines by Mondschein. As there is clearly a period at the end of the first line, this cannot be the case here.
↑ Depending on the interpretation of the final abbreviation, the last line may be read in different ways; the final verb might be perdet (loses), raedet (pillages), or prodet (thrusts forward). We have chosen the last of these as it is least specific to whether the lance in question is winning or losing the fight, which is unclear from the rest of the verse.
↑ Up to this point, the text is partially effaced.
↑ Corrected from "e" to "o".
↑ Added later: "ego".
↑ Added later: "de la pointe".
↑ Added later: "remoror [!] jaculum".
↑ The translator appears to be using 'stringere-refringere' as a pair, as both words are associated with defending and attacking fortified gates, for rhetorical effect; however, English doesn't have a good oppositional pair that also conveys the meanings of the words.
↑ Added later: "eqqus". Probably meant to be “equus”, but the two q’s are fairly clear.
↑ Corrected from "a" to "e".
↑ This word was obliterated somehow (“et” and “cesura” both show uncorrected damage) but has been written over by a later hand in similarly-colored ink. Further, someone has tried to write something above it, perhaps a French equivalent—the superscript is unreadable, but the second word, above cuspide, appears to end in “te” and could be “pointe”. The superscript above “acute” may have been in the D1 or F hand, but not enough is clear. There may have been a superscript above mucronem that was erased, although the remaining strokes look like they may have suffered the same damage as the rest of the page. None of the superscripts are clear enough to certainly identify the hands.
↑ A bracket, similar to the enjambment bracket, hangs off the last line.
↑ "ue" is mostly effaced.
↑ Enjambment bracket
↑ Supposing cuspide means sword and not point, ense could mean something other than sword, such as “sword technique” or “sword position”.
↑ We believe this is "vulnerare" but the condition of the page has elided an abbreviation mark.
↑ There is an erasure above “cervice”, but we were not able to discern any letters.
↑ Enjambment bracket
↑ Rebecca notes: small words like et or hoc may be left out in order to shape it into something like meter.
↑ Enjambment bracket
↑ I’ve expanded this sentence so that it makes more sense.
↑ This paragraph is written with a wedge-shaped gap in the text. This might be a coincidence, or it might indicate that the manuscript being copied had the text flowing around the sword of the player (as is done on the next page), and the scribe assumed that would be the case here as well.
↑ This paragraph is partially effaced and hard to read.
↑ Fiore actually writes “Then I pass from my quick cover” but the words make no sense, since he is not in a cover but has just hit his opponent in the face with a pommel strike. I’ve altered it to give it more sense.
↑ Added later: "te juc g???et".
↑ Added later: "de la poignee".
↑ There is no enjambment bracket, but the punctuation and text indicate it.
↑ Note the switch from “he” to “you”. This is something Fiore does quite a lot.
↑ Abrazare comes from “A brazi”—“with the arms”.
↑ Added later: “??eeu vit”. Could this be “heeume”, misspelling of “heaume”, old french for “helmet”? There are certainly letters beginning above the g in “galea” and reaching to above the e in “prensum”, but we can’t make out enough to guess further. If the latter word is meant to be “heaume”, this must be hand F.
↑ Enjambment bracket
↑ Literally "ē", which would be read as "en", but in context it seems to make more sense as è, a conjugation of essere.
↑ There is a marginal notation to the right of the verse beginning with +. The marginal note seems likely to be hand F, but the + may be from one of the Latin hands. My best guess: ??a??e tram ? perm
↑ Enjambment bracket
↑ We have rendered per terram as “to the ground” rather than “through the ground”.
↑ Added later: "pro tui".
↑ Added later: "scilicet".
↑ or 'Si pargere', but Rebecca says there is a scribal practice for separating the first letter of a line in this manner.
↑ Enjambment bracket
↑ I’ve removed the redundant repetition.
↑ Petto means chest but no part of a horse is named the “chest”, so I changed this to “shoulders” which refers to the area of the horse Fiore is talking about that would ram the opponent’s horse.
↑ The “groppa” means the crupper, which refers to the horse’s hind quarters.
↑ Corrected from "i"; probably intended to be a "u", but looks like an "a".
↑ Added later: "eqquus".
↑ Added later: "te mordé de\per bride".
↑ According to Cappelli, p. 257
↑ Probably laedere
↑ Possible scribal flourish
↑ Overwritten and difficult to decipher.
↑ Written over a previously-effaced word that can't be deciphered.
↑ This word was the source of considerable trouble. We initially assumed, as others have, that it denoted that Fiore was deceased when the manuscript was prepared (quondam Florius, “the late Fiore”). However, further research on the word (which seemed merited since it could indicate a significant biographical fact) indicated that such a reading was simply not possible for most examples of the word in Medieval literature, e.g. “ubi quondam Deus” is probably not seeking to describe a deceased God. In fact, “quondam” is generally an adverb rather than a quasi-adjective, and some dictionaries, such as Lewis & Short, specify that it only has the meaning of “the late” if the person it is applied to is deceased. Rather than becoming trapped in a loop of circular reasoning (assuming Fiore is deceased and translating quondam that way, and then concluding that Fiore is deceased due to the translation of quondam), we interpreted the word in its more normal adverbial sense and applied it to “edidit”. For more definitions of quondam, see the entries in Logeion: http://logeion.uchicago.edu/index.html#quondam

[1] This estimated birth date is derived from Fiore's statement that in 1409 he had been studying the art of arms for 50 years, based on the fact that nobility generally began instruction in the martial arts around the age of ten. See Mondschein, p 11. The death date listed assumes that the story about his activities in Paris is correct; see note 27, below.

[de.E2.80.99i_Liberi_Morgan-2] 2.0 ^2.1 ^2.2 ^2.3 Fiore de'i Liberi. Fior di Battaglia [manuscript]. MS M.383. New York City: Morgan Library & Museum, ca. 1400. ff 1r-2r.

[de.E2.80.99i_Liberi_Getty-3] 3.0 ^3.1 ^3.2 ^3.3 Fiore de'i Liberi. Fior di Battaglia [manuscript]. MS Ludwig XV 13 (ACNO 83.MR.183). Los Angeles: J. Paul Getty Museum, ca. 1400. ff 1r-2r.

[de.E2.80.99i_Liberi_Pisani_Dossi-4] 4.0 ^4.1 ^4.2 ^4.3 ^4.4 Fiore de'i Liberi. Flos Duellatorum [manuscript]. Pisani Dossi MS. Italy: Private Collection, 1409. f 1rv.

[5] He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.

[Mondschein_11-6] 6.0 ^6.1 ^6.2 Mondschein, p 11.

[7] Howe, Russ. “Fiore dei Liberi: Origins and Motivations”. Journal of Western Martial Art. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2012-02-08.

[8] Giusto Fontanini. Della Eloquenza italiana di monsignor Giusto Fontanini, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.

[9] Gian Guiseppe Liruti. Notizie delle vite ed opere scritte da' letterati del Friuli, vol. 4 (in Italian). Alvisopoli, 1830. p 27.

[10] Novati, pp 15-16.

[11] Malipiero, p 80.

[12] “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2012-02-08.

[13] Leoni, p 7.

[Galeazzo-14] 14.0 ^14.1 “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2012-02-08.

[15] “LANCILLOTTO BECCARIA (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2012-02-08.

[Malipiero_9496-16] 16.0 ^16.1 Malipiero, pp 94-96.

[Jens-17] Fiore his masters and his students. Hans Talhoffer ~ as seen by Jens P. Kleinau. Retrieved 2013-05-08.

[18] This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See Fiore his masters and his students. Hans Talhoffer ~ as seen by Jens P. Kleinau. in English and “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”. and “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. in Italian. Retrieved 2013-05-08.

[19] Malipiero, p 85.

[Easton-20] 20.0 ^20.1 ^20.2 ^20.3 Easton, Matt. “Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum”. London: Schola Gladiatoria, 2009. Retrieved 2012-02-08.

[21] Malipiero, pp 85-88.

[22] Malipiero, pp 55-58.

[Mondschein_12-23] 23.0 ^23.1 Mondschein, p 12.

[24] Malipiero, p 97.

[25] Fiore states in the preface to the Pisani Dossi MS that he had studied combat for fifty years, whereas the comparable statement in the MS M.383 and MS Ludwig.XV.13 mention the slightly shorter "forty years and more".

[26] Zanutto, pp 211-212.

[27] In 1907, fencing master C. A. Blengini di Torricella mentioned that “In 1904, a historical work by Francesco Novati, Director of the Academy in Milano and Gaffuri, Director of the graphical institute in Bergamo was published… These two prominent scholars uncovered documents, found in different archives, …Rules for Fencing were printed by Fiore dei Liberi in 1420… And how could then dei Liberi have taught fencing lessons in Paris in 1418?” (translated from Norwegian by Roger Norling). See Blengini, di Torricella C. A. Haandbog i Fægtning med Floret, Kaarde, Sabel, Forsvar med Sabel mod Bajonet og Sabelhugning tilhest: Med forklarende Tegninger og en Oversigt over Fægtekunstens Historie og Udvikling. 1907. p 28.^{[Full citation needed]}

[28] The Codex LXXXIV (or MS 84) consisted of 58 folia bound in leather with a clasp, and whose first page showed a white eagle and two helmets; the Codex CX (or MS 110) was a small, unbound volume consisting of only 15 folia. See Novati, pp 29-30. It is conceivable that one of the four extant versions is the MS 84, but no evidence in support of this proposition has yet surfaced.

[29] Note: pectora is plural, perhaps meant to indicate both halves of the chest.

[30] refers to elbow 'cubitum' or fist 'pugnum'

[31] Or “I put to the test where I would at once bend you back acutely.”

[32] Added later: "vel probabo(?)".

[33] Or “I will not be deceived while breaking the left shoulder.”

[34] Or possibly “weighed”.

[35] Added later: "~ ut".

[36] Written as segnodo, but with a mark that seems to indicate the letters should be switched.

[37] "lo" appears twice, but neither is struck out.

[38] N.B. “I will enter” begins the fourth line in the Latin. It was moved to fit English sentence structure.

[39] Variant of "namque".

[40] This is read as a corrected error, in which the scribe began to write aufa, crossed out the 'a', continued the 're' and used the 'er' abbreviation above the incorrect letter.

[41] There's a marginal note that's hard to interpret: "n p o" or perhaps "R P O".

[42] "vidi" appears twice, but neither is struck out.

[43] Fiore literally says “will be marked”.

[44] Fiore literally says “defend yourself”.

[45] Literally “trident”, perhaps referring to the three striking surfaces of the weapon’s head (axe or hammer, hook, and spear point).

[46] Added later: "quisquam".

[47] Corrected from "e" to "i".

[48] Marginal note: "+ ecce".

[49] The text says "a doii mane cum la spada" with symbols next to "a" and "cum" apparently indicating that it should move. Since "cum a doii mane" makes no sense, I've moved the whole phrase "cum la spada".

[50] This may be an error for fascis.

[51] Literally “I am made with a short right arm”.

[52] Literally “We do not have stability.”

[53] Added later: "scilicet subito".

[54] Word partially effaced.

[55] Added later: "+ tibi".

[56] “Presa” means a hold, a grip or a grapple.

[57] We are translating 'captura' as 'the taking' or 'the takings'. Other possible contexts for this word in Latin are from hunting (captura=prey, the fishing catch, the bag of animals brought in) or from economics, in which 'captura' refers to ill-gotten or immorally gained profits.

[58] Fiore actually writes that this grappling move is “better than the others”, but gives us no clue as to what the “others” are.

[59] As in full of holes.

[60] I believe this is not an apology for the poleaxe itself but an apology for showing the dirty trick of the corrosive powder. As such it should really be placed higher up.

[61] "intorno" appears twice, but neither is struck out.

[62] “Titimallo” refers to a plant named spurge, genus Euphorbia. Used in medieval medicine as a laxative, spurge has a poisonous milky white latex-like sap. For more information, see "Pollaxe in Armour" by Matt Easton and "Being wrong can lead to wonderful things" by Guy Windsor.

[63] Tom Leoni notes that this is a flower also used to create a powder commonly used as makeup. It had a swelling effect on the skin.

[64] Telum refers specifically to a distance weapon, which can include any of the following: missile weapon, dart, shaft, spear, javelin, sword, axe, sunbeam, lightning (the last two are the specific province of Jove)

[65] Enjambment bracket

[66] Enjambment bracket

[67] Enjambment bracket

[68] Word partially effaced.

[69] Added later: "…trare".

[70] Possibly “pulsating/throbbing teeth”.

[71] traria is the most common term marked with a + in this text.

[72] This verse has a bracket shape to its right that encloses the second line and the space below it, similar to an enjambment bracket.

[73] Fiore actually writes “When the opponent attacks…” But the guard must be assumed before the attack, not during it.

[74] Changed from "o" to "i".

[75] A tiny note (M, perhaps) may have been removed above “agitando”.

[76] Probably meant to be "de si".

[77] Corrected from "e" to "i".

[78] Added later: "+ hoc ego".

[79] Corrected from "e" to "l".

[80] Added later: "nomen properum". Partially obliterated

[81] Added later: "nomen properum".

[82] Added later: "de fresne".

[83] To the right of the first two lines, there appear to be three lines of smudgy pencil (most likely M or F), but nothing specific can be made out.

[84] Added later: "matreque?".

[85] Added later: "four words that might be latin".

[86] There is no enjambment bracket, but grammar and syntax led to enjambment in the translation.

[87] Or “the precaution of the proud master moves me”.

[88] "e" changed to "r".

[89] Possibly "maestum"

[90] Enjambment bracket

[91] Added later: "reparer renouvelir".

[92] Note that in the Morgan, this octave is used to introduce the spear, but a very similar sestet is used in the Pisani Dossi to introduce the mounted fencing. They are included here in the mounted section rather t han the spear because the Pisani Dossi has a separate introduction for the spear.

[93] Fiore means that the text of 41r-a actually applies to the drawing at 41r-b (i.e. the drawing to the right, who is the rider winning the engagement, hence the “Re” [King]). I assume this was an error by the scribe. I've expanded the line so that it is comprehensible.

[94] The abbreviation ꝑ^a for "persona" isn't attested in Capelli, but he does list ꝑam for "personam", which is close enough. Morgan has ꝑsona.

[95] The second line has been over-written to darken worn-away letters. If there were annotations, they have not survived.

[96] This pair of verses has a bracket at the end, which has been posited as indicating enjambment of the lines by Mondschein. As there is clearly a period at the end of the first line, this cannot be the case here.

[97] Depending on the interpretation of the final abbreviation, the last line may be read in different ways; the final verb might be perdet (loses), raedet (pillages), or prodet (thrusts forward). We have chosen the last of these as it is least specific to whether the lance in question is winning or losing the fight, which is unclear from the rest of the verse.

[98] Up to this point, the text is partially effaced.

[99] Corrected from "e" to "o".

[100] Added later: "ego".

[101] Added later: "de la pointe".

[102] Added later: "remoror [!] jaculum".

[103] The translator appears to be using 'stringere-refringere' as a pair, as both words are associated with defending and attacking fortified gates, for rhetorical effect; however, English doesn't have a good oppositional pair that also conveys the meanings of the words.

[104] Added later: "eqqus". Probably meant to be “equus”, but the two q’s are fairly clear.

[105] Corrected from "a" to "e".

[106] This word was obliterated somehow (“et” and “cesura” both show uncorrected damage) but has been written over by a later hand in similarly-colored ink. Further, someone has tried to write something above it, perhaps a French equivalent—the superscript is unreadable, but the second word, above cuspide, appears to end in “te” and could be “pointe”. The superscript above “acute” may have been in the D1 or F hand, but not enough is clear. There may have been a superscript above mucronem that was erased, although the remaining strokes look like they may have suffered the same damage as the rest of the page. None of the superscripts are clear enough to certainly identify the hands.

[107] A bracket, similar to the enjambment bracket, hangs off the last line.

[108] "ue" is mostly effaced.

[109] Enjambment bracket

[110] Supposing cuspide means sword and not point, ense could mean something other than sword, such as “sword technique” or “sword position”.

[111] We believe this is "vulnerare" but the condition of the page has elided an abbreviation mark.

[112] There is an erasure above “cervice”, but we were not able to discern any letters.

[113] Enjambment bracket

[114] Rebecca notes: small words like et or hoc may be left out in order to shape it into something like meter.

[115] Enjambment bracket

[116] I’ve expanded this sentence so that it makes more sense.

[117] This paragraph is written with a wedge-shaped gap in the text. This might be a coincidence, or it might indicate that the manuscript being copied had the text flowing around the sword of the player (as is done on the next page), and the scribe assumed that would be the case here as well.

[118] This paragraph is partially effaced and hard to read.

[119] Fiore actually writes “Then I pass from my quick cover” but the words make no sense, since he is not in a cover but has just hit his opponent in the face with a pommel strike. I’ve altered it to give it more sense.

[120] Added later: "te juc g???et".

[121] Added later: "de la poignee".

[122] There is no enjambment bracket, but the punctuation and text indicate it.

[123] Note the switch from “he” to “you”. This is something Fiore does quite a lot.

[124] Abrazare comes from “A brazi”—“with the arms”.

[125] Added later: “??eeu vit”. Could this be “heeume”, misspelling of “heaume”, old french for “helmet”? There are certainly letters beginning above the g in “galea” and reaching to above the e in “prensum”, but we can’t make out enough to guess further. If the latter word is meant to be “heaume”, this must be hand F.

[126] Enjambment bracket

[127] Literally "ē", which would be read as "en", but in context it seems to make more sense as è, a conjugation of essere.

[128] There is a marginal notation to the right of the verse beginning with +. The marginal note seems likely to be hand F, but the + may be from one of the Latin hands. My best guess: ??a??e tram ? perm

[129] Enjambment bracket

[130] We have rendered per terram as “to the ground” rather than “through the ground”.

[131] Added later: "pro tui".

[132] Added later: "scilicet".

[133] r 'Si pargere', but Rebecca says there is a scribal practice for separating the first letter of a line in this manner.

[134] Enjambment bracket

[135] I’ve removed the redundant repetition.

[136] Petto means chest but no part of a horse is named the “chest”, so I changed this to “shoulders” which refers to the area of the horse Fiore is talking about that would ram the opponent’s horse.

[137] The “groppa” means the crupper, which refers to the horse’s hind quarters.

[138] Corrected from "i"; probably intended to be a "u", but looks like an "a".

[139] Added later: "eqquus".

[140] Added later: "te mordé de\per bride".

[141] According to Cappelli, p. 257

[142] Probably laedere

[143] Possible scribal flourish

[144] Overwritten and difficult to decipher.

[145] Written over a previously-effaced word that can't be deciphered.

[146] This word was the source of considerable trouble. We initially assumed, as others have, that it denoted that Fiore was deceased when the manuscript was prepared (quondam Florius, “the late Fiore”). However, further research on the word (which seemed merited since it could indicate a significant biographical fact) indicated that such a reading was simply not possible for most examples of the word in Medieval literature, e.g. “ubi quondam Deus” is probably not seeking to describe a deceased God. In fact, “quondam” is generally an adverb rather than a quasi-adjective, and some dictionaries, such as Lewis & Short, specify that it only has the meaning of “the late” if the person it is applied to is deceased. Rather than becoming trapped in a loop of circular reasoning (assuming Fiore is deceased and translating quondam that way, and then concluding that Fiore is deceased due to the translation of quondam), we interpreted the word in its more normal adverbial sense and applied it to “edidit”. For more definitions of quondam, see the entries in Logeion: http://logeion.uchicago.edu/index.html#quondam

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-'''Fiore Furlano de’i Liberi de Cividale d’Austria''' (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; ca. 1340s - 1420s<ref>This estimated birth date is derived from Fiore's statement that in 1409 he had been studying the art of arms for 50 years, based on the fact that nobility generally began instruction in the martial arts around the age of ten. See [[Ken Mondschein|Mondschein]], p 11. The death date listed assumes that the story about his activities in Paris is correct; see note 27, below.</ref>) was a late [[century::14th century]] knight, diplomat, and itinerant [[fencing master]]. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.<ref name="de’i Liberi Morgan">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS M.383)|MS M.383]]. New York City: [[Morgan Library & Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Getty">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig XV 13]] (ACNO 83.MR.183). Las Angeles: [[J. Paul Getty Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Pisani Dossi">[[Fiore de'i Liberi]]. ''Flos Duellatorum'' [manuscript]. [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]]. Italy: Private Collection, 1409. f 1rv.</ref> The term ''Liberi'', while potentially merely a surname, more probably indicates that his family had Imperial immediacy (''Reichsfreiheit''), either as part of the ''nobili liberi'' (''Edelfrei'', "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.<ref>He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.</ref><ref name="Mondschein 11">Mondschein, p 11.</ref><ref>Howe, Russ. “[http://ejmas.com/jwma/articles/2008/jwmaart_howe_0808.htm Fiore dei Liberi: Origins and Motivations]”. [[Journal of Western Martial Art]]. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2012-02-08.</ref> It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Henry V,<ref>Giusto Fontanini. {{Google books|929Oruf2qScC|Della Eloquenza italiana di monsignor Giusto Fontanini|page=274}}, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.</ref><ref>Gian Guiseppe Liruti. {{Google books|swCiIpD6UeIC|Notizie delle vite ed opere scritte da' letterati del Friuli|page=27}}, vol. 4 (in Italian). Alvisopoli, 1830. p 27.</ref><ref>Novati, pp 15-16.</ref> but this has yet to be confirmed.<ref>Malipiero, p 80.</ref>
+'''Fiore Furlano de’i Liberi de Cividale d’Austria''' (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; ca. 1340s - 1420s<ref>This estimated birth date is derived from Fiore's statement that in 1409 he had been studying the art of arms for 50 years, based on the fact that nobility generally began instruction in the martial arts around the age of ten. See [[Ken Mondschein|Mondschein]], p 11. The death date listed assumes that the story about his activities in Paris is correct; see note 27, below.</ref>) was a late [[century::14th century]] knight, diplomat, and itinerant [[fencing master]]. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.<ref name="de’i Liberi Morgan">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS M.383)|MS M.383]]. New York City: [[Morgan Library & Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Getty">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig XV 13]] (ACNO 83.MR.183). Los Angeles: [[J. Paul Getty Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Pisani Dossi">[[Fiore de'i Liberi]]. ''Flos Duellatorum'' [manuscript]. [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]]. Italy: Private Collection, 1409. f 1rv.</ref> The term ''Liberi'', while potentially merely a surname, more probably indicates that his family had Imperial immediacy (''Reichsfreiheit''), either as part of the ''nobili liberi'' (''Edelfrei'', "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.<ref>He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.</ref><ref name="Mondschein 11">Mondschein, p 11.</ref><ref>Howe, Russ. “[http://ejmas.com/jwma/articles/2008/jwmaart_howe_0808.htm Fiore dei Liberi: Origins and Motivations]”. [[Journal of Western Martial Art]]. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2012-02-08.</ref> It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Henry V,<ref>Giusto Fontanini. {{Google books|929Oruf2qScC|Della Eloquenza italiana di monsignor Giusto Fontanini|page=274}}, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.</ref><ref>Gian Guiseppe Liruti. {{Google books|swCiIpD6UeIC|Notizie delle vite ed opere scritte da' letterati del Friuli|page=27}}, vol. 4 (in Italian). Alvisopoli, 1830. p 27.</ref><ref>Novati, pp 15-16.</ref> but this has yet to be confirmed.<ref>Malipiero, p 80.</ref>
 Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref name="de’i Liberi Pisani Dossi"/> He had ample opportunity to interact with both, being born in the Holy Roman Empire and later traveling widely in the northern Italian states. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student.<ref name="de’i Liberi Pisani Dossi"/> He further mentions that on five separate occasions he was forced to fight [[duel]]s for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp [[longsword]]s, unarmored except for gambesons and chamois gloves, and he won each without injury.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/>
-Writing very little on his own career as a commander and master at arms, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one [[Johannes Suvenus|Johane dicto Suueno]], who he notes was a disciple of [[Nicholai de Toblem]];<ref name="de’i Liberi Pisani Dossi"/> unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well-known in Fiore's time. He further offered an extensive list of the famous ''condottieri'' that he trained, including Piero Paolo del Verde (Peter von Grünen),<ref>[http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Niccolo Unricilino (Nikolo von Urslingen),<ref>Leoni, p 7.</ref> Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),<ref name="Galeazzo">[http://www.condottieridiventura.it/index.php/lettera-m/1450-galeazzo-da-mantova “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Lancillotto Beccaria di Pavia,<ref>[http://www.condottieridiventura.it/index.php/lettera-b/630-lancillotto-beccaria “LANCILLOTTO BECCARIA  (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Giovannino da Baggio di Milano,<ref name="Malipiero 9496">Malipiero, pp 94-96.</ref> and Azzone di Castelbarco,<ref name="Jens">[https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' Retrieved 2013-05-08.</ref> and also highlights some of their martial exploits.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/>
+Writing very little on his own career as a commander and master at arms, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one [[Johannes Suvenus|Johane dicto Suueno]], who he notes was a disciple of [[Nicholai de Toblem]];<ref name="de’i Liberi Pisani Dossi"/> unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well known in Fiore's time. He further offered an extensive list of the famous ''condottieri'' that he trained, including Piero Paolo del Verde (Peter von Grünen),<ref>[http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Niccolo Unricilino (Nikolo von Urslingen),<ref>Leoni, p 7.</ref> Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),<ref name="Galeazzo">[http://www.condottieridiventura.it/index.php/lettera-m/1450-galeazzo-da-mantova “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Lancillotto Beccaria di Pavia,<ref>[http://www.condottieridiventura.it/index.php/lettera-b/630-lancillotto-beccaria “LANCILLOTTO BECCARIA  (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Giovannino da Baggio di Milano,<ref name="Malipiero 9496">Malipiero, pp 94-96.</ref> and Azzone di Castelbarco,<ref name="Jens">[https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' Retrieved 2013-05-08.</ref> and also highlights some of their martial exploits.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/>
-Based on Fiore's autobiographical account, he can tentatively be placed in Perosa (Perugia) in 1381 when Piero del Verde likely fought a duel with Pietro della Corona (Peter Kornwald).<ref>This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See [https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' in English and [http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. and [http://www.condottieridiventura.it/index.php/lettera-c/971-pietro-della-corona “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. in Italian. Retrieved 2013-05-08.</ref> That same year, the Aquileian War of Succession erupted as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly-appointed Patriarch, Philippe II d'Alençon. Fiore seems to have sided with the secular nobility against the Cardinal as in 1383 there is record of him being tasked by the grand council with inspection and maintenance on the [[artillery]] pieces defending Udine (including large crossbows and catapults).<ref name="Mondschein 11"/><ref>Malipiero, p 85.</ref><ref name="Easton">[[Matt Easton|Easton, Matt]]. “[http://www.fioredeiliberi.org/fiore/ Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum]”. London: Schola Gladiatoria, 2009. Retrieved 2012-02-08.</ref> There are also records of him working variously as a magistrate, peace officer, and agent of the grand council during the course of 1384, but after that the historical record is silent. The war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records five times in 1384, it would be quite odd for him to be completely unmentioned over the subsequent five years,<ref name="Mondschein 11"/><ref>Malipiero, pp 85-88.</ref> and since his absence after May of 1384 coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.
+Based on Fiore's autobiographical account, he can tentatively be placed in Perosa (Perugia) in 1381 when Piero del Verde likely fought a duel with Pietro della Corona (Peter Kornwald).<ref>This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See [https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' in English and [http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. and [http://www.condottieridiventura.it/index.php/lettera-c/971-pietro-della-corona “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. in Italian. Retrieved 2013-05-08.</ref> That same year, the Aquileian War of Succession erupted as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly appointed Patriarch, Philippe II d'Alençon. Fiore seems to have sided with the secular nobility against the Cardinal as in 1383 there is record of him being tasked by the grand council with inspection and maintenance on the [[artillery]] pieces defending Udine (including large crossbows and catapults).<ref name="Mondschein 11"/><ref>Malipiero, p 85.</ref><ref name="Easton">[[Matt Easton|Easton, Matt]]. “[http://www.fioredeiliberi.org/fiore/ Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum]”. London: Schola Gladiatoria, 2009. Retrieved 2012-02-08.</ref> There are also records of him working variously as a magistrate, peace officer, and agent of the grand council during the course of 1384, but after that the historical record is silent. The war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records five times in 1384, it would be quite odd for him to be completely unmentioned over the subsequent five years,<ref name="Mondschein 11"/><ref>Malipiero, pp 85-88.</ref> and since his absence after May of 1384 coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.
 After the war, Fiore seems to have traveled a good deal in northern Italy, teaching fencing and training men for duels. In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean II le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. Both Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua, were in attendance. The duel was to begin with [[spear]]s on [[:category:Mounted Fencing|horseback]], but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.<ref>Malipiero, pp 55-58.</ref><ref name="Easton"/><ref name="Galeazzo"/>
-Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on the 24th of June and attended by Gian Galeazzo Visconti, Duke of Milan, as well as the Duchess and other nobles. The duel was to consist of three bouts each of mounted lance, [[poleaxe]], [[estoc]], and [[dagger]] (accounts vary on whether the weapons were sharp or blunted). They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor, both combatants reportedly emerged from these exchanges unharmed.<ref name="Malipiero 9496"/><ref name="Mondschein 12">[[Ken Mondschein|Mondschein]], p 12.</ref>
+Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on 24 June and attended by Gian Galeazzo Visconti, Duke of Milan, as well as the Duchess and other nobles. The duel was to consist of three bouts of mounted lance followed by three bouts each of dismounted [[poleaxe]], [[estoc]], and [[dagger]]. They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor (and the fact that all of the weapons were blunted), both combatants reportedly emerged from these exchanges unharmed.<ref name="Malipiero 9496"/><ref name="Mondschein 12">[[Ken Mondschein|Mondschein]], p 12.</ref>
 Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco and Giovanni degli Ordelaffi, as the latter is known to have died in 1399.<ref>Malipiero, p 97.</ref> After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career.<ref name="Easton"/> Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as ''Fior di Battaglia'', ''Florius de Arte Luctandi'', and ''Flos Duellatorum''). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort;<ref name="de’i Liberi Pisani Dossi"/> as evidence suggests that two longer versions were composed some time before this,<ref>Fiore states in the preface to the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] that he had studied combat for fifty years, whereas the comparable statement in the [[Fior di Battaglia (MS M.383)|MS M.383]] and [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig.XV.13]] mention the slightly shorter "forty years and more".</ref> we may assume that he devoted a considerable amount of time to writing during this decade.
@@ Line 74: / Line 74: @@
 Four [[illuminated manuscript]] copies of this treatise are currently known to exist (as well as a 17th century fragment), and there are records of at least two others whose current locations are unknown.<ref>The Codex LXXXIV (or MS 84) consisted of 58 folia bound in leather with a clasp, and whose first page showed a white eagle and two helmets; the Codex CX (or MS 110) was a small, unbound volume consisting of only 15 folia. See Novati, pp 29-30. It is conceivable that one of the four extant versions is the MS 84, but no evidence in support of this proposition has yet surfaced.</ref> The MS Ludwig XV 13 and the Pisani Dossi MS are both dedicated to Niccolò III d'Este and state that they were written at his request and according to his design. The MS M.383, on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence while the MSS Latin 11269 lost any dedication it might have had along with its prologue. Each of the extant copies of ''the Flower of Battle'' follows a distinct order, though both of these pairs contain strong similarities to each other in order of presentation. In addition, Philippo di Vadi's manuscript from the 1480s, whose second half is essentially a redaction of ''the Flower of Battle'', provides a valuable fifth point of reference when considering Fiore's teachings.
-The major sections of the work include: ''abrazare'' or [[grappling]]; ''[[dagger|daga]]'', including both unarmed defenses against the dagger and plays of dagger against dagger; ''spada a un mano'', the use of the [[longsword]] in one hand (also called "the sword without the buckler"); ''spada a dui mani'', the use of the longsword in two hands; ''spada en arme'', the use of the longsword in [[armor]] (primarily techniques from the [[halfsword|shortened sword]]); ''azza'', plays of the [[poleaxe]] in armor; ''lancia'', [[spear]] and staff plays; and mounted combat (including the spear, the longsword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as ''bastoncello'', or plays of a [[club (weapon)|small stick or baton]] against unarmed and dagger-wielding opponents; plays of longsword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the [[spear|chiavarina]] against a man on horseback.
+The major sections of the work include: ''abrazare'' or [[grappling]]; ''[[dagger|daga]]'', including both unarmed defenses against the dagger and plays of dagger against dagger; ''spada a un mano'', the use of the [[longsword|sword]] in one hand (also called "the sword without the buckler"); ''spada a dui mani'', the use of the sword in two hands; ''spada en arme'', the use of the sword in [[armor]] (primarily techniques from the [[halfsword|shortened sword]]); ''azza'', plays of the [[poleaxe]] in armor; ''lancia'', [[spear]] and staff plays; and mounted combat (including the spear, the longsword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as ''bastoncello'', or plays of a [[club (weapon)|small stick or baton]] against unarmed and dagger-wielding opponents; plays of longsword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the [[spear|chiavarina]] against a man on horseback.
-The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters or Teachers, figures in golden crowns each of whom demonstrates a particular guards or stance for use with a particular weapon. These are followed by a Master Rememdy who demonstrates a defensive technique against a basic attack (usually how to use a particular guard to defend), and then by his various Scholars or Students, figures wearing golden garters on their legs who demonstrate iterations and variations of the Remedy. After the Scholars there is a Master Contrario or Counter, a figure wearing both crown and garter, who demonstrates how to defeat the Master Remedy's defense (and the techniques of his Scholars). In rare cases, a fourth type of Master appears called Contra-Contrario (counter-counter), who likewise wears the crown and garter and demonstrates how to defeat the Master Contrario. Some sections feature multiple Masters Remedy or Masters Contrario, while some have only one. There are also many cases in which an image in one manuscript will only feature a scholar's garter where the corresponding image in another also features a Master Contrario's crown. Depending on the instance, this may either be intentional or merely an error in the art.
+The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters (or Teachers), figures in golden crowns who each demonstrate a particular guard for use with their weapon. These are followed by a master called "Remedio" (remedy) who demonstrates a defensive technique against some basic attack (usually how to use one of the listed guards to defend), and then by his various Scholars (or Students), figures wearing golden garters on their legs who demonstrate iterations and variations of this remedy. After the scholars there is typically a master called "Contrario" (counter), wearing both crown and garter, who demonstrates how to counter the master's remedy (and those of his scholars), who is likewise sometimes followed by his own scholars in garters. In rare cases, a fourth type of master appears called "Contra-Contrario" (counter-counter), who likewise wears the crown and garter and demonstrates how to defeat the master's counter. Some sections feature multiple master remedies or master counters, while some have only one. There are also many cases in which an image in one manuscript will only feature a scholar's garter where the corresponding image in another also includes a master's crown. Depending on the instance, this may either be intentional or merely an error in the art.
 The concordance below includes Zeno's transcription of the Getty preface for reference, and then drops the (thereafter empty) column in favor of a second image column for the main body of the treatise. Generally only the right-side image column will contain illustrations—the left-side column will only contain additional content when when the text describes an image that spans the width of the page in the manuscripts, or when there are significant discrepancies between the available illustrations (in such cases, they sometimes display two stages of the same technique and will be placed in "chronological" order if possible). There are likewise two translation columns, with the the two manuscripts dedicated to Niccolò on the left and the two undedicated manuscripts on the right; in both columns, the short text of the PD and Paris will come first, followed by the longer paragraphs of the Getty and Morgan.

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Fiore Furlano de’i Liberi
This master with a forked bear appears sporadically throughout both the Getty and Pisani Dossi mss., and may be a representation of Fiore himself.
Born	1340s Cividale del Friuli, Friuli
Died	after 1420 France (?)
Relative(s)	Benedetto de’i Liberi
Occupation	Diplomat Fencing master Mercenary
Nationality	Friulian
Patron	Gian Galeazzo Visconti (?) Niccolò III d’Este (?)
Influences	Johane Suveno Nicholai de Toblem
Influenced	Philippo di Vadi
Genres	Fencing manual Wrestling manual
Language	Middle Italian Renaissance Latin
Notable work(s)	The Flower of Battle
Manuscript(s)	MS M.383 (1400s) MS Ludwig.XV.13 (1400s) Pisani Dossi MS (1409) MS Latin.11269 (1410s?) Codex LXXXIV (before 1436) Codex CX (before 1436) MS XXIV (1699)
Concordance by	Michael Chidester
Translations	Traduction française Magyar fordítás Traducción castellano