Philippo di Vadi

Philippo di Vadi Pisano
Born	1425 Pisa, Italy
Died	1501 Urbino, Italy (?)
Occupation	Fencing master
Nationality	Pisa, Italy
Ethnicity	Ligurian
Citizenship	Pisan
Patron	Guidobaldo da Montefeltro
Influences	Fiore de'i Liberi
Genres	Fencing manual
Language	Middle Italian Renaissance Latin
Notable work(s)	De Arte Gladiatoria Dimicandi
Manuscript(s)	MS Vitt. Em. 1324 (1482-1487) Vatican Archives MS (1480s)
First printed english edition	Porzio and Mele, 2002
Translations	Alternate English translation Alternate English translation

Philippo di Vadi Pisano was a 15th century Italian fencing master. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara. Some time after this, Vadi composed a treatise on fencing entitled De Arte Gladiatoria Dimicandi ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino, and gifted to him between 1482 and 1487, but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.

Vadi was probably an initiate of the tradition of Fiore de’i Liberi, as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise Fior di Battaglia, Vadi would have had ample opportunity to study his writings.

Treatise

Preface

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	To my most illustrious Prince Guido di Montefeltro Duke of Urbino	[1r.1] Ad illustrissimus Principem meum Guidum Feretranum Ducem Urbinatem
	This little book I dedicate to you, most honourable prince Guido, And to whom I devote in equal measure my intellect, Since you have paid close attention to the Muses in the sporting jurisdiction of Mars. The Muses and Mars are wont to show favour to princes. Phoebus and the Muses especially give honour to you here. Soon also Mars and Minerva pay you homage.	[1r.2] Hunc tibi do princeps dignissime guide libellum Cui pariter mentem devoveoque meam. Quom musis studium dederis lege ludicra martis: Principibus muse marsque favere solent. Nunc te precipue phebus museque decorant, Mox etiam mavors atque minerva colent
	Philippo Vadi offers this book on the Art of fencing in earnest to the illustrious Prince Guido di Montefeltro Duke of Urbino.	[1r.3] Philippi Vadi servi Liber de Arte Gladiatoria Dimicandi, ad illustrissimus Principem Guidum Feretranum Ducem Urbini.
	Just as my earnest mind, devoid of all cowardice and spurred by an outpouring of natural desire in my earliest thriving years, moved me towards warlike deeds and matters; so did it move me, as time progressed and as I grew in strength and knowledge, to learn more of those warlike deeds, matters, styles and skills through hard work, such as how to play with the sword, lance, dagger and pollax.	[1r.4] HAvendomi mosso per appetito naturale quale producea fuori el mio franco animo alieno da ogni viltade nelli mei primi e floridi anni ad acti e cose bellicose: cussì per processo di tempo cre- [1v.1] sendo in forze et in sapere mi mosse per industria ad volere inparare più arte e modi de ingiegno de dicti acti et cose bellicose, come è giuchare di spada de lanza di daga e azza.
	Of these things, through the guidance of almighty God, I acquired a good deal of knowledge and this through the practical experience and instruction of many teachers from various different countries, all masters and utterly proficient and knowledgeable in this art.	[1v.2] De le qual cose medi ante lo aduito de summo idio ne ò acquistato assai bona notitia e questo per pratica experientia e doctrina de molti maestri de varii e diversi paesi amaestrati e docti in perfectione in tale arte.
	And not to diminish but instead to increase this doctrine so that it will not perish from my negligence, because from it comes no small help in battles, wars, riots and other warlike tumults: instead it gives all men trained and instructed in this material immediate and unique help: it has been suggested and required that I compile a booklet concerning these things by people I have surpassed in the art, and am more long winded than: adding to this various figures and placing various examples so that any man versed in this material can use if for assaults at arms, and can defend himself intelligently and be advised of all the types and styles.	[1v.3] Et per non minuire anzi volendo acrescere tal doctrina acioché per mia negligentia epsa non perisca per che da epsa non procede pocho alturio ne’ bataglie, guerre, rixe e altri tumulti bellicosi: Immo dona agli omini instruti e periti in tale materia uno prestantissimo e singulare sussidio. Ho proposto e statuido nella mente mia de compillare uno libretto concernente cosse le qualle sono più oltra e più prolixe de tale arte: depingendo in quello varie figure e ponendoli exempli diversi, per li quali qualunqua homo instructo in tal materia, possa usare ne l so asaltare e nel so diffendere, astucie, calidità e avisi di più ragione e manere.
	Therefore, anyone with a generous spirit will see this little work of mine as a jewel and a treasure and will keep it in memory deep within their heart, so that this art and discipline should never fall into the hands of peasants and low-born men.	[1v.4] Adunque ciascuno di generoso animo vederà questa mia op ereta, ammi epsa sì come uno gioiello e texauro e recordansello ne lo inti mo core, a ciò che mai, per modo alcuno, tale industria arte e dotrina non perve- [2r.1] nga a le mane de homini rusticali e di vile condizione.
	Because Heaven has not made these rough-hewn men, ignorant and beyond all cleverness and diligence and wholly bereft of bodily agility, but instead they were made like animals without reason, just to carry heavy burdens and do base and rustic work; and because I declare them to be in every way alien to this science; everyone of perspicacious intelligence and lively limbs such as courtiers [l.10], scholars, barons, princes, dukes and kings, should on the contrary be welcomed into this noble science according to the principle of the Instituta which states: not only should the Imperial Majesty be honoured with Arms, but it must also be armed with sacred laws.	[2r.2] Perché el cielo non à generato tali homini indocti, rozi et fuori de ogni ingiegno et industria et omnino alieni da la agilità del corpo, ma più tosto sono stati generati a similitudine de animali inragionevoli a portare carichi et fare opere vile e rusticale. E perché debitamente io vi dico loro essere per ogni modo alieni da tal scientia e per l’opposito al mio parere, ciascuno di perspicace ingegno e ligiadro de le membra sue, come sono cortegiani, scolari, baroni, principi, Duchi et Re, debeno essere invitati a questa nobile scientia, secondo el principio de la “Instituta” quale parla e dice così: el non bixogna solo la maestà inperiale essere honorata di arme ma ancora è necesario epsa sia armata de le sacre legge.
	Nobody should think that there is anything false or any kind of error in my book, because I have omitted and carved out anything unsure, and included only things that I have seen and tested. Let us begin then to explain our intention, with the aid and grace of the omnipotent God, blessed be His name.	[2r.3] Né sia alcuno quale creda che in questo mio volume sia posta cosa falsa o invelupata de alcuno errore, perché tollendo e rescecando via le cosse dubiose, solo li metterò cose vedute e provate da me: comenzando ad unque ad exprimere la intentione nostra, con l’adiuto e grazia de lo omnipotente dio del qualle el nome sia benedetto in eterno.
	Some animals, lacking reason, ply their skills naturally without any knowledge. Man, instead, naturally lacks skills and his body lacks weapons. Nature compensates for this deficiency of weapons by giving man his hands, and for his lack of natural skills by offering him the virtues of intelligence and thought. Even if a man were born with some level of skill, he would not be able to acquire the remainder naturally, that is, learn to use all weapons and know each skill. He was therefore not endowed by nature with either skill or weapon. Consequently, among all animals, man needs intelligence and reason, through which art and ingenuity flourish and in which he overtakes and surpasses all other animals. Just so every trained and clever man of good intelligence overtakes and surpasses any other who is stouter and stronger than him.	[2r.4] Et perché alcuni animali inrationabili fano li loro artificii naturalmente, senza alcuna doctrina de l’homo [2v.1] manca de artificio naturalmente sì come il corpo de quello manca de arme debitamente li presta la natura per lo mancamento de dite arme le mane et in loco de quello che ‘l manca de artificij naturali, li presta la virtù de intellecto e cogitatione, e come si lui avesse avuto alcuni artificii naturalmente non poria acquistare artificii per lo resto; e per lo meglio a lui ad usare tutte le arme e tutti li artificii, però non li fo prestato da dita natura né arme né artificio. Have adoncha bixogno tra li altri animali lo intelletto e ragione, ne le qual cosse fiorisce arte et ingiegni, de’ quali due cosse non solo avanza e supera tutti gli animali: ma ciascuno homo docto e adoctato de bono ingiegno avanza a supedita qualunqua sia più robusto di lui e più pieno di forze.
	As the famous saying goes: cleverness overcomes strength. And what is greater still and almost incredible: the wise rules the stars. An art that conquers all, and dominates anyone who would fight you or stand against you, is born from the aforesaid cleverness and other piercing thinking. And not only can just one man prevail against another, but also a way and possibility exists for one man to overcome many. Not only do we show the way and the theory of combating the adversary as well as to defend yourself against him, but we also teach methods on how to take the weapon from his hand.	[2v.2] Iusta illud preclare dictum: ingenium superat vires, et quod maius est et quasi incredibile, sapiens dominabitur astris: nasce da dito ingiegno e da altri e penetrative cogitatione, una arte de vincere superare e debbelare qualunque vol conbatere e contrastare; e non solo adviene che uno homo vinca l’altro, ma ancora nasce modo et posibilità che uno solo superi più persone, e non se mostra solo el modo e documento de assaltare lo adversario e repararsi e deffendersi da lui, ma etiam se insegna advi [3r.1] si de togliere l’arme sue di mano:
	Oftentimes in these texts, a small person of little strength overcomes, prostrates and throws a big, tough and brave man to the ground; just so, you will see how the humble can overtake the proud, and the unarmed the armed. And many times it happens that someone on foot defeats and conquers someone on horseback.	[3r.2] per li quali documenti, spese fiate uno de poche forze e picolo sottomete prosterne et sbate uno grande robusto, e valoroso e cusì adviene che anche uno humile avanza el superbo e uno disarmato lo armato. Et molte volte accade che uno a piedi vinci e sconfigie uno da cavallo.
	But because it would be very inconvenient if this noble doctrine were to wilt and die through negligence, I, Philippo di Vadi from Pisa having studied this art ever since my first flourishing years, having travelled to and practiced in many different countries, lands, castles and cities to collect the teachings and examples of many perfect masters of the art, having acquired and obtained (by the Grace of God) a sufficient portion of the art, I have decided to compose this little work, in which I have organised and shown at least the main points of four types of weapon: the lance, sword, dagger and axe.	[3r.3] Ma perché el seria cossa molto inconveniente che così nobile doctrina per negligentia perise e venise meno, Io philippo di vadi da pisa, havendo ateso a tale arte insino a li mei primi et floridi anni havendo cercato e praticato più et diversi paesi et terre castelle e citade per racogliere amaestramenti et exempli da più maestri perfecti nell’arte, per la dio gratia havendomi acquistato et conseguito una particella assai sufficiente, ho deliberato de conponere questo mio libreto nel qualle ve si ponerà e dimostrarà almeno la noticia di quatro manere d’arme, cioé lanza, spada, daga e aza.
	And in this book, I will describe the rules, the methods and the actions of this art, with examples illustrated with various figures, so anyone new to the art can understand and learn how to fight, and by which trick and ploy he can fend off and beat aside the opponent’s attacks and counters. I have only included in the aforesaid book the good and true doctrine, which I have received from the most perfect masters, with great pains, efforts, and sleepless nights. And I have also included things that I have discovered and often tested.	[3r.4] Et in epso libro per mi si descrivirà regole, modi et atti de talle arte, metendo li exempli con varie figure, aciò che ciascheduno, novo ne l’arte, comprehenda e cognosca li modi de assaltare, e per le qualle astutie e calidità lui expella et rebuti da sé le contrarie e i nimici colpi; ponendo solo nel dicto libro quella doctrina [3v.1] vera e bona la qualle io con grandissimi affanni et fatiche e vigilie ho inparato da più perfectisimi maistri metandoli ancho cosse per mi atrovate e spesso provate.
	Let me remind and admonish all not to be rashly presumptuous, nor to be so bold as to interfere in this art and discipline unless one is high-minded and filled with gallantry. That is because whoever is thick-brained, pusillanimous and cowardly must be banished from such nobility and refinement. To this doctrine should only be invited such men as soldiers, men at arms, scholars, barons, lords, dukes, princes and kings of the land, and any of those whose task is to govern the state, and to any of these who defend widows and orphans (both of which are pious and divine works).	[3v.2] Ricordando et amonendo ogniuno non prosumma temerariamente né habia ardire de intermeterse in tale arte e scienzia, se lui non è magnanimo e pien de ardire: perché qualuncha homo grosso d’inzegno, pusilanimo e ville, debbe essere caciato e refudato da tanta nobilità e gientileza: perché solo a questa dottrina se debeno invitare sacomani, homini d’arme, scolari, baroni, Signori, Duchi, Principi e Re di terre de le qualli ad alcuni de loro apertene a governare la repubblica; et ad alcuni de loro apertene deffendere pupili e vedoe: et tute due sono opere divine e pie.
	And if this little work of mine finds its way into the hands of anyone versed in the art, and appears to him to have anything redundant or wrong, may it please him to cut, take away or add to it as he pleases. Because in the end I place myself under his correction and judgement.	[3v.3] Et se questa mia opereta pervenisse a mane de alcuno docto nella arte e paresseli che in epsa fosse alcuna cossa superflua o manchevole piazali de resecare minuire e acrescere quello li parerà, perché insino da mò io mi sottopono a sua correctione e censura.

Introduction

Chapter 1

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter I begins If you wish to truly know If fencing is an art or science Hark my words, I say. Ponder this, my statement: It is a true science and not an art And Geometry, which divides and separates, By infinite numbers and measures And fills her papers with science, Shows this with its pithy eloquence. The sword is placed in her care, So measure blows and steps together So Science keeps you safe. From Geometry fencing is born, And under her it has no end; And both of them are infinite. And if you heed my doctrines, You’ll know how to answer with reason And pluck the rose from the thorns. To make your opinion clearer, And to sharpen your intellect, So you may be able to answer to everyone: MMusic adorns her and chooses her as its subject, Song and sound are added to the art, To make it a more perfect science. So Geometry and Music combine Their scientific virtues in the sword, To adorn the great light of Mars. Now if you like what I have said, And the explanations I have written Keep them in mind, and don’t let it fall out. So answer true as I have told you, In fencing you will find no end, As every backhand finds its fore, Counter by counter without end.	[3v.4] Capitulo primo incipit. SE alcun volesse intender e sapere se lo scrimir è arte over sienza io dico che tu noti el mio parere Considera bene questa mia sente(n)za che l’è scienza vera e non è arte e mostrallo con breve eloquenza. [04r] LA geometria che divide e parte Per infiniti numeri e misure Che impi(e) di scientia le sue carte, LA spada è sottoposta a le sue cure, Convien che si mesuri i colpi e i passi A ciò che la scienzia t’asecure DA geometria lo scrimir se nasce E sottoposto a lei, e non ha fine E l’uno e l’altro infinito fasse E Se tu notarai le mie doctrine, Tu saperai responder con rasone E caverai la roxa de le spine PEr farte chiara ancor tua opinione, Per aguciarte meglio l’inteletto, A ciò che tu respondi a le persone: LA musica l’adorna e fa sugetto Che ‘l canto e ‘l sono s’enframette in l’arte Per farlo di scientia più perfecto LA geometria e musica comparte Le loro virtù scientifiche in la spada Per adornare el gran lume de Marte OR vidi se ‘l mio dir ponto t’agrada E la rasone ch’io t’alego in scripto Et tiello nel cervello che no te cada. Che tu respondi el ver come io t’ho dicto Ché in lo scrimir non se trova fine, C’ogne riverso trova il dricto, [4v.1] COntrario per contrario senza fine.

Chapter 2 - Measure of the two-handed sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter II. Measure of the two-handed sword. The sword should be of the correct size, The pommel should come under the arm As it appears here in my writing. As you wish to avoid any trouble, The pommel should be round to fit in the closed fist Do this not to enter the trap. And may this be always done: The handle should be always a span Who does not have this measure will be defeated. So your mind is not deceived, The crossguard should be as long as the handle And pommel together, and you won't be doomed. The crossguard should be strong and square as needed With a wide and pointed iron, It must cut and thrust to do its duty. Take note and understand this addendum If you wish to test the sword in armour, Make the cutting edges four fingers from the point, With the handle as is said above, With pointed crossguard, and note well the text.	[4v.2] Misura de spada da doi mane. Capitolo II. LA spada vole avere iusta misura Vole arivare el pomo sotto el brazio Come qui apare nella mia scriptura PEr volere schifare ancora impazio: Tondo el pomo per star nel pugno chiuso E questo fa’ per non intrar nel laczio. E Fa che questo te sia ancora in uso Che ‘l ma(n)tener sia sempre d’una spanna Chi non ha sta misura sie confuso A Ciò che la tua mente non s’inganna, Vol l’elzo longo quanto el ma(n)tenere, El pomo inseme, che non te condana. VOl l’alzo forte e quadro nel dovere Con la ferruza larga e tracta in punta, Che per ferire e tagliare faccia el dovere. FA’ che tu note e intendi questa giunta: Si con spada in arme tu voi provare Fa’ che la taglii quatro dita in punta Col mantener che di sopra è ditto COl pontivo elzo et nota ben lo scripto.

Chapter 3 - Theory of the sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter III. Theory of the sword. Grasp the sword manfully, Because the cross is a royal weapon, Harmonise it with your bold spirit. If you have a judicious mind, You must consider here, Which way to take to climb these stairs. The art of the sword is only a crossing, Delivering thrusts and cuts in the fight, To make war against he who stands against you. On one side you make defence The forehand blows go from one side, The backhands from the other side make offence. The true edge falls on the forehand side, And note well this principle The backhand takes the same road as the false edge. And follow then as the saying goes, Place yourself in guard with the sword in hand, If you pass forwards or back remain side-on. So that you will not play in vain, Face the side to which you turn, And enter from there. And don’t let this seem strange to you: Place your sword towards the target Against the companion with your point in his face, And be quick to strike him. You must be very careful, Keep an eye on the weapon that can strike you, Grabbing the tempo and the measure, well collected. Make your heart agree with your feet and arm In defending with good measure, That you may take all the honour. And note well and understand my text That if the companion strikes with his sword, And achieves the crossing with yours, Watch that you do not end up out of the line, Go with the cover and with the point to the face, The blows go hammering the head. Play of the cross and you will not be conquered, If the companion crosses wide and you thrust, You want to not be divided from him. When you are joined with him at the half sword, Get closer to him, as reason calls for, And leave the wide play and confront him there. Also it is often so, That a man doesn’t feel very strong, Then he needs cunning, not words. Pass out of the way with agility, With the cover of the good backhand, Redoubling swiftly with a forehand. If you don’t feel your cunning has been lost Leave the wide and find the stretto play This will make strength change sides. And take note of and understand this saying, That when crossing, you will cross with strength, Because it dampens the effect of his sword. Know that cleverness always overcomes strength, Make the cover and immediately strike, In largo and constrained you’ll beat down strength. And if you want to make him feel your point, Go out of the way with a pass across, Make him feel your point in his chest. With the point high and the pommel low And the arms out [of the line] with a good cover, Pass to the left side with a good pace. And if the point will find an open way, Passing to the outside do not fear, In every way you will make your offer. Press in and grasp the grip of his sword, If this cannot be done well, Crushing his sword does the duty. Always match your passes With the enemy’s, and when you find him (And what I say do not forget) As you see that he moves the sword, Or if he passes, or even strikes, Or you pass back, or you find him near, Let wisdom, strength and boldness go With him who desires honour in arms, Lacking these, he must exercise more. You must have a bold heart, If a big man appears strong to you Use cunning, it will give you advantage. Be as careful as you would be with death That your play is not courteous, When the other tries to shame you. And note well this statement of mine, You know your heart, not the companion’s Do not ever fall into that illusion. Make yourself great in trickery If you wish for success in this art That will bear good fruit. Note well and understand this part: He who wishes to use the art to oppose everyone, Out of a thousand, one will best him, And so he loses his honour for one single mistake. He who is below may believe to be above, And this is the kind who is often combative with others, Often he will start a disagreement with another, And what started as such becomes a quarrel, Here is where he who knows the art will show his mettle. If the tongue could cut by its nature, And strike as well as the sword can, The dead would be countless. And make sure your mind does not fall But choose your defence with reason, And with justice go justly. He who wishes to offend others without reason Certainly damns his soul and body And brings shame upon his master. And you must also keep in mind To always honour your teacher, Because money alone does not repay such a debt. He who wishes to master the sword and be dextrous, Must be accomplished in teaching and learning, While removing from you any wrong action. If you never stop prizing loyalty, You can talk to princes and kings, So that this art be used by them. Because they are expected to govern And for each to maintain justice, For widows, orphans and other affairs. All sorts of good things come from this art, By arms the cities are governed, And the crowds are kept under control. And she maintains in herself such dignity, That it often warms your heart, Driving out cowardice from you. This [art] will make you acquire both riches and honour, And this passes above all other things, Be always in your lord’s good graces. If you will have such a magnificent art, You will never be poor, anywhere, Because this virtue is so glorious. If poverty shows you the cards Only once, then you will see, By this art, riches will embrace you. Sometimes you will find yourself Being like a blown-out candle, Do not doubt that you will soon return. To find this art I have spared no pains, I speak not of the old but the new, I am happy to have put her to paper. I have kept her firmly imprisoned, But as I release her, I truly swear: She gives me wealth, and as it happened to me, So it happens to those in whom virtue is found.	[4v.3] Ragion de spada. Capitolo III. PIglia la spada in mano virilmente Perché l’è croce e è un’arma reale. Insieme acorda l’animo valente. SI tu averai nel cervel tuo sale [05r] El te bixogna qui considerare Qual via s’adopra da salir tal scale. L’Arte de spada è solo un’incrociare, Partir la punta e i colpi a la contexa Per far la guerra a chi vol contrastare. DA una parte si fano difexa, I colpi diritte da un lato vada, I riversi da l’altro faccia offexa. EL taglio ritto nel suo ritto cada, E fa’ che note ben questa ragione, El riverso col falso piglia strada. ET fa’ che segui poii come ‘l dir pone Metteti in posta con la spada in mano, S’tu passi o torni remane in galone. PErché non sia el tuo giucare invano, Da quella parte che volto hai la faccia, Da quella entra e non te para strano, MEttendo la tua spada alora in caccia Verso el compagno con la punta al volto, E de feriri subito te spaccia. ESser ti bixogna acorto molto, Con l’ochio a l’arma che te po' offendere, Pigliando el tempo, e ‘l misurar, racolto. FA’ che ‘l cor s’acorde ne defendere, I piedi e braccia con bona mesura, Se honor vorai al tutto prendere. ET nota bene e intende mia scr(i)ptura, Che se ‘l compagno tra’ con la sua spada, [05v] E con la tua ad incrociar procura. GUarda non vadi però for de strada, Va’ con coverta e con la punta al viso, Martelando a la testa i colpi vada. GIoca de croce e non serai conquixo. Se ‘l compagno incrocia largo, e tu ponta, VOlendo tu da lui non star div(i)xo. QUando la sua a meza spada è gionta Stregnite a lui, ché la ragione el vole E lassa el gioco largho e qui t’afronta. ANcora spesse volte achader sole Che l’hom non sente aver bona forteza, Or qui bixogna ingiegno e non parole. PAssa for de strada con destreza, Con la coverta del bon manreverso, Reddopiando el derito con prestezza. SI tu non senti aver l’ingiegno perso, Lassa el largo e tienti al giucar stretto: Farai a la fortezza mutar verso. ET fa’ che note e intende questo detto: Che quando incroce, incrociarai per forza, Perché smorza de spada el suo diffeto. SApii che ingiegno ogni possanza sforza, Fata la coverta e presto a lo ferire, Al largo e stretto abaterai la forza. ET se la punta li voi far sentire, Va’ for de strada per traverso passo, [06r] Fagli nel peto tua ponta sentire. COn la punta alta e col tuo pomo basso E i bracci in fora, con bona coverta Passa dal lato stancho de bon passo, ET se la punta trova la via aperta, Passando pur di fora non temere Che in ogni modo li darai l’oferta. STregnilo e piglia alor suo mantenere; Se questo vede non posser ben fare, Pestulando sua spada fa’ el dovere. FA’ che t’acordi sempre nel passare Col tuo nimico, opure quando tu ‘l trove; E questo ch’io ti dico non lassare: COme tu vedi che la spada el move, Opur passase overamente tragga, Over tu torna o adosso fa’ che ‘l trovi. SApere, fortezza et ardimento agga Colui che vole in arme aver onore, Se questo manca a (e)sercitar si stagga. EL ti bixogna havere ardito el core, Se l’omo grande te paresse forte L’ingiegno adopra che te dà favore. GUarda ben certo como da la morte, Che ‘l tuo giucar non sia per cortesia Con altri che vergogna teco porte. ET nota ben questa sentenzia mia: Tu conosci tuo cor, non del compagno, [06v] Non voler mai usar tal fantaxia. FA’ che tu sie de malizia magno Si tu voi aver seguito in tal arte. Arai bon fruto de cotal guadagno. ANcora nota & intende questa parte: Chi vol de l’arte a tucti contrastare, De le mille una imbrattarà sue carte, CUsì perde l’honor per un sol fallare. Tal crede star di sopra che è di sotto E questo sole spesso altrui scontrare; SPesso si fa con esso altrui barbotto, Contrastando se vene a custione: Demostra qui cului che in l’arte & dotto. SE la lingua tagliasse per ragione, Et fesse ancora lei como la spada, Seria infinite morte le persone. ET fa’ che de la mente tua non cada Che piglie con ragion el tuo defendere Et con iustizia iustamente vada. CHi vol senza ragion altrui offendere Danna l’anima e ‘l corpo certamente, Fa al suo maestro vergogna prendere. EL te bixogna ancora avere a mente De portar sempre honore al tuo maestro, Perché denar non paga tal somente. CHi vol farsi signor de spada eT destro, De imprendere et de insignare facci derata [07r] Levando pur da te l’atto sinestro. SE lialtade serà da te amata A principi & Re tu porai parlare Per che tal arte da lor si fia oprata. PErché s’aspetta a lor de governare Et ciaschedun che iusticia mantene De vedoe pupille & d’altre affare. QUest’arte in summa & capo d’ogni bene, Per arme se tien sotto le citade Et fa tenere i populi tutti a freno; ANcor mantene in sé tal dignitade, Che spesse volte sì t’alegra el core, Cacciando pur da te sempre viltade. FActe acquistar poi thexoro e honore Et questo passa sopra ogn’altra cossa Mantente sempre in gratia de signore. SI tu averai l’arte sì famoxa Non serai pover mai in nisciuna parte. Questa virtù ch’è tanto glorioxa, SE povertà te mustrarà le carte Solo una volta poi tu vederai Abracciarte richeza per tal arte. ALcuna volta tu te trovarai Essere a tale commo lume spento: Non dubitar che tosto tornarai. PEr trovar l’arte no m’è parso stento, Non dico de la vechia ma la nova, [7v.1] Che d’averla notata son contento. IO l’ho tenuta inpregionata a prova, Commo io la lasso, te giuro in bona fé: Ella me dà denari & se me giova, Cusi intervene a chi in vertù si trova.

Chapter 4

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Fourth Chapter This art is so noble and refined, She teaches man [how] to proceed, Makes the eye quick, bold and noble. This art teaches you to turn well, Teaches also to cover and be strong, And cuts and thrusts, it teaches [you] to parry well. How many are those, the numberless dead, To whom the art did not appeal, And so they closed the doors of life. There is no greater treasure than life, And everyone strives to defend it, To hold onto it as hard as they can. Abandon material goods, and all valuable things, Defend your body with this art, And you will have honour and glory. Oh what a laudable and good thing it is To learn this art that costs you so little, And a thousand times gives you life. Oh in how many ways it can serve you, Without searching you will find quarrels, Blissful is he who can put out another’s fire. My art, new and made with reason, I speak not of the old, that I leave To our ancestors and their beliefs. If you do not want your honour to be thrown down, Measure your tempo and that of the companion. This is the foundation of the art and its measure. Open your ears to the great text, And understand its beautiful principles, To not give your teacher cause for lament. Make it so the swords are always sisters When you come to fence with someone And choose between them the one you want. Do not give advantage of the sword to anyone You will be in danger of being shamed, And this is something that everyone must follow. Good eye, knowledge, speed are needed, And if you have strength and heart with you You will give everyone their due. Understand my statement well, A big man should have a long sword, And a little man should have a short one. A man’s great strength can break the guards, But natural cleverness will keep that in check, It gives good boldness to a small man. Who knows many actions carries venom with him. Who knows few, struggles And in the end [he] remains [with] wind, or less. And if you follow my thread And grasp the principle of this art, At need this will extract you from trouble. And note well the saying which goes: Do not display the secrets of the art, So you won’t be injured for this cause. Also understand well this other thing: The sword that is longer is deadly, You cannot play against it without danger; Make sure they are of equal measure, As I said to you in the first chapter Of our book, that is above. I only esteem the sword of two hands, And this is the only one I use at need, And of which the verse of my book sings. If you don’t want to be shamed, Don’t pick a fight with more than one: You’ll end up sounding worse than a bagpipe. If force constrains you to contend With more than one, then keep this in mind, Take a sword that you can really use. Choose a weapon that is light, not heavy, So it is easily controlled And you do not have to struggle with the weight. At need you can take another way, And you leave the thrust and employ Other blows to even things out, As you will hear in my text.	[7v.2] ¶ Capitolo quarto. QUest’arte è tanto nobile et gintile, ella amaestra l’omo nell’andare, FA l’chio presto, ardito & segnorile. QUest’arte t’amaestra a ben voltare A ‘nsegnare ancora coprire & star forte, e taglie e punte insegna el ben parare. QUanti sonno senza numer morte, Ché l’arte non gli è stato a lor gradita, Però han de vita chiuse le lor porte. NOn è magior tesoro che la vita E per defe(n)der quella ogniun se ingiegna, De ma(n)tenerla quanto po' s’aita. LAssa la robba e ogni cossa degna, Defende con quest’arte la persona, Ne porte honore e glorioxa insegna. O Quanto è coxa laudevole & bona Apre(n)der st’arte che te costa poco E mille volte la vita te dona. O In quanti modi la ti po' aver loco Senza cercare se trova costione Beato è quel che spigne l’altrui foco, [08r] L’Arte mia nova et fatta con ragione, Non dico de la vechia, la qual lasso Ai nostri antichi con lor opinione. SE tu non vorai d’honore esser casso, Misura il tempo tuo eT quel del conpagno: Questo è de l’arte fondamento e passo. APre l’orechie al documento magno E fa’ che inte(n)de le ragion sì belle Perché non dagge al tuo maestro lagno. FA’ che le spade sian sempre sorelle Quando tu vieni a scrimir con alcuno E da poi piglia qual tu voi de quelle. NOn dar vantagio di spada a niuno Staresti a pericolo d’averne vergogna, Et questo è quel che de’ seguir ciascuno. BOn ochio, saper, prestezza bixogna, Et se la forza e ‘l cor con seco sia Farai grattar a ciaschedun la rogna. INtende ben qui la sente(n)za mia: L’homo grande fa de spada longezza Et picol omo la spada curta fia. GRan forza d’homo le guarde si spezza, L’ingiegno natural li porge el freno, Dona al picol homo bona francheza. Chi sa assai colpi si porta el veleno, Chi sa poco, fa con gram faticha, A fin ne roman vento e pur da meno. [08v] ET si tu tene el fil de la mia riga Et pigli di questa arte la ragione, A’ toi bixogni ti torà di briga. ET nota ben quel che ‘l parlar qui pone: Non palesare i secreti de l’arte Ché non sie offexo per cotal cagione. ANcora intende ben quest’altra parte: La spada ch’è più longa sì è mortale, Senza pericol con lei non poi adoprarti; FA’ che la sia a la mesura eguale, Commo te ho dicto nel capitol primo Del nostro libro che de sopra sale. LA spada da doi mane sola stimo Et quella sola adopro a mia bisogna, De cui cantando nel mi libro rimo. ET se tu non vorai aver vergogna, Contra più d’uno briga non pigliare: Ché farai verso d’altro che sampogna. SI forza te stregnesse avere a fare Con più d’uno, fa’ che te sia a mente De pre(n)der spada che la possi oprare. TOrai arma lieve & non pesente Acciò che l’abii tutta in tua balia, Che per grevezza non te porga stente. ALor bixogna che piglij altra via, Che tu lassi la punta & che tu adopre Altri ferire per ritornare al quia, [9r.1] Como udirai nella sente(n)za mia.

Chapter 5 - Of thrusts and cuts

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter V. Of thrusts and cuts The sword has a point and two edges, But note well and understand this text, That memory will not bamboozle you: One [edge] is the false, and the other the true, And reason commands and desires That you keep this fixed in your brain. Forehand and true edge go together, Backhand and false edge stay together, Except the fendente which calls for the true. Understand my text well, Seven are the blows that the sword delivers That would be six cuts, with the thrust. SSo that you will find this vein, Two from above and below and two in the middle, The thrust up the middle with deceit and pain, That often gets us out of trouble.	[9r.2] ¶ De punte & tagli capitolo Vº. LA spada sia una ponta con doi taglie, Però ben nota & intende questo scripto Ché la memoria tua non s’abarbaglie: L’Uno sie el falso & l’altro sie el dirito E la ragione si comanda e vole che questo tenghe nel cervel tuo fitto DEritto col deritto inseme tole El riverso col falso inseme sia Salvo el fendente lo diritto vole INtende bene la scriptura mia Septi colpi son che la spada mena Sei tagli con la punta quel seria ACciò che tu ritrovi questa vena Doi de sopra et de sotto e dui mezane La ponta per mezzo con inganne & pena, che l’aer nostro fa spesso serena

Chapter 6 - The seven blows of the sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter VI. The seven blows of the sword We are the fendenti and we make quarrels, To strike and cut often, with pain, The head and the teeth in a direct way. And all guards that are made low to the ground, We break often with our cunning, Passing from one to the other without trouble. The blows make a bloody mark, When we mix them with the rota We make the entire Art our support. Fendente, for striking we are well endowed, Returning to guard from pass to pass, Note: we are not slow to strike. I am the rota and I have in me such a load, If you want to mix me with the other blows, I will often place a thrust in an arc. I cannot be courteous or loyal, Turning I pass through the forehand fendente And destroy arms and hands without delay. People call me rota by name, I seek the deception of the sword I hone the mind of he who uses me. We are volanti, always crossing And striking from the knee up, Fendente and thrusts we often banish. The rota that come up from below Pass us obliquely without fail And with the fendente warm the cheeks.	[9r.3] Li septi colpi de la spada. Capitolo VI. SEmo fendenti et famo costione De fendere e tagliare spesso con pena Testa e denti con deritta ragione ED ogni guardia che se fa terrena Rompemo spesso con lo nostro ingiegno Passando l’una & l’altra senza pena COlpi facem de sanguinoso segno Se noi ne mescolamo con la rota [9v.1] Tutta l’arte farem nostro sustegno FEndente, de ferir noi damo dota, Tornamo in guardia ancor di varcho in varcho Tardi non semo de ferir, qui nota. IO sò la rota et tengo i(n) me tal carcho SE con altri colpi me vò mescholare: Oo metterò la punta spesso a l’archo LIeltà et cortesia non posso usare Rotando passo per deritte fendente E guasto braccia e man senza tardare ROta me chiama per nome la giente La falsità de spada vo cercando Chi m’adopra gli aguzzo la mente. SEmo volanti sempre atraversando E dal gienochio in su nostro ferire Fendente et punte spesso ne dà bando PEr trave(r)so noi passa a non falire La rota che de sotto in su percote E col fendente ne scalda le gote.

Chapter 7 - Of the thrust

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter VII. Of the thrust I am she that quarrels with All the other blows, and I am called the thrust. I carry venom like the scorpion. I feel so strong, bold and ready, Often I make the guards waver When I am thrown at others and confront them, And when I am joined, I harm nobody with my touch.	[9v.2] De la punta.. Capitolo VII. IO son colei che facio custione a tuti i colpi e chiamome la punta: porto il veleno como el scorpione ET sentomi sì forte, ardita & pronta Spesso le poste fazio svariare Quando altri pur me getta et che s’affronta E Per mal toccho niun quando sum gionta

Chapter 8 - The dispute of the cuts and thrusts

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter VIII. The dispute of the cuts and thrusts The rota with the fendente and the volante Argue with the thrusts and show them That they are not so dangerous. And when they come to us, All the blows can make them lose their way Losing in this joust the chance to strike. The blow of the sword does not lose its turn, The thrust is worth little against he who turns quickly The blows clear the way for the one who is going. If you don’t have a quick memory, If the thrust doesn’t wound it loses its turn, All the other [blows] deem it weak. Against just one [opponent] the thrust finds its place, Against more it doesn’t do its duty, This is found in the text and the act. If the thrust throws a rota do not fear, If it does not immediately take a good fendente, It remains fruitless, it seems to me. Keep in mind a little here, If the thrust enters but does not swiftly exit, It lets the companion hurt you with a strike. Cutting a blow, your sword is lost, If the point loses its way in the strike, Or the right cross from below helps you. I make a forehand fendente at you with the sword, And break you out of that guard, So that you are forced into a bad spot. Do not lose even an hour of learning: The great motions with a serene hand, Will place you above the others and give you honour. Break all low guards, Low guards await small loads, And so heavy ones pass without difficulty. A heavy weapon does not pass quickly to the step, Light ones come and go like an arrow from a bow.	[10r] ¶ Costione di tagli & punte. Capitolo VIII. LA rota coi fendente et coi volante Dicon contra le ponte & sì li mostra Che le non sonno pricoloxe tante. E Quando vengon’ a la presentia nostra, Tutti i colpi li fan smarrir la strada, Perdendo pur el ferrir per quella giostra. NOn perde volta el colpo della spada: Poco val la punta a chi presto volta Se fan far largo i colpi pur che i vada. SI tu non hai la memoria sciolta, Se la punta non fere perde el trato Tute gli altri ferrir là te ne scolta. COntra un sol la punta trova patto, E contra più non fa già il suo dovere: Questo rechiede el documento et l’atto. SE punta butta rota non temere, Se subito non piglia el bon fendente Remane senza fructo al mio parere. CHi fa che ponghe un poco la tua mente, Se punta intrata non ha presto usita, Te fa el compagno de ferrir dolente. TAgliando un colpo tua spada è perita Se punta nel ferrire perde strada O ‘n deritta croce di sotto t’aita. RIcto fendente farotte de spada E tirarotte de tal posta fora, [10v.1] Acciò che in mal punto tu te n’ vada. NOn perder tempo ad imparare un’ora I tempi grandi con la man serena, Te pone sopra gli altri & sì te onora. ROmpe ogni guarda ch’è fatta terena Guardie terrene aspectan piccol carcho E si le grave passan senza pena. ARma greve non passa presto al varcho, La leve va & ven como frezza in l’archo.

Chapter 9 - Of the Cross

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter IX. Of the Cross I am the Cross with the name of Jesus My sign is made both in front and behind To find many more defences. If I confront a different weapon, I do not lose my way, I have been proven; This often happens because I go looking for it. And when a long weapon finds me, He who with reason makes my defence, Will gain the honour in every venture.	[10v.2] ¶ De la Croce. Capitolo IX. IO son la croce col nome de iesù Che dereto & denanti vo segnando Per retrovare molte defexe più. SI con altr’arma io me vo scontrando, Non perdo camin, tanto son de prova; Questo spesso m’aven, ch’io el vo cercando. ET quando un’arma longa sì me trova, Chi con ragion farà la mia difexa Arà l’honore de ciascaduna imprexa.

Chapter 10 - Theory of the half sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter X. Theory of the half sword Wanting to follow in this great work, It is necessary to explain bit by bit, All the strikes of the art. So that it is well understood and put into practice, Reason demands that I first explain The turning principle of the sword. And with arms extended go, Driving the edge to the middle of the companion. And if you wish to appear great in the art, You can go from guard to guard, With a slow and serene hand, With steps that are not out of the ordinary. If you wish to make some kind of stramazone, Do it with a small turn in front of the face, Don’t make a very wide motion, Because all wide motions are for nothing. Making the roverso you will be helped, Passing out of the way with the left foot, Drawing forwards with the right foot too, Keeping an eye out for a good parry. When you wish to enter into half sword As the companion lifts his sword, Then don’t hold back, Grab the tempo or it will cost you dear. Place yourself in the guard of the boar, When you enter with the thrust at the face Do not be divided at all [from the companion], Turn quickly a roverso fendente. And strike a dritto. Keep this in mind, So that you understand my intention, With clear reasoning, I hope to thoroughly show you the way. I don’t want your blows to be solely roverso, Nor just fendente, but between one and the other, Both between the common one, Hammering the head on all sides. Also I advise you when you have entered, Be with the legs not too far apart, You will be the lord, and clear To constrain and strike valiantly. And when you strike a roverso fendente, Bend the left knee, and note the text, Extend the right foot, Without changing it, i.e. to either side. Also, the left foot and the head are understood To be connected now, Because the head is closer to the left foot, Than to the right one, that remains sideways. So you will be safe from every side, If you want to strike a forehand fendente, You need to bend The right knee: and extend well the left. You will consider that the head is now connected, To the right foot that is closest. This is a better way Than the footwork of our ancestors. It is necessary that no one contradicts this, Because you will be stronger, and more secure, Hard in defence, And make war with the shortest motion, And neither can anyone make you fall.	[10v.3] ¶ Ragione di meza spada. Capitolo X. VOlendo nui seguir questa degna opra, Bixogna dechiarar a parte a parte Tutti i ferrir de l’arte. ACciò che ben se intenda & che s’adopra, La ragion vol che prima ve descopra Del rotare principio de la spada. E’ Con braccia stexe vada [11r] MEnando el fil per mezzo del compagno. ET si tu voi parer nell’arte magno, Tu poi andare alor de guarda in guarda Con man serena & tarda, con passi che non sian for el comuno. SI tu facessi stramazzone alcuno, Fara’l con poca volta ‘nanti al volto. Non far già largo molto perché ogni largo tempo sì è perduto. FA che’l reverso te sia poi in aiuto, Passando for de strada col pe’ stanco, Tirando el deritto ancho, Avendo l’ochio sempre al ben parare. QUando vorai a mezza spada entrare Commo el compagno leva la sua spada, Alor non stare a bada tempo pigliar che non te coste caro FA’ che tu sie in guardia de cenghiaro Quando tu entre con la punta al vixo, Non star punto divixo, Voltando presto el riverso fendente E Tira el dritto e fa’ te sia a mente. Acciò che intende la mia intenzione Con chiara ragione, Spero mostrarti interamente el verso. NOn vo’ che   in tutto sia puro riverso Né sia fendente, ma tra l’altro e l’uno [11v] Sia tra quel comuno, Martelando la testa in ogni lato. ANcor t’avixo, quando serai intrato Che con le gambe tu t’acconcii paro: Serai Signor & chiaro De stregnere & ferire arditamente: ET quando trai el riverso fendente Piga el gienochio stanco e, nota el scritto, Destende el piè derito Senza mutarlo alora in altro lato. ALora se intende essere attaccato Il piè stanco con la testa adesso Perché li sta più apresso Che non fa el ritto che roman traverso. ALor tu sei segur per ogni verso E se vuoi el fendente ritto trare, Te bixogna pigliare El gienochio ritto: & stende ben el stanco. CHiamarasse la testa attaccata ancho Col piè dritto che gli è più vicino: Questo è meglior camino Che non è el passeggiar di nostri antichi. NOn bixognia ch’alcun contrasti o dichi, Perché tu sei più forte et più siguro A la difesa duro, Et con più breve tempo a far la guerra Né non po' farte ancor chasschare in terra.

Chapter 11 - Theory of swordplay

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter XI. Theory of swordplay When you have arrived at the half sword, Making a mandritto or roverso, Be sure to grasp the sense Of what I say, because it is to the point. When you feint keep a sharp eye out, And make the feint short, with the cover, And hold the sword up, So your arms play above your head. I cannot say in a few words, Because the actions are of the half sword, Where you go as you please. When you parry, parry with a fendente. Brush aside the sword, a little away from you, cautiously, Pressing that of the companion, You will make a good deal, Parrying well whichever blows. When you parry the roverso do so with The right foot forwards, and parry as I have said. Parrying the mandritto, Put your left foot forwards instead. You should also keep in mind, When you strike a roverso fendente, To keep a careful eye out, So that a mandritto doesn’t come from underneath. And if the companion strikes, and you all of a sudden Parry, making then to the head A blow with the false edge carefully, And as he lifts it, strike a good roverso From below, across his arms, Redoubling then with a quick mandritto, And note also this, That you do not fail the principles of the Art. If you strike a mandritto, then beware, The roverso that he might strike. Make it so that your sword also Parries with a fendente, so that you are not hit. And if it comes to you then to want To enter underneath and grab his handle, And then do your duty, Hammering his moustache with your pommel, Watching out that you do not get stuck.	[12r] ¶ Ragion de giocho de spada. Capitolo XI. QUando tu sei a mezza spada gionto Facendo tu el diritto o voi el riverso Farai che piglie el verso Di quel ch’io dico poi che sei al ponto: SE tu vi steggie, tien pur l’ochio pronto Et fa la vista brive con coverta Et tien la spada erta, Che sopra el capo tuo le braccie gioche. NOn posso dire con parole poche, Perché gli effecti son de mezza spada. Acciò che più ti agrada, Quando tu pare, para de fendente, SCosta la spada un poco acortamente Da te, calcando quella del compagno. Tu fai pur bon guadagno Parando bene i colpi tucti quanti. QUando pare el riverso porge inanti El destro piede, & para come ditto, Parando tu el drito Porai inanzi poi el tuo piè stancho. EL te bixogna aver la mente ancho Quando tu trai el riverso fendente, Aver l’ochio prudente Ch’il mandiritto non venisse sotto. ET si el compagno tresse, et tu de botto Para facendo poi a la testa cenno [12v.1] Col fil falso & col senno Commo ’l alza, tira el bon riverso, DE sotto in su le braccia sua attraverso, Redopiando poi el deritto presto. Et nota ancor questo: che tu non falle la ragion de l’arte. SI tu traesti el deritto alora guarte Dal manriverso suo che non te dia. Fa che tua spada sia Cl fendente a parara che non te coglia E Se pur te venisse alora voglia De intrar sotto & pigliar suo mantenere E farli poi el dovere, Cl pomo martelando al suo mustaccio, Guardando bene che tu non piglii impaccio.

Chapter 12 - Theory of the feints of the sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter XII. Theory of the feints of the sword Again I advise you, and note my words well, That when you have entered into half sword You then [act] well from every side, Following the art with good feinting. Feints are considered an obfuscation, They confound the opponent in the defence. They do not let him understand, What you want to do on one side or the other. I cannot show you so well With my words, as I could with a sword. Make your mind go To investigate the art with my sayings, And grasp valour with reason, As I admonish and as I teach you. And make it so that with cunning You will follow that which I write in so many verses, To discover the depths and the banks of the Art.	[12v.2] ¶ Ragion de viste de spada. Capitolo XII. ANcor t’avixo & notta el mio dir bene, Che quando sei a mezza spada intrato TU poi bem da ogni lato, Seguendo l’arte col bom visteggiare. SE chiamano le viste un offuschare Che offuscha altrui nel defendere, Non lssa comprehendere Quel che da un di lati vogli fare. IO non te posso cusì bem mostrare Col mio parlare como faria con spada; Fa’ che tua mente vada Invistigando l’arte col mio dire [13r.1] ET pigliarai con la ragion l’ardire. Da po ch’io te amonischo et ch’io te insegno & fa che con ingiegno Tu segue quel che io in tanti versi scrivo Per retrovar nell’arte e ’l fondo e ‘l rivo.

Chapter 13 - Theory of the half sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter XIII. Theory of the half sword Having then arrived at the half sword, You can well hammer more and more times, Striking on only one side, Your feints go on the other side. And when he loses his way with parrying, And you hammer then on the other side, Then you decide Which stretta you should finish with. And if you want to throw blows, Let a fendente roverso go, Turning a cross-wise false edge blow With the point in his face. Do not be divided from him, With roverso or mandritto With whichever you can work, As long as the knees bend on every side. Following that which I showed you above, I repeat for you again this addition, Always enter with the point, Upwards from below, until you have skewered the face, Use your strikes in their appropriate times.	[13r.2] ¶ Ragion de mezza spada.. Capitolo XIII. ESSendo tu pur gionto a meza spada, Tu po’ ben più et più volte martelare Da un sol lato trare Da l’altra parte le tue viste vada, E Commo perde, col parar, sua strada, E tu martella poi da l’altra parte; Alora tu comparte Qual stretta te bixogna a ciò finire E E si pur tu volesti trar ferire, Lassali andar el fendente riverso, \ Voltandoli atraverso. E filo falso con la punta al vixo. NOn esser già da lui punto devixo, Col riverso o col dirito ancora, Con qual tu voi lavora, Purché i gienochie pighen da ogni lato, S Secondo che de sopra t’ò mostrato. Io te replico ancor questa gionta: SEmpre entra con la ponta, Di sotto in su fino al vixo inforcando, E i tuoi ferriri adopra a tempo quando.

Chapter 14 - Theory of the half tempo of the sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter XIIII. Theory of the half tempo of the sword I cannot show you in writing The theory and way of the half tempo Because the shortness of the tempo and its strike Reside in the wrist. The half tempo is just one turn Of the wrist: quick and immediately striking, It can rarely fail When it is done in good measure. If you note well my text, One who does not practice [the art] will get into trouble: Often the quick flight from one side to another Breaks with a good edge the other’s brain. Of all the art this is the jewel, Because in one go it strikes and parries. Oh what a valuable thing, To practice it according to the good principles, It will let you carry the banner of the Art.	[13v.1] ¶ Ragion di mezzo tempo de spada. Capitolo XIIII. IO non te posso, scrivendo, mustrare Del mezo tempo la ragione, e ‘l modo, Perché roman nel nodo La brevità del tempo e del suo trare. EL mezzo tempo & solo uno svoltare De nodo: presto, & subito al ferrire. E raro po' falire Quando e’l fatto con bona mesura; E Si tu noterai la mia scriptura, Mal separa chi non n’ha la praticha: Spesso la volaricha Rompe con bon filo l’altrui cervello. DE tucta l’arte questo si è el giuiello, Perché in un tracto el ferrissi e para. O quanto è coxa cara A praticarlo con buona ragione, E facte portar de l’arte el gonfalone.

Chapter 15 - Theory of the sword against the rising blow

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter XV. Theory of the sword against the rising blow There are many who make their base In turning strongly from every side So be advised, As his sword is turning, move, And you turn and you will win the test, Then harmonise yourself with his strikes, And make your going thus With your sword behind his. To better explain your design, You can also go into boar’s tooth guard, And if he with the turning, And you ripping up from below. Listen and understand my reasoning, You who are new to the art, and experts too, I want you to be sure, That this is the art and the true science. Grasp this, that is a steelyard’s trace: The companion is in the iron door guard, Lock this into your heart, Make it so you are in the archer’s guard, Watch out that your point does not waver, And covers the companion’s sword; Go a little out of the way Straightening the sword and the hand with the point. When your sword is joined at the crossing, Then do the thirteenth stretta, As is you can plainly see Pictured in our book on page seven. You can also use in this art Strikes and strette that are handier to you, Leave the more clumsy, Keep those that favour your hand, So you will often have honour in the art.	[13v.2] ¶ Ragion di spada contra la rota. Capitolo XV. MOlti son che fan lor fondamento Nel roteggiar ben forte da ogne lato; Fa che ti sie avixato Como sua spada roteggiando move, E Tu roteggia et vincerai le prove. Accordate con seco alor nel trare E fa he sia tuo andare Con la tua spada dereto a la sua. PEr chiarir meglio la fantaxia tua, [14r.1] Ancor poi andare in dente de cenghiare, Et se lui col rotare, E tu scharpando pur de sotto in su ODe e comprehende le mie ragione tu Che sei novo nell’arte e puro asperto, E vo’ che tu sie certo Che questa è l’arte e la scienzia vera. PIglia questo, che un tracto di stadera Se starà el compagno in porta de ferro, Questo nel cor te serro, Fa che tu sie in posta sagittaria. GUarda che la punta tua non svaria, Che del compagno copra la sua spada, Va’ un poco for de strada Drizzando spada e mano con punta. QUando tua spada a la croce sia giunta, Alor fa’ la terza decima stretta, Como t’apare schietta Dipinta la nostro libro a sette carte. TI poi adoprar ancor in questa arte Ferrire e strette che te sien più destre Lassa la più sinestre, Tiente a quel che la man te dà favore Che spesso te farà ne l’arte onore.

Chapter 16 - Instruction of the sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Chapter XVI. Instruction of the sword It is necessary that the sword should be A great shield that covers all of you, And grasp this fruit, That I give you for your instruction. Be sure that your sword is never far away In making guards or striking Oh how sensible this thing is, That your sword makes short movements. Make it so your point watches the face Of the companion, in guard or striking, You will take away his courage, Seeing always the point staying in front of him. And you will make your plays always forwards, With your sword and with a small turn, With a serene and relaxed hand, Often breaking the tempo of the companion, You will weave a web better than a spider’s. The End.	[14r.2] ¶ Amaestramento de spada.. Capitolo XVI. BIxogna che la spada sì te sia Un targone s’te copra tucto. [14v] Or piglia questo fructo, El qual te dono per tua maestria. GUarda che mai spada tua non stia, Facendo guardie né ferrir, lontana. O quanto è coxa sana Che la tua spada breve corso faccia. FA’ che la punta guardi nella faccia Al compagno o voi ferire Tu li torai l’ardire, Vedendoxe star sempre punta inante E Farai el giocho tuo sempre davante. Co’ la tua spada e con picola volta, Con man serena e sciolta, Rompendo spesso il tempo del compagno Ordirai tela d’altro che di ragno. ¶ τελοσ

Diagrams

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	I am callipers, that divide into parts, O fencer heed my principle, Thus [the callipers] measure the tempo similarly. The nature of the bear is to turn Here, there, up and down: Thus your shoulder should move, Sending your sword out to hunt. I am a ram, always on the lookout, Naturally always looking to clash, So your cut should be clever, Always parry when [your cut] is answered. The right hand should be prudent, Bold and deadly as a serpent. The eye with the heart should be alert, Bold and full of foresight. With the left hand I have the sword by the point, To strike already when it is joined And if you want the strike to be complete Make it as quick as a greyhound. And he who does not have these keys with him Will make little war with this play. The legs [are] keys it is well said, Because you close them and also open them. You see the sun, that makes great turns, And where it is born it returns. The foot with the sun should return together, If you want the play to adorn your person. Plant the left foot without fear, Make it firm like a castle, And then your body will be completely safe. When one or other foot bothers you Turn it quickly like a mill wheel, The heart must be foresightful, For on it depends shame and honour.	[15r] IO sono un sexto che fo partimenti.  O scrimitore ascolta mia ragione.  CUsì misura el tempo simelmente. Il natural de l’orso si è el girare. IN qua in la in su in giu andare. CUsì conviene che tua spalla facia. POii la tua spada fa che metti a caccia.   Iio son un muntone e sto sempre a mirare.   CHe per natura sempre voglio cozare.   COsì convien tuo taglio sia inginioso.   Sempre parar quando sera resposo. La man dirita vol eser prudente. Ardita e mortal cum un serpente.  L’Ochio col cor vole star attento.  ARdito e pieno di providimento.   COn la man stanca la spada ò per punta.   PEr far ferire d’ezza quando serà giunta.   E se tu voi sto ferir sia intero.   FA che sia presto come levorero. E chi queste chiavi cum seco non averà. Acquesto giuoco poca guerra farà.   Le gambe chiave se può ben diri.   Per che li ti serra e anche ti po aprire. TU vedi el sol che fa gran giramento. E donde el nasce fa suo tornamento. El pé com el sol va convien che torni. SE voii chel giuoco toa persona adorni.   El pié stanco ferma senza paura.   COmo rocha fa che sia costante.   E Poii la tua persona serà tuta sicura. QUando i pié o l’uno o l’altro fa molesta. COmo rota da molin dia volta presta. BIxogna esser il cor providitore. C[he] luj s’aspetta vergogna e l’onore.
	These are the blows of the two-handed sword, Not the mezzo tempo, which remains in the wrist. I am the rota and I am often turning, I go looking for the deception of the sword. We are the volante, always crossing, From the knee up we go destroying. We are the fendenti and we dispute, And we break the teeth with full right. I am the thrust, dangerous and quick, Great teacher of the other blows.	[15v] QUesti son colpi de spada due mane. NOn gli è el mezo tempo: nel nodo rimane. ROta IO son la rota et vo spesso rotando. LA falsità de spada vo cercando. VOlante NUii semo volante sempre traversando. DAl ginochi in su andian guastando. FEndente NOii semo fendenti e facemo quostione. DE fendere i denti con dirita ragione. Io son la punta pericolosa e presta. DE gli altri ferire sum suma maestra.

Sword

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	[1] You are guards with your names Each of you, show yourself from the side.	[16r-a] Voii seti guardie con li nomi vostre Ciascun di vuii lato si dimostre Philippo di Vadi pisano
	[2] I am the strong middle iron gate To give death with thrust and fendente. [3] I am the guard of the woman, and I am not useless, I often conceal the length of the sword.	[16r-c] Son mezana porta di ferro forte Per dare con punte e fendente la morte [16r-d] Io son posta di donna e non son vana Che lungeza di spada spesso inghana
	[4] I am the flat ground iron door, That always impedes cuts and thrusts. [5] I am the guard of the falcon, excellent and high To make defences in all sorts of ways.	[16v-a] Son porta di fero piana terrena Che taglie e punte sempre si rafrena [16v-b] Son posta di falcon superba e altera Per far difesa a ciascuna manera
	[6] I am the short guard of the extended sword, I often strike and recover into it quickly. [7] I am the archer’s guard, for deception, I use malice very much in my reign.	[16v-c] Son posta breve di spada longeza Spesso ferisco con lei torno in freza [16v-d] Son posta sagitaria per ingiegno Uso m(a)litia assai nel mio regno
	[8] I am the guard of the true window According to the art, raise your left leg. [9] I am the crown and I am made master, I am found to be adept at binds.	[17r-a] Io son la posta di vera finestra Leva de l’arte la cossa sinestra [17r-b] Io son corona e son fatta maestra De legature mi ritrovo destra
	[10] With the deadly guard of the boar’s tooth Anyone looking for trouble, I’ll give them plenty. [11] I am the long guard with the shortened sword, That with my cunning bashes the blows.	[17r-c] Con mortal posta de denti cinghiare Chi cerca briga assa(i) gl’in posso dare [17r-d] Son posta lunga con la spada curta Che con l’ingiegno mio i colpi urta
	[12] I am the frontal guard, so reliable, I care nothing about cuts and thrusts. [13] I am the guard of the boar and I am outside, I do not relent in striking.	[17v-a] Son posta frontal tanto sicura De tagli e punte mai non farò cura [17v-b] Son posta posta di cingiaro e son di fora Che de ferire mai non farò dimora
	[14] I have made a roverso fendente on the left foot, Without changing the foot, turning the hips, I will strike a dritto without further movement.	[17v-c] El reverso fendente ho tratto sul pè stanco senza scambiar pè voltando el galone Trarò el dritto senza moverme anco
	[15] By this grip of your arm that I have made, I will hit you with a cut or pommel strike.	[18r-a] Per sto pigliare di brazo chio t’ò fato di taglio o pomo ti donerò un trato
	[16] By this turn that I quickly make to my sword I will not pause before I hit you with it.	[18r-c] Per la volta fata a mia spada presta con quella di feriri non farò resta
	[17] I have bound you from the roverso side, You’ll be thrown to the ground by a blow of the sword.	[18v-a] Io t’ò per parte riversa ligato per colpo di spada serai aterrato
	[18] In this way I hold you with my left hand, Cuts and thrusts will not be lacking.	[18v-c] Per tal modo tengo con la man stanca A ferire taglii e punte non manca
	[19] By this turn that I have given to my sword I think I will have cut the halfway through your throat.	[19r-a] Per tale volta ch’i’ ò a mia spada data meza la gola credo avere tagliata
	[20] You will go to the ground with this technique Because you have completely failed in your play.	[19r-c] Tu anderaii per terra a tal partito Però che hai el giuoco tutto falito
	[21] I do not wish to make war with my sword, But with yours I’ll throw you to the ground.	[19v-a] Con la mia spada non voglio far guerra Ma con la tua te metterò in terra
	[22] I have turned you inevitably and without difficulty, With my skill I will break your arm.	[19v-c] Io t’ò volto per forza e senza inpazo Con mi destreza te ronperò el brazo
	[23] With skill I have placed you in this position, I’ll make you go to the ground at the first go.	[20r-a] Con destreza t’ò posto a simil atto Faroti andare in terra al primo tratto
	[24] In this way I’ll put you in the lock And I will break your arm while saying a Hail Mary.	[20r-c] Per questa forma t’ò messo in la chiave E romperoti el brazo al diri d’un ave
	[25] By this turn of the pommel I have bound you, Immediately if I want to I’ll throw you to the ground.	[20v-a] Per sto voltar di pomo io t’ò ligato E subito s’io voglio io t’ò aterrato
	[26] By this turn of the blade that you have done, I will break your arm at the first go.	[20v-c] Per sto voltar de mella che tu hai fatto Romperoti el brazo al primo tratto
	[27] By the turn given to my quick sword, I’ll strike your arms or your head.	[21r-a] Per la volta data a mia spada presta Feriroti le braza over la testa
	[28] If I put my hilt to your sword I’ll make it fall, this time.	[21r-c] S’io metto el mio mantener a la tua spada Chascar te la farò per questa fiada
	[29] This is a grip that I do from below, I will make it fall at the first go.	[21v-a] Questo è una presa ch’io facio de fora Chascar te la farò a prima botta
	[30] You believed I would strike with a roverso blow, [But] With my elbow I push your sword across.	[21v-c] Tu credesti ch’io tresse el man riverso Col gomito spingo tua spada atraverso
	[31] By the turn that my handle has given, I make you fall to the ground flat on your back.	[22r-a] Per la volta ch’el mio mantener ha dato Chascar te farò in terra riversato
	[32] This is a disarm that is above, And if I want to I’ll lay you flat.	[22r-c] Questo è un tor de spada ch’è soprano E se io vorò ti metterò al piano
	[33] I made a feint of striking a fendente, I will cut your jaw and teeth together.	[22v-a] La vista feci di trar un fendente Taiaroti la masciella coi denti
	[34] From the roverso strike that I have done, I’ll hit you with my pommel, and look good doing it.	[22v-c] Nel trar d’il man riverso ch’io t’ò fato Daroti del mio pomo con bel atto
	[35] This is a grip that I do on the inside, You’re going to the ground as I feel.	[23r-a] Questa è una presa ch’io te facio dentro In terra anderai com’io sento
	[36] I have hit you with my sword in the head, Yours I’ll quickly take with my cunning.	[23r-c] Io t’ò dato de la spada mia in la testa La tua te torrò co’ mio ingiegno presta
	[37] I beat your sword aside at the middle of the blade, You’ll get a good dose from my pommel.	[23v-a] De meza mella rebatto tua spada Del pomo mio haverai bona derada
	[38] Turning a roverso you parried badly, At the middle of the blade you entered the bind.	[23v-c] Voltando el man riverso mal parasti De meza mella nel ligame intrasti

Ax in Armor

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Guards of the pollax in armour [1] I am the guard of the woman, of great offence, To respond to any situation. [2] I am in the guard of the boar, as the saying goes, I’ll wreck your body for sure.	[24r] GUARDIE D’AZA IN ARME [24r-a] Son posta di dona de grande offesa Per rispondere a ciaschaduna impresa [24r-b] So in posta di cingiaro con il dir sona Te guastarò per certo tua persona
	[3] I am called the archer’s guard, Always make sure to make every blow deviate. [4] I am the guard of the Cross, so called, No amount of cuts or thrusts can bother me.	[24r-c] Io mi chiamo posta sagitaria Faci sempre c’ogni colpo svaria [24r-d] Son posta di croce così chiamata De tagli e punte non temo derata
	[5] I was in boar’s tooth with the axe, Thus I have struck you in the face.	[24v-a] Io era in dente de cinghial con l’aza Per questo io t’ò ferito nela facia
	[6] I have lifted the visor from your face, I have struck you, and taken away every defence from you.	[24v-c] Levata la visera io t’ò nel volto Io t’ò ferito ogni difesa ò tolto
	[7] I’ve got my hand under your right arm I’ll place you in the lock as is written.	[25r-a] T’ò la mano sotto el brazo drito Te meterò in la chiave come scritto
	[8] This is the grip that I do to you, You’ll lose your axe and I’ll strike your head.	[25r-c] La presa ch’io ti facio serà questa Perderai l’aza e ferirò la testa

Sword in Armor

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Guards of the sword in armour [1] I am the lower snake guard, That is outstanding for striking with thrusts. [2] I am the guard of the serene leopard, That with the tail will give you poison.	[26r] GUARDIE DI SPADA IN ARME [26r-a] Io son sotana posta serpentina Che de ferire de ponte son purpina [26r-b] Son posta de leopardo sereno Che con la coda te darò el veleno
	[3] I am the snake, and am held high, Doing my work high and low. [4] I am the leopard’s tail over the arm, I remove and chase every sword away from me.	[26r-c] Io sum serpentino e sto di sopra Alto e baso facendo la mia opra [26r-d] Son coda di leopardo sopra el brazo Ciascuna spada da me levo e scacio
	[5] I am the first wounder of the art, To make defence on any side.	[26v-a] Io son il primo feritore de l’arte Per far difesa in ciascaduna parte
	[6] I push my point into your face, You see my sword rising up and up.	[26v-c] Io spingo al volto tuo la mia punta Tu vedi che mia spada ognor più monta
	[7] I want you to drop your sword to your chagrin, I will do even worse to you, because of your failings.	[27r-a] La spada vo’ che lasci al tuo dispetto Faroti pegio ancor per tuo difeto
	[8] If I can’t stick a point in your face, I’ll stick a pommel instead, as it’s right here.	[27r-c] Se non posso al volto tuo meter punta Meterò pomo poii che l’è qui gionta
	[9] By my pass out of the way, I’ll throw you to the ground with your sword.	[27v-a] Per lo passare mio for de strada te meterò per terra con tua spada
	[10] Shape of the sword in armour The sword for fighting in armour should be shaped as follows, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. Its handle should be of a span. The crossguard should be as long as the handle of the sword, and it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these [parts].	[27v-c] FORMA DE SPADA IN ARME La spada da conbatere in arme vole avere la sotoscrita forma cioé la sua longeza vole arivare el pomo sotto el bracio, tagliare quatro dita in punta, el suo manico vole eser de una spana. L’elzo vol esere longo qua(n)to è il manico de la spada: e vol esere aguzo da ogni lato, e similmente vol esere aguz o il pomo per possere ferire con ognuno de questi.

Spear

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	Play of the long lance [1] With the shortened lance I’ll wait in this way, I invite you to come with long and short.	[28r] GIOCO DE LANZA LONGA [28r-a] Per corta lanza aspetto a sto partito A corta e longa tenerò l’invito
	[2] From the way I wait for you with a lance With a half turn I will strike you in the chest.	[28r-c] Per lo modo con la lanza t’aspeto Con meza volta te ferirò il peto
	[3] By the half turn that my lance has made, I’ll strike you in the chest or side.	[28v-a] Per meza volta che mia lanza à dato Te ferirò nel peto o nel costato
	[4] Here end the blows of the lance, They usually go to this technique.	[28v-c] Qui finiscono i ferir de lanza Se mete a tal partito per usanza

Dagger

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	[1] This counter that I do to you, Is for turning you [with] the grip on your arm.	[29r-a] Questo contrario che io te facio S’le per voltarti la presa d’il bracio
	[2] With the hand that you have on my shoulder, You’ll go to the ground and have an awful time.	[29r-c] Per la man che tu hai sopra la spalla Tu anderai in terra in ora malla
	[3] I can take the dagger from you and strike you With this grip, and it cannot fail.	[29v-a] La daga tor te posso e ferire In questa presa e non porà falire
	[4] I’ll make you drop the dagger on the ground With the turn that I’ll do, and with [my] knowledge.	[29v-c] La daga in terra ti farò cadere Con la volta ch’io farò e col sapere
	[5] This thrust is done immediately I make your dagger fall very fast.	[30r-a] Questa punta sie subito fataa Farò cadere la daga molto ratta
	[6] I have placed this thrust in your hand, Quickly your dagger will fall.	[30r-c] Questa ponta in la man t’ò metuta Tosto la daga te serà caduta
	[7] I’ll make this cover very quickly, So you will be placed in the lock.	[30v-a] Questa coverta io farò ben tosto Che tu serai in la chiave posto
	[8] I will leap to a play using my cover, And with my dagger I’ll open the way.	[30v-c] A un gioco saltarò per mi coverta E con mia daga farò la via aperta
	[9] By this cover that you want to do, I’ll make you go into the lower lock.	[31r-a] Per questa coverta che tu voi fare In la chiave di soto ti farò intrare
	[10] Thus I can take the dagger from you and also strike, If I don’t want to completely fail the art.	[31r-c] Si posso tor la daga ancho ferire Se l’arte non vorò in tuto falire
	[11] If I push the dagger towards the ground, You will make no more war against me with it.	[31v-a] S’io carco la daga verso terra Con quella non me farai più guerra
	[12] Here I look for your hand to strike it I’ll make you enter the lower lock.	[31v-c] Qui cerco la tua man per lei feri(ri) Sotto la chiave te farò veniri
	[13] With this crossing that I make against you I’ll place you in the lock, where you will be frustrated.	[32r-a] Questo incrociare che verso te i’ facio Te metterò in la chiave con impaccio
	[14] I make this strike with my fist, I’ll stick your dagger into your body.	[32r-c] Questo ferire con lo pugno faccio La daga tua nel corpo te caccio
	[15] I make the cover with one hand, I’ll make your dagger go to the ground.	[32v-a] I’ facio la coperta d’una mano Farò che tua daga anderà al piano
	[16] From the way I have grabbed you I do not doubt You’ll go to the ground, I mean now!	[32v-c] Per lo modo ch’io t’ò preso non dubito Tu anderai in terra dico subito
	[17] By the way that I have got you I’m ready To break your arm and the dagger very quickly.	[33r-a] Al modo ch’io te tengo so’ disposto Romperte el bracio e la daga più tosto
	[18] You clearly see by the way that I hold you, That you and your dagger will be my pawn.	[33r-c] Tu vedi bene a modo ch’io te tegno Che tu e tua daga serà mio pegno
	[19] I see this play does not fail me. As I break your arm over my shoulder.	[33v-a] Io vedo questo gioco non me falla Ch’io rompa el bracio sopra mia spalla
	[20] By this way that I want to grab the arm, I will use your dagger to lock you.	[33v-c] Per questo modo el bracio vo pigliare Per quella daga te farò serrare
	[21] You saw that you are bound and going to the ground, break your arm and you will lose the dagger.	[34r-a] Vedi che sei astretto e in terra vai Rompo il bracio e la daga perderai
	[22] In this way I hold [you] and press down, I can follow with the close and the wide.	[34r-c] A questo modo tengo e facio carco E posso poi seguiri el streto e largo
	[23] I come at you with crossed arms, And I can do all the previous plays.	[34v-a] Io vengo a te con le braci incrociate E posso fare tuti i giochi passati
	[24] You’ll go to the ground by the backhand, By this play you will lose your life.	[34v-c] Andarai in terra per man riversa Per questo gioco avrai la vita persa
	[25] I say you are so poorly trained in this art; You will find yourself suddenly on the ground.	[35r-a] Tu sei ne l’arte dico asai mal dotto Te trovarai in terra qui de botto
	[20] By this grip I say I have you, I am certain that you will go into the lock.	[35r-c] Per questa presa io disse co’ io t’ave Io son cierto che intrarai in la chiave
	[27] I press down on this elbow of yours; I’ll break your arm without a doubt.	[35v-a] Io farò un carco a cquesto tuo cubbito Romperoti el bracio senza dubbito
	[28] This is a very strong destruction of the arm, You’ll be unable to bear the pain.	[35v-c] Questo è un guastare di bracio molto forte El dolor, che tu hai mal el comporte
	[29] I have put you in the lock in spite of you, Because you are not so perfect in the Art.	[36r-a] Io t’ò messo in la chiave al tuo dispeto Perché non sei ne l’arte sì perfeto
	[30] With my right hand I have made this move; I will stick the dagger in your thigh.	[36r-c] Co’ la man drita ò fato cotal mossa Te farò ficar la daga nela cossa
	[31] When you’re on the ground you will say, “I didn’t believe it would come to this.”	[36v-a] Quando in terra serai ti porai dire Io non credea già così venire
	[32] TThis is a way to throw someone to the ground that is quite strong; If I wish it, you will die.	[36v-c] Questo è un metere in terra ch’è assai forte Volendo io tu poi ricevere morte
	[33] I have you, in the way that I like; You will go to the ground against your wishes.	[37r-a] Io te tengo in modo al mio parere In terra anderai contra el tuo volere
	[34] You must simply go to the ground, And you’ll make no more war with your dagger.	[37r-c] El ti bixogna puro andar in terra E con la dagaga non farai più guerra
	[35] By the pass that I do under the arm, You’ll go to the ground with much trouble.	[37v-a] Per lo passare fato soto el bracio In terra te porò con molto inpacio
	[36] The measure of the dagger The length of the dagger should reach the elbow, with an edge and two corners. The grip should be the width of the fist, as the shape is shown depicted here below.	[37v-c] MESURA DE DAGA La longeza de la daga vol esere fin a el gomito con un taglio e dui cantoni, el manico vol esser d’uno somesso como apare la forma d’essa dopent a qui di sotto.

Miscellaneous Plays

Images	Complete Translation by Guy Windsor	Transcription by Marco Rubboli and Luca Cesari
	[1] I defend myself just as much as I can, As you strike I will charge at you.	[38r-a] Io mi difendo puro quanto poso Como tu traii io te verò adoso
	[2] As you throw, the blow will for naught; I’ll beat away your weapon with a roverso.	[38r-c] Como tu lance el colpo serà perso Rebaterò tua arma col riverso
	[3] I am in guard with a good mandritto, As you throw at me you’ll understand the text.	[38v-a] Io sono in guardia col bon man dirito Io me tu lance intenderaii lo scrito
	[4] Continuing the work, some dagger techniques will follow. It is necessary to consider the act, the grip, the start and the finish in order to understand the way. Knowing how clever human nature is, everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, first of the sword, the axe, the spear and the dagger.	[38v-c] Seguitando l’opra precede alcuni partiti de daga como seguita: bixogna considerare l’ato la presa el principio el finire, per volere intendere el modo: avixo e quanto sia l’ingiegno de l’humana natura e però ognuno che sia pratico nell’arte porà intendere tutti gli altri dopinti e posti in questa mia opereta e prima de spada, aza, lanza e daga.
	[5] Dagger technique.	[39r-a] Partito de daga
	[6] End of technique.	[39r-c] Finiri del partito
	[7] Dagger technique.	[39v-a] Partito de daga
	[8] End of technique.	[39v-c] Finiri del partito
	[9] Dagger technique.	[40r-a] Partito de daga
	[10] End of technique.	[40r-c] Finiri del partito
	[11] Dagger technique.	[40v-a] Partito de daga
	[12] End of technique.	[40v-c] Finiri del partito
	[13] Dagger technique.	[41r-a] Partito de daga
	[14] End of technique.	[41r-c] Finiri del partito
	[15] Dagger technique.	[41v-a] Partito de daga
	[16] End of technique.	[41v-c] Finiri del partito
	[17] Dagger technique.	[42r-a] Partito de daga
	[18] End of technique.	[42r-c] Finiri del partito
	[19] Dagger technique.	[42v-a] Partito de daga
	[20] End of technique.	[42v-c] Finiri del partito

Copyright and License Summary

For further information, including transcription and translation notes, see the discussion page.

Work	Author(s)	Source	License
Images	Biblioteca Nazionale Centrale di Roma	WikiMedia Commons
Translation	Guy Windsor	The School of European Swordsmanship
Transcription	Marco Rubboli and Luca Cesari	Index:De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)

Additional Resources

• 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 978-1891448164
• Vadi, Filippo; Rubboli, Marco; and Cesari, Luca. L'arte Cavalleresca del Combattimento. Rome: Il Cerchio Iniziative Editoriali, 2005. ISBN 88-8474-079-7
• Windsor, Guy. Veni Vadi Vici. A Transcription, Translation and Commentary of Philippo Vadi's De Arte Gladiatoria Dimicandi. The School of European Swordsmanship, 2013. ISBN 978-952-93-1686-1