You are not currently logged in. Are you accessing the unsecure (http) portal? Click here to switch to the secure portal. |
Fiore de'i Liberi/Sword in Armor
Images |
Images |
Completed Translation (from the Getty and PD) |
Morgan Transcription [edit] |
Getty Transcription [edit] |
Paris Transcription [edit] | ||
---|---|---|---|---|---|---|---|
[No Image] | [1] We are six guards for armored fencing, We are 6 masters that know armored fencing well, and each one of us knows well how to make this art. We have very little care of hand-held weapons, and we defend cuts and thrusts without worry. |
Here begins the sword in armor, and great will be the Master who can make these plays. These Masters are six and each one is in guard; they will not delay in covering and striking. And whoever knows most in this, their art, will have a part in all of the following plays. |
[10r-t] Aqui comenza la spada de armizare. Ben sera magistro chi tali zoghi sara fare. Gli magistri sono sie e zaschuno in guarda. De covrir e ferir non farano niente tarda. E chi piu savera in questa lor arte, de tuti lor zoghi che segueno avera parte. |
[25a-t] Noii semo sei guardie in fato de armiçar. |
[19v-t] ¶ Sex sumus in factis armorum valde periti | ||
[2] The Shortened Stance, the Serpent I am the Shortened Stance, the Serpent, I am the Shortened Stance, the Serpent (Posta Breve la Serpentina) and I hold myself better than the others. To whoever I will give a thrust, will I decorate him well with a mark. |
In the Shortened Stance, the Serpent (Posta Breve la Serpentina), I want to come. If you are not well armored, I will make you feel it! I hold myself better than any other guard for striking with the point. Because of my edges, I sign myself with the cross, and nothing can you do to me. In armor and without I want to prove it. |
[10r-a] In posta breve la serpentina io voio venire. Se tu non e bene armato ben te lo faro sentire per ferir de punta meior delle altre guardie mi tegno. Perche delli tagli cum la crose mi segno e niente mi pon fare. In arme e senza arme lo voio provare. |
· Posta Breve la serpentina ·
[32v-a] |
[25a-a] Io son posta breve la serpentina |
[19v-a] ¶ Sum situs ipse brevis. vocor et sub nomine recto | ||
[3] The Stance of the True Cross I am the stance called the True Cross The Stance of the True Cross (Posta di Vera Crose) I want to make to counter you. Your thrusts will not enter into me. I cover myself from you in the step that I will make and my thrust will injure you without fail, so that you and the other guards can do little to me. I know armored fencing so well that I can never fail in the crossing (for stepping, crossing, striking, the art wants these things without fail). |
I am the Stance of the True Cross (Posta de Vera Crose) which I want to make to counter you. Your thrusts will not enter into me. I cover myself from you in the step that I make and my thrust will injure you without fail, so that you and the other guards can do little to me. I know armored fencing so well that I can never fail in the crossing (for stepping, crossing, striking, the art wants these things without fail), and I break all your thrusts and I certainly will not fail: I come over and through, I go under the point and upward. |
[10r-b] Io son posta de vera crose che contra ti voio fare. In mi la tue punte non pon entrar. De ti me covriro in lo passare che faro. E de punta te feriro senza falo. Che ti e lle altre guardie pocho me pono fare. Tanto so bene lo armizare. Che non posso falire lo incrosare. Che in lo passare e in lo incrosar, e in lo ferire, l'arte vole a questo non falir. E rompo tute tue punte, e non faliro per certo vene oltre, e tra voii basso, la punta voi erto. |
· Posta de vera crose ·
[32v-b] ¶ Posta di vera crose ch'e contra ti voglio fare, In mi le toi punte no pon entrare. De ti me covriro in lo passare che faro, e de punta te feriro, senza fallo, Che ti e'le altre guardie pocho mi pon fare, tanto so bene lo armizare che non posso fallire lo incrosare, che in lo passar e in lo incrosar, e in lo ferire, l'arte vole questo a non fallire. |
[25a-b] Io son posta chiamata vera crose |
[18r-b] ¶ Inque situ aspecto leopardi nempe serenum | ||
[4] The Raised Serpent I am the Raised Serpent, I am the Serpent and I am Raised (Serpentino, lo Soprano) and well armored. I make great underhand thrusts because I am high and return down low. I'll drive a strong thrust to you with a step: this is my art and I know how to do it well. I have not a care for your edges, for I know the art and I will give you the better part of my point. |
I am the Serpent and I am High (Serpentino, lo Soprano) and well armored. I quickly make great underhand thrusts because I am high and return down low. I'll drive a strong thrust to you with a step: this is my art and I know how to do it well. I have not a care for your edges, for I know the art and I will give you the better part of my point. |
[10r-c] Sompuo[!] serpentino son lo soprano, e ben armado grande punte butto subito sotto mane, che son in erto e torno al piano. Una forte punta te butiro cum la passare. Ella e mia arte che lo so ben fare, delli tuoi tagli non me curo niente tanto so in l'arte. Che de grande punte io te daro grande parte. |
·· Sonno serpentino lo soprano ·
[32v-c] ¶ Sompno[!] serpentino son lo soprano, e ben armado grande punte zetto sotto mano, che son in erto, e torno al piano. Una forte punta ti butiro cum lo passare. Ella e mia arte che la so ben fare. Di toi tagli non me curo niente tanto so in l'arte, che de grande punte io ti daro gran parte. |
[25a-c] E son sonno serpentino Lo sovrano |
[18r-a] ¶ Serpentinus ego vocor / et sopranus, et alta | ||
[5] The Middle Iron Gate I am the Iron Gate in the Middle: I am called the Middle Iron Gate (Porta di Ferro Mezana) because in armor or out I give strong thrusts. And I will step out of the way with my left foot and thrust my point in your face, or with my point and with the edge between your arms I have entered and I will force you into the Middle Bind (which was previously depicted and named). |
Of Iron, I am called the Middle Gate (De ferro, mezzana porta) because in armor or out I give strong thrusts. And I will step out of the way with my left foot and thrust my point in your face, or I will enter [with] my point and with the edge between your arms and force you into the Middle Bind (which was previously depicted and named). |
[10r-d] De ferro son chiamada mezana porta perche in arme e senza e fazo le punte forte. E passaro fuora de strada cum lo pe stancho, e ti mezo una punta in lo volto. Overo che la punta e cum lo taglo enfra gli toii braçi intrero per modo che io te metiro in la ligadura mezana. In quella ch'e denanci dipenta e nominada. |
· Porta de ferro La mezana ·
[32v-d] ¶ Porta di ferro la mezana son chiamata, per che in arme e senza e fazo le punte forte. E passaro fora de strada cum lo pe stancho e'te metero una punta in lo volto, overo che cum la punta e'cum lo taglio enfra li toi brazzi intrara per modo che io te mettero in ligadura mezana, in quella ch'e denanzi penta e nomenada. |
[25a-d] In porta de fero io son la meçana |
| ||
[6] The Archer's Stance I am the Archer's Stance, the sentinel, The Archer's Stance (Posta Sagittaria), by this name I am called. Great thrusts are given while stepping out of the way. And if you come against me with a blow of the edge, I make a good cover and quickly I strike my counter. This indeed is my art, in which nothing changes. [The Getty resembles the Pisani-Dossi image.] |
The Archer's Stance (Posta Sagittaria), by this name I am called. Great thrusts I give while stepping out of the way. And if you come against me with a blow of the edge, I make a good cover and quickly I strike my counter. This is my art and it does not change. |
[10v-a] Posta sagittaria son per nome chiamata, grande punte io zeto passando fora de strada, e si me ven contra colpo o taglio io fazo bona coverta, e subito io fiero lo mio contrario. Aquesta e mia arte che non svario. |
Posta Sagittaria
[33r-a] ¶ Porta[!] sagittaria son per nome chiamada, grande punte e zetto passando fora de strada. E si me ven contra'colpo o taglio, io fazzo bona coverta e subito io fiero lo mio contrario. Questa si'e mia arte in la'qual non svario. |
[25b-a] Io son posta sagitaria la çentille |
| ||
[7] The Stance of the Bastard Cross Of the Stance of the Cross, I am the Bastard, I am the Stance of the Bastard Cross (Posta di Crose Bastarda), of the True Cross; that which she can do, I also choose to do. For my strategy, I make good covers, thrusts, and cuts, always while voiding blows out of the way, and with my blows I make my greatest bargain. |
Of the True Cross I am the Bastard Stance (Posta di Crose Bastarda); that which she can do, I also choose to do. For my strategy, I make good covers, thrusts, and cuts, always while voiding blows out of the way, and with my blows I make my greatest bargain. |
[10v-b] Di vera crose son bastarda posta. Zo che ella po far voluntiera lo fazo. Bone coverte e punte e tagli fazo per usanza. Sempre schivando gli colpi fora de strada. E deli mie colpi io fazo grandissima derada. |
· Posta de crose bastarda ·
[33r-b] ¶ Posta di crose bastarda son di vera crose, Zo che la po fare volontiera lo fazzo. Bone coverte, e punte, e tagli fazo per usança sempre schivando gli colpi fora di'strada. E di miei colpi fazzo grandissima derada. |
[25b-b] De posta de crose io son bastarda |
[19v-b] ¶ Sum situs, et dicor crux multis vera magistris. | ||
[8] With this cover I believe that I can waste anyone, I come with this cover from the Stance of the True Cross, stepping out of the way to the side. And you will see what I can do from this cover; through my Scholars I can show it, because they make my complimentary plays (those that are for combat to the death). The art they will show without a doubt. [In the Pisani-Dossi, the Master is missing his crown.] |
I come with this cover from the Stance of the True Cross, stepping out of the way to the side. And you will see what I can do from this cover; through my Scholars I can show it, because they make my complimentary plays (those that are for combat to the death). The art they will show without a doubt. |
[10v-c] De posta de vera crose io son ensudo cum questa coverta passando fora de strada ala traversa. E di questa coverta si vedera quello aquello ch'io posso fare. Per gli mie scolari lo posso mostrare. Che li fazano li miei zoghi in complimento. Aqui gli che son da combater ha oltranza, l'arte[3] monstrarano senza dubitanza. |
[33r-c] ¶ De posta di vera crose io son ensudo cum questa coverta passando fora de strada ala traversa. E di questa coverta si vedera quello ch'io posso fare, per gli miei scolari lo posso mostrare, Ch'elli farano gli miei zoghi in complimento, quegli che sono de combatter a oltranza, L'arte mostrarano senza dubitanza. |
[25b-c] Per questa coverta crederia çaschun guastar |
[18r-c] ¶ Hac nunc tectura quemcumque refellere credas / | ||
[9] This thrust exits from the Master's cover, I am the first Scholar of the Master that came before me. I make this thrust because it is from his cover. Also, I say that this thrust could quickly be made from the Stance of the True Cross and from the Stance of the Bastard Cross, and I say that immediately as the player throws a thrust to the Master (or Scholar) who was in the aforesaid guards (or stances), the Master (or Scholar) should move lower with his body and step out of the way, crossing the sword of the [player] and thrusting upwards to his face or chest (the cross of the sword held low) as is depicted here.
|
I am the first Scholar of the Master that came before me, and I make this thrust because it is from his cover. Also, I say that this thrust could quickly be made from the Stance of the True Cross and from the Stance of the Bastard Cross, and I say that immediately as the player throws a thrust to the Master (or Scholar) who was in the aforesaid guards (or stances), the Master (or Scholar) should move lower with his body and step out of the way, crossing the way and thrusting upwards to his face or chest (the cross of the sword held low) as is depicted here. |
[10v-d] E son lo primo scolar delo magistro che m'e denanci, e aquesta punta fazo che la ese della sua coverta. Anchora digo che della posta de vera crose, a de posta de crose bastarda po se fare aquesta punta e digo de subito zoe come lo zugadore tra una punta alo magistro o scolar che fosse in le dite guardie, overo poste, lo magistro overo scolar de andare basso cum la persona e pasar fora de strada atraversando la strada, E cum la punta erta al volto overo al petto cum lo mantenir della spada a basso come dipento aqui. |
[33r-d] ¶ E son lo primo scolaro del magistro che m'e denanzi. Questa punta fazo per che ella esse di sua coverta. Anchora digo che dela posta di vera crose, e de posta de crose bastarda se po fare questa punta, e digo de subito zoe comme lo zugadore tra una punta alo magistro o scolar che fosse in le ditte guardie overo poste lo magistro lo magistro[4] overo scolar de andar basso cum la persona e passar fora de strada traversando la spada del scolaro, e cum la punta erta al volto overo al petto, E cum lo mantenir dela spada basso, come qui depento. |
[25b-d] Dela coverta delo magistro ese questa punta |
[18v-a] ¶ A tectura exit cuspis haec ima magistri. | ||
[10] When I see that my thrust cannot enter into his chest nor into his face (because of his visor), I lift the visor up and then I thrust the point in his face. And if this does not satisfy me, I turn to other plays of greater strength. |
[33v-a] ¶ Quando io vezo che la mia punta no po intrare in lo petto ne in lo volto per la visera, io levo la visera e si gli metto la punta in lo volto. E se questo no me basta io mi metto alli altri zoghi piu forti. |
||||||
[11] When I come to the narrow with this player to make the previous strike and because of his armor I can do nothing, I push him strongly by his elbow so that I make him turn. I will then test the strength of his back armor. |
[33v-b] ¶ Quando io veni a le strette cum questo zugadore a sai lo ferido di denançi e per le arme, niente me zova. Ma per lo cubito lo penzero forte che lo faro voltare Se le suoii arme sarano di dredo forte, voro lo provare. |
||||||
[12] When I see that with the sword I could do nothing to you, instantly I use this catch from grappling, so that I believe and see and feel that your armor will be worth nothing as I force you the strong Lower Bind. In this the next position, I will now show you how. |
[33v-c] ¶ Quando io vidi che cum la spada, niente ti posseva fare. Subito io presi questa presa d'abrazare, che io creço, e vezo, e sento che le arme non te valerano niente, che ti metero in la forte ligadura de sotto in questa che m'e dredo posta, Io ti faro fare subito la mostra. |
[17v-c] ¶ Inferiore quidem nexura stratus abibis, | |||||
[13] In the Lower Bind, a strong lock, have I closed you in such a way that you cannot escape and your strength will be worth nothing. I can make you suffer or I can give you death; I could even pen a letter and you wouldn't be able to see me. You have no sword nor headgear, you have little honor, and you will have little solace. |
[33v-d] ¶ In la ligadura de sotto e chiave forte t'o serado per si fatto modo che tu no poii ensire, e forza non ti val niente. Stentar ti posso, e'la morte ti posso dare una lettera scriveria che no me'llo porissi vedare. Tu non ai spada ne armadura di testa. tu ai pocho honore e farai breve festa. |
||||||
[14] You go to the ground because of the point of the sword, This play is from our first master, the Guard of the True Cross and [also] of the Bastard, that is, when someone throws a thrust and the scholar awaits it in his guard, and quickly steps out of the way while covering, and throws a thrust in [the player's] face and then advances the left foot to outside [the player's] forward foot and, in this way that is depicted, throws him to the ground as the point of the sword has advanced past his neck. |
When the Scholar that came before me [9] cannot finish the player with a thrust, he advances his left foot behind [the player's] right. And the point of his sword he thrusts under [the player's] throat to throw him to the ground as is depicted here. |
[11r-a] Quando lo scolar che m'e denanci non po fare lo zugadore cum la punta, e llo acrese lo suo pe stancho dredo lo suo dritto. E lla punta de sua spada gle mette sotto, la gola per butarlo in terra como aqui dipento. |
[34r-a] ¶ Questo zogo esse del primo nostro magistro de posta di vera crose e dela bastarda, zoe, Quando uno gli tra una punta e'llo scolaro l'aspetta in la guardia sua, e subito passa ala coverta fora de strada e tra gli una punta in lo volto, e cum lo pe stancho acresse de fora del suo pe ch'e denanzi per questo modo ch'e depento per butarlo in terra che la punta dela spada gl'avança oltra lo'collo. |
[26a-a] Tu va in terra per la punta dela spada |
[18v-c] ¶ Cuspide mucronis in terram stratus abibis. | ||
[15] You feel the sword that I have set at your neck Also I say that when a Scholar is come to the close, and seeing that he cannot waste his companion with his sword, that he should instead force a grapple with his sword in this fashion, that is that the Scholar should throw his sword to the neck of the player, and his right foot he should thrust behind the left foot of the player, and throw him to the ground on the right-hand side. |
This Scholar that came before me [14], if he cannot throw the player to the ground with the point of his sword and with his left foot outside of [the player's] right, he steps with his right foot in front of [the player's] left and throws his sword to his neck. And this play I make on his behalf. |
[11r-b] Aquesto scolar ch'e denanci de mi s'ello non po butar lo zugadore in terra cum la punta de sua spada, e cum lo suo pe stancho dredo lo suo dritto, ello passa cum lo pe dritto dredo lo suo stancho, e la spada gle butta al collo. E aquesto zogo io lo fazo icon in suo scambio. |
[34v-b] ¶ Anchora digo che quando un scolaro e venudo ale strette, che vezando ch'ello non po guastare lo compagno cum sua spada, ch'ello si de metter all'abrazare cum sua spada in questo modo zoe, che lo scolaro debia buttar la spada sua al collo del zugadore, e'lo suo pe dritto debia metter dredo lo pe stancho del zugadore, e butarlo in terra a man dritta. |
[16r-b] ¶ Colla super teneo mucronem. sentis et istud. | |||
[16] When I come out of the guard into the narrow cover, if I cannot strike with the edge then I attack with the point; and if I cannot strike with either of these two, I strike with the hilt or the pommel according to my will. And when I am in the narrow and the player believes I want to use the sword, I can switch to grappling if I see that it benefits me, and if not, I strike him with my hilt in his face as I said earlier, according to what seems best. |
[34r-b] ¶ Quando io vegno dela guardia in la coverta stretta, se non posso ferir de taglio, io fiero de punta E se de questi doi non posso ferire, io fiero del elzo, o del pomo. E questo si fa segondo che gl'intelletti sono E quando io son chossi ale strette, e'llo zugador crede pur dela spada voglio zugare. io mi metto all'abrazare, se io vezo che mi sia avantazo, E se non, io lo fiero del elzo in lo volto come denançi detto segondo che a'mi pare che meglio sta. |
||||||
[17] As you can see, the scholar from before has struck the player in the face with the hilt of his sword, and quickly thereafter he can strike with the pommel into his face as you can see here below. |
[34r-c] ¶ Come voii vedeti che lo scolaro che m'e denançi fieri lo zugadore in lo volto cum lo elzo di sua spada, pr presta mente apresso lo po ferire cum lo pomo in lo volto come veder poteti qui di sotto. |
||||||
[18] Also I say that this scholar before me that attacked the player with the pommel of the sword in the face [17], that he was able to do like I do, that is to advance his right foot behind [the player's] left, and stick the guard of his sword to [the player's] neck in order to throw him to the ground like I do. |
[34r-d] ¶ Anchora dico che questo scolaro che m'e denanzi che fieri lo zugadore cum lo pomo dela spada in lo volto, che ello avarave possudo fare come io fazo, zoe acresser lo pe dritto dredo lo suo stancho. E lo mantenir de sua spada meter lo al suo collo per butar lo in terra come io fazo. |
||||||
[19] If I turn myself close on your left side,
|
Again I, who am the fourth Scholar, say that our Master can make this play from the cover which he has made—that is, that he should step with his right foot forward, and he should thrust the point of his sword under [the player's] right arm, and then follow the sword with his left arm. And when he has passed the [player's] right arm with his left arm behind the [player's] elbow, he will twist him into the Under Bind without a doubt. That which he has not done, I do for him—he will have the honor, and I the trouble. |
[11r-c] Anchora digo io che son lo quarto scolaro che lo nostro magistro po fare aquesto zogo per la coverta che ello ha fatta zoe che ello de passar cum lo pe dritto innanci. E lla punta della sua spada debia meter sotto lo suo dritto brazo. E cum lo brazo stancho seguisca la spada. E quando ello e passato cum lo suo brazo br stancho, lo suo dritto per sotto lo cubito. Ello revolta in la ligadura sottana senza dubito. Quelo che non a fatto per lui lo fazo. Ello porta lo honore e mi lo impazo. |
[34v-c] ¶ Questo scolaro no possando ferire lo zugadore cum danno, si vole metter al'abrazare per questo modo zoe, che lo scolar mette la sua spada dentro parte della man dritta dello zugadore. E que[ll] fa lo scolaro per intrar cum sua spada e cum lo suo brazzo stancho, sotto lo brazzo dritto del zugadore per sbaterlo in terra, overo per metterlo in ligadura de sotto zoe in la chiave forte. |
[26a-c] Si io me volto streto dela parte riverssa |
[16r-d] ¶ Dexteriore tui cadet ensis parte / sinistra | ||
[20] This play is also of the Stance of the True Cross, in this way: that is that when a scholar is in that guard, and a player comes against him and suddenly attacks, that the scholar should step out of the way and stick the point in his face as you see here done. |
[34v-a] ¶ Anchora questo zogho esse de posta di vera crose per tal modo, zoe. che quando uno scolaro e in quella posta, e uno gli ven incontra, che subito in lo suo trar del zugadore, che lo scolar debia fora de strada passare, e'la punta gli metta in lo volto chome vedeti aqui fare. |
||||||
[21] I have wasted your hand, you can feel it well,
[In the Pisani-Dossi, the player is wearing the garter.] |
My Master has shown me that when I am armored and someone wants to thrust his point in my face in this way, I should thrust the edge of my sword under his left hand and I should step with my right foot behind his left, and in this fashion I can strike his face with my pommel or with my elbow, as can do this Scholar who is after me. If I can perform such a play, it would not fail me. [In the Morgan, both figures wear garters. It's unclear if this Scholar should also wear a Master's crown.] |
[11r-d] Lo mio magistro m'a mostrado che quando io son armado. E uno mi vole metere per tale modo la punta in lo volto. Che io debia meter lo taio della mia spada sotto la sua man stancha. E debia passar cum lo pe dritto dredo lo suo stancho, e per tal modo gle poro ferire cum lo pomo overo cum l'elzo in lo volto. Come po questo scolar che m'e dredo far. S'io lo passo fazo tale zogo non me po falire. |
[26a-d] La man t'o guasta, tu lo poii ben sentir |
[16v-b] ¶ Tu sentire potes. quam magno vulnere palmam[6]
| |||
[22] Here I waste your hand by coming to a bind |
Again, as the Scholar who came before [21] said, I will not fail in that I could make these two plays that are after me—that is, the first play strikes with the pommel to the face and slams you to the ground; the other which is the second follows, that if I can advance my right foot and the cross of my sword, then with that I strike you in the ear and in the cheek, and in that way you will go to the ground without fail. |
[11v-a] Aquello che dise lo scolaro ch'e denanci non falla che io ti posso fare aquesti dui zoghi che dredo me stano, zoe lo primo ferire cum lo pomo in lo volto, e sbaterti in terra. L'altro che segue ch'e lo segondo, quello se po fare acresere lo pe dritto e lo mantenir dela spada, e cum quello lo fiera in la orechia, e in la guanza, per tal modo andera in terra senza dubitanza. |
[26b-a] Aqui te guasto le man per vegner a'ligadura |
[16v-d] ¶ Hic ferio te nempe in manu / ut nexura sit inde | |||
[23] I will send you to the ground with my hilt, |
The previous Scholar of the Master [22] is well informed. With my pommel, I strike you in the face and then I throw you to the ground, in such a way that neither your breastplate nor your helmet will save you. [In the Morgan, the Scholar's sword is behind his opponent's.] |
[11v-b] Lo scolaro ch'e denanzi dello magistro, e bene informado che delo pomo te fiero in lo volto e ti sbatero riverso in terra, per tale modo che non ti zovara pancirone ne cervilera. |
[26b-b] Cum lo mantiner in terra io te mando |
[17r-b] ¶ Doctus in arte mea resupino pectore vertam | |||
[24] You will either lose the sword from your left hand, |
This play has not failed, as said the second scholar that came before [22], because I could come to this play and strike you in the ear and in the cheek, and I hold myself certain of sending you to the ground. You will go to the ground and I will remain upright. [In the Morgan, the player faces away from the scholar as in the previous play.] |
[11v-c] Aquesto zogo non ho falato, come ha ditto lo segondo scolaro ch'e denanci che io posseva venire ad aquesto zogo che te fiero in la orechia e in la guanza, de mandarte in terra io mi tegno certo. Tu andarai al piano e mi staro in erto. |
[26b-c] O dela man mancha tu lassara la spada |
[17r-d] ¶ Vel linques ensem proprium de parte sinistra. | |||
[25] This catch makes me safe from your sword: |
I have little concern for the Master nor for his Scholars. I do this counter against him with good measure: that is, when he comes with the cover, I beat the elbow of his left arm with my left arm, and because of this he cannot make a defensive grapple and he can be harmed. Again another counter I could make: I could turn his elbow with my left hand. Such a play is well-done both armored and unarmored. |
[11v-d] Dello magistro ne de suoii scolari pocho fazo cura. Questo contrario fazo contra lu cum bona misura, zoe quando ello vene cum la coverta, e io cum lo mio stancho brazo rebato lo suo stancho brazo cubito. E per tal mo cosi preso defesa non po fare e po essere offeso. Anchora altro contrario poseva fare. Cum la mia mane stancha per lo suo cubito lo posseva voltar. Che tal zogo in arme e senza arme ben se po fare. |
[26b-d] Questa presa me fa seguro de tua spada |
||||
[26] This is a good and strong grapple: while making the catch, the scholar puts his left foot behind the left foot of the player, and the point of his sword he puts in his face. Also you can throw him to the ground opposite the right hand. |
[34v-d] ¶ Questa si'e una presa forte e bona, che fatta la presa lo scolar mette allo zugadore lo suo pe stancho dredo lu pe stancho del zugadore. E lla punta dela sua spada gli mette in lo volto. Anchora lo po buttar in terra inverso man dritta. |
||||||
[27] This is the counter of the master that is remedy and of those who are his scholars. It is a fact that every counter that comes against a master remedy which counter breaks the play of the master remedy also counters all of his scholars. And this is said of lance, poleax, sword, dagger, and wrestling, and of all the art. Returning to speak of the master remedy, this master contrary sticks his left hand behind the right elbow of the player that makes the cover of the master remedy, and gives it a forceful turn in order to strike him in the back as you see after. |
[35r-a] ¶ Questo si'e lo contrario dello magistro ch'e remedio e di tutti gli soi scolari, Che vera cosa si'e che zaschun contrario che ven fatto allo magistro rimedio, quello contrario rompe lo zogo dello magistro rimedio e di tutti soii scolari. E questo dico di lanza Azza spada daga e abrazzare e di tutta l'arte. Tornemo a dire dello magistro rimedio. Questo magistro contrario si mette la sua mane mancha dredo lo cubito dritto dello zugadore che fa la coverta delo magistro remedio, E si gli da volta per forza per ferirlo de dredo como vedreti qui dredo. |
||||||
[28] I am the scholar of the master contrary that is before me and I complete his play. When the player turns, instantly I strike from behind under his right arm, or under his coif in the base of his head, or in his buttocks (with reverence), or under his knee, or in other places that I find uncovered. |
[35r-b] ¶ Io son scolaro dello magistro contrario che m'e denanzi e complisco lo suo zogho. Quando lo zugadore e voltado subito io lo fiero di dredo sotto lo brazzo suo dritto. E per sotto lo camaglio in la coppa dela testa, overo in le nadeghe del culo cum riverencia, overo sotto gli zinochi, overo in altro logo che trovo discoverto. |
||||||
[29] This sword passes for a sword and for an ax, and should not be edged from the guard down to one hand-span[12] from the point, and the point should be fine and the edge should be one hand-span in length. And the roundel below the hilt wants to be able to run down to one span from the point and not further, and the hilt wants to be well tempered and have a good point, and the pommel wants to be heavy. And that point wants to well tempered and quite sharp. And the sword wants to be as heavy in the back is it is in the front, and wants to weigh from 3½ to 5½ pounds,[13] following how large and strong the man is and how he wants to be armed. |
[35r-c] ¶ Questa spada scusa per spada e per Azza, e non de tagliare del elço in fin uno somesso apresso la punta e delli inanze vol tagliare, e aver fina punta, e'lo taglio vol esser di lungeza un somesso. E lla rodeletta ch'e sotto lo elzo vol posser corere in fin uno somesso apresso la punta e non piu. E llo elzo vol esser ben temperado, e aver bona punta, e'llo pomo vol esser grave. E quelle punte volen esser ben temperade e ben agude. E la spada vole esser grave di dredo, e lizera denanzi. E vole esser di peso de ·ⅴ· a ⅶ· libre. E segondo che l'omo e grande e forte, segondo quello vole armare. |
||||||
[30] This other sword wants to be fully edged, from the hilt all the way to the point, save for a part in the middle of the last third which should not be edged at all, a span big enough for one hand with a large gauntlet to enter. And similarly it wants to be fine of edge and of point, and the hilt wants to be strong and sharp and well-tempered, and the pommel wants to have a good point and wants to be heavy. |
[35r-d] ¶ Questa altra spada si vole tagliar per tutto. Salvo che dello elzo in fin ala punta, ale doe parte, in mezo la terza dela punta non de taglier niente, a tanto spacio che una mane cum uno guanto larga mente gli possa intrare. E simile mente vole esser fina di taglio e de punta. E llo elzo vole esser forte, e'aguzzo e ben temperado e'llo pomo vole essere cum bona punta, e vole esser grave. |
- ↑ This may also be read as immanis but inanis is closer to the Italian
- ↑ Added later: "pro cum".
- ↑ Interrupted by a sword.
- ↑ "lo magistro" appears twice, but neither is struck out.
- ↑ Corrected from "de".
- ↑ Added later: "scilicet manum".
- ↑ Added later: "scilicet me".
- ↑ Likely haec
- ↑ Added later: "scilicet ensis".
- ↑ The period after habetur may be a later addition, since it overlaps the final stroke of the r.
- ↑ There's a light mark above Arte that looks like the abbreviation for haec.
- ↑ A span (somesso) is the distance measured by an outspread human hand, from the tip of the thumb to the tip of the little finger. In ancient times, a span was considered to be half a cubit.
- ↑ A Medieval Italian pound was an approximate measure equal to 300-350 g, or 0.66 to 0.77 standard pounds. Fiore indicates here that the sword should be 5 to 7 [Italian] pounds, so taking the upper and lower values as bounds, this gives a potential range of 3.3 to 5.4 lbs. Values are derived from this link: Measurement in the Middle Ages.