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Difference between revisions of "Giovanni dall'Agocchie"

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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/29|7|lbl=12r.7|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/30|1|lbl=12v.1|p=1}}
 
{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/29|7|lbl=12r.7|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/30|1|lbl=12v.1|p=1}}
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| <p>Lep: I’ve learned that this has always been held in the greatest esteem, which I hadn’t previously known, with so much preeminence over other arms as to take away the prize. I’d like to hear some reason for that. </p>
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| <p>''Unaccompanied sword: why it is preferred to the other arms.''</p>
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<p>Gio: The principal reasons why the sword is preferred to other arms are that, first, there being nothing in the world more highly prized than honor, which consists in knowing how to conduct yourself virtuously, if someone comes to be placed in doubt through opposition or villainous undertakings, or some shortcoming, he must defend it with his own valor, and the other must legitimize his assertion. And one sees how apt the unaccompanied sword is for doing this. Because those who appear most courageous and of greatest valor in the most resolute duels appear in shirts with the unaccompanied sword. And thereby they show the most manifest proof, more confident in reason and their own virtue than in other covering or the company of arms, either offensive or defensive. And almost all the understanding is founded upon the unaccompanied sword, and in it one comprehends the entirety of fencing, and all the other arms depend upon it. And whoever has knowledge of it can easily have knowledge of all the others, although not so for the converse. Beyond which, the unaccompanied sword is accepted everywhere, and is used more, and can be had more easily, but this does not occur with the others. Whence this arm is reasonably preferred to all the others. </p>
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| <p>Lep: Your explanations are so true and sufficient that I remain silent and content about them. But before we pass onwards, I’d like to know about what many say, namely that the fencing that is in use now is very different from that of antiquity, and that this is something else compared to that. </p>
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/30|4|lbl=12v.4|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/31|1|lbl=13r.1|p=1}}
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| <p>Gio: I believe that they who say so err greatly, because what new blows have the moderns discovered that don’t derive their origins from times passed? I find that all the guards, the blows, and every other thing that is used in these times was being used as well in the time of the ancients. Therefore I don’t know how to consider it otherwise than that they mean that the fencing of today is very restricted compared to the ancient sort. To show how much value there is in the argument that there are new usages can be recognized by this: that the ancient masters knew it excellently, but rather their foundation was based upon closing to the half sword. But since this is a difficult thing which cannot be used without cleverness and great art, they reserved it to teach until the last, and not at the beginning, as do these new masters, many of whom, I believe, fool themselves. Because, as the sages say, you always have to teach the easy things at the beginning, and the difficult ones at the end. If, therefore, the ancients were using the long play, they were doing so with reason and were judging excellently, because with it one renders the arm and the body more limber together, throws blows long and with measure, and a man is made more agile and of good grace. </p>
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| <p>Lep: In these times we rarely see scholars who are well based in this art and that can make it turn out well. </p>
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| <p>Gio: This is because at present they don’t take delight, as they did then, in virtue, and especially of this, because vice and avarice find their way into their hearts. But now we will leave this aside, and following our proposal, before we come to the fifth and sixth headings I will give you some advice necessary to parrying and striking, and on the movement of the feet and the body, so that you can understand the rest with greater facility. </p>
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Revision as of 20:18, 9 November 2023

Giovanni dall'Agocchie
Born March 9, 1547
Bologna, Italy
Died 16th century (?)
Occupation Fencing master
Patron Fabio Pepoli, Count of Castiglione (?)
Movement Dardi tradition
Influences
Genres Fencing manual
Language Italian
Notable work(s) Dell'Arte di Scrima Libri Tre (1572)
Translations Traduction française

Giovanni dall'Agocchie di Bologna (dalle Agocchie, Agucchi, Agocchia; b. March 9, 1547) was a 16th century Italian fencing master. Little is known about this master's life apart from that he was a citizen of Bologna. In 1572, dall'Agocchie wrote and published a treatise on warfare, including fencing with the side sword, titled Dell'Arte di Scrima Libri Tre ("Three Books on the Art of Defense"). He dedicated it to Fabio Pepoli, Count of Castiglione, but it's unclear if he was ever attached to the comital court.

Treatise

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. NdT – Cette image de l’ange associé aux initiales F.P renvoie au Vénitien Francesco Portonari - Voir Giuseppina Zappella, p89, Le marche dei tipografi e degli editori italiani del Cinquecento. Repertorio di figure, simboli e soggetti e dei relativi motti. Milano, Editrice Bibliografica, 1986, 2 v. "Grandi Opere, 1”.