Fiore de'i Liberi/Sword in Armor

Images	Images	PD by Michael Chidester Getty by Michael Chidester	Paris (Open for translation) Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Charlélie Berthaut
	[No Image]	[1] We are six guards for armored fencing, Which art we know how to perform in its completeness. And this art concludes everything in the right truth: It applies poleax, sword, and dagger to great extremes. And here we'll explain how the art can come: Masters and students will do it without lying.	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. Che quella arte integrament savemo far E questa arte conclude in tuto la drita veritade Aça, spada e daga, mete in grande stremitade E qui parlaremo, como l'arte po venir Magistri e scolari lo farano a'non mentir	[19v-t] ¶ Sex sumus in factis armorum valde periti Actus. Quos faciet quicumque magister in armis Ensem seu dagam superabit et inde bipennem.
	300px	[2] The Shortened Stance, the Serpent I am the Shortened Stance, the Serpent, And I have a fine point for passing through armor.	In the Shortened Stance, the Serpent (Posta Breve, la Serpentina), I want to come. If you are not well armored, I make you feel it by striking with a thrust; because of my edges, I wound better in the crossing than any other guard that I have, and you can do nothing to me. I want to prove this in armor and without.	[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.	[1] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg [32v-a] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg	[25a-a] Io son posta breve la serpentina Che per passare arme o la puta[!] fina	[19v-a] ¶ Sum situs ipse brevis. vocor et sub nomine recto Serpentinus adhuc penetrando cuspide doctus.
	300px	[3] The Stance of the True Cross I am the stance called the True Cross And cuts and thrusts mean nothing to me.	I am the Stance of the True Cross (Posta di 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 will make and my thrust injures you without fail, that you and the other guards do not concern me much. I know my armored fencing so well that I could 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.	[1] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg [32v-b] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg	[25a-b] Io son posta chiamata vera crose Che a'mi tagli e punte niente nose	[18r-b] ¶ Inque situ aspecto leopardi nempe serenum Cesuras semper et cuspidis ima refrenans
	300px	[4] The Upper Serpent I am the Upper Serpent, I shoot great thrusts down low. I also cover against cuts and thrusts, Those strikes are little trouble to me.	I am the Upper Serpent (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 while stepping: this is my art and I know how to do it well. I have not a care for your cuts, for I know the art and I will give you a great deal of thrusts.	[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.	[1] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg [32v-c] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg	[25a-c] E son sonno serpentino Lo sovrano Cum grande punte me meto al'piano Anchora per covrir de taglio e de punta Aquilli colpi a'mi pocho si monta	[18r-a] ¶ Serpentinus ego vocor / et sopranus, et alta Cuspide planitiem pono mea membra sub imam.
	300px	[5] The Middle Iron Gate I am the Iron Gate in the Middle: And I am always ready to throw great thrusts.	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 put a thrust in your face, or enter my point with the edge between your arms and force you into the Middle Bind (which was previously pictured 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.	[1] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg [32v-d] Page:Getty Ms. Ludwig XV 13 32v - Fiore dei Liberi - Combat with Sword - Google Art Project (6909327).jpg	[25a-d] In porta de fero io son la meçana A'butar grande punte sempre son vana	[19v-d] ¶ Sum mediana quondem ferri stans condita porta. Cuspide nec noceo nimis. At sum semper inanis.
300px	300px	[6] The Archer's Stance I am the Archer's Stance, the sentinel, And I am always ready to strike and cover. [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 with 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.	[1] Page:Getty Ms. Ludwig XV 13 33r - Fiore dei Liberi - Combat with Sword - Google Art Project (6893518).jpg [33r-a] Page:Getty Ms. Ludwig XV 13 33r - Fiore dei Liberi - Combat with Sword - Google Art Project (6893518).jpg	[25b-a] Io son posta sagitaria la çentille Per ferir e covrir non son nient ville	[19v-c] ¶ Hic mucro mutabit statum penetrando malignum. Nam mea membra tego validis erectus in armis
	300px	[7] The Stance of the Bastard Cross Of the Stance of the Cross, I am the Bastard, And I will not delay in making her plays.	Of the True Cross I am the Bastard Stance (Posta de Crose Bastarda); that which she can do, I also choose to do. For my method, I make good covers, thrusts, and cuts, always while voiding blows out of the way, and my blows are where 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.	[1] Page:Getty Ms. Ludwig XV 13 33r - Fiore dei Liberi - Combat with Sword - Google Art Project (6893518).jpg [33r-b] Page:Getty Ms. Ludwig XV 13 33r - Fiore dei Liberi - Combat with Sword - Google Art Project (6893518).jpg	[25b-b] De posta de crose io son bastarda De far soii zoghi non son nient tarda	[19v-b] ¶ Sum situs, et dicor crux multis vera magistris. Nec mihi cuspis obest, cesura nec ipsa nocebit.
		[8] With this cover I believe that I can waste anyone, Following that which you see the Scholar do. [In the Pisani-Dossi, the Master is missing his crown.]	I came with this cover from the Stance of the True Cross, stepping out of the way to the side. And you will see what I could do from this cover; through my Scholars I could show it, because they make my complimentary plays. Without a doubt, those that fight to the death will here show art.	[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 monstrarano senza dubitanza.	[33r-c] Page:Getty Ms. Ludwig XV 13 33r - Fiore dei Liberi - Combat with Sword - Google Art Project (6893518).jpg	[25b-c] Per questa coverta crederia çaschun guastar Segondo che voii vederiti far li scholar	[18r-c] ¶ Hac nunc tectura quemcumque refellere credas / Ludere discipulos veluti quandoque videbis.
	300px	[9] This thrust comes from the Master's cover, And the other plays hereafter may well arise. [In the Getty, the Scholar's opponent's right foot is forward.]	I am the first Scholar of the Master that came before me, and I made this thrust from his cover. Also, I say that this thrust could quickly be made from the Stance of the True Cross and the Stance of the Bastard Cross: as the player comes with a thrust to the Master or Scholar who was in the aforesaid guards (or positions), 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 shown 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] Page:Getty Ms. Ludwig XV 13 33r - Fiore dei Liberi - Combat with Sword - Google Art Project (6893518).jpg	[25b-d] Dela coverta delo magistro ese questa punta E li altri zoghi dredo che asaii ben monta	[18v-a] ¶ A tectura exit cuspis haec ima magistri. Atque alios faciam ludos si quando libebit.
		[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 put the point in his face. And if this does not satisfy me, I turn to other plays of greater strength.			[33v-a] Page:Getty Ms. Ludwig XV 13 33v - Fiore dei Liberi - Combat with Sword - Google Art Project (6903434).jpg
		[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] Page:Getty Ms. Ludwig XV 13 33v - Fiore dei Liberi - Combat with Sword - Google Art Project (6903434).jpg
		[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 put you the strong Lower Bind. In this the next position, I will now show you how.			[33v-c] Page:Getty Ms. Ludwig XV 13 33v - Fiore dei Liberi - Combat with Sword - Google Art Project (6903434).jpg		[17v-c] ¶ Inferiore quidem nexura stratus abibis, Atque tuum feriam letali vulnere pectus.
		[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] Page:Getty Ms. Ludwig XV 13 33v - Fiore dei Liberi - Combat with Sword - Google Art Project (6903434).jpg
	300px	[14] You go to the ground because of the point of the sword, And if I do not do you worse you will have a bargain. This play is from our first master, the Guard of the True Cross and [also] of the Bastard. When one enters with a thrust, the scholar awaits it in his guard and instantly passes out of the way while covering, and puts 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 illustrated, 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 make his play 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] Page:Getty Ms. Ludwig XV 13 34r - Fiore dei Liberi - Combat with Sword - Google Art Project (6897678).jpg	[26a-a] Tu va in terra per la punta dela spada E se peço non te faço haii bona derada	[18v-c] ¶ Cuspide mucronis in terram stratus abibis. Et pejora tibi faciam sibi mente sedebit.
	300px	[15] You feel the sword that I have set at your neck And I will show you death on the ground.	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] Page:Getty Ms. Ludwig XV 13 34v - Fiore dei Liberi - Combat with Sword - Google Art Project (6910109).jpg	[26a-b] Tu senti che la spada al collo t'o posta E de morte in tera io te faro mostra	[16r-b] ¶ Colla super teneo mucronem. sentis et istud. Nunc mortis patieris opus. nec fata negabunt.
		[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] Page:Getty Ms. Ludwig XV 13 34r - Fiore dei Liberi - Combat with Sword - Google Art Project (6897678).jpg
		[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] Page:Getty Ms. Ludwig XV 13 34r - Fiore dei Liberi - Combat with Sword - Google Art Project (6897678).jpg
		[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] Page:Getty Ms. Ludwig XV 13 34r - Fiore dei Liberi - Combat with Sword - Google Art Project (6897678).jpg
	300px	[19] Here I waste your hand by coming to a bind Which is so strong that I care nothing for your armor.	Again, as the Scholar that came before 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 Aquella ch'e si forte che de arme niente cura	[16v-d] ¶ Hic ferio te nempe in manu / ut nexura sit inde Conquisita mihi / quo grandia despicit arma.
	300px	[20] I will send you to the ground with my hilt, And I will then waste you with my point.	The previous Scholar of the Master [19] 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 E cum la punta mia te andaro guastando	[17r-b] ¶ Doctus in arte mea resupino pectore vertam In terram. dehinc te penetrabo cuspide mestum.
	300px	[21] If I turn myself close on your left side, Your sword will be lost from your right hand.	This play has not failed, as said the second scholar that came before, 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 O tu andara in terra cum si fata intrada	[17r-d] ¶ Vel linques ensem proprium de parte sinistra. In terram vel mestus eas. nec posse negabis.
		[22] 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] Page:Getty Ms. Ludwig XV 13 34v - Fiore dei Liberi - Combat with Sword - Google Art Project (6910109).jpg		[16v-b] ¶ Tu sentire potes. quam magno vulnere palmam Contuderim. capulo possem simul atque ferire.
	300px	[23] I have wasted your hand, you can feel it well, And I could strike your face with my pommel.	My Master has shown me that when I am armored and one 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 that is after me. If I can perform such a play, it would not fail me. [In the Morgan, both figures wear garters.]	[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 E cum lo pomo in lo volto te poria ferir
	300px	[24] You will either lose the sword from your left hand, Or you will go to the ground because of this entry I make.	Again I, who am the fourth Scholar, say that our Master can make this play from the cover that 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] Page:Getty Ms. Ludwig XV 13 34v - Fiore dei Liberi - Combat with Sword - Google Art Project (6910109).jpg	[26a-c] Si io me volto streto dela parte riverssa Dela drita man la spada tua sera perssa	[16r-d] ¶ Dexteriore tui cadet ensis parte / sinistra Si me voluo celer / sed strictis artubus ante.
	300px	[25] This catch makes me safe from your sword: Mine is free and yours is imprisoned. And the fourth play that is in the art of the poleax, Troubles the sword in armor with this play.	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 La mia si'e libera la tua si'e inpresonada E lo quarto çogho ch'e in l'arte dela aça La spada in arme de quello zogho se impaça	[17v-b] ¶ Ense tuo tutum facit hec captura. fit ergo Nempe meus liber. tuus at sub carcere restat. Efficit atque ensis ludum qui quartus habetur. Arte bipennifera / facile ceu quisque videbit.
		[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] Page:Getty Ms. Ludwig XV 13 34v - Fiore dei Liberi - Combat with Sword - Google Art Project (6910109).jpg
		[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] Page:Getty Ms. Ludwig XV 13 35r - Fiore dei Liberi - Combat with Sword - Google Art Project (6915118).jpg
		[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] Page:Getty Ms. Ludwig XV 13 35r - Fiore dei Liberi - Combat with Sword - Google Art Project (6915118).jpg
		[29] This sword passes for a sword and for an ax, and should not be edged from the guard down to one somesso from the point, and the point should be fine and the edge should be one somesso in length. And the rondel below the hilt wants to be able to run down to one somesso 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 5 to 7 pounds, following how large and strong the man is and how he wants to be armed.			[35r-c] Page:Getty Ms. Ludwig XV 13 35r - Fiore dei Liberi - Combat with Sword - Google Art Project (6915118).jpg
		[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] Page:Getty Ms. Ludwig XV 13 35r - Fiore dei Liberi - Combat with Sword - Google Art Project (6915118).jpg