Fiore de'i Liberi/Images

Completed Translation (from the Getty) by Colin Hatcher	Completed Translation (from the Morgan) by Michael Chidester	Morgan Transcription (1400s) [edit] Open for editing	Getty Transcription (1400s) [edit] Open for editing	San Daniele del Friuli Transcription (1699) by D. Luigi Zanutto
I, Fiore the Friulian,^[1] born in Cividale D’Austria, was the son of Sir Benedetto of the noble order of the free knights of Premariacco,^[2] in the diocese of the Patriarchate of Aquileia. As a young man I^[3] desired to learn armed fighting,^[4] including the art of fighting in the lists^[5] with spear, poleaxe, sword, dagger and unarmed grappling, on foot and on horseback, armored and unarmored.	Fiore Friulano de Cividale d'Austria, the son of Sir Benedetto of the noble house of the Liberi of Premariacco in the diocese of the Patriarchate of Aquileia, in his youth wanted to learn fencing and the art of combat in the barriers (that is, to the death); of lance, ax, sword, and dagger, and of wrestling, on foot and on horse, in armor and without armor.	[1r] FIore furlan de Civida d'ostria che fo de miser Benedeto della nobil casada delli liberi da premergiaco dello diocisi dello patriarchado de Aquilegia in sua zoventu volse imprendere ad armizare, e arte de combater in sbara zoe a oltranza, ¶ De lanza, azza spada, e daga, e de abrazar a pe, e a callo cavallo in arme e senza arme.	[1r] F※ I +O※R Furlan de Civida d'ostria che fo di misser Benedetto dela nobel casada deli liberi da Premeriias dela diiocesi dello Patriarchado de Aquilegia in sua çoventu volse inprender ad armiçare & arte de combatter in Sbarra ¶ De lança, Açça, Spada e daga, & de abraçare a pe e acavallo, in Arme e senca Arme.	Fiore Furlan di Civida dostria che ſo di Mis(sier) Benedeto della Nobil Casata delli liberi di Premergiaz della Diocesi dello Patriarchado de Aquilegia in sua zoventù volse imprendar ad armizare, e arte di combater in sbara zoè a oltranza, de lanza, azza, spada e daga, e de abrazar a pè, e a cavallo in arme, e senza arme.
In addition I wanted to study how weapons were made,^[6] and the characteristics of each weapon for both offense and defense, particularly as they applied to mortal combat.	Also he wanted to know of the temper of iron, and the qualities of each weapon, as much for defense as for offense, and most of all matters of mortal combat.	¶ Anchora volse savere tempere di ferri. ¶ E fateza de zascuna arma, a cosi a defendere como, a offendere, e maximamente cose da combatere, a oltranza.	¶ Anchora volse savere tempere di ferri ¶ E fateççe de çaschuna Arma tanto a defendere quanto ad offendere, e maxima mente chose de combatter ad oltrança.	Anchora volse saver temperar de ferri, e fateze de zaseuna arma, e cusì a defendere, como a offendere e maxime e cose da combattere a oltranza.
I also desired to learn the wondrous secrets of this art known only by very few men in this world. And these secrets will give you mastery of attack and defense, and make you invincible, for victory comes easily to a man who has the skill and mastery described above.	Also other marvelous and occult things that are apparent to few men in the world, and are very true things and very great for offense and defense, and things that cannot fail you, so easy are they to do, which art and mystery is described above.	¶ Anchora altre cose mereveglose, e occulte che a pochi homeni del mondo sono palese. ¶ E sono cose verissime, e de grandissima offesa, e deffesa, e cose che non se pon falare tanto sono lizere a fare, ¶ la quale arte, e magisterio ch'e ditto di sopra.	¶ Anchora altre chose meraveglose e oculte le quale a pochi homini del mondo sono palese. ¶ E sono chose verissime e de grandissima offesa, e de grande deffesa, e chose che non se po fallare tanto sono liçie a fare. ¶ La quale arte e magisterio ch'e ditto di sopra.	La qual arte e magistero ch' è ditto di sopra,
I learned these skills from many German and Italian^[7] masters and their senior students, in many provinces and many cities, and at great personal cost and expense.	And the aforesaid Fiore did learn the aforesaid things from many German masters. Also from many Italians in many provinces and in many cities, with great fatigue and with great expense, and by the grace of God from so many masters and scholars.	¶ E llo ditto fiore si a imprese le ditte cose de molti magistri todeschi, ¶ Anchora de molti iitaliani in molti provintie, e in molte zitade, cum grandissima fadiga, e cum grande spese, ¶ E per la gracia de dio de tanti magistri e scolari.	¶ E lo ditto Fiore si a imprese le ditte chose da molti Magistri todeschi ¶ e di molti Italiani in piu provincie & in molte citadi cum grandissima e cum grande spese. ¶ E per gracia di dio, da tanti Magistri e Scolari.	ebbe ditto Fiore, si à imprese le ditte cose de molli magistri todeschi. Anchora de molti Ytaliani in molte provintie et in molte xitade cum grandissima fadiga e cum grande spese: e per la gracia de Dìo de tanti magistri e scolari,
And by the grace of God I also acquired so much knowledge at the courts of noblemen, princes, dukes, marquises, counts, knights and squires, that increasingly I was myself asked to teach. My services were requested many times by noblemen, knights and their squires, who wanted me to teach them the art of armed combat^[8] both for fighting at the barrier^[9] and for mortal combat. And so I taught this art to many Italians and Germans and other noblemen who were obliged to fight at the barrier, as well as to numerous noblemen who did not actually compete. And below are the names and a little of the history of some of the noblemen who have been my students, and who were obliged to fight at the barrier.	And in so many courts of great lords, princes, dukes, marquises and counts, knights, and squires did he undertake this art, that the aforesaid Fiore was more and more times retained by many lords and knights and squires for learning from the aforesaid Fiore to do the art of fencing and of combat in the barriers to the bitter end, which art he demonstrated to many Italians and Germans and other great lords that were obliged to combat in the barriers (and also to countless that were not obliged to combat). And of some that have been my scholars that have been obliged to combat in the barriers, of these I wish to name and make here a remembrance.	¶ E in corte di grandi signori, principi duchi Marchesi, e Conti, cavalieri, e scuderi in tanto, a impresa aquesta arte, ¶ Che llo ditto fiore i estado piu, e piu volte requirido da molti signori e cavaleri, e scuderi per imprendere dal ditto fiore si fatta arte, de armizar e de combatere in sbara ¶ a oltranza, la quale arte ello a mostrada, a piu sori iitaliani e todeschi e altri grandi signori che anno debudo combatere in sbara. ¶ E anchora, a Infiniti che non anno debudo combater. ¶ E de alguni che sono stadi mie scolari che anno debudo combater in sbara, ¶ Di alguni ne voglo fare aqui memoria, e nome	¶ E in corte di grandi Signori, principi, ducha Marchesi e conti, chavalieri e Schudieri in tanto a impresa questa Arte. ¶ Che lo ditto Fiore a stado piu e piu volte richesto da molti Signori e chavallieri e schudieri per imprender del ditto Fiore si fatta arte d'armizare e de combatter in Sbarra a oltrança la quale arte ello a monstrada a piu sori iitaliani e todeschi & altri grandi Signori che ano debudo combattere in Sbarra. ¶ E Ancho ad infiniti che non ano debudo combattere. ¶ E de alguni che sono stadi miei Scolari che ano debudo combatter in Sbarra ¶ de quali alchuni qui ne faro nome e memoria.	e in corte de grandi Signori, Principi, Duchi, Marchesi e Conti, Cavalieri e Scudieri intanto à impresa questa arte, chella ditto Fiore è stalo più rolle requisido da motti Signori caratieri e scudieri per imprender dal dillo Fiore si fatta arte de armizar e de combater in sbara a altranxa, la quale arte ello à mostrado a più Ytaliani e todeschi e altri grandi Signori che hanno debuto combatter in sbara: e anchora a infiniti che non hanno debuto combatter: e de alguni che sona stati me scolari, che hanno debudo combatere in sbara ne voglia fare a qui memoria e nome :
The first of them was the noble and gallant knight Piero del Verde^[10] who fought Piero della Corona.^[11] Both were German, and the fight took place in Perosa.^[12]	And the first notable and gallant knight is Sir Peter von Grünen, who was obliged to combat with Sir Peter Kornwald (who were both Germans). And the battle was required to be at Perugia.	¶ E llo primo notabel, e gaiardo cavaliero fo miser Piero dal verde che debea combater cum miser Piero dala corona che foreno trambedui todeschi. ¶ E la batagla debea essere a perosa.	¶ primo de loro si fo el nobele e gaglardo chavaliero Missier piero del Verde el quale debea conbattere cum Missier piero dela corona i quali forono ambi doii todeschi. ¶ E la Batagla debea esser a Perosa.	Ello primo notabel e gajardo cavaliero ſo Mis(sier) Piero dal Verde che debea combater cum Mis(sier) Piero de la Corona che foreno (en)trambe dui todeschi: e la battaglia debea esser a Perosa.
Next was the brave knight Niccolo Voriçilino,^[13] also a German, who was obliged to fight Niccolo Inghileso.^[14] The field of battle for this fight was Imola.^[15]	Also the valiant knight Sir Nikolo [illegible] (the German), who was obliged to combat with Nicolo (the English), and the field was given at Imola.	¶ Anchora allo valoroso cavaliero miser Nicholo unriçilino todescho che debea combater cum nicholo Inghileso e llo campo fo dado a Imola.	¶ Anchora a lo valoroso chavalliero Missier Nicolo Wriçilino thodesco che debea combatter cum nicolo Inghileso. Lo campo fo dado ad Imola.
Next was the well-known, valiant and gallant knight Galeazzo de Capitani da Grimello, known as da Mantova,^[16] who was obliged to fight the valiant knight Buçichardo de Fraca.^[17] The field of battle for this fight was Padova.^[18]	Also the notable, valiant, and gallant knight Sir Galeazzo Cattaneo dei Grumelli, called da Mantua, who was obliged to combat with the valiant knight Sir Boucicault (Jean II le Maingre) of France, and the field was at Padua.	¶ Anchora alo notabel va valoroso, e gaiardo cavalero miser Galeaz delli captani de grimello chiamado da Mantoa che debea combater cum lo cavalero valoroso miser Buçichardo de franza, e llo campo fo a padoa.	¶ Anchora al notabele valoroso, e gaglardo chavalliero Missie Galeaço di Captani da Grimello chiamado da Mantoa che debea combattere cum lo valoroso chavalliero Missier Buçichardo de Fraça, lo campo fo a Padoa.	Anchora ello notabel valoroso e gaiarda caraliera Mis(sier) Galeazo de li capitani de Grimello chiamato da Mantoa che debea combatter cum la cavaliero valoroso Mis(sier) Brizichardo de Franza ello campo ſo a Padoa.
Next was the valiant squire^[19] Lancillotto da Becharia de Pavia,^[20] who exchanged six strikes with a sharpened steel lance^[21] against the valiant German knight Baldassarro,^[22] in a fight that took place in the lists at Imola.^[15]	Also the valiant squire Lancillotto Beccaria of Pavia. That was 6 thrusts of soft-iron lance on horseback against the valiant knight Sir Balthasar von Braunschweig-Grubenhagen (a German), and also obliged to combat in the list, and this was at Imola.	[1v] Anchora allo valoroso schudero lanzilotto de Beccharia da pavia, ¶ Che fe ·ⅵ· punte de lanza a ferri moladi a cavallo, contra el valente cavalero miser Baldesar todescho, ¶ E anchora debevano combater in sbarra, e questo fo a Imola.	¶ Anchora al valoroso schudiero Lancilotto da Becharia de Pavia, el quale se ·ⅵ· punti de lança a ferri moladi a chavallo, contra lo valente cavalliero Missier Baldassaro todescho I quali ad Iimola debea combatter in Sbarra.	Anchora allo valoroso sendero Lanzilotto de' Beccharia de Pavia: che ſe VI punte de lanza a ferri moladi a carallo cantra el valente caralero Mis(sier) Baldesar todesco: e anchora debevano combaterr in sbara, e questo ſo a Imola.
Next was the valiant squire Gioanino da Bavo,^[23] from Milan, who, in the castle in Pavia,^[24] fought three passes with a sharpened steel lance, against the valiant German squire Sram.^[25] And then on foot he fought three passes with the axe, three with the sword and three with the dagger, in the presence of the very noble prince and lord the Duke of Milan, and his lady the Duchess, and numerous other lords and ladies.	Also the valiant squire Giovannino da Baggio of Milan, who in the castle in Pavia, with the valiant squire Sirano (the German), struck three thrusts of soft-iron lance on horseback. And then on foot he made three blows of axe, and three blows of sword, and three blows of dagger, in the presence of the most noble lord Duke of Milan, and of the lady Duchess, and of countless other lords and lady.	¶ Anchora allo valeroso schudero Zohannj de Baio da Milano che fe in pavia in lo castello, contra ello valente schudero Sram todescho tre punte de lanza a ferri moladi, a cavallo ¶ E poii fe a pe tri colpi de azza, e tri colpi de spada e tri colpi de daga, im[!] presenza dello nobilissimo signor ducha de Milano, e de madona la duchessa e de altri infiniti signori e donne.	¶ Anchora al valoroso Schudiero Çoanino da Baiio da Milano che fe in Pavia in lo castello contra lo valente Schudiero Sram todesco tre punti di lança a ferri moladi achavallo. ¶ E poii fe a pe tre colpi de Açça, e tre colpi de Spada e tre colpi di daga in presença del Nobilissimo principo e Signore Missier lo Ducha da Milano e de Madona la duchessa, e d'altri infiniti Signori e donne.	Anchora ello valoroso sendero Iohamniu de Bajo de Melano che ſe in Paria in lo castello contra ello valente schudero . . . . . todesco tre punte di lanza a ferri moladi a cavallo et poi ſe a pe tri colpi de azza e tri colpi de spada e tri colpi de daga in presenza dello nobilissimo Signor Ducha de Milano e de Madonna la Duchessa e de altri infiniti Signori e donne.
Next was the cautious knight Sir Açço da Castell Barcho,^[26] who was obliged to fight one pass against Çuanne di Ordelaffi,^[27] and another pass against the valiant and good knight Sir Jacomo di Boson,^[28] the location chosen by his eminence the Duke of Milan.	Also the cautious knight Sir Azzone di Castelbarco, who once was obliged to combat with Sir Giovanni di Ordelaffi. And another time with the valiant and virtuous knight Sir Giacomo da Boson, and the field was set at the pleasure of the lord Duke of Milan.	¶ Anchora allo cauteloso cavalero miser Azo di Castelbarcho che debeva una volta combater cum miser Zohanni di li ordelaffig. ¶ E una altra volta cum ello valente e bono cavalero miser Jacomo da Besen, e'l campo debeva essere allo piaser del signor ducha de milano,	¶ Anchora al cauteloso chavalliero Missier Açço da Castell Barcho che debea una volta combatter cum Çuanne di Ordelaffi. ¶ E un'altra volta cum lo valente e bon chavalliero Missier Jacomo da Boson, e'l campo debea esser al piasere delo Signore ducha di Milano,	Anchora ello cauteloso cavalero Mis(sier) Azo de Castelbarcho che debera una volta combatter cum Mis(sier) Iohanni de li Ordelaffi
Of these and of others whom I, Fiore, have taught, I am very proud, because I have been well rewarded, plus I earned the respect and the affection of my students and also of their relatives. Also, I should tell you that I always taught this art secretly, and so no one was present at my lessons except for the student and occasionally a close relative of his, and if anyone else was there by my grace or favor, they were only allowed to watch after swearing a sacred oath of secrecy, swearing by their faith not to reveal any of the techniques they saw me, Master Fiore, demonstrate.	These and others have I, Fiore, taught, and I am very content because I have been well-remunerated and I have had the honor and the love of my scholars and of their relatives. Also I say that to whom I have taught this art, I have taught secretly, that there was no person other than the scholar and some close relative of his. Also that those who were present had sworn with sacrament that they would not reveal any play that they had seen from me, Fiore.	de questi e de altri che io fiore hoe amagistradi, e sono molto contento perche son stado bene remunerado, e si o aibudo lo honore, e llo amore di mie scolari e de lor parenti. Anchora digo che a chi i'o insignada aquesta arte, Io l'o insignada occultamente ch'ello non gl'e stado persona altra che lo scolare, e alguno di stretto suo parente. Anchora che aquilli che gli sono stadi anno aibudo sacramento de non apalentar nesuno zogho che loro abiano vezudo da mi fiore.	di questi e d'altri i quali io Fiore o magistradi, io son molto contento per che io son stado ben rimunerato & o habudo l'onore e l'amore di miei Scolari e di parenti loro. ¶ digo Anchora che questa arte io l'o mostrada sempre oculta mente si che non gle sta presente alchuno [1v] a la mostra se non lu Scolaro, et alchuno so discreto parente e se pur alchuno altro gl'e sta per gracia o per cortesia, cum Sagramento gli sono stadi prometendo a fede de non palesare alchun çogo veçudo da mi Fiore Magistro	ed altri che io Fiore ho amagistradi, e sono molto contento, perchè sono stato bene rimunerato e si o aibudo lo honore e lo amore di miei scolari e di lor parenti. Anchora diga che a chi iò insignada questa arte io lò insignada ocullamente e chello no glie stado persona altra che lo scolare e alguno di stretto suo parente. Anehora che a quelli che gli sono stadi anno aibiulo sacramento de non apalesar nesuno zogho che loro abiano rezudo de mi Fiore,
More than anyone else I was careful around other Masters of Arms and their students. And some of these Masters who were envious of me challenged me to fight^[29] with sharp edged and pointed swords^[30] wearing only a padded jacket,^[31] and without any other armor except for a pair of leather gloves; and this happened because I refused to practice with them or teach them anything of my art.	And most of all have I been wary of fencing masters and of their scholars. And they (that is, the masters), out of envy, challenged me to play at swords of sharpened edge and point, in arming jacket but without any other armor save for a pair of chamois gloves, and all of this was because I did not wish to practice with them, nor did I wish to teach them anything of my art.	¶ E maximamente, me ho guardado da magistri scrimiduri e de soi scolari. E loro per invidia zoe li magistri m'ano convidado a zugar a spade de taglio e de punta in zuparello da armare senza altra arma salvo che un paro de guanti de camoza, e tuto questo e stado perche io non ho vogludo praticar cum loro, ne ho vogludo insignare niente de mia arte.	¶ E mazorma mente[!] me o guardado da Magistri scarmidori[!] e da suoii scolari. E loro per invidia çoe gli Magistri m'ano convidado a çugare a spade di taglo e di punta in çuparello d'armare senç'altr'arma salvo che un paro di guanti de Camoça, e tutto questo è stado per che io non o vogludo praticar cum loro, ne o vogludo insegnare niente di mia arte.	e maximamente me ho guardado da magistri scrimiduri e de soi scolari. E loro per invidia, zoè li magistri manno convidado a zugar a spada da taglio ed a punta in zuparello da armar senza altra arma salrvo che un paio de guanti da camera …
And I was obliged to fight five times in this way. And five times, for my honor, I had to fight in unfamiliar places without relatives and without friends to support me, not trusting anyone but God, my art, myself, and my sword. And by the grace of God, I acquitted myself honorably and without injury to myself.^[32]	And this misfortune occurred 5 times that I was so required. And 5 times, for my honor, I convened to play in strange places, without relatives and without friends, having no hope in anything other than in God, in the art, and in me, Fiore, and in my sword. And by the grace of God, I, Fiore, remained with honor and without lesions in my person.	¶ E questo accident e stado ·ⅴ· volte che sono stado requirido. ¶ E ·ⅴ· volte per mio honore m'a convegnudo zugar in loghi stranii senza parenti, e senza amisi, non abiando speranza in altro, Che in dio, in l'arte e in mi fiore, e in la mia spada. ¶ E per la gratia de dio io fiore sono romaso cum honore, e senza lesione de mia persona.	¶ E questo accidente e stado ·Ⅴ· volte che io son stado requirido. ¶ E ·Ⅴ· volte per mio honore m'a convegnu çugare in luoghi stranii sença parenti e sença Amisi non habiando sperança in altruii, se non in dio, in l'arte, & in mi Fiore, e in la mia Spada. ¶ E per la gracia di dio io Fiore son rimaso cum honore e senca lesione di mia persona.	e questo accidente e stado V rolte, che sono stada requisido: e V rolte per mio honor ma conregnudo zugar in loghi strani senza parenti e senza amisi, non abiando speranza di altri che in Dio, in larle e in mi Fiore e in la mia spada: e per la gracia de Dio io Fiore sono nomato con honore in questa arte.
I tell my students who have to fight at the barrier that fighting at the barrier is significantly less dangerous than fighting with live swords wearing only padded jackets, because when you fight with sharp swords, if you fail to cover one single strike you will likely die.	Also I, Fiore, said to my students that were obliged to combat in the barriers that combat in the barriers is a far lesser peril than combat with sword of sharp edge and point in arming jackets. Because for him that plays at sharp swords, on a single cover that fails, that blow gives him death.	¶ Anchora io fiore diseva a mie scolari che debevan combatere in sbara, che lo combater in sbara, a asa asa[!] de meno periculo, che, a combater cum spade de taglio, e de punta in zuparelo da Armar. ¶ Perche aquello che zoga a spade taienti, una sola coverta che falla aquello colpo gli da la morte.	¶ Anchora iio Fiore diseva a miei Scolari che debean combatter in Sbarra che lo combatter in Sbarra a asaii asaii[!] di menore periculo che a combatter cum Spade di taglo e di punta in zuparello d'armare, pero che chului che zuoga a spade taglenti, una sola coverta che falla, in quello colpo gli da la morte.
On the other hand, if you fight at the barrier and are well armored, you can take a lot of hits, but you can still win the fight. And here is another fact: at the barrier it is rare that anyone dies from being hit. So as far as I am concerned, and as I explained above, I would rather fight three times at the barrier than one time in a duel with sharp swords.	And one that combats in the barriers and is well-armored, he can receive several such strikes and can still win the battle. Also, there is another thing: that only on rare occasions does someone perish because of grabs and holds. Thus I say that I would sooner combat three times in the barriers than just one time with sharp swords, as I said above.	¶ E uno che combate in sbara, e bene armato, e po recevere feride asai anchora po vincer la batagla. ¶ Anchora si e una altra cosa che rare volte ne perisse nesuno perche se piglano a presone. ¶ Si che io digo voria innanci combater tre volte in ssbara[!], che una sola volta a spade taiente come dito de sopra.	¶ Et uno che combatte in Sbarra e ben armado e po riçevere feride asaii. Anchora puo vincere la bataglia. ¶ Anchora si'e un'altra chosa che rare volte de perisse nisuno, per che si piglano a presone. ¶ Si che io digo che voria inanci combattere tre volte in Sbarra che una sola volta a Spade taglente, come sovra detto.
Now I should add that a man may fight at the barrier well armored, with a knowledge of the art of combat,^[33] and may have all the advantages possible to have, but if he lacks courage he may as well just go ahead and hang himself. Having said that, I can say that by the grace of God none of my students have ever lost at the barrier. On the contrary, they have always acquitted themselves honorably.^[34]	And I say that a man being well-armored for combat in the barriers, and knowing the art of combat, and having all the advantages that he can take, if he is not valiant then he will wish to hang himself. Well can I say that, for the grace of God, none of my scholars in this art have been lost—that always they remained with honor is this art.	¶ E si digo che lo homo che de combater in sbara siando bene armato e sapiando l'arte delo combater, e abiando li avantazi che se pon piglare se ello non e valente, ello se voria ben impichare ben che posso dire per la gratia de dio che zamaii nesuno mio scholaro in questa arte non fo perdidore Che sempre sono romasi cum honore in questa arte.	¶ E si digo che l'omo che de combatter in Sbarra, esendo ben armato, e sapiando l'arte del combattere, & habiando li avantaçi che se pon piglare, se ello non e valente ello si vorave ben impichare ben che possa dire per la gratia di dio, che çamaii nissuno mio scolaro non fo perdente in questa arte. Anci in ella sono sempre remasi cum honore.
I should also point out that the noble knights and squires to whom I showed my art of combat have been very satisfied with my teaching, and have never wanted any other instructor but me.	Also I say that I predict that these lords, knights, and squires to whom I have demonstrated this art of combat are content with my teachings, and did not wish any other master than the aforesaid Fiore.	¶ Anchora digo io predeto che aquisti signori cavaleri e schuderi che i'o monstrada aquesta arte da combatere sono stadi contenti delo mio insegnare non vogl–ando^[35] altro magistro [2r] che lo ditto fiore.	¶ Anchora digo io predetto Fiore che questi Signori chavallieri e Scudieri achuii io monstrada quest'arte da combattere, sono stadi contenti del'mio insegnare non voglando altro che mi per magistro.
In addition let me just say that none of my students, including those mentioned above, have ever owned a book about the art of combat, except for Galeazzo da Mantova. And he put it well when he said that without books you cannot be either a good teacher or a good student of this art. And I can confirm it to be true, that this art is so vast that there is no one in the world with a memory large enough to be able to retain even a quarter of it. And it should also be pointed out that a man who knows no more than a quarter of the art has no right to call himself a Master.	Also I say that none of these scholars here named had any book about the art of combat other than Sir Galeazzo di Mantua. Well did he say that without books no one will ever be a good master nor scholar in this art. And I, Fiore, confirm it: this art is so long that there is no man in the world with such a great memory that he can hold in mind, without books, even a fourth part of this art. And I grant that not knowing more than the fourth part of this art, I would not be a master.	¶ Anchora digo che nesuno de quisti scolari aqui anominadi non ave maii libro in l'arte de combater altro che miser galeaz di manthoa. ¶ Ben ch'ello diseva che senza libro non sara zamai nesuno bono magistro ne scolaro in questa arte. ¶ E io Fiore lo confermo che vero che aquesta arte e si longa ch'ello non e al mondo homo de si grande memoria che podesse tener a mente senza libri la quarta parte de questa arte. ¶ Adoncha cum la quarta parte de questa arte non sapiando piu non seria magistro.	¶ Anchora digo che nessuno di miei scolari in speciale li sopradetti non ave maii libro in l'arte de combattere altre che Misser Galeazo da Mantoa ¶ Ben ch'ello diseva che sença libri non sara çamaii nissuno bon Magistro ne scolaro in quest'arte. ¶ E io Fiore lo confermo vero, che quest'arte e si longa che lo non e al modo homo de si granda memoria che podesse tenere a'mente senca libri la quarta parte di quest'arte. ¶ Adoncha cum la quarta parte di quest'arte non sapiando più non saria magistro.
Now I, Fiore, although I can read and write and draw, and although I have books about this art, and have studied it for 40 years and more, do not myself claim to be a perfect Master in this art, (although I am considered so by some of the fine noblemen who have been my students). But I will say this: if, instead of studying the Art of Armed Combat for 40 years, I had spent 40 years studying law, papal decrees,^[36] and medicine, then I would be ranked a Doctor in all three of these disciplines. And you should also know that in order to study the science of arms^[37] I have endured great hardship, expended great effort and incurred great expense, all so as to be a perfect student of this art.	Thus I, Fiore, knowing how to read and to write and to draw, and having books on this art, and having studied it for 40 years and more, yet I am not a very perfect master in this art. (Though I am well-held, by the great lords that have been my students, to be a good and perfect master in this art.) And I do say that if I had studied 40 years in civil law, in canon law, and in medicine, as I have studied in the art of fencing, then I would be a doctor in those three sciences. But in this science of fencing I have had great contentions and strain and expenses just to be a good scholar (as we said of others).	¶ Che io fiore sapiando legere, e scriver e disignare, e abiando libri in questa arte, e in lei, o studiado ben ·ⅹⅼ· anni e piu. Anchova[!] non son ben perfecto magistro in questa arte. Ben che sia tegnudo da grandi signori che son stadi mie scolari, bon e perfecto magistro in questa arte. ¶ E si digo che s'io avesse studiado ·ⅹⅼ· in lege in decretale, e in medesina como i'o studiado in l'arte de armizar che io saria doctor in quelle tre scientie. ¶ E in questa scientia de armizar ho aibuda grande briga, e stenta, e spesa de essere pur bon scolare, disemo d'altro.	¶ Che io Fiore sapiando legere, e scrivere, e disegnare, & habiando libri in quest'arte, e in leii o studiado ben ⅩⅬ. anni o più, Anchora non son ben perfetto Magistro in quest'arte, ben che sia tegnudo di grandi signori che sono stadi mie scolari ben e perfetto Magistro in l'arte predetta. ¶ E si digo che s'io avesse studiado ·ⅹⅼ· anni in lege, in decretali, e in midisina chome i'o studiado in l'arte del'armiçare che io saria doctore in quelle tre scientie. ¶ Et in questa scientia d'armizare o habiuda grande briga cum fadiga e spesa d'esser pur bon scolaro, disemo d'altro.
It’s my opinion that in this art there are few men in the world who can really call themselves Masters, and it is my goal to be remembered as one of them. To that end I have created this book all about this martial art and the things related to it, including weapons, their applications,^[38] and other aspects too. In doing this I have followed the instructions given to me by the nobleman I respect the most, who is greater in martial virtue than any other I know, and who is more deserving of my book because of his nobility than any other nobleman I could ever meet, namely, the illustrious and most excellent noble, the all-powerful prince, Sir NICCOLO, Marquis of Este, Lord of the noble cities of Ferrara, Modena, Reggio, Parma and others, and to whom may God grant long life and future prosperity, and victory over all of his enemies. AMEN.	Considering, as I said before, that in this art I could find few masters in the world, and wishing that there be made a memory of me in this art, I will put all the art (and all things that I know of iron and of temper and of other things) in a book, following that which we know how to do for the best and for the most clarity.	Considerando io preditto che in questa arte pochi al mondo sen trovano magistri, e voglando che de mi sia fatta memoria in questa arte, io faro uno libro in tuta l'arte, e de tute cose ch'io so, e di ferri e de tempere e de altre cose segondo che nui saveremo fare per lo miglore, e per piu chiareza.	¶ Considerando io predetto Fiore che in quest'arte pochi almondo sen trovano Magistri, e voglando che di mi sia fatta memoria in ella, io faro un libro in tuta l'arte e de tutte chose le quale i'so, e di ferri e di tempere e'd'altre chose segondo l'ordene lo quale m'a dado quell'alto Signore che sopra gl'altri per marcial virtude mi piase piu, e piu merito di questo di questo mio libro per sua nobilità ch'altro Signore loquale vedessi maii e veder poro çoe el mio illustro et excelso Signore possente principo Misser ※N I C O L O※ Marchese da Este, Signore dela Nobele Cita di Ferara, di Modenam, Eeço, Parma &cetera, a chuy dio dia bona vita, e ventura prospera cum victoria degli inimisi suoii ※A※M※E※N※
I am going to lay out this book according to the preferences of my lord Marquis, and since I will be careful to leave nothing out, I am sure that my lord will appreciate it, due to his great nobility and courtesy.^[39]			COmençamo lo Libro segondo l'ordinamento del mio Signore Marchese e façemo che non gli manchi niente in l'arte, che io mi rendo certo che lo mio Signore mi fara bon merito per la sua grande nobilita e cortesia.
I will begin with grappling,^[40] of which there are two types: grappling for fun,^[41] or grappling in earnest,^[42] by which I mean mortal combat, where you need to employ all the cunning, deceit^[43] and viciousness^[44] you can muster. My focus is on mortal combat, and on showing you step by step how to gain and defend against the most common holds when you are fighting for your life.			¶ E començemo a l'abraçare, Loquale si'e di doe rasone çoe da solaço, e da ira çoe per la vita cum ogni inganno e falsita e crudelita che si po fare. E di quello che si fa per la vita voglo parlare e mostrare per rasone, e maxima mente a guadagnar le prese chom'e usança quando si combatte per la vita.
If you wish to grapple you should first assess whether your opponent is stronger or bigger than you, as well as whether he is much younger or older than you. You should also note whether he takes up any formal grappling guards^[45] Make sure you consider these things first.			¶ L'omo che vole abracare vole esser avisado cum chuy ello abraça, se lu compagno e piu forte o s'ello e piu grande di persona e s'elle troppo zovene o vero troppo vechio. Anchora de vedere si ello se mette ale guardie d'abraçare, e de tutte queste chose si e de prevedere.
And whether you are stronger or weaker than your opponent, be sure in either case that you know how to use the grapples and binds^[46] against him, and how to defend yourself from the grapples your opponent attacks you with.			¶ E niente meno meter se sempre o piu forte o meno forte ale prese dele ligadure, e sempre defenderse dele prese del suo contrario.
If your opponent is not wearing armor, be sure to strike him in the most vulnerable and dangerous places, for example the eyes, the nose, the larynx,^[47] or the flanks.^[48] And whether fighting in or out of armor, be sure that you employ grapples and binds that flow naturally together.			¶ E se lo tuo inimigo e disarmado attende a ferirlo in li loghi più doglosi e piu periculosi çoe in gl'ochi in lo naso, in le tempie sotto'l mento e in li fianchi. E niente meno guarda si tu puo vegnire a le prese dele ligadure o armado o disarmado che fosse l'uno e l'altro.
In addition, to be a good grappler you need eight attributes,^[49] as follows: [1] strength, [2] speed, [3] knowledge, by which I mean [3] knowing superior holds; [4] Knowing how to break apart arms and legs; [5] Knowing locks, that is how to bind the arms of a man in such a way as to render him powerless to defend himself and unable to escape; [6] Knowing how to strike to the most vulnerable points; [7] Knowing how to throw someone to the ground without danger to yourself. And finally [8] Knowing how to dislocate arms and legs in various ways.^[50] As required, I will address all of these things step by step through the text and the drawings in this book.			¶ Anchora digo che l'abraçare vole avere ·ⅷ· chose çoe Forteça presteça savere [2r] çoe saver prese avantiçade, savere far roture çoe romper braçi e gambe, saver ligadure çoe Ligar braçi per modo che'l homo non habia piu defesa ne se possa partire in sua liberta, Saver ferire in luogo piu periculoso. ¶ Anchora save mettere uno in terra sença periculo di si instesso. ¶ Anchora saver dislogar braçi e gambi per diversi modi. ¶ Le quale tutte chose scriviro e poro depinte in questo libro de grado in grado chomo vole l'arte.
Now that I have discussed some general rules for grappling, I will discuss the grappling guards. There are a variety of grappling guards, some better than others. But there are four guards that are the best whether in or out of armor, although I advise you not to wait in them for too long, due to the rapid changes that take place when you are grappling.			¶ Noi avemo ditto ço che vole l'abraçare, ora disemo delle guardie d'abraçare. ¶ Le guardie del abraçare si po fare per diversi modi. & un modo e miglore del altro. ¶ Ma queste ·ⅲⅰ· guardie so le miglore in arme e senç'arme, avegna dio che le guardie non a stabilita per le prese subite che se fano.
The first four Masters that you will see with crowns on their heads will show you these four superior grappling guards. The first two are named “The Long Guard” and “The Boar’s Tooth” and they can be used to counter each other. The second two are named “Iron Gate” and “The Forehead Guard”,^[51] and they can also be used to counter each other. From these four guards, whether in or out of armor, you can do all of the eight things I listed earlier, namely holds, binds, dislocations, etc. You will need to learn the guards of the Masters, how to distinguish the Students from the Players and the Players from the Masters, and finally the difference between the Remedy and the Counter. While a Counter will usually be presented after^[52] the Remedies are shown, sometimes there will be a special “Remedy”^[53] that comes last of all. But let me make this clearer for you.			¶ E lli primi quatro Magistri che vederiti cum le corone in testa, per quegli si mostra le guardie del Abraçare, çoè Posta longa, e dente di cengiaro le quali fano una in contra l'altra, e poii fano porta di ferro e posta frontale l'una in contra l'altra. ¶ E queste ·ⅲⅰ· guardie pon fare tutte chose che denançi sono ditte del abraçare in arme e senç'arme çoè prese e ligadure e roture &cetera ¶ Mo bisogna fare per modo che le guardie sen cognosca delli Magistri Zugadori, e lli scolari da zugadori, e lli çugadori de Magistri, e lo remedio del contrario, ben che sempre lo contrario e posto dredo al remedio, e tal volta ^dredo^[54] lo remedio o dredo tutti li soii zogi. e di questo faremo chiareça.
The four guards or “posts” are easy to learn. Sometimes you’ll take a guard and face your opponent without making contact, waiting to see what your opponent will do. These are called the posts or guards of the first Masters of Battle.^[55] And these masters wear a golden crown on their head, to signify that the guards they wait in provide them with a superior defense. And these four guards are best suited to apply the principles of my art of armed fighting, which is why these Masters choose to wait in these particular guards.			¶ Noi disemo che a cognosser le guardie overo poste e liçera chosa, prima che le guardie ano lor arme in mano l'una contra l'altra, e non si tochano l'una cum l'altra. ¶ E stano avisade e ferme una contra l'altra per vedere ço che lo compagno vol fare. ¶ E queste sono chiamade poste overo guardie overo primi Magistri dela Bataglia. ¶ E questi portano corona in testa, per che sono poste in logo e per modo di fare grande defesa cum esso tale aspetare. ¶ E sono principio di quell'arte çoe di quell'arte del'arma cum la quale li ditti Magistri stano in guardia.
Whether you call it a “post” or a “guard”, you are referring to the same stance. As a “guard” it is used defensively, that is you use it to protect yourself and defend yourself from the strikes of your opponent. As a “post” it is used offensively, that is, you use it to position yourself in such a way in relation to your opponent that you can attack him without danger to yourself.			¶ E tanto e a dire posta che guardia. ¶ E guardia e tanto a dire che l'omo se guarda, e se defende cum quella, dele feride del suo inimigo. ¶ E tanto e a dire posta che modo de apostar lo inimigo suo per offenderlo sença periculo di se instesso.
The next Master who follows the four guards comes to respond to these guards and to defend himself against a Player who makes attacks that flow from the four beginning guards shown earlier. And this Master also wears a crown, but he is named the Second Master of Battle.^[56] He is also known as the Remedy Master, because he carefully selects his response to attacks flowing from the posts referred to above, and makes remedies that prevent him from getting struck.			¶ L'altro Magistro che seguita le ·ⅲⅰ· guardie, vene ad ensire dele guardie, e si vene a defenderse d'un altro zugadore cum gli colpi che esseno dele ·ⅲⅰ· guardie che sono denançi. E questo Magistro porta anchora corona, e si e chiamado secondo Magistro. ¶ Anchora si e chiamado Magistro remedio per che ello fa lo remedio che non gli siano dade dele feride overo che non gli sia fatta inçuria in quell'arte che sono le ditte poste overo guardie.
This second or Remedy Master has a group of Students^[57] under him, who demonstrate the plays taught by the Remedy Master that follow the cover or grapple that he shows first as his remedy. And these Students wear a garter^[58] under their knee, to identify themselves. These Students will demonstrate all the remedies of the Remedy Master, until a third Master of Battle appears, who will show the Counters to the Remedy Master and his Students.			¶ E questo segondo zoe rimedio si a algui zugadori sotto di si i'quali zugano quelli zogi che poria zugare lo Magistro ch'e d'avanti zoe lo rimedio piglando quella coverta overo presa che fa lo ditto rimedio. E questi zugadori portarano una divisa sotto lo zinochio. E sarano questi zugadori tutti li zoghi delo rimedio in fin tanto che si trovara un altro Magistro che fara lu contrario delo rimedio e di tutti suoi zugadori.
And because he can defeat the Remedy Master and his students, this Third Master wears both the symbol of the Remedy Master—a golden crown, and the symbol of his students—a golden garter below the knee. And this King is named the Third Master of Battle, and he is also named the Counter Master, because he makes counters to the Remedy Master and his students.^[59]			¶ E perço ch'ello fa contra lo rimedio e contra soii zugadori, ello portera la divisa delo Magistro rimedio e de soi zugadori çoe la corona in testa e la divisa sotto lo zinochio, E questo Re e chiamado Magistro terço, e de^[60] chiamado contrario per che sara contra gl'altri Magistri e contra a soi zogi.
Finally let me tell you that in a few sections of this Art we will find a Fourth Master (or King) who can defeat the Third Master of Battle (the Counter to the Remedy). And this King, the Fourth Master, is named the Fourth Master of Battle. He is also known as the Counter-Counter Master. Be aware however that in this Art few plays will ever go past the Third Master of Battle, for to do so is very risky. But enough about this.			¶ Anchora digo che in alchuni loghi in l'arte si trova lo quarto magistro zoe Re che fa contra lo terço Re, zoe lo contrario delo rimedio. E questo Re, e lo magistro quarto chiamado Magistro quarto. ¶ E de^[60] chiamado contra contrario, ¶ Ben che pochi zogi passano lo terço Magistro in l'arte. ¶ E si piu s'in fano, se fa cum periculo. E basta di questo ditto.
As I have explained above, the guards of the Abrazare (shown by the First Master of Battle), the Second Master of Battle (the Remedy Master) and his Students, the Third Master of Battle (the Counter Remedy, that is the counter to the Second Master of Battle and his Students), and the Fourth Master of Battle (named the Counter-counter Master), represent the foundation of my Art of Grappling whether in and out of armor. Furthermore, these four Masters of Battle and their Students are also the foundation of the Art of the Spear, which has its own guards, Masters and Students. The same is true for the Art of the Pole-axe, the Sword in One Hand, the Sword in Two Hands and the Dagger.			¶ Como noii averno parlado qui dinançi dele guardie d'abrazare, e del Segondo Magistro zoe del rimedio e deli soi Zugadori, E del terzo Magistro contrario al segondo Magistro & a soii zugadori, E del quarto Magistro ch'e chiamado contra contrario, chosi come questi Magistri e zugadori ano a reçere l'arte d'abraçare in arme e sença arme, chosi ano questi magistri e zugadori a reçere l'arte dela lança cum le lançe e loro guardie Magistri e zugadori. ¶ Et per lo simile cum la Azza, e cum la spada d'una mano e de doii mani. E per lo simile cum la daga.
In summary, these Masters of Battle and their Students, identified by their various devices, although first presented as governing principles of my Art of Grappling, are actually the foundation of my entire Art of Armed Fighting, whether on foot or on horseback, and whether in or out of armor.^[61]			¶ Si che per efetto questi magistri e zugadori detti dinançi cum le insegne loro e divise ano a rezere tutta l'arte d'armizare a pe e dacavallo in arme e senç'arme. ¶ Segondo ch'elli fano in lo zogho del abrazare.
And my purpose in structuring my art in this way is to make my system^[62] easier to learn, by using the same principles of the guards, the Master, the Remedy and the Counter throughout it, just as you see first in the section on Grappling.			¶ E queste s'intende solamente pero che chosi bisogna esser guardie e Magistri in le altre arte e rimedii e contrarii come in l'arte de Abrazare azo che lo libro si possa licera mente intendere.
And the text,^[63] the drawings and the plays will so clearly show you my art, that you will have no trouble understanding it.			¶ Ben che le Rubriche e le figure, e li zoghi mostrarano tutta l'arte si bene che tutta la si pora intendere.
Now let’s move on to study the actual drawings, the plays and the text, and you will see that I have spoken truly.			¶ Ora atendemo ale figure depinte e a lor zoghi & a loro parole le quale ne mostrara la veritade.
	We commence this book following my intellect, in such a way that anyone can know to understand easily. And we make comparison of five things. That is, 1) of masters that stand in guard, and 2) of masters (and of masters) that are remedy, and 3) of scholars, and 4) of players, and 5) of contraries to masters and to scholars. The masters stand in positions, that is, guards—that which are called both positions and guards. Positions are called such because they position one, and guards are called such because they guard one from an enemy, and as such, they are called positions and guards for their strength, that poorly will one be able to break the positions on purpose without coming to danger.	COmennzamo libro segondo vero intelleto, per modo che zascaduno lo sapia intendere lezieramente. E faremo comparatione de cinque cose, zoe di maistri che stanno in guardia. E di maistri ^[64] che sono remedii, e di scolari, e di zugaduri, e di contrarii di maistri, & di scolari.Gli maistri che stanno in posta zoe guardie che tanto, e a dre[!] posta che guardia. Posta tanto e a dire che a postare uno, e guardia si e a dire a guardarse da uno so Inimigo, et tanto e a dire posta e guardia che forteza. Che maleasievelmente se po rompere le poste senza perigolo, Vegnando a proposito,
	The masters that stand in guard stand one against the other without touching one weapon against the other, and here the masters will bear crowns on their heads. The other crowned masters that will be after them also bear crowns, and they are called Masters Remedy. Those that here play with these masters and with their scholars are called players. And the scholars of these Masters Remedy bear a device under the knee, and initiate the cover and holds following what the Master Remedy does, and doing such plays that the Master Remedy knows how to do. At the end will be found the counter of the Master Remedy and of his scholars. And this counter bears a crown on his head and a device under the knee because he is the counter of the Master and of the scholars, and as such he bears the devices of both the Master Remedy and all his scholars. In some plays the counter will be found immediately after the remedy, and in some plays the counter will be found after all the plays of the Master Remedy. Know that here the counter which is made to the Master Remedy, that the counter breaks all of the plays of that cover or grip that he makes. In the following, you will find them well-depicted and -written so that can be easily understood.	gli magistri che stano in guardia, stanno l'uno contra l'altro, e non se tocharano una arma cum l'altra. E quigli maistri porteranno corona in testa, gli altri maistri incoronadi che serano driedo de lore porterano anche corona. E son chiamadi maistri remedii. Quigli che Zugarano cum quisti maistri & cum soii scolari, sono chiamadi zugaduri. E gli scolari di quisti maistri remedii, portano una divisa sotto al genochio. E principia le coverte, e le prese segondo maistro remedio so. E farano tanti zoghi che'l so maistro remedio poria fare in fino a tanta che s'e trovara lo contrario del maistro remedio & di soii scolari. E questo contrario portera una corona in testa, e una divisa sotto el genochio, perch'e lo contrario del maistro e di scolari, perzo porta tanta divisa luii che l'maistro remedio cum tuti li soii scolari. E in alguni^[65] loghi troverite, lo contrario subito dredo lo aremedio. E in alguni loghi troverete lo contrario dredo di tuti li zoghi dello magistro remedio. Sapiando che quelo contrario e fatto al maistro remedio, aquello contrario rompe tuti li soii zoghi de quella coverta overo presa ch'ello feva. Segondo che voii troverite dipento e scrito si bene che l'eçerissimamente si porano intendere.
	And we will commence first on horse with lance and with sword and with wrestling. And afterward with lance on foot, and then with sword in armor, and with sword in two hands in wide and narrow plays. Then the play of the axe, and then certain special matches, and then sword in one hand, and finally wrestling on foot and the play of the dagger. And in this way you can see all the art of fencing in this book, that cannot ever fail you, so well-worded are the explanations about the depicted figures.	E comenzaremo prima a cavallo de lanza, e de spada, e de abrazare. E poi dredo de lanza a pe, E poi de spada in arme, E poi de spada a doi man zogho largo. ¶ E poii streto E poi zogo de azza E poi certi partiti, e poi de spada a una man a poi zogho de abrazar a pe E poi zogho de daga. E per questo modo porite vedere tuta l'arte de armizar in questo libro che non se pora falar niente tanto dirano bene le glose sopra le figure dipinte.

Images	Draft Translation (from the Pisani Dossi) by Michael Chidester	[Paris does not contain Preface]	Morgan Transcription (1400s) [edit] Open for editing	Getty Transcription (1400s) [edit] Open for editing	San Daniele del Friuli Transcription (1699) by D. Luigi Zanutto	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
	^[66]Here begins a book on dueling and combat, and it is called the Flower of Battles armed and unarmed, on horse and on foot, composed by me, Fiore de'i Liberi of Cividale de Austria, in the diocese of Aquileia, born of Sir Benedetto of the noble ancestry of the Liberi.					[2a] Incipit liber duellandi et dimicandi et vocatur Flos duellatorum in armis sine armis equester et pedester conpositus per me Florium de liberis de cividato austrie aquilegensis diocesis quondam domini benedicti de nobilli prosapia liberorum natus.
	Fiore Friulano de'i Liberi of Cividale de Austria in the diocese of Aquileia, son of Sir Benedetto, wishes health in the name of the Lord and a prosperous realization of their desires to all who want to learn the play of arms on foot or on horse.					FLorius foroiuliensis de liberis de cividato austrie aquilegensis diocesis quondam domini benedicti progenitus cunctis ludo armorum intendere volentibus pedestribus secu equitibus salutem in domino et optatorum prosperum eventum.
	Being inclined from my early youth to warlike actions by a natural appetite, I applied myself very diligently with the passing years to my desire to comprehend the many abilities of this art, such as with the sword, the lance, the dagger—and no less the play of grappling—on foot or on horse.					Cum oprimordio juventutis appetitu naturali ad belicosos actus fuerim inclinatus me monit per processum etatis industria ad plurima huius artis ingenia capescenda Velut ensis lançee dagardi nec minus brachii ludendi pedester vel equester
	All of which, thanks to God, I have received knowledge of through various examples of expert masters and the doctrines of Italians and Germans, and above all from Master Johane, called “Suveno”, who was a student of Nicholai of Toblem in the Mexinensis diocese, and also from many princes, dukes, marquises, counts, and from countless others in diverse places and provinces.					quorum omnium deo dante plenariam notitiam sum adeptus expertorum magistrorum exemplis multifariis et doctrina iitalicorum ac alamanorum Et maxime a Magistro JohAne[!] dicto suveno qui fuit scholaris magistri Nicholai de toblem mexinensis diocesis ac etiam a pluribus Principibus Ducibus Marchionibus et Comitibus et ab aliis innumerabilibus et diverssis locis et provinciis
	Even so, my desire for this exercise declining, and so that so much military experience (which furnishes a most valid sustenance to expert men in warfare or in any other tumult) be not lost negligently, I have decided to compose a book regarding the most useful elements of this splendid art, putting in it various figures with examples, by which methods of attack and defense and parries can an astute person be served in fencing or pugilism.					Iam vero declinante huius exercicii proposito ne forte tantum milicie iochalle negligenter deperiret quod equidem in gueris vel alio quolibet tumultu peritis viris prestantissimum subsidium elargitur disposui librum conponere prelibate artis utilliora concernentem varias in eo pingendo figuras et exemplo pingendo figuras et exemplo ponendo Quibus invasionum modis defensionum ve pariter et astutiis uti possit armiger sive pugil
	Every man of generous soul loves and conceals this work of ours as though it were a treasure, and therefore does not divulge it in any way among the country folk (which, in fact, Heaven created of obtuse sense and inadequate of agility, to carry loads like beasts of burden). Therefore, I decree that they should reject those for this precious arcana, and on the contrary they should invite kings, dukes, princes, and barons, and also men of court and others of high ability in the duel, following that which said "It is not meet that the Imperial Majesty be decorated in arms alone", etc.^[67]					Quicumque ergo generosi animi hoc nostrum opus inspesserit quoddam quasi thesaurum dilligat et recondat ne quando inter rurales nullatenus propaletur ipsos enim obtusi senssus et agilitati ineptos ac ut iumenta honoribus applicandos cellum generavit Qua propter ob hoc precioso archano censeo reppellendos et per opositum ad ipsum comitandos Reges duces principes et barones ceteros denique curiales et alios habiles in duello iuxta illud imperatoriam maiiestatem non sollum armis decoratam & caetera
	And so that no one believes that in the present volume there be some false thing or error, I have eliminated the ambiguities and I have described only things that I have seen or which were discovered and tested by me. Accordingly, we begin to explain our purpose with the help of the Omnipotent, whose Name be blessed and praised through the centuries. Amen.					Nec quisquis in volumine presenti falssam rem aut errorem non promisctum credat opositum Quoniam ambigua resecando, sollummodo visa et a ame probata et inventa describuntur incipiamus itaque intencionem nostram exponere cum omnipotenti auxilio cuius nomen sit benedictum et collaudatum in seculla Amen.
	If you want to learn the deeds of arms, my friend, See that you bear all that that this poem teaches. Be audacious in violence and young at heart. Have no fear in your mind, only then can you perform. Take the woman as an example: fearful, Taken by panic, never will she face the naked sword. Thus, a frightened man, like a woman, cannot prevail. If your heart lacks audacity, everything else is wanting; Audacity and virtue: of such consists the art.					[2b] Io predicto Fior prego el mio signor marchese che lo libro li sia arecomandado perche Voii non trovariti maii uno parechio de questo, pero che magistri non se trovaria che saveseno far si facti libri ne anchora intendere in lo libro pocho, o niente et etiam per lo longo tempo che io sonto stato a farlo, non sonto per farne[!] piu nesuno de tanta quantita como e questo che per mia fede io li sonto sta meço anno a farlo si che io non voio piu de queste brige per lo tempo vechio che me incalça. Dio guardi lo segnore Marchese Nichollo da este signore dela cita de ferara dela cita de modena dela cita de parma e dela cita de reço.

Images	Completed Translation (from the Pisani Dossi) by Michael Chidester	[Paris does not contain Preface]	Morgan Transcription (1400s) [edit] Open for editing	Getty Transcription (1400s) [edit] Open for editing	San Daniele del Friuli Transcription (1699) by D. Luigi Zanutto	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
	Other Prologue On the 10th day of the month of February in 1409, I, Fiore Friulano de'i Liberi of Cividale de Austria, who am son of Sir Benedetto of the house of the Liberi of Premariacco, begin this gloss, the which treats in facts of fencing and of hand-to-hand combat—that is, lance, axe, sword, and dagger, and grappling, on foot and on horse, in armor and without armor, and of other things that pertain to fencing. And we will make the remedy and the counter for all these things so that one follows the other.					[2a] ¶ Alter prologus. DE mille quatrocento e nove a'di Ⅹ delo mese de febraro fo principiada de mi fior furlano de i'liberi de Cividal d'ostria che fo de meser benedecto dela casada de i'liberi da premergiago aquesta glosa la'qual tracta in facto de armiçar e de conbatere a corpo a'corpo Zoe Lanca açça spada e daga e abraçare a pe e a'cavallo in arme e sença arme e d'altre cosse che apertene ad'armeçar E de tute queste cosse noii faremo li remedii e li contrarii si che un siguira l'altro
	And this present gloss will recite all our knowledge and our understanding of all that we have seen from many masters and scholars and fencers, and from dukes, princes, marquises, counts, knights, and squires, and from countless other men of diverse provinces, and also things that we discovered ourself. There will also be guards of all weapons, and plays, and covers, and strikes, and holds, and binds, and breaks, and dislocations of arms and legs, and torsions and lesions—in the most perilous places—following that which the master of this art wishes. So poorly can one keep in mind without books and writing this large art that there will never be a good student without books. How, then, could there be a good master? I, the aforementioned Fiore, have seen a thousand men calling themselves masters, though not four among them were good students, and of those four none would be a good teacher.					E questa presente glosa recitera tuto nostro'saver e nostra intencione de tuto quello che noii avemo veçudo de multi magistri e scholari e armeçaduri e Duchi Principi Marchesi Conti Chavalieri e schuderi e de altri inumerabilli homeni de diversse provincie e anchora cosse trovade da noii. anchora serano guardie de tute arme e zoghi e coverte e feride e prese e ligadure, e roture e dislogadure de braçi e gambe e torsion e lesion e in li ochi piu perigolusi segondo che lo maiisterio de questa arte volle che male se'po tener a mente sença libri e scriptura si longissima arte, e non sera çamaii nesum[!] bon scholar sença libri guarda, como pora essere bon magistro, che io predito fior o ueçudo mille chiamati magistri che non sono de tuti loro quatro boni scholari e de quilli quatro boni scholari non seria uno bon magistro
	For this reason, the aforementioned gloss is made with all our knowledge and set into a book filled with painted figures, over which march this gloss and rubrics, number by number. And the aforementioned painted figures will be devised with such signs as this: the master that commences the plays bears for an insignia a crown of gold upon his head, and his students who will follow with his plays bear a band of gold under the knee, and the master that will be the counter to the other masters will have both a crown of gold on his head and a device of gold under his knee. And over every play will be its gloss, which aforementioned gloss, and likewise its book set with painted figures, is made by the petition of the Illustrious and Excellent Sir Niccolò, Lord Marquis of the city of Ferrara, and of the city of Modena, and of Parma, and of other cities.					La qual supradita glosa a fata cum tuto lo nostro saver sopra uno libro isturiado de figure depento sopra lo'qualle andarano aqueste glose e rubriche de numero in numero.E le dicte figure dipente serano divisale[!] cum zo'sia cossa che li magistri che començano lor coghi portarano per insegna una corona d'oro in testa e li lor scholari che siguirano lor çoghi portarano una lista d'oro soto el zenochio e li magistri che serano contrarii deli altri magistri haverano corona d'oro in testa e divisa d'oro soto lo zenochio e sopra ogni çogho la sua glosa, la'qual sopradicta glosa e anchora Lo libro istoriado de figure dipento e fato appeticione delo Illustro et Excelso Meser Nicholo Signor Marchese dela cita de ferara e dela cita de modena e de parma e de reço citade,
	In which gloss we will speak with all our knowledge, and first we will speak of the grappling on foot, and then of the other matters of fencing, following that which you will see painted and ordered by the foresaid Fiore. And we will commence with grappling in the name of God and Sir Saint George, the Good Knight.					in la'qual glosa parlaremo cum tuto nostro saver E prima diremo de abraçar a pe e poii deli'altre cosse de armiçar, segondo che voii vederiti dipento e ordenato per lo dicto fior E si començaremo a lo abraçar al nome de dio e de meser sant çorço bon chavalier
	Grappling wants 7 things—that is, 1) strength, 2) quickness of foot and of arms, 3) advantageous holds, and 4) breaks, and 5) binds, and 6) strikes, and 7) lesions, following that which you will see in the painted figures, and especially in plays that will gain holds, each one with its knowledge and with its malice. Because in plays that are taken in agreement, the holds are made with love and do not give ire, whereas in the above art of grappling that is made to gain holds, sometimes it is from ire and sometimes for life, and these are holds and plays that cannot be practiced with courtesy, and these are also perilous plays to practice. And after those we will treat the advantageous and stronger plays, that are better in armor than without for more defense of man and more security, and we will swiftly do that which he would attempt by the inscribed words and painted figures. And we first begin grappling on foot to gain holds, and also holds that are made in accordance.					Lo abraçar vole ⅶ cosse zoe forteça presteça de pie, e de braçi, e prese avantaçade, e roture, e ligadure, e percusion, e lesion segondo che voii vederiti in le figure dipente e masimamente in çoghi che se guadagnano le prese zaschun cum suo saver e cum sua malitia. Che zoghi che se piglia de concordia le prese se'fa d'amore e non da ira, E sopra l'arte dela braçar che se'fa a'guadagnar Le prese tal volta se fa da ira e alguna volta per la vita e sono prese, e zoghi che non se po çugar de cortesia anche sono çoghi pericolusi da çugar E sopra quello tractaremo li çoghi avantaçadi e piu forti e quilli che piu besognano in arme che sença per piu deffesa delo homo e piu segurtade e faremo si che leçeramente se porano intendere per le parole scripte e per le figure dipente E principiamo prima de abraçar a pe a'guadagnar le prese e anchora prese facte de concordia
	Then there will be 4 crowned masters, who will be masters of the dagger and of the art that pertains to the dagger.					¶ Poii serano ⅲⅰ magistri incoronadi che serano magistri dela daga, e del'arte che apertene a la daga
	Then find 4 with seven swords about them that signify the 7 blows of the sword.					¶ Poii trovariti ⅲⅰ cum septe spade adosso che ano a significar li ⅶ colpi dela spada.
	Then find one master against 3 scholars who make the plays of the sword in one hand (without buckler).					¶ Poii trovariti uno magistro contra ⅲ scolari che fa el zogho dela spada d'una mane sença bucolero.
	Then find one with a staff and with a dagger that is the master that makes a counter to the lance.					¶ Poii trovariti uno cum uno bastone et cum una daga ch'e magistro che fa contra uno che ha la lança.
	Then find another master with two sticks and with a dagger against one that has a lance.					¶ Poii trovariti uno altro magistro cum duii bastuni e cum una daga contra uno che ha una Lança
	Then find the guards of the lance that are 6 masters: the first 3 masters play from the right side, the other three that follow play from the left side.					¶ Poii trovariti le guardie dela lança che sono ⅵ magistri li primi ⅲ magistri çogano de parte drita Li altri tri che segueno zogano de parte stancha
	Then find two kings with two swords that await others with javelins, lances, and swords, and they wait in their own guards of waiting.					¶ Poii trovariti duii re cum due spade che spetano che illi'sia lançade lançe e spade e spetano le proprie guardie che se deno aspetar.
	Then find two for two methods by which can be defeated one with a lance who is inferior.					¶ Poii trovariti duii per duii modi como se po desferar uno che sia infera como una lança.
	Then find a man with seven swords and 4 figures about him, and one can see that which they signify, the aforementioned figures and the aforementioned swords.					¶ Poii trovariti uno homo cum septe spade adosso cum ⅲⅰ figure intorno, e si se pora vedere zo che a a'significar le dicte figure e le dicte spade
	Then find 6 crowned masters with 6 swords, and one does not carry a sword like the others do, and see the reason one is divided from the other.					¶ Poii trovariti ⅵ magistri incoronadi cum ⅵ spade e uno non porta la spada che fa l'altro e li vederiti per che rasone una e divisa da'l'altra.
	Then find 12 crowned masters, one after the other, which masters stand in the guards of the sword.					¶ Poii vederiti ·ⅻ· magistri incoronadi uno dredo l'altro, li'quali magistri stano in le guardie dela spada.
	Then find two masters crossed that commence the wide play with a strike into the throat of the companion.					¶ Poii trovariti duii magistri incrosadi che comença uno ferire de çogho largo in la golla del conpagno.
	Then find two other crowned masters that have three plays of the wide play.					¶ Poii trovariti duii altri magistri incoronadi che hano tri zoghi de zogho largo.
	Then find another crowned master that has twelve students that make his plays, and the first is the Villain's Strike.					¶ Poii trovariti uno altro magistro incoronado che ha dodece scolari che fano soii zoghi e lo primo zogho si'e lo colpo delo vilano.
	Then, after these 12 plays, find a counter that thrusts the point into the face of the companion.					¶ Poii dredo de quisti ·ⅻ· zoghi trovariti uno contrario che mete la punta in lo volto a lo conpagno.
	Then find 2 crowned masters that are crossed at the mid-sword, which masters can make all the plays that follow after unto each other until another king is not found—and that which one master does the other one can do, the one like the other, according to which one has more speed than the other—except that after these plays of these two masters crossed, find 5 contrary masters, and they say to the two crossed masters that they make counters to their plays closely, and most of all against any taking of the sword, and they are worth more in armor than without, though they are good in the one art and in the other (that is in armor and without).					¶ Poii trovariti ⅱ magistri incoronadi che sono incrosadi a meça spada li'quali magistri pono far tuti li zoghi che segueno dredo infina che non se trova uno altro re e cussi pono far uno de quilli magistri aquilli zoghi l'uno como l'altro, segondo che l'uno ha piu presteça de l'altro, salvo che tra quisti zoghi de quisti duii magistri incrosadi trovariti ·ⅴ· magistri contrarii de li dicti duii magistri incrosadi che fano contra lor zoghi stricti e maximamente contra çascadun tor de spada e valeno piu in arme che sença, ben che sono boni in una arte e in l'altra zoe in arme e sença.
	Then find a crowned master that is crossed with another from the backhand side, and after are two of his plays.					¶ Poii trovariti uno magistro incoronado ch'e incrosado cum uno altro de parte riverssa e li dredo serano soii duii çoghi.
	Then find a crowned master that makes a counter.					¶ Poii trovariti uno magistro incoronado che fa uno contrario.
	Then find a master that has one under his arm to throw him to the ground, sword and all.					Poii trovariti uno magistro che tene uno soto lo braço per butarlo in terra cum tuta la spada.
	Then find four scholars that make four takings of the sword, and there finishes the play of the sword in two hands.					¶ Poii trovariti quatro scolari che fano quatro tor de spada, e li finisse lo cogho dela spada a due mane.
	Then find 6 crowned and armored masters with swords in hand, which masters stand in their guards, one against the other, to come to the holds in the plays that follow (which plays are 10).					¶ Poii trovariti ·ⅵ· magistri incoronadi armati cum spade in mano li'qualli magistri stano in lor guardie e una contra l'altra per vegner a le prese ali zoghi che segueno li'quali zoghi sono ·x·
	Then find four masters with 4 axes in guard, and one guard against the other, which masters can make five plays (and other plays that are in the play of the sword, which I will mention).					¶ Poii trovariti quatro magistri cum ⅲⅰ aççe in guardia e una guardia contra l'altra li qualli magistri pono far cinque zoghi e d'altri zoghi che sono in lo çogho [2b] dela spada che ben in faro mentione.
	Then find thrusts of the lance, and one lance against another on horse (one lance withdrawn with one extended), and other matches also of lance against lance in diverse ways.					¶ Poii trovariti far punte de lança, e una lança contra l'altra a'chavallo e una lança curta cum la longa e altri parti anchora spada contra lança per diverssi modi.
	Then find sword at sword, and the striking of the swords the one man against the other, and taking the sword, and throwing the horse in diverse ways, the method and the counter. Also see plays of the arms in diverse ways.					¶ Poii trovariti de spada a spada e li ferieri dele spade l'uno homo contra l'altro, e tor de spada e butar da chavallo per diverssi modi e'l pro e'l contra.
	Also see one that wants to thrown another to the ground, horse and all.					¶ Anchora vederiti çoghi de braçe per diverssi modi.
	Also see one that wants to take the reins from the hand of the other.					¶ Anchora vederiti uno che vole uno altro a'terra cum tuto lo chavallo.
	Also see a crowned master on foot with a spear in hand, and that which he can do with the spear could be done with a lance, with a staff, and also with a sword—that is, this master awaits 3 on horses: the first caries a lance underhand, the second carries it in rest, and the third wants to throw his lance against the master, which master is sufficient to do his plays that follow (that is, two plays).					¶ Anchora vederiti uno che vole trare la brena de mane a'uno altro.
	Then find a crowned master on horse with a lance in rest that goes against another to make a thrust of the lance, which aforesaid master has a cord that is tied to his lance, and the aforesaid cord enters the saddle of his horse (which cord is quite long—four fathoms or more), and with this lance he wants to strike his companion, or throw the aforesaid lance to the neck of his companion in order to drag him from his horse.					¶ Anchora vederiti uno magistro a'pe incoronato cum uno spedo in mane e quello che luii po far cum lo spedo poria far cum una Lanza cum uno bastone e anchora cum una spada, çoe che questo m^agistro speta ·ⅲ· da cavallo lo primo porta la lança soto mane lo segondo la porta arestada lo terço vole butar sua lança contra de quello magistro lo qualle magistro si'e suficiente de far soi çoghi che il segueno çoe duii çoghi.
	Then find a crowned master with a dagger in hand that awaits two companions with swords who go against him one by one, and see their plays.					¶ Poii trovariti uno magistro incoronado a cavallo cum una lança arestada che va contra uno altro per far punte de lança lo qualle dicto magistro si ha una corda ch'e ligada a la lança sua, e entra la dicta corda entro la sella delo suo chavallo la qual corda si'e longa ben quatro braça o piu e cum questa lança vole ferire lo conpagno o butare la dicta lança a lo collo delo conpagno per strasinarlo da chavallo.
	Then see matches of sword against dagger that are done well, which could easily be understood by the discussion written above them (that is, the gloss).					¶ Poii trovariti uno magistro incoronato cum una daga in mane che speta a uno a uno duii conpagni cum spade contra luii e li vederiti soii çoghi.
	Then find a single axe, very cunning and laborious; by means of it, when the first blow is struck in the face, the companion receiving the blow quickly loses his vision (such that he will have great trouble to ever see anything again).					¶ Poii vederiti partidi de spada contra daga che ben faro che se porano intendere liçeramente per le parole soprascripte çoe per la glosa.
	Also see a crowned master with an axe in hand that has thrown a cord (which has a weight a pound or more heavy, with a hard binding to his axe) around the legs of his companion; yanking on his ax, he will throw his companion to the ground.					¶ Poii trovariti una açça sola molto cautelosa e lavorada per modo che lo primo colpo che la fieri in lo volto, lo conpagno subito recevudo lo colpo perde la vista per modo che sera grande briga che veda zamaii.
	And for all these plays named above will be set their glosses with their drawings, so they can well be easily understood.					¶ Anchora vederiti uno magistro incoronato cum una açça in mane che a'butada una corda con lo stropeduro dela sua açça ch'e grave una libra o piu intorno le gambe a lo conpagno tirando luii la sua açça çitara lo conpagno in terra
	I, the aforementioned Fiore, plead to my Lord Marquis that the book be recommended, because he cannot find another one equal to this, nor would he find a master that knew how to make such a book (nor even knowing much that is in the book), and also because of the long time that I have spent making it. And I am not able to make another so great as this one—for by my faith I have spent half a year making it—such that I do not want more of this trouble, for old age now pursues me. God watch over Lord Marquis Niccolò d'Este, Lord of the city of Ferrara, of the city of Modena, of the city of Parma, and of the city of Reggio.					E sopra tuti quisti çoghi desopra nominati serano facte le lor glose cum si facta declaratione che ben se porano intendere liçeramente.
	Whoever wants to see fencing as one beautiful song Should study this book that the scholar Fiore has made: Which book is called the Flower of Battle. It will recite about every type of fencing— That is, of lance, ax, sword, and dagger—and of grappling, On horse, on foot, in armor and without, as it should be done; And you will see holds, covers, binds, and breaks, And the plays and measures for combat in the barriers. And having examined the book, you can easily believe The importance of the things that you will see in it. For fifty years I have studied in these arts: Who learns more in less time will have a good deal.					¶ Armorum actus si te delectat, amice, Noscere, tecum habeas totum quod carmina monstrant Sis audax vi atque anim^o nec senix adesto Nil menti sit timor ades perficere posses Huiu^s in exemplum mulier sit pavida nunquam Nudum expectaret gladium formidine capta Sic homo formidans ut femina nulla valebit Deforet et totum cordis si audatia deesset Audatia et virtus talis consistit in arte

PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
We are four animals with these features: Whoever wants to fence makes comparisons to us;	Behold! we are four distinguished animals with these [traits] Who, for instance, strongly reminds [that] he is able in arms; He wants to be clear/bright and even shining brightly with honesty.		[17a] Noii semo quatro animali de tal conplesione Chi vole armiçar de noii faça conparatione	[1v] ¶ Quatuor ecce sumus animalia moribus ampla Quae monuit nam potens Potuit [...] in armis Esse cupit clarus necnon probitate refulgens
And whoever will have a good portion of our virtues Will have honor in weapons, as bespeaks the art.	He undertakes the lessons for himself, [and] determines which [are for] harming. Impress the evidence made known upon your spirit. Thenceforth That [evidence] of arms will have been taught before among friends.		E, chi de nostre vertu hara bona parte In arme havera honor chomo dise l'arte	¶ Accipiat documenta sibi(?) / quae cernit o(?)esse Pectoribus nuncius affixe indicitus. Inde Ille erit armorum pr(?) doctus inter amicos.
This Master with these swords signifies the seven blows of the sword. And the four animals signify four virtues, that is prudence, celerity, fortitude, and audacity. And whoever wants to be good in this art should have part in these virtues.		[32r] ¶ Questo Magistro cum queste spade, significa gli Setti colpi dela spada. E lli quatro Animali significa quatro vertu, zoe Avisamento, Presteza, Forteza, & Aerdimento, E chi vole esser bono in questa arte de queste vertu conven de lor aver parte.
Prudence/Wisdom No creature sees better than me, the Lynx. And I always set things in order with compass and measure.	Prudence Everything born under the sky will be discerned with [my] eyes; I, the lynx, I conquer [by] measurement whatever it pleases [me] to attempt.	Avisamento.^[68]	Meio de mi lovo cervino non vede creatura E, aquello meto sempre a sesto, e mesura	¶ Omnia nata oculis ego linx cernendo sub axe Vinco mensurans quicquid tentare placeb[ ]
No creature sees better than I the Lynx,^[69] and I proceed always with careful calculation.^[70]		¶ Meglio de mi lovo cerviero non vede creatura, E aquello mette sempre a sesto e a misura.
Celerity/Speed I, the tiger, am so swift to run and to wheel That even the bolt from the sky cannot overtake me.	Quickness I am quick in the hunt and roll the quick ones back in their orbit, Nor in my running will the lightning overcome the tiger.	Presteza.	Iio tigro tanto son presto a corer e voltare Che la sagita del cello non me po avançare	¶ Sum celer in cursu subitosque^[71] revolv[ ]^[72] in orbes Nec me currentem superabunt fulmia^[73] tigrim.
I am the Tiger,^[74] and I am so quick to run and turn, that even the thunderbolt from heaven^[75] cannot catch me.^[76]		¶ Io tigro tanto son presto a correr e voltare che la sagitta del cielo non mi poria avanzare.
Audacity/Daring None carries a more ardent heart than me, the lion, But to everyone I make an invitation to battle.	Courage I am the quadruped, the strong crown; my brave things, For instance, are the foundation of every axis. Now conquers the lion of the heart; [...] Therefore, we call whomsoever to arms.	Ardimento.	Piu de mi lione non porta cor ardito Pero de bataia faço a'zaschaduno invito	Quadrupedum sum fortis apex, audacia Nam mea quoque polo subsunt. nunc^[77] cordis leonem \|\|^[78] vincit [et superavit]^[79] quemcumque ergo vocitamus ad arma
No one has a more courageous heart than I, the Lion, for I welcome all to meet me in battle.		¶ Piu de mi Leone non porta core ardito, pero di bataglia fazo a zaschun invito.
Fortitude/Strength I am the elephant and I carry a castle as cargo, And I do not kneel nor lose my footing. I am the Elephant and I carry a castle in my care, and I neither fall to my knees nor lose my footing.^[80]	Strength	Forteza. ¶ Ellefante son e un castello porto per chargo E non mi inzinochio ne perdo vargo.	Ellefant son e uno castello ho per cargho E, non me inçenochio ni perdo vargho	¶^[81]
Stance of the Queens on the right Stance of the Queens on the left Stance of the Windows on the right Stance of the Windows on the left Extended Stance Shortened Stance Full iron gate Half Iron Gate Boar's Tusk			Posta dominarum dextra Posta dominarum sinixtra Posta fenestrarum dextra Posta fenestrarum sinixtra Posta ● longha Posta ● brevis Tota porta ferea media porta fere^a Dens apri	Posta mulierum dextri Posta Dominarum Sinistra Posta fenestrarum dextra Posta fenestrarum sinistra Posta longa Posta brevis Tota porta ferea Media porta ferrea dens apri

Images	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
[No Image]	[1] In the name of God and Saint George, we begin our system with Grappling on foot, seeking to gain superior holds. Holds are not superior unless they give you an advantage. Thus we four Masters seek to achieve advantageous holds through the techniques you see depicted here.			[4a-t] Principiamo prima in nome de dio e de meser sant zorzo delo abraçare a pe aguadagnare le prese. Le prese non son guadagnade se le non son cum avantaço, Pero noii ·ⅲⅰ· magistri cerchamo prese avantaçade chomo positi vedere dipento.
	[2] [The Long Guard] I am ready to show you how I win with my holds, And if I don’t leave you wondering what happened, you can count yourself lucky.	Even if you capture me, I would win; I am truly prepared. If I do not deceive you, you will be able to benefit for a short while.		[4a-a] Per guadagnar le prese e son aparichiato, Se non te ingano, tu harai bon merchato.	[38v-a] ¶ Vt mihi prensuras lucrer, sum nempe paratus. Si te non fallo poterit prodesse parumper.
	I am Posta Longa and I seek you like this. And in response to the first grapple that you attempt on me I will bring my right arm up under your left arm. And I will then execute the first play of Grappling. And with that lock I will force you to the ground. And if that lock looks like it will fail me, then I will switch to one of the other locks that follow.		[6r-a] ¶ Io son posta longa e achosi te aspetto. E in la presa che tu mi voray fare. Lo mio brazo dritto che sta in erto. Sotto lo tuo stancho lo mettero per certo. E intrero in lo primo zogho de Abrazare. E cum tal presa in terra ti faro andare. E si aquella presa mi venisse a manchare. In le altre prese che seguen vigniro intrare.
	[3] [The Boar's Tooth] I seek to reverse the fight, And from this position I will force you to the ground.	I seek to shift, <for> which reason I would be able to deceive you well. Henceforth, I would turn you, using the speeding chest, through the dirt.		[4a-b] De pugna mutacion cercho de'fare E cum quella in terra ti faro andare.	[38v-b] ¶ Querito mutare^[82] quo te confallere possim. Hinc te per terram properanti pectore vertam.
	I counter you with Dente di Zenghiaro. And with this move I am sure to break your grip. And from this guard I can transition to Porta di Ferro, which will force you to the ground. And if my plan fails me because of your defense, I will seek other ways to hurt you, for example with breaks, binds and dislocations, as you see depicted in these drawings.		[6r-b] ¶ In dente di zenghiar contra ti io vegno. Da romper la tua presa certo mi tegno. E di questa isiro, e in porta di ferro intrero. E per metterte in terra saro aparechiado. E si aquello ch'i'o ditto mi falla per tua defesa. per altro modo cerchero di farte offesa. Çoe cum roture ligadure e dislogadure. In quello modo che sono depente le figure.
	[4] [The Iron Gate] If you fail to beat me with your skill, I believe That with my power I will hurt you, or worse. I wait for you without moving in Porta di Ferro, ready to grapple with all of my skill. And this guard can be applied not only in the art of grappling, but also in the art of the Spear, the Poleaxe, the Sword, and the Dagger. For I am Porta di Ferro, full of danger. Those who oppose me will always end up in pain and suffering. And as for those of you who come against me trying to get your hands on me, I will force you to the ground.	If you do not conquer with a trick, I can, of course, believe [that] By my strength, that one <that is, you> will suffer many calamities.	[6r-c] ¶ In Porta di ferro io ti aspetto senza mossa. Per guadagnar le prese a tutta mia possa. Lo zogho de Abrazare aquella e mia arte. E di lanza, Azza, Spada, e daga o grande parte. Porta di ferro son di malicie piena. Chi contra mi fa, sempre gli do briga e pena. E a ti che contra mi voii le prese guadagnare. Cum le forte prese io ti faro in terra andare.	[4a-c] Se per inçegno non me vinceraii zo creço Che cum mia força ti faro male e peço.	[38v-c] ¶ Si non ingenio vinces quidem credere possum viribus ipse^[83] meis patieris pessima multa.
	[5] [The Guard of the Forehead] I advance upon you with my arms well forward To lay hands on you in a variety of ways. I am Posta Frontale, used to get my hands on you. Now if I come against you in this guard, you may lay hands on me. But I will then move from this guard, and with skill I will take you down to Porta di Ferro. Then I will make you suffer as if you had fallen into the depths of hell. And I will serve you so effectively with locks and dislocations, that you will quickly acknowledge my superiority. And as long as I don’t forget my skills, I will gain my superior holds.	Behold! I am coming, eager to overcome by means of the stretched shoulder, In order that I gain for myself a powerful capturing during the playing.	[6r-d] ¶ Posta frontale son per guadagnar le prese. Si in questa posta vegno, tu me faraii offese. Ma io mi movero di questa guardia. E cum inzegno ti movero di porta di ferro. Peço ti faro stare che staresti in inferno. De ligadure e rotture ti faro bon merchato. E tosto si vedera chi avera guadagnato. E le prese guadagnero, se non saro smemorato.	[4a-d] Cum li braci vegno acusi ben destese Per guadagnar in ogni modo le prese.	[38v-d] ¶ En venio tensis cupiens superare lacertis.^[84] Ut mihi prensuras lucrer ludendo potentes.
	[6] With this move I will either force you to the ground Or else your left arm will be dislocated. This is the first play of Abrazare and from every grappling guard you can arrive at this play, and from this position, proceed as follows: jam his right inside elbow with your left hand, and bring your right hand up behind and against his left elbow as shown. Now quickly make the second play, that is to say, having gripped him like this, turn your body to the left, and as a result he either goes to the ground or his arm will be dislocated.	In this way, I, using a capturing, would make you touch the earth. I will dislocate your left shoulder, or perhaps the other.	[6v-a] ¶ Questo si'e lo primo zogho de abrazare, & ogni guardia d'abrazare si po 'rivare in questo zogho, e in questa presa zoe. Pigli cum la man stancha lo suo brazo dritto in la piegadura del suo brazo dritto, e la sua dritta mano metta chosi dritta apresso lo suo cubito, e poii subito faza la presa del segondo zogho, zoe piglilu[!] in quello modo e daga la volta ala persona. E per quello modo, o ello andara in terra, overo lo brazo gli sera dislogado.	[4b-a] Cum questa presa in terra andare ti faro Overo el braço senistro ti deslogaro	[39r-b] ¶ Hac ego prensura, faciam te tangere terram. Denodabo tuum laevum uter forte lacertum.
	[7] Either I will make you kiss the ground with your mouth, Or I will force you into the lower lock. As the Scholar of the First Abrazare Remedy Master says, I am certain to put this man to the ground, either by breaking or dislocating his left arm. And if the Zugadore who fights with the First Abrazare Remedy Master takes his left hand off the shoulder of the Remedy Master in order to make a defense, then I will quickly let go of his right arm with my left hand and instead seize his left leg with my left hand, and grip his throat with my right hand in order to throw him to the ground, as you see depicted in the third play.	I would compel you, ugly, to lick the ground with your mouth; Not to mention I would even make you, wretched, enter the lowest key. [In the Paris, the Scholar wears a crown.]	[6v-b] ¶ Io Scolaro del primo Magistro si digo che son certo de zitar questo in terra, o rompere suo brazo sinistro, overo dislogare. E si lo zughadore che zogha cum lo Magistro primo levasse la man stancha dela spalla del Magistro per far altra defesa, subito io che son in suo scambio lasso lo suo brazo dritto cum la mia man stancha, piglo la sua stancha gamba, e la mia man dritta gli metto sotto la gola per mandarlo in terra in questo che vedeti depento lo terzo zogho.	[4b-b] Cum la bocha la terra ti faro basare O, in la chiave de soto ti faro intrare	[39r-d] ¶ Ore tuo terram te cogam lambere turpem. Vel faciam intrare miserum te clave sed ima.
	[8] And I will put you on the ground on your back, And I will not let you back up again without injury. The scholar that came before me speaks truly that from his hold he will force his opponent to the ground or dislocate his left arm. As he told you, if the Zugadore takes away his left hand from the shoulder of the Remedy Master, then the Remedy Master transitions to the Third Play, as you see depicted here. Thus, the First play and the Second play are really one single play, where the Remedy Master forces the Zugadore to the ground with a turn of his body, while in this Third play the Zugadore is thrown to the ground onto his back.	I would throw you, without pause, into the farthest earth up to the kidneys. Without you being able to rise from ominous punishment at all.^[85]	[6v-c] ¶ Questo scolaro ch'e denançi de mi dise ben lo vero che dela sua presa convene che vegna in questa per metterlo in terra overo dislogargli'l brazo stancho. Anchora digo che si lo zugadore levasse la man stancha dela spalla del magistro che lo Magistro, che lo magistro^[86] 'rivaria al terço zogho simile mente chomo vedeti depento. Sì che per lo primo zogho e per lo segondo che uno proprio zogho, e'llo magistro lo manda in terra cum lo volto, e lo terzo lo manda cum le Spalle in terra.	[4b-c] E te faro cadere in terra cum la schena E non te lassaro levare sença pena	[39v-b] ¶ Renibus in terram iaciam te protinus imam. Nec sine tristifica poteris consurgere pena.
	[9] Even if you were a master of grappling, I will force you to the ground with this technique. This is the Fourth Play of Abrazare, by which the Scholaro [Student] can easily force the Zugadore to the ground. And if he cannot force him to ground like this, he will seek other plays and techniques and use other methods, as you will see depicted below. You should know that the plays and the techniques will not always work in every situation, so if you do not have a good hold, you should quickly seek one, so as not to let your opponent gain any advantage over you.	In this way, I would make you sink down to the earth using a capturing, If you were being better during the entire playing by the masters. [In the Paris, the Scholar wears a crown.]	[6v-d] ¶ Questo e lo quarto zogho de Abrazare ch'e liziero se lo scolaro po metter lo zugadore in terra. E se non lo po mettere per tal modo in terra, ello zerchera altri zogi e prese como si po fare per diversi modi chomo vedereti al dredo noii depento, che posseti ben savere che gli zoghi non sono eguali ne le prese rare volte, e pero chi non a bona presa, se la guadagni piu presto che'l po, per non lassare avantazo al nimigho suo.	[4b-d] Se tu fussi magistro delo abraçare In terra cum questa presa ti faro andare	[39v-d] ¶ Hac te prensura facerem procumbere terrae, Si melior cunctis esses ludendo magistris
	[10] With the grips that I have on you above and below, I will break open your head on the ground. This grip that I make with my right hand at your throat will bring you pain and suffering, and with it I will force you to the ground. Also let me tell you that if I seize you under your left knee with my right hand, I will be even more certain of driving you into the ground.	Because of capturing, <by> wrestling above and below You will pound the earth with the top of your head. The fates will not refuse. [In the Paris, the Scholar wears a crown.]	[7r-a] Questa presa che o cum la mia mano dritta in la tua gola, io te fazo portare doglia e pena, e per quello tu andaraii in terra. Anchora digo che se ti piglio cum la mia mano mancha sotto lo tuo stancho zinochio che saro piu certo de mandarte in terra.	[4b-e] Per la presa che io ho desovra e ti desota Faro che la testa in terra te sera rota	[40r-b] ¶ Propter prensuram, super^b qua^a, luctor et infra, Vertice contundes terram. nec fata negabunt.
	[11] Your hand in my face is well placed, But I will now show you some other moves. I am the counter of the Fifth Play [10] that is shown earlier. And let me explain that if with my right hand I push up the elbow of his hand that seeks to harm me, I will turn him in such a way that either I will force him to the ground, as you see here depicted, or I will gain a hold or a lock, and so I will have little concern for his grappling skills. [In the Pisani Dossi, the Master is missing his crown.]	I served up the palms to the face.^[87] But still I cheerfully moved Those [palms] from that place, <in order that> I would therefore be able to Bury you using the other capturing.	[7r-b] ¶ Io son contrario del ·Ⅴ·^to zogo denanci apresso. E si digo che se cum la mia mano dritta levo lo suo brazo dela sua mane che al volto mi fa impazo, faro gli dar volta per modo ch'io lo metero in terra, per modo che vedeti qui depento, overo che guadagnaro presa o ligadura, e de tuo abrazar faro pocha cura.	[4b-f] Le man al volto si to ben poste Che de altre prese ti faro le'mostre	[40r-c] ¶ Apposui palmas faciei. Sed tamen illas Inde libens movi. Quo^[88] te dermergere possem Prerensuris aliis. quas nunc ostendere tento.
	[12] By putting my head under your arm, I will easily throw you to the ground. From this hold that I have gained, and by the way I hold you, I will lift you off the ground with my strength and throw you down under my feet head first with your body following. And as far as I am concerned, you will not be able to counter me.	You, confused one, will be spread on the ground (like a tarp) in sadness and disorder; This, because I am holding [your arm] on the left <and put> the head of this person <that is, me> under the shoulder.	[7r-c] ¶ Per la presa ch'i'o guadagnada al modo che io te tegno, de terra te levaro per mia forza, e sotto gli mei piedi te metero prima cum la testa che cum lo busto, e contrario non mi farai che sia visto.	[5a-a] Per la testa che io o posta soto el tuo braço In terra ti faro andare cum poco mio impaço	[40v-a] ¶ In terram tendes tristi confusus honore. Hoc quia sub laevo teneo^[89] caput ipse^[90] lacerto.
	[13] Because of my thumb pressing under your left ear, Your hold on me is failing, as you can see depicted here. When I press my thumb under your ear you will feel so much pain that you will go to the ground for sure, or I will make other hold or lock that will be worse than torture for you. The counter that can be made is the Sixth play [11] made against the Fifth Play [10] when he puts his hand underneath his opponent’s elbow. This counter can certainly be done to me here.	I but hold this finger to the left ear during wrestling, In order that you destroy the capturing by which you were keeping the upper hand on me. [In the Paris, the Scholar wears a crown.]	[7r-d] ¶ Lo dedo poles te tegno sotta la tua orechia che tanta doglia senti per quello che tu andarai in terra sença dubito, overo altra presa ti farò o ligadura che sara piu fiera che tortura. Lo contrario che fa lo Sesto zogho contra lo quinto quello che gli metti la mano sotto lo chubito. Aquello si po far a me tal contrario sença nessuno dubito.	[5a-b] Per lo dedo che io te tegno soto la rechia stancha. Veço che la presa che tu avivi te mancha	[40v-d] ¶ Aure sed hac digitum teneo luctando sinistra Prensuram ut perdas qua me superare tenebas.
	[14] With great cunning you grabbed me from behind, But this move will throw you to the ground without fail. You seized me from behind in order to throw me to the ground, and I turned like this. And if I fail to throw you to the ground you will have a lucky escape. This play is a good finishing move, but unless this is done quickly, this remedy will fail.	<If you>, Traitor, by your art have seized me from behind, This capturing nevertheless puts <and buries> you in the deepest ground.	[7v-a] ¶ Tu mi piglasti di dredo per butarme in terra e per questo modo io son voltado. Se io non te butto in terra tu naii[!] bon merchado. Questo zogho si'e un partido, chosi tosto sara fatto che'l contrario sara fallito.	[5a-c] Dedredo me prendisti a grande tradimento E questa presa te manda in terra sença falimento	[41r-a] ¶ ^[91]Proditor arte tua carpsisti me quoque retro. Haec prensura tamen terram te ponit^[92] in imam.
	[15] This is a grappling move that involves the Gambarola, But be aware that this move will not always work. This is a play that involves a throw over the leg [Gambarola] which is a risky move in grappling. So if you want to make this leg throw successfully, you will need to do it with power and speed.	Here, meanwhile, the play of turning of legs is discussed. However, it is not suitable; it often fails at holding.	[7v-b] ¶ Questo si'e un zogho da Gambarola che non e ben sigura chosa nel abrazare. E se alguno pur vol fare la gambarola, faza la cum forza e presta mente.	[5a-d] Questo e un abraçare de gambarola Che dele cinque non ven facta una sola	[41r-c] ¶ Ludus^b hic^a interdum celebratur crura^d rotandi^c. Non tamen est aptus. Fallit nam saepe tenentes.
	[16] This is a good hold to practice, For I can hold you without you being able to harm me. This is a finishing move and it is a good way to hold someone, because they cannot defend themselves. For the counter, the one who is being held should move as quickly as he can over to a wall or a post and drive himself backwards against it so that the man holding him breaks his head or his back against the aforementioned wall or post.	By the joint, thought and mind, the capturing is called Outsider. In this way, at last, I will force you, gloomy one, to endure.	[7v-c] ¶ Questo si'e un partido, e si'e una strania presa a tegner uno a tal modo che non se po defendere. Lo contrario si'e che quello che tegnudo, vada al piu tosto che'l po apresso'l muro, o altro ligname e volti se per modo ch'ello faza a choluii che'lo tene romper la testa e la schena in lo ditto muro overo ligname.	[5a-e] Questa si e de'concordia strania presa Asai ti posso stentare sença deffesa	[41v-a] ¶ Concordi concepta animo, prensura vocatur Extranea. Hac tandem faciam te degere mestum
	[17] I will strike you so hard in the groin That all of your strength will be taken away. This student strikes his opponent with a knee to the groin to gain advantage in order to throw him to the ground. To make the counter, when your opponent comes in quickly to strike you in the groin with his knee, seize his right leg under the knee with your right hand, and throw him to the ground.	In this way, <I> myself would destroy your testicles with a hard Knee, so that no strength will be present in the heart.	[7v-d] ¶ Questo fere lo compagno cum lo zinochio in gli chogloni per avere piu avantazo di sbaterlo in terra. Lo contrario si'e che subito che lo compagno tra cum lo zinochio per ferirlo in gli cogloni, ch'elle debia cum la man dritta piglare la ditta gamba sotto lo zinochio e sbaterlo in terra.	[5a-f] In li chogiuni ti faro tal percossa Che tuta tua força si sera rimossa	[41v-d] ¶ Taliter ipse^[93] tuos confringam poplite duro Testiculos, quam nullae aderint in pectore vires.
	[18] I'll give you so much pain and suffering to your nose That I will immediately make you let go of me. If you seize me with both your arms underneath mine, I will strike with both my hands into your face. And even if you were well armored this would still make you let go. The counter of this play is to place your right hand under the left elbow of your opponent and push hard upwards, and you will be able to free yourself.	I will redouble so many^[94] pains which your nose is suffering That I believe you will quickly release me [who am] fighting with you.	[8r-a] ¶ Per ço che tu me ha piglado cum li toi brazi de sotto gli miei, trambe le mie man te fiermo in lo volto. E si tu fossi ben armado, cum questo zogho io saria lassado. Lo contrario di questo zogho si'e che si lo scolaro che ven inzuriado del çugadore in lo volto, metta se la sua man dritta sotto, lo cubito del zugadore çoe del brazo sinistro e pença lu forte, e'lu scolar rimara in sua liberta.	[5b-a] In tuo naso faço tanta pena e doia Che a lassarme tosto sera tua voia	[42r-a] ¶ Tot tibi congemino naso patiente dolores Quam cito me tecum ludentem credo relinques.
	[19] No doubt about it, with this move I will free myself And with this counter you will be thrown to the ground. This shows how I make the counter to the thirteenth play [18]. As you can see his hands have been removed from my face. And from this hold, if I fail to throw him to the ground I will be worthy of your disdain. [In the Getty, the master grabs the scholar's right elbow rather than his left wrist.]	I set up your limbs using a similar capturing (and so we demonstrate). Nevertheless, <you>, miserable ruined one, will depart By means of the counter, as you will duly see if you examine [it] by the light of day. [In the Paris, the Master is missing his crown.]	[8r-b] ¶ Lo contrario del ·ⅩⅢ· io fazo. Le soy mani del mio volto sono partide. E per lo modo ch'io lo preso e si lo tegno, Si ello non va in terra prendero grande disdegno.	[5b-b] El'e vero che de tal presa t'o lassato E cum questo contrario seraii aterirato.	[42r-d] ¶ Destituj simili prensura (sicque fatemur) Membra tuj. tamen ipse^[95] miser ruiturus abibis Contrario. Ceu rite vides, si lumine cernis.
	[20] I will hurt you under your chin so badly That you will quickly find yourself thrown onto your back. If you come to grips with both your arms underneath your opponent's, then you can attack his face as you see depicted, especially if his face is not protected. You can also transition from here into the third play of grappling.	And I drag many pains to you below your chin, So that I touch the farthest earth with the sorrowful kidneys.	[8r-c] ¶ Se tu pigli uno cum trambi li toii braci de sotto va cum le toii mane al suo volto segondo vedi che io fazo, e mazor mente s'ello e discoverto lo volto. Anchora puo tu vegnire in lo terzo zogho de Abraçare.	[5b-c] Soto el'mento ti faço doia e greveza Che in terra cum la schena andarai in'freça	[42v-a] ¶ Subque tuo mento plures tibi tracto dolores. Renibus ut terram contingam tristibus imam.^[96]
	[21] With your hands in my face you can cause me trouble, But with this counter to your eyes, I will cause you even more trouble. This is the counter to the fourteenth play [20], and to any other play where my opponent has his hands in my face while grappling with me. If his face is unprotected, I push my thumbs into his eyes. If his face is protected, I push up under his elbow and quickly move to a presa or a ligadura. [In the Pisani Dossi, the Master is missing his crown.]	Here, by this twin play, you press the face with the hand. But the counter, thenceforth, will injure the eye more greatly. [In the Paris, the Master is missing his crown.]	[8r-d] ¶ Io son lo contrario dello ⅩⅢⅠ· zogho e de zaschuno che le mane me mette al volto in fatto d'abrazare. Li dedi polisi io metto in l'ochi soii s'il volto suo i'truovo discoperto. E si ello e coperto'l volto, io gli do volta al cubito o presa o ligadura io fazo subito.	[5b-d] Cum le man al volto tu me fa impaço E aquesto contrario a l'ochio piu te fa impaço	[42v-d] ¶ Cum manibus faciem premis hic ludendo gemellis. Contrarium sed et hoc oculo magis inde nocebit.^[97]

Completed Translation (from the Getty and PD) by Colin Hatcher	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati
[1] With a short staff I bind your neck, And if I fail to put you into the ground, you can count yourself lucky. See how with a short staff I hold you bound by your neck. And from here if I wish to throw you to the ground I will have little trouble doing so. And if I choose to do worse to you I can keep this strong bind applied. And you will not be able to counter this play.	[8v-a] ¶ Guarda che cum uno bastonçello io te tegno per lo collo ligado. E in terra ti voglio butare, pocha briga per questo ho a fare ¶ che se io te volesse peço trattare in la forte ligadura te faria entrare. E llo contrario non mi porissi fare.	[5b-e] Cum un bastoncello lo collo t'o ligato Se non te meto in terra aiine bon merchato
[2] If this short staff play does not put you on the ground, Then I will have no faith in the effectiveness of this art. If you were well armored then I would prefer to make this play against you than the previous one. Now that I have caught you between your legs with the short staff, you are stuck riding it like a horse, but you won't be trapped like this long before I turn you upside down onto your back. [In the Getty, the Scholar steps between his opponent's legs.]	[8v-b] ¶ S'tu fossi ben armado in questo zogo piu tosto te faria. Considerando che t'o preso cum uno bastonzello tra le gambe. Tu sta a cavallo e'pocho ti po durare che cum la schena ti faro versare.	[5b-f] Se tu non va cum questo bastoncello in terra Non credero maii che questa arte sia vera.
[3] I am the Student of the Sixth Remedy Master of the Daga, who counters in this way with his dagger. And it is in his honor that I make this cover with my short staff. And from here I will rise quickly to my feet and I will make the plays of my Master. And this cover that I have made with a short staff can also be done with a hood. And the counter to this move is the same counter shown by my Master [in the dagger section]. [Based on the description, the placement of this image is probably an error and it more likely belongs to the following play.]	[8v-c] ¶ Del Sexto Re ch'e rimedio di daga e contra per questo modo cum sua daga di quello son Scolaro. E per suo honore fazo tal coverta cum questo bastonçello. E subito mi levo in pe, e fazo gli zoghi del mio magistro. Questo che fazo cum lo bastonçello io'l'faria cum un p capuzo. El contrario del mio magistro si e mio contrario.
[4] I have taken this remedy from the Eighth Remedy Master of the Dagger, and I can defend myself armed only with this short staff. And having made this cover I rise to my feet, and I can then make all of the plays of my Master. And I could defend myself in this way equally well with a hood or a piece of rope. And the counter to this move is the same counter shown by my Master. [Based on the description, the placement of this image is probably an error and it more likely belongs to the previous play.]	[8v-d] ¶ Del octavo Re ch'e rimedio io fazo questo zogho E pur cum questo bastonzello fazo mia deffesa. E fatta la coverta io in pe mi drizzo. E li zoghi del mio magistro posso fare. E cum uno capuzo overo una corda te faria altretale. El contrario ch'e del mio magistro, si'e mio.

Images	Complete Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
[No Image]	[1] These five figures are the guards of the dagger; and some are good in armor; and some are good without armor; and some are good both in or out of armor; and some are good in armor but not good without armor; and all these are displayed below.		[9r-t] Queste zinque figure sono le guardie dela daga. E tale e bona in arme, e tale e bona senza senza^[98] arme. E tale e bona in arme e sença arme. e tale e bona in arme e non senza arme E tutte queste noii dechiaremo.
	[2] [Full Iron Gate, Single] I am Full Iron Gate Single. And I am good in armour and without armour, because I can ward off an attack with or without moving to grapple. And I can play with or without a dagger when I make my covers.		[9r-a] ¶ Io son tutta porta di ferro e son sempia. E son bona in arme e senza. Per che io posso rebatter e far cum presa e senza. E posso zugare cum daga e senza e far mie coverte.
	[3] [Full Iron Door, Doubled] I am Full Iron Gate Doubled, and I am good in armour and without armour, but in all situations I am better in armour than without armour, and with a guard like this I cannot use a dagger.		[9r-b] ¶ C[!] son tutta porta di ferro e son dopia. e son bona in arme e senza. e pur megliore son in arme che senza. e cum tal guardia non posso usar daga.
	[4] [Middle Iron Gate, Doubled] I am Middle Iron Gate with dagger in hand and I am doubled, and I am better and more strong than any of the others, and I am good in armour and without armour, and I can cover low and high on either side.		[9r-e] ¶ Io son mezana porta de ferro cum la daga in mano e son dopia, e la meglore e la piu forte de tutte le altre. E son bona in arme e senza, e posso covrir de sotto e'de sopra & ogni parte.
	[5] [Full Iron Door, Doubled and Crossed] And I am Full Iron Gate with the arms crossed and doubled. And I am like a mighty fortress, and in armour I am especially strong. But without armour I am not sufficient, because I cannot cover long.		[9r-f] ¶ E son tutta porta di ferro cum li brazi incrosadi e son dopia. e son in forte forteça. e in arme io son bona e forte. E sença arme io non son sufficiente per che non posso covrir longo.
	[6] [Middle Iron Gate, Doubled and Crossed] And I am Middle Iron Gate doubled and crossed [with dagger]. And I am good in armour but not without armour, because I cannot cover long, but I can cover above and below, from the right and the left, with or without a dagger.		[9r-c] ¶ E son meza porta di ferro, e son dopia incrosada. E son bona in arme e non senza per che non posso far longa coverta, e posso covrir de sopra e de sotto, de man dritta e de man riversa cum daga e senza.
[No Image]	[7] I am the noble weapon named the dagger who plays at very close range, and he who understands my malice and my art will also gain a good understanding of many other weapons. And since I finish my fight fiercely and quickly, there is no man who can stand against my method. Whoever witnesses my deeds of arms will see me make covers and thrusts as I move to grapple, and will see me take away the dagger by dislocating and binding arms, and against me neither weapons nor armour will be of any use.		[9v]
[No Image]	[8] Everyone should take care when facing the perilous dagger, and your arms, hands and elbows must go quickly against it, to do these five things, namely: take away the dagger; strike; dislocate the arms; bind the arms; and force your opponent to the ground. And never fail to do one or the other of these five things; And may he who seeks to defend himself protect himself in this way.		[9v-a] ¶ Del curtello periculoso che zaschun de de^[99] luii dubito, li brazi le man e'lle chubito doi contra quello va di subito. ¶ A far questo cinque chose in sempre sera. ¶ Zoe tor la daga, e ferir, romper li brazi. e ligargli, e meterlo in terra. ¶ E si di questi cinque zoghi uno l'altro non abandona. ¶ Chi sa deffender si guardi la persona.
	[9] With the fendente I can strike to the head and the body from the elbow up to the top of the head. But below the elbow I cannot be sure that I can make this strike without danger, and therefore I am reluctant to strike lower.		[9v-b] De fendente posso ferire la testa e'l corpo del cubito infine ala sumita dela testa. E del cubito in zo non ho sigura liberta sença periculo tanto. et de questo ferire mi dubito.
	[10] From the left (reverse) side, you can strike from the elbow to end at the temple of the head. And these are called the colpi mezani (middle strikes). And these reverse strikes from the left cannot be delivered if you are still waiting to make cover against your opponent’s attack.		[9v-c] ¶ Dela parte reversa si pò ferire del cubito in fin ale tempie dela testa. E sono chiamadi colpi mezani, E quelli colpi da reverso, non se pon fare stando parechiado de fare coverta contra'l suo inimigho.
	[11] From the right side you can strike or cover if needed, and your target ranges from the elbows to the temples of the head. And this strike is more safely made from the right side than made from the left side.		[9v-d] ¶ La dritta parte po ferire, e po covrire s'ello'e di bisogno, e po ferire delli cubiti in fin ale tempie dela testa, e piu sigura mente dela parte dritta che dela riversa.
	[12] The dagger that goes through the middle towards the head strikes below the chest and never higher. And while striking you should at all times make cover with your left hand.		[9v-e] ¶ La daga che va per mezo verso la tua testa po ferire in fin sotto lo petto, e non piu in erto. E sempre cum la mane stancha po andar coverto.
	[13] After taking away your dagger, to signify my victory I hold it in my raised hand in this manner. In my right hand I hold your dagger, and I gained it through my skill, which is so good that if you draw a dagger on me, I will take it from your hand. And I know well how to strike to finish you, no matter what advantage you might have.	Now sealed with the palm, thus I carry the safe dagger. With my hands I would lift [the dagger] itself, all having been carried.	[10r-a] ¶ Per che io porto daga in mia mane dritta, io la porto per mia arte che lla o ben meritada, che zaschun che me trara di daga, io gle'la toro di mano. E cum quella lo savero ben ferire, pero che lo pro e'l contra del tutto so finire.	[6a-a] Nam palmam tutam signo sic refero dagam Cum manibus tollam cuntis gestantibus ipsam	[21r-a] Nam palma tutam signo sic defero dagam. Cum manibus tollam cunctis gestantibus ipsam.
	[14] Because I triumph over those who fight with me, I carry torn-off broken arms as a decoration. I choose to symbolize my skill with the broken arms I carry. And I do not lie when I tell you that I have broken and dislocated many arms in my life. And whoever chooses to go against my art, will find me always ready to use that art against him.	Whereas I would overcome all which can war with me; Distinguished, I carry before me broken arms in [my] hands.	[10r-b] ¶ Per gli brazzi rotti ch'io porto, io voglio dir mia arte, ch'e questa senza voler mentire, che assaii n'o rotti e dislogadi in mia vita, e chi contra mia arte se mettera voler fare, Tal arte sempre io son per voler usare.	[6a-b] Cum cuntos superem qui possunt bellica mecum Pol manibus fractis ornatis porto lacertos	[21r-b] Cum cunctos superem qui possunt bellica mecum Pro manibus fractis ornatus porto lacertis.
	[15] Locking the arms of all opponents In such a way that none can safely extend their right hand, To show my success I carry a pair of keys in my hand. I am the Master of the unlocking and locking of the arms of those who choose to oppose me. I will cause them great pain and suffering with my techniques of binding and dislocating. And therefore I carry these keys to signify the value of my art.	Nailing together the arms of all fighting in the region In such a way that they would not be able to extend the safe right, Now happily I thus collect two keys in my hands.	[10r-c] ¶ Io son magistro de avrire e anche di serare zoe gli brazi a chi contra mi vol fare, yo lo mettero in grande brige e stente per modo che le ligadure e rotture sono depente. E per zo porto le chiave per insegna, che tal arte ben m'e degna.	[6a-c] Brachia cumclaudas cuntis bellantibus orbe Taliter ut tutam nequeant pretendere dextram Nunc letus claves manibus sic cumgero binas	[21r-c] Brachia conclaudas cunctis bellantibus orbe Taliter ut dextram nequeant praetendere tutam / Nunc letus claves manibus sic congero binas.
	[16] You ask how I force others to the ground under my feet with such prowess, I tell you that because I grapple each man and throw him down; The victory palm is appropriately held in my right hand. You ask how it is that I have this man held under my feet. Thousands have suffered this fate because of my art of Abrazare. And I carry the victory palm in my right hand, because no one can stand up to my grappling skills.	You ask why I, boasting, ruined so great [a person] with [my] feet: Because by wrestling men of courage, I assert to lay them all low; Certainly the palm is extended to stand on our right.	[10r-d] ¶ Me domandavoii per che io tegno questo homo sotto gli miei piedi, per che miglara n'o posti a tale partito per l'arte dello Abrazare. E per vittoria io porto la palma in la man destra pero che dello abrazare za mai non fo resta.	[6a-d] Queris cur pedibus pessundo gloria talles Cur luctando viros dicho prosternere cuntos Palma quidem nostra pretenditur sixtere dextram	[21r-d] Queris cur pedibus pessundo gloria tales Cur luctando viros dico prosternere cuntos Palma quidem nostra praetenditur sistere dextra.

Complete Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
[17] I am the First Master of the Dagger, full of guile, And with my left hand I will wind the dagger around your arm, And truth to tell I can make many other plays, And my students will do them cunningly. I am the first master and I am called Remedy, because I know how to remedy so well that you cannot harm me whereas I on the contrary can strike you and hurt you. And I cannot make a better play against you than to make your dagger go to the ground, by turning my hand to the left.	The first master of the dagger, I am called caution itself; At any time, the left hand having been extended to lift the dagger away.	[10v-a] ¶ Io son primo magistro e chiamado rimedio, pero che rimedio tanto e a dire che savere rimediare che non ti sia dado, e che possi dare e ferire lo tuo contrario inimigho. ¶ per questa che meglo non si po fare, la tua daga faro andar in terra. Voltando la mia mane a parte sinestra.	[6a-e] Magistro primo son de daga pieno de ingano Et cum man stancha torote la daga de mano E asaii altri zoghi io posso far inveritade E li mie scholari li farano cum falsitade	[21v-a] ¶ Primus ego dagae cautus^[100] vocor ipse magister. Cumque manu leva pretento tollere dagam.
[18] If I make a turn around your arm with my dagger, I will strike you in the chest, and it will not be taken from me. I will turn my dagger around your arm. And because of this counter you will not be able to take the dagger from me. And also with this turn I can drive it into your chest without a doubt.	Truly I sweep the dagger away around your shoulder. Not wasting that [attack], I would pulp you, miserable, in the chest.	[10v-b] ¶ Cum mia daga intorno'l tuo brazo daro una volta. E per questo contrario la daga tu non me lla avarai tolta. ¶ Anche cum questa volta ch'io fazo senza dubio io te la fichiro in lo tuo petto.	[6a-f] Cum mia daga intorno tuo braço faro volta E in lo peto te feriro, e non me sera tolta.	[21v-d] ¶ Circum nempe tuum dagam convolvo lacertum. Nec perdens illam miserum te pectore tundam.
[19] With your right arm locked under my left, I can cause you much harm while keeping you trapped. I will lock your arm in the middle bind, and I will do it in such a way that you will not be able to give me any trouble. And if I wish to put you to the ground I will do so with little effort, and you will have no chance of escaping. [In the Getty, the Scholar steps with his left foot in front of his opponent's right, not behind.]	And behold your right [arm] confined under my left Shoulder. Far too many misfortunes delay you, the imprisoned one.	[10v-c] ¶ In la mezana ligadura t'o serato'l brazo per sì fatto modo che tu non mi poi fare alchun impazo. E se ti voglo sbatter in terra a mi e pocha briga. e de fuzirme non ti dar fadiga.	[6b-a] Lo tuo braço drito soto el'mio mancho e serato Asaii male ti posso far, e roman impresonato	[24r-a] ¶ Subque meo levo^[101] dexter tuus ecce lacerto Clauditur. inclusum mala te quam plura morantur.
[20] If you wind around my arm and try to lock it in this way, I will put you in the lower bind and this hold will make things hard for you. I make the counter to the play that came before me. You can see the kind of position that I have put him in. I will break his arm or quickly throw him to the ground.	It is permitted that you hold me pressed hard inward, the lower key having been retained [and] Then pressed hard, [which] will harm the shoulder.	[10v-d] ¶ Lo contrario del zogho che m'e dinanzi io lo faro voii possi vedere a qual partido i'l'o posto. Rompero gli lo brazo, o sbatero lo in terra tosto.	[6b-b] Perche tu m'abii cusi asserato mio braço In la chiave de soto tal presa ti fara impaço	[24r-d] ¶ Me licet impressum teneas / retinendo lacertum Inferiore tum clave pressura nocebit.
[21] If I can turn this arm of yours, I will make you suffer with a middle bind. This is a good cover from which to take the dagger from your hand, and with this grip I will be able to bind you well. And this art is so effective that if I place my right hand under your right knee, then I will put you to the ground.	If I myself can now turn the shoulder using the hands, You, sad, will remain eternally in that middle key.	[11r-a] ¶ In bona choverta per tor ti la daga di mano. Anchora per tal presa te poria ben ligare. E se io metesse la mia man dritta sotto lo tuo dritto zinochio, In terra te faria andare, pero che quest'arte ben la so io fare.	[6b-c] Si questo braço ti posso voltare In la chiave meçana ti faro stentare	[24v-a] ¶ Voluere si possum manibus nunc ipse lacertum / Tristis illo(?) eternum mediana in clave manebis.
[22] You will not make me suffer in the middle bind When I meet you with this counter and make you let go. I make the counter to the play that came before me, so that you will not be able to throw me to the ground, nor take the dagger from me, nor bind me either. You will have to let go, or else you will be quickly stabbed by my dagger.	You will not make [me] endure in the middle key. But now, By means of that my^[102] counter, it is convenient for you if you will yield to me.	[11r-b] ¶ Lo contrario del zogho che m'e denanzi i'son per fare. Che tu non mi porai zitar in terra, ne tor mi la daga, Ne anchora ligarme. Ma tu convien lassare al tuo mal grado o de mia daga subito sara incassado.	[6b-d] In la chiave mezana non mi fara stentare Che cum questo contrario me conven lassare	[24v-d] ¶ Degere non facies mediana in clave. sed isto Me nunc contrario / tibi convenit / ut mihi cedas.
[23] This is a play with no counter, and it is inevitable that the player will go to the ground and lose his dagger if the student performs this technique as depicted. And when the player is thrown to the ground, the student can finish him in various ways.		[11r-c] ¶ Questo si'e un zogho senza alchun contrario, E convene che per forza lo zugador vada per terra. e ch'ello perda la daga lo scolaro como voi vedete questo che digo al zugador po fare. E quando lo sera in terra altro ara a'terminare.
[24] This play is rarely used in the art of the dagger, yet it is an additional defense to know. For after beating aside the attack in this way, the scholar can then strike with a counter to the ribs or the stomach.		[11r-d] ¶ Questo zogo si'e pocho usado in l'arte di daga, ma purr e defesa e piu savere, che lo scolaro cum tal rebattere fatto in tal modo, fa ferire lo zugadore zoe lo suo contrario in la chossa overo in lo ventre.
[25] This bind is easy for me to do And from it I will be able to strike you in the back. I am a counter to the First Dagger Remedy Master. Woe to he who remedies with techniques that allow his left hand to be seized. And from this hold I will be able to drive the dagger into his back. [These two images seem to show the beginning and end of the technique.]	It is neither labor nor pain to me to make a persistent bind, By which route now I will be able to injure you, And possibly I will strike your kidneys with a great wound. [The Paris resembles the Getty.]	[11v-a] ¶ Io son contrario del primo Re di daga ditto Rimedio. Che male sa rimediare soii zoghi chi la sua mano stancha la lassa piglare. E per tal presa che o, la daga in la schena gli posso fichare.	[8a-d] Aquesta ligadura a farla non me pena E, per lei te poro ferire in la tua schena	[44r-b] ¶ Neclabor est nec pena mihi faciendo tenacem Nexuram. qua nunc potero tibi ledere. Renes Et feriam fortasse tuos cum vulnere grandj.
[26] I make the counter-counter to the First Master, For the counter-counter is a fine master.			[8a-e] Contra contrario io faço per lo magistro primo Perche de contra contrarii e magistro fino
[27] I make the counter-counter against the First Master, And I will be first to take away the dagger every time.			[8a-f] Per lo primo re faço contra el'contrario Lo primo tore de daga faro si non svario
[28] I counter the First Dagger Master And I will strike your arm from above. [In the Pisani Dossi, the Master is missing his crown.]	I am of the first king; you retain the dagger, openly I make the counter. This is well known [to] strike the shoulder.^[103]		[8a-a] Delo primo re de daga el'contrario faço E per vezuda io li, o ferido el braço	[43v-b] ¶ Regis ego primi dagam retinentis, aperte Contrarium facio. Patet hoc feriendo lacertum.
[29] I make the counter to the First Master With this cover I will hurt him and worse. I am also the counter of the First Dagger Remedy Master, and when his student grips me like this [10], I will strike him, and make him let go. And if he tries to do other plays against me, I will counter him without hesitation.	I certainly keep the counter of the first master, And I will now prove this covering using many bad things.	[11v-b] ¶ Anchora mi son contrario di questo primo rimedio di daga, pero che la presa che mi fa lo suo scolaro, Per tal modo lo feriro, e me convegnira lassare. E si altri zoghi vora contra me fare, lo contrario gli faro senza nissun tardare.	[8a-b] Delo primo magistro lo contrario reço Cum tal coverta li faro mal e peço	[43r-d] ¶ Contrarium primi servo profecto magistri. Atque hac tectura mala nunc quam plura probabo.
[30] In the previous counter I told you that you could hurt him and worse; Here I show you how this can be done. This flows from the counter referred to in the previous play. It also flows from the counter referred to two plays back [10], where the Counter Remedy Master has trapped the hand of his opponent with his dagger, and where he told you that he can drive the dagger into his opponent’s back. My play comes from that play, but where he says you drive the dagger into your opponent’s back, I drive it into his chest. But this still flows from the previous play, even though I choose to finish it differently. [In the Getty, the Master's right foot is outside (in front) of his opponent's left foot.]	Using a counter to the former, which threatens many evils, I direct myself in these circumstances so that I would strike the associate with a deadly wound.	[11v-c] ¶ Questo e un contrario che non e mio. Anche lo zogho di questo contrario ch'e sopra de mi, zoe lo segondo contrario che ha ligada cum la sua daga la mano del compagno, che dise che'l po fichare la daga in la schena al compagno. E quello so zogho de luii i façço. ¶ Ben che luii dise in la schena. E mi la metto in lo petto, & e pur suo zogho per che chosi po fare.	[8a-c] Per lo contrario che dise de far mal e, peço Aquello che po far aquello aqui reço	[43v-d] ¶ Contrario illius, mala quod quam plura minatur Hic rego me, ut socium letalj vulnere ledam.
[31] I am well placed and positioned to force you to the ground; If you do not know the counter, I will throw you down immediately. I am the student of the first Master of [Dagger] Remedies. And with this grip I seek to take your dagger and bind your arm, and since I do not believe that you know how to counter me, I will do this to you without delay. [The Getty resembles the Paris. These two images may show progressive stages of the technique.]	I am ready now to beat you, gloomy, into the ground. And if the counter would miss, I would do this to you readily.	[11v-d] ¶ Io son scolaro del primo Re e Rimedio. E cum questa presa ti voglo tor la daga, e ligarte lo brazzo. Pero che non crezo che lo contrario tu mi sapi fare, E pero ti fare questo sença tardare.	[6b-e] Per mandarte in terra e son ben acunço e'posto Si lo chontrario mancha farotelo ben tosto	[25r-a] ¶ Aptus ego in terram sum nunc te pellere mestum. Et si contrarium deerit / faciam tibi praesto.^[104]
[32] I make the counter like this, And I know well how to strike you from here. I counter you like this, so that you will neither take my dagger nor bind my arm, and my dagger and I will remain at liberty. And then I will be able to strike you when you let go of me in such a way that you will have no defense.	Now I do this counter quickly; you see duly just as it were. The spirit becoming enflamed, I would then beat your limbs.	[12r-a] ¶ Lo contrario per questo modo ti fazzo che tu non mi torai la daga, ne mi ligara lo brazo. E mi e mia daga remaremo in libertate. E poi ti ferirò in lo lassar che tu mi faraii, per modo e maniera che defesa non averai.	[6b-f] Lo contrario per questo modo o aparichiato E de ferirte voio esser ben saciato	[25r-d] ¶ Hoc nunc contrarium propero / ceu rite videbis. Percutiam flagrante animo tua membra deinde.
[33] To make a much stronger cover I cross my arms in this manner; And from here I can do all the previous remedies. This cover is known to be much stronger and I make it so as to be able to obstruct you with various plays. And you cannot overcome such a strong cover, because two arms can easily oppose one arm.	I cover myself using great bodily strength, as you see the movements. I attack in this way before anyone can bring about anything.	[12r-b] ¶ Questa coverta si chiama pie forteza, e per ço la faço per podere cum parechi zoghi farte impaço. E tal forza non mi poi tu anichilare, per che doii brazi ben po uno contrastare.	[7a-a] Per piu forteça io crovo[!] aquesto partito De tuti li remedij denançi io ti faço invito	[25v-a] ¶ Me tego ceu cernis grandi valitudine motus. Ante modos quos quisque potuit efficere tento.
[34] With this counter the previous cover will meet with failure; After I have made you turn I will strike you with my dagger. This is the counter to the cover that came before, that I told you was much stronger. And I will turn him with my left hand. Having turned him, I will not fail to strike him.	Now, by means of this counter, I cheat the earlier plays In such a way, and I would turn you behind in order to wreck you <that is, bring you to ruin> with wounds.	[12r-c] ¶ Questo e'l contrario di questo zogho ch'e denanzi ch'e chiamado piu forteza. E lo voltero cum la mia man stancha. Dada gli la volta a ferirlo no mi mancha.	[7a-b] Per questo contrario li zoghi denanço conven falar Cum mia daga ti feriro tal volta ti faro far	[25v-d] ¶ Hoc nunc contrario ludos ego fallo priores. Taliter et voluam quam post te vulnere perdam^[105]
[35] Since my Master’s technique will not fail me, I will break your arm over my shoulder. With this excellent presa that I have made against you, I will not fail to break your arm over my left shoulder. And afterwards I can strike you with your own dagger, since this play will not fail me.	Because of how that master now brings about the taking, I believe you will not withdraw without shoulders having been broken.	[12r-d] ¶ Per bona presa che o contra te fatta non mi falla che non ti rompa lo brazo sopra la mia mancha spalla. E poii cum la tua daga te poro ferire, e questo zogho non e miga da fallire.	[7a-c] Per la presa delo magistro a'mi non falla Che non ti rompa el braço sopra mia spalla	[23r-a] ¶ Propter capturam quam nunc facit ille magister / Non sine fractura discedes credo lacertj.
[36] You will not break my arm over your shoulder, For with my counter I will throw you to the ground. I make this counter to you who in the previous play intended to break my arm over your shoulder. I will throw you to the ground to your death with great force and you will cause me no further injury.		[12v-a] ¶ Per quello che al zogho ch'e denanzi volesti romper^[106] sopra la tua spalla lo brazo, per quello zogho questo contrario ti fazo. Che per tal forza in terra te sbatero per morto, a ço che a mi ni altri piu mai fazi torto.	[7a-d] In su tua spalla lo mio braço non romperaii Ma per questo contrario in terra te butaraii
[37] Your dagger will quickly be taken from you, When I twist it upwards close by your elbow. I am in a good position to take the dagger from your hand, and to do it I push the point upwards, close to your elbow. And you will lose it, and I will quickly strike you with it. I took the dagger in this way because I was not able to bend your arm.	I seize the dagger using a sudden violent whirling motion near the elbow; Yet before [that], I strongly turn the lower arms.^[107]	[12v-b] ¶ La daga di mane ti toro che son ben aparechiado. e la punta ti traro in erto per apresso lo tuo cubito. E quella perderaii e firiro te cum lei subito. Per che io non t'o possudo piegar lo brazo, tal tor di daga io ti fazo.	[7a-e] La tua daga ben presta ti sera tolta Per apresso el tuo cubito façando volta	[23r-c] ¶ Arripiam subito violento turbine dagam Ante tamen cubitum prope volvam brachia fortis^[108]
[38] My dagger will not be taken by your turning it, And I will strike you with it without fail. I make the counter of the play that came before, so that you will not be able to take my dagger in that way. I will press my dagger into your hand, to make you let go, and with the cruel point I will strike you for your trouble.		[12v-c] ¶ Lo contrario ti faço del zogo ch'e denanci, per che tu no mi togli la daga a si fatto modo. Faro che la mia daga penzando te cum la mano mia stancha, lassaraii. e cum crudele punte te firiro cum tuo guaii.	[7a-f] La daga non me sera tolta per tuo voltare Anche in lo mio ti feriro senca fallare
[39] I will have no problem making you fall to the ground, But you will have a major problem trying to get up. In this way you will be driven into the ground, and you will not be able to make any defense or counter. And I will quickly make the dagger that you hold in your hand go far from you, because of my skillful knowledge of this art. [In the Getty and Paris, the Scholar steps outside of his opponent's right leg.]	It is not any work to me, laying you out fallen. You will not be able to rise free[ly] without a large wound.	[12v-d] ¶ In terra del tutto ti convien andare e defesa, o ver contrario non poraii fare. ¶ E la daga da ti faro andar luntana, piu tosto che ti la pigliro in mano pero ch'io so quest'arte cum ogni ingano.	[7b-a] A farte cadere non m'e neguna fadiga Mo a'levarte te sera grande briga.	[23v-a] ^[109]¶ Non labor est ullus mihi te sternendo cadentem. Surgere nec poteris sine grandi vulnere liberj.
[40] I do not want to fall to the ground with the previous play, So with this grip I will take away all of your strength. What you plan to do cannot always be done. I am the counter of the scholar who came before, and this counter will make him look very foolish, because in this way I will make him let go my leg. And I will drive the dagger into his face to demonstrate that he is indeed a great fool. [In the Pisani Dossi, the Master is missing his crown.]		[13r-a] ¶ Zo che si dise non ven ogora fatto. Io so lo contrario del scolaro ch'e denanzi lo qual e un grando matto, che tanto o sapudo fare che la gamba mia convegnu lassare e per questo modo gli metto la daga in lo volto, per mostrar ch'ello sia matto e stolto.	[7b-b] De andare in terra de questo niente voio Che cum questa presa tuta la força ti toio

Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
[41] And I make cover with arms crossed, And I can make all the previous remedies, Nor will I fail to cover any of the backhand strikes, For I can do them all, one by one. I play with my arms crossed, and can make all the remedies that were previously shown. And if we were both armoured, you could not make a better cover. No other crowned [Dagger] Remedy Master makes a stronger cover than I, for I can play both to the right and to the left, and I can cross from both underneath and from above.		[13r-b] ¶ Io zogho cum gli brazi crosadi per far li remedii che denanzi sono passadi. E si noii fossemo trambi doii armadi non curarem di far miglor coverta. Piu forte rimedio di mi non porta corona. pero ch'i posso zugare dritto e riverso, Anchora incrosare di sotto chome di sopra.	[7b-c] E me covro cum li braci incrosadi E posso far i zoghi tuti denanci passadi E aquilli de man riverssa non cavo nessuno Che tuti li posso far a'uno a'uno
[42] You won’t be able to make the plays that came before, nor the plays from the backhand strikes [that follow], Because with this counter, your cover will be completely lost. I counter the [Dagger] Remedy Master who made the cross before me, so he will not be able to cause me any problems with his crossing. I will give a push to his elbow to make him turn, and then I will quickly strike him.		[13r-c] ¶ Lo contrario del Re che incrosa denanci, io fazo che cum suo incrosar non mi fara impaço, che tal penta gli daro al chubito, che lo faro voltare, e feriro lo subito.	[7b-d] Ghi zoghi denançi, ne quilli de man riverssa Per questo contrario la tua coverta in'tuto e perssa
[43] Take the dagger, dislocate your arm, bind you, Or throw you to the ground–I can do all of these things. I believe that this very strong grapple is fatal to anyone, because I can break your arm, throw you to the ground, or take your dagger. I can also hold you bound in the upper bind. And as a result of these four things, you will be unable to get away.		[13r-d] ¶ Per questa presa che o tanto forte, a zaschuno crderia[!] dar la morte. Pero che ti posso romper lo brazo e posso te butar in terra, e si posso tor ti la daga. Anchora ti tegno in la soprana ligadura ligado. E de queste quatro chose, de mi non saraii liberado.	[7b-e] La daga tore dislogare e anche ligare E metere in terra queste cosse posso fare
[44] As for the four plays you mentioned, you won’t be able to do any of them to me, And with this counter I will throw you to the ground. I know the counter to the previous play. And with this grapple I will counter all four of the plays he said he could do before. And as soon as he sees me, I will throw him to the ground, for this grapple is strong and fierce.		[13v-a] ¶ Io so lo contrario del zogho passado qui inanzi. E si digo ch'io rompo cum questa presa tutti gli soy quatro zoghi detti denanzi. E non mi po vedare che io non lo sbatta in terra, per la presa che o forte e fiera.	[7b-f] Dele quatro cosse l'una solla non me po far Anche cum questo contrario in terra ti voio butar
	I certainly cover myself during wrestling using arms as in the cross. And I can make sport with all the first rules.			[23v-c] ¶ Me tego luctantem sicut cruce nempe lacertis. Omnibus atque modis possum colludere primis.
	By this counter your covering is refuted; and behold: Neither the play of the reversed palm, nor the prior [plays] Accomplish. Then you, miserable one, will die lying on your back.			[22r-b] ¶ Hoc tua contrario tectura refellitur ecce Et neque converse palme ludj / non atque priores Proficient. tu deinde miser moriture recumbes.

Complete Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
[45] Here begin the powerful plays of the backhand attack,^[110] Through which many have been killed. And the plays of my scholars will follow, And so we begin the defense to the backhand attack.^[111]			[8b-a] Qui comença zoghi de man riverssa zoghi forti Per tali zoghi non saver, asaii ne sono morti E li zoghi li mie scholari seguirano E pur de parte riverssa començarano
[46] With this play of the Master, your dagger will be taken And I will strike you a mortal blow.			[8b-b] Per lo zogho del magistro la daga o guadagnada E de ferirte te faro grande derada
[47] Here I believe I will throw you to the ground. First I will do this to you, and then I will do worse to you. Here begin the plays of the reverse strikes,^[112] through which countless men have lost their lives. And the plays of my scholars will follow, demonstrating the cover made with the right hand. This play depicted is easy to do, and in this way I will throw this man into the ground. [In the Getty, this Scholar is the Master.]	I believe you, treacherous one, will now indeed touch the earth. And itself <read: I> would do worse to you, henceforth lying dead. [In the Paris, this Scholar is the Master.]	[13v-b] ¶ Qui comenzan çoghi di man riversa, per li quali infiniti ano lor vita persa. E li zoghi li mei scolari seguirano, pur per la coverta qual io fazo cum la destra mano. ¶ Questo e un zogho liziero da fare per tal modo chostuii voglio in terra riversare.	[8b-c] Aqui va in terra ço me creço Aquesto ti faço po ti faro peço	[22r-c] ¶ Credo quidem terram quam nunc tu perfide tanges. Et faciam peiora tibi dehinc ipse^[113] jacentj.
[48] You will go to the ground because of your lack of knowledge, And in armour this is a particularly safe throw. With this method you will be driven into the ground. And I could not make a safer throw, being armoured. But even without armour, there is nothing you can do. And even if you were strong and powerful, I would still be able to do this to you.	You, incautious one, will touch the earth with [your] chest prostrated. This armor-wearer will more safely impart the play.	[13v-c] ¶ Per questo modo in terra saray zitado. E piu sigura mente lo faria se fosse ben armado. Che anchora desarmado non mi poii far niente. E questo ti faria s'tu fosse anchora piu possente.	[8b-d] Tu va in terra per tuo pocho saver E in arme piu seguro se po tener	[22v-a] ^[114]¶ Incautus terram prostrato pectore tanges. Armiger hunc poterit securius addere ludum.
[49] This leads to a broken ruined arm, As you will find out when I have you in this hold. You will go to the ground and your arm will be dislocated by the skill of my crowned Master. And there is not one counter that you can do to me, for I hold you like this…	Each is able to break the shoulder of the associate in wrestling, as I comprehend. It will be pleasing to know whatever has been imparted.	[13v-d] ¶ Tu vaii in terra e lo brazo t'e dislogado per l'arte del mio magistro ch'e incoronado. E nissun contrario non mi poii tu fare. Che qui ti tegno per far te piu stentare.	[8b-e] Aquesto e un guastare çaschadum braço Al modo che tu senti che io ti tegno e faço	[22v-c] ¶ Frangere quisque pont(?) socio luctando lacertum Ceu teneo. sentire datus quicumque libebit.
[50] I will have no trouble dislocating your arm And I will easily take your dagger from you. …and will make you suffer greatly.			[8b-f] A dislogarte lo braço non n'o fadiga E la daga ti posso tore senca briga
[51] This is another powerful dislocation From which I will be able to kill you with your own dagger. This is a lock that has no counter and no defense. And in this way I can take your dagger, and it will be no trouble to bind or dislocate your arm. You will not be able to get away without my permission. And I can ruin your arm if I choose.	He was able to dislocate^[115] the shoulder of any companion for himself, And sentence him to death with the point of the dagger.	[14r-a] ¶ Questa e una presa la qual no a contrario ne deffesa. E qui la daga ti posso tore. E a ligarte non m'e fadiga. Dislogarte'l brazo, e non me briga. Partir non ti poii sença mia libertade. E guastar ti posso, a mia voluntade.	[9a-a] Aquesto e uno altro deslogare forte E cum tua daga ti posso dare morte	[31r-a] ¶ Denodare potuit socio sibi quisque lacertum. Atque sua damnare necj cum cuspide dagae.
[52] I take your dagger as I wish, And now if I choose, I can bind you in the lower lock. You will lose your dagger by the way I hold you. And after taking your dagger I can bind you. and make you suffer in the lower lock, which is one of the key binds, and which I will use on you. And whoever is put into this lock cannot escape, because of the great pain and suffering they will be forced to endure.	I now take hold of your dagger, nor can I be mistaken. And if I want, I am able to bind you, who is [sic] being overthrown <read: thrown back> in the key.	[14r-b] ¶ La daga tu perdi per tal modo che ti tegno. E tolta ti la daga io ti posso ligare. E in la ligadura di sotto ti faro stentare. Quella ch'e la chiave del abrazare In quella ti voglio ligare. E chi gl'intra non gli po essire. Pero grande pene e stente gli conven sofrire.	[9a-b] La daga ti toio aquesto voio far E si io voio in la chiave ti posso ligar	[31r-c] ¶ Arripio dagam tibi nunc. nec fallere possum. Si quem volo in clavj potero te nectere versum.^[116]
[53] I will turn your dagger upwards with my right arm, And I will quickly bind you in the lower lock.			[9a-c] Revoltara tua daga per sopra mio mancho braço E subito in la chiave de soto ti faro impaço
[54] This is called the strong lower lock, And it is a bind with a great risk of death But this lock, truth to tell, If not properly applied can be escaped from. This is called the lower lock, also known as the “strong key”, and from this bind I can kill you, whether you are armoured or unarmoured, because from here I can strike you in all of your most vulnerable places. And no one can escape from this bind. And if you are put into it, as depicted in the drawing, there you will remain enduring much pain and suffering.	The lower key is brought under the strong name; It is the bind of death by means of excessive distinction. If any enters into this, he will hardly prevail to escape this.	[14r-c] ¶ Questa e chiamada ligadura di sotto e la chiave forte. che cum tal ligadura armado e disarmado se po dar la morte, che in tutti loghi pericolosi po ferire. E di si fatta ligadura no po essire. E chi gl'entra gli sta cum briga e cum stenta. Segondo che si vede ne la figura dipenta.	[9a-d] Questa e chiamata la chiave de soto forte E de ligadura perigolosa de morte La'quale ligadura sença nessun mentire Chi ghi entra male ghi po ensire	[31v-a] ¶ Inferior clavis fertur sub nomine fortis Est nexura quidlibet nimio discrimine mortis. Si quis in hac intrat, vix hac exire valebit.
[55] This is how to do the counter to the Master's cover to the reverse strike,^[117] And with this bind I will make you drop to the ground on your knees. This is the counter to the Third Daga Remedy Master, who covers the reverse attack.^[118] I have made this bind against him. Whether he is armoured or unarmoured, this bind is strong and secure. And if I trap a man who is unarmoured in this way, I will ruin his hand and dislocate it. And the pain will be so great I will make him kneel at my feet. And should I wish to strike him, this I can also do. [In the Getty, the Master's left foot is forward.]	I, the efficient counter of the master, during this wrestling Finish whomever by means of the reverse palm of the hand; And you will sink down on bended knee by means of this taking.	[14r-d] ¶ Questo e lo contrario del terzo Re çoe quello che zogha a man riversa. I o, fatta contra luy questa ligadura. Armado e disarmado ella e bona e sigura. E se un disarmado piglo in queste modo, guasto gli la mane, e anchora la disnodo dislogo. E per doglia sotto gli mie pie lo faro inzenochiare. S'io lo voro ferire, quello poro ben fare.	[9a-e] Contrario del magistro de man riverssa questo so fare E per questa presa in terra ti faro inzenochiare	[31v-c] ¶ Hoc ego contr^:arium perago luctando m^:agistri Efficiens palma manuum quocunque reversa. Tuque hac captura procumbes poplite flexo

Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
[56] I am a Master who covers with both hands, And I can hurt you from above or below. If I give a turn to your shoulder without releasing your arm, Then in this way I and my students will put you in great pain. I am the Fourth [Dagger Remedy] Master, and I play from this grip. From covers like this my students will hurt many…	Using both hands, <I> the master now take hold of the associate. From above and beneath, I am able to injure you with a weapon.	[14v-a] ¶ Lo quarto Magistro so chi zogho cum questa presa. Cum simile che questa gli mie scolari a molti farano offesa. E si io mi volto da parte dritta e non ti lasso'l brazo. Io ti toro la daga e faro ti cum leii impazzo.	[9b-a] Io son magistro che cum due man faço presa E desopra e desota io posso far offesa Si io te volto le spalle e non te lasso lo braço Per tal modo el primo scholar ti fa impaço	[32r-a] ¶ Ambabus manibus socium nunc prendo magister.^[119] Desuper et subter possum te laedere ferro.
[57] My Master spoke truly and unerringly: I can take your dagger, while you cannot escape. …And if I turn to the right without releasing your arm, I will take your dagger and put you in great pain.			[9b-b] El mio magistro a dito el vero sença falir La daga ti posso tore e non ti po partir
[58] I am well positioned to force you to the ground, And if you don't end up with a broken head, you can count yourself lucky. This is an upper bind that locks you up very well. I will take your dagger from you and throw you to the ground. And I can also dislocate your arm. If however you grip your right hand with your left hand, then you can counter me and make me let go of you. [These two images may show the beginning and end of the technique.]	I am certainly prepared in order to cast you down into the earth. And I will give many evils to your head, if it remains because of courage.^[120] [In the Paris, the Scholar's left foot is forward, but inside (in front) of his opponent's leg.]	[14v-b] ¶ Questa e una ligadura soprana che ben si serra La daga ti posso tore e meter te in terra. Anchora lo brazzo ti posso dislogare, si tu piglassi cum la tua man stancha la tua dritta, el mio contrario saria, e convegneria ti lassare.	[9b-c] Per mandarte in terra e'son ben aparichiato S'tu non te ronpi la testa aiini bon merchato	[32r-c] ¶ Ut te demittam in terram sum nempe paratus. Et capiti mala multa dabo, si mente sedebit.
[59] This is another lock that will throw you to the ground, And against such a hold no one is safe. This is another upper bind that is very powerful. And with this I am certain to throw you to the ground. And if I wish I can dislocate your arm. To counter me, you grip your right hand with your left hand. Then your grip will be strong and mine will be weak. [In the Getty and Paris, the Scholar's right foot is forward.]	This movement is another to strike down the associate to the earth. Nevertheless, it is not safe because he attempts a similar playing.	[14v-c] ¶ Questa e un'altra soprana ligadura ede ben forte. E per metter te in terra io son ben certo E dislogarte lo brazo o romperlo qual i voglo ti fazo. ¶ Lo contrario mio si e. Se tu pigli la cum la man stancha la tua dritta. La tua presa sara bona, e la mia sara fallita.	[9b-d] Questo e un altro mandare in terra e ligadura E contra tal presa non e la persona ben segura	[32v-a] ¶ Hic^[121] motus est alter socium prosternere terrae. Non tamen est tutus qui simili ludere tentat.
[60] As I see this you will quickly go to the ground, Of this I am certain, and you won't be getting back up.			[9b-e] Io veço che in terra tu sei subito per andar De questo tente certo mo non de levar
[61] I can also throw you to the ground like this, And once you are on the ground it will go badly for you. After I made the cover of my Master, I put my left hand under your right elbow. And my right hand quickly gripped you under your knee in such a way that I could throw you to the ground, and there was no counter that you could do to me.	Certainly in this way I can send you a second time To the ground. Hereafter, <I> myself will approve worse things to you.	[14v-d] ¶ Quando io fici la presa del mio Magistro, la mia man stancha miti sotto el tuo dritto cubito. E la mia man dritta te prisi sotto lo zinochio subito per modo che in terra ti posso zitare, e nissun contrario non mi porai fare.	[9b-f] Anchora per questo modo in terra ti metero Quando tu serai in terra peço io ti faro	[32v-c] ¶ Hoc iterum te nempe modo demittere possum In terram. Dehinc ipse^[122] tibi peiora probabo.
[62] I will give a turn to your dagger, And in that way it will be quickly taken from you. With my right hand I will make a horizontal turn to your dagger, pushing it round close to your arm that I am holding. And your dagger will be mine to control. And then I will deal with you as you deserve.	In this way, <I> myself coil your dagger up using the whirlwind, Because I would capture you, whether you would prevent or you would fight back.	[38r-a] ¶ Cum la mia man dritta daro volta tonda ala tua daga, menandole in erto per apresso el tuo brazo che tegno. E la tua daga mi remagnira in mano per pegno. E poi ti trattaro segondo che sei degno.	[10a-a] A la tua daga faro far una volta, Che per quella subito ti sera tolta	[33r-a] ¶ Taliter ipse^[123] tuam convolvam turbine dagam / Quod tibi sive vetes^[124] capiam / tu sive repugnes.
[63] If I raise your dagger upwards close to your elbow, You will feel it instantly taken from you. If I raise your dagger upwards close to your elbow, I will keep it in my hand and strike you for certain. But I will need to make this play very quickly, to make sure that you cannot counter me with your left hand.	Now if I attempt to lift your elbow [and] very own dagger, You yourself certainly will see it has been suddenly freed.	[38r-b] ¶ Si questa daga per apresso'l tuo cubito levo in erto in mia man remara a firirte per certo. Ben che questo zogho si vol far ben presto, per che lo contrario no gli faza sinestro.	[10a-b] Si io levo la tua daga per apresso tuo cubito Tu sentira che te sera tolta subito	[33r-c] ¶ Si prope^[125] nunc cubitum dagam tibi tollere tento, Illa te subito privatum nempe videbis.
[64] I moved my right hand like this, And I will make you strike yourself in your thigh with your own dagger.			[10a-d] Cum la man drita io o fata tal mossa Che tua daga ti faro ficar in la cossa
[65] Against the Master who covers with both hands I make this counter as my defense. I am the Counter-remedy against the Fourth [Dagger] Remedy Master. And I counter all his plays that came before me. And with one quick wrench like this I will ruin this student’s hand and his master’s too. And if they are well armored the ruin of their hands will be all the more certain.	By this means I will now seek the opponent, using both palms^[126] In order to defend myself, just as the master does Who seizes the companion with both hands during wrestling. [The Paris resembles the Getty image.]	[38r-c] ¶ Del Quarto Re e magistro io son contrafattore, E questi zoghi due ch'e denanzi de mi sono fazzo lo contrario, che per tal modo gli guastaro le man a'lor e a'lor Magistro cum una tratta che faro subito. Se elli fosseno ben armadi, io gli guastaria senza dubito.	[10a-c] Del magistro che fa cum due mane presa Aquesto contrario faço per mia defesa	[33v-b] ¶ Hoc ego contrarium palmis nunc querito binis, Ut me defendem^[127] veluti facit ille magister. Qui capit ambabus manibus luctando sodalem.

Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
[66] I want each of my students to know That you cannot defend against the collar grab unless you move quickly. And with the strike that I make against your elbow, I will quickly feel your arm dislocate. I am the Fifth Dagger Remedy Master who defends against the collar grab made by this player. Before he can strike me with his dagger I destroy his arm like this, because the grip he has on me is actually to my advantage. And I can do all of the covers, holds and binds of the other remedy masters and their students who came before me. And I say this from experience: all who study this art should be aware that you cannot successfully defend the collar grab unless you move quickly.	You would grasp my chest. Thus far you have not been able to wound me. I will, nevertheless, dislocate this, your shoulder, during wrestling.	[38r-d] ¶ Io son Quinto Re Magistro per lo cavezzo tenudo di questo zugadore. Inanzi ch'ello mi traga cum sua daga, per questo modo gli guasto lo brazo, per che lo tenir ch'ello mi tene a mi e grande avantazo. Che io posso far tutte coverte prese e ligadure degl'altri magistri rimedii e di lor scolari che sono dinançi. Lo proverbio parla per exempio. Io voglio che ognun'ch'a scolaro in quest'arte sazza, che presa di cavezo nissuna deffesa no impaça.	[10a-e] Io voio che çaschadun de mi magistro saça Che presa de caveço defesa nesuna impaça Per lo ferir che io faço in lo tuo cubito Sentira deslogare lo tuo braço ben subito	[33v-d] ¶ Pectore me prendis. Nec adhuc mihi ledere posses. Denodabo tuum tamen hunc luctando lacertum.
[67] After striking against your elbow, I will continue on To quickly seek to find your dagger. This is another way to destroy the arm. And from this play I can move to other plays and holds…	I would now strike close by your elbow. You will then move past me, And I, the strong one, will unexpectedly attempt your dagger.	[38v-a] ¶ Questo e un altro modo di guastarte lo brazzo. E per venir in altri zoghi q e prese, io questo zogho fazo. Anchora digo che se fossi afferradi d'una lanza cum tal firir in lei, overo che me disferraria, overo che l'asta del ferro io partiria.	[10a-f] Per questo ferire apresso el tuo cubito me conven lassar E subito La tua daga vegniro a'trovar	[34r-b] ¶ Te prope nunc cubitum feriam. me deinde relinques. Atque tuam validus dagam tentabo repente.
[68] I will get rid of your spear with my arms in this way, Then I will turn and hit you, And if I cannot do it this way Then I will use the technique I described before. …Also, if you are pinned by a spear then by making this strike against it you will either unpin yourself or break off the haft from the spearhead.			[16b-d] Cum li braçi a'questo modo me voio disferare Cum lo ferire che faro e cum lo mio voltare E si per questo modo non sero ben disferato Tosto in lo zogho denançi io si sero intrato
[69] If I want to get this spear off me, I had better hit it hard from above, So that I will break the staff of your spear And then I will want to come to the close. This is another way to make you let go, and is also a better method of breaking off the head of a spear…		[38v-b] ¶ Questo e un altro far lassar anchora e meglor da disferar una lanza. Anchora digo che se cum forza io ti fiero in la zuntura dela man che mi tene per lo cavezzo, Io mi tegno certo che io te la dislogaro, se tu non la fuzi via. Lo contrario io lo voglio palentare. In quello che lo scolar vene zo cum gli brazzi per dislogar la mane delo zugadore, subito lo zugadore de tore via la mano del cavezzo delo scolar. E subito cum la daga in lo petto lo po guastar.	[16b-c] Si de questa lança me voio disferare Sopra lei un grande colpo me conven fare Si che rompero tua lança in la doiia E de venire ale strete avero voiia
[70] By striking to your wrist or to your elbow, I will either dislocate it, or you will quickly let go. …Also if I strike you hard in the wrist joint of the hand holding my collar, I am certain to dislocate it unless you let go. I wish to tell you the counter. As the student strikes down with his arms to dislodge the player's hand, the player quickly withdraws his hand from the student’s collar, and he then quickly strikes the student in the chest with his dagger.	Either I will strike over the elbow, or near the fist, And in this place I will dislocate the wretched one. Henceforth you will quit the entire chest.^[128]		[10b-a] Apresso tuo pugno feriro o sopra el cubito Dislogarote in lo logo e'lassarame subito	[34r-d] ¶ Vel supra cubitum feriam vel deprope pugnum. Inque loco miserum^[129] denodabo. Hinc pectora linques.
[71] I am confident and certain that you will go to the ground, And I care little or nothing for your dagger. This play will make you let go of me. And in addition, if I advance my right foot behind your left foot, you will be thrown to the ground without fail. And if this play is not enough, I will try others on your dagger, because my heart and my eyes are never focused anywhere other than upon taking away your dagger quickly and without delay.	I am able to safely believe that you will go into the ground now; Neither will your dagger be able to accomplish harming me.	[38v-c] ¶ Per questo modo in terra ti voglio butare inanzi che la daga mi vegna aproximare. E si la daga tua sara a'mezo camm per me ferire, Le prese ch'io lassaro e la tua daga voro seguire. Che tu no mi pora offender per modo che sia, che cum li zoghi deli rimedii ti faro vilania.	[10b-c] De andar in terra tentene certo e seguro E de tua daga pocho o niente me curo	[34v-d] ¶ Tutus ut in terram nunc vadas, credere possum. Nec tua daga michi poterit profecto nocere.
[72] I choose to try this method of throwing you to the ground, And if this does not work I will try a different play. I will throw you to the ground like this, before your dagger can get near me. And if your dagger comes down the center line to strike at me, I will release my grip and deal with your dagger, so that you will not be able to injure me in any way. Then with the remedy plays I will make you suffer.	I put to the test where I would at once lay you sharply on your back.^[130] If, perchance, I do not strew you, I will [scribal error] <actually try> something better.	[38v-d] ¶ Questo e un zogho di farse lassar, Salvo che si lo mio pe dritto dredo lo tuo stancho io faczo[!] avanzare, tu porissi andar in terra senza fallo. E si questo zogho a mi non basta, Cum altri, dela tua daga ti faro una tasta. Pero che'l mio chore e'l'ochio altro non guarda, che a tor ti la daga senza dimora e tarda.	[10b-b] Per riverssarte in terra io voio provare aquesto modo Si per questa non vaii farote uno altro zogho	[34v-b] ¶ Experior quo te resupinem protinus actum. Si te non sternam meliorem forte parabo.^[131]
[73] You will find out that over my right shoulder I will not fail to break your arm. This player had me grabbed by the collar, but before he could strike me with his dagger I quickly seized his left hand with my hands and pulled his arm over my shoulder so as to dislocate it, and then I completely dislocated it. But this play is safer to do in armor than unarmored.	I will not have been cheated of breaking the left shoulder;^[132] I am holding that which is loaded^[133] down on the right using the leg during wrestling.	[15r-a] ¶ Questo zugadore mi tegniva per lo cavezzo. & io subito inanzi che ello tressi cum la daga, cum ambe le mie man presi la sua man stancha. E'l so brazzo stancho zitai sopra lo mio dritto per dislogargli lo ditto brazzo. Che ben gl'elo del tutto dislogado. Questo faria piu siguro armado che disarmado.	[10b-d] Tu senti che sopra la mia drita spalla A ronper tuo stancho braço non me falla	[35r-b] ¶ Non deceptus ero levum frangendo lacertum. Quem dextra teneo spatula luctando gravatum.
[74] By the way I seize you and hold you, I will force you to the ground shoulders first. In this way I will hurl you to the ground without fail. And I will surely take your dagger. And if you are armored that may help you, since I will be aiming to take your life with your own dagger. But even if we are armoured, this art will not fail me. And if you are unarmored and very quick, other plays can be made besides this one. [In the Getty and Paris, the Scholar's right foot is inside (in front) of his opponent's left leg.]	I hold you using this form, and I will catch the lamenting one; Now, with the leg, you will be strewn as deep into the earth as possible.	[15r-b] ¶ In questo modo te zitiro per terra che non mi po fallire. E la tua daga prendero a non mentire. Se tu saray armado, lo te pora zovare, che cum quella propia ti toro la vita. Se noii semo armadi, l'arte non o fallida. Ben che si uno e disarmado e sia ben presto, degl'altri zoghi po far asai & anchora questo.	[10b-e] Per lo modo ch'io ti tegno e t'o preso Cum le spalle in terra andaraii disteso	[35r-d] ¶ Te tali teneo forma / prendoque gementem / Quam nunc cum spatulis terram sterneris in imam.
[75] To take your dagger I make a cover like this, And then with other plays I will make you suffer. This cover is very good in armor or without armor. And against any strong man such a cover is good for covering an attack from below as well as from above. And from this play you can enter into a middle bind as shown in the third play of the First Dagger Remedy Master. And if the cover is made in response to an attack from below, the student will put the player into a lower lock also known as “the strong key”, as shown in the sixth play [38] of the Third [Dagger] Remedy Master who plays to the reverse hand attack.	Now I make this cover, for which reason <read: in order that> I would be able to take away the dagger, Not to mention [that] I can strike you using many plays.	[15r-c] ¶ Questa coverta in Arme e senz'arme e molto bona. E contra zaschun homo forte, tanto e bona a chovrir di sotto mane quanto di sopra. E questo zogho intra in ligadura mezana, çoe al terzo zogho del primo Re e rimedio di daga. E si la ditta coverta si fa sotto mane, lo scolaro mette lo zugadore in ligadura de sotto, zoe in la chiave forte ch'e sotto lo terzo Re e rimedio ch'e zoga a man riversa a lo Sesto zogho.	[10b-f] Per tor tua daga tal coverta io faço E cum altri zoghi asai ti faro impaço	[35v-b] ¶ Hanc nunc tecturam facio /^[134] quo tollere dagam / Possim. Sed multis possum te ledere ludis.
[76] If I can turn this arm of yours, Then I will force you into the lower lock. If I can turn this arm I will be certain to put you into the lower lock also known as “the strong key”. I will however be able to do this more safely if I am armored. I could also do something else against you: if I grip your left hand firmly and seize you under your left knee with my right hand, then I will not lack the strength to put you to the ground.	If I can now twist your shoulder while fighting, I will readily cause [that] you will be overwhelmed in the lower key.	[15r-d] ¶ Si questo brazzo posso voltare io non mi dubito che in la ligadura de sotto e chiave forte ti faro intrare. Ben che siando armado piu sigura mente se poria fare. Ancho poria altro contra ti fare se io tegno la mane stancha ferma e cum la dritta ti piglio sotto al zinochio la gamba stancha per metter te in terra forza non mi mancha.	[11a-a] Si io posso aquesto tuo braço voltare In la sotana chiave ti faro intrare	[35v-d] ¶ Volvere si possum tibi nunc certando lacertum / Inferiore cito faciam te in mergere clave.
[77] Whether you try to strike at me from above or below, You will lose your dagger from this crossing. With arms crossed I await you without fear. And I don't care whether you come at me from above or below, because however you come at me, you will be bound. You will be locked either in the middle lock or the lower lock. And if I wished to make the plays of the Fourth Dagger Remedy Master, I would cause you great harm with these plays. And I will have no difficulty in taking your dagger. [In the Getty, the Scholar's left foot is forward.]		[15v-a] ¶ Cum gli brazzi crosadi t'aspetto senza paura. Tra voii di sotto e voii di sopra che non fazzo niente cura, che per ogni modo che tu mi trara tu sarai ligado. O in la ligadura mezana, o in la sottana tu saraii serato. Ben che se volesse far la presa che fa lo quarto Re, rimedio di daga cum gli zogi soii, asai male te faria. E a torti la daga non mi mancharia.	[11a-b] Si de soto, o de sovra tu te miti a'trare Perderaii la daga per questo incrosare
[78] By holding your arm with my two hands, I will take away the dagger from you, as you deserve. This grip is sufficient to prevent you being able to touch me with your dagger. And from here I can do the play that comes after me. And I could also certainly do other plays to you. I disregard the other plays for now, however, because this one is good for me and very fast.	Now because I am holding you using both hands during wrestling, I certainly would take hold of [your] dagger just as if you had truly deserved.	[15v-b] ¶ Questa presa mi basta che cum tua daga non mi poii tochare. Lo zogho che m'e driedo quello ti voglo fare. E altri zoghi asaii ti poria fare sença alchun dubito. I'lasse gl'altri per che questo m'e bon e ben subito.	[11a-c] Per lo tuo braço che cum due man e tegno. De man ti toro la daga con tu e degno	[36r-b] ¶ Nunc quia te manibus teneo luctando gemellis Arripiam dagam veluti tu nempe mereris.
[79] The student who came before me did not make this play, So I show how to take away the dagger in his place. This is the play referred to by the student who came before me, and I take away this dagger as he indicated. And to disarm him I push his dagger downwards and to the right as written above. And then by making a turn with his dagger I will thrust the point into his chest without fail. [In the Getty and Paris, the Scholar's left foot is forward, and his opponent's right foot is forward.]	Now I teach taking the dagger away while wrestling the associate; This first student does not know how to play.	[15v-c] ¶ Questo Scolaro che m'e denanzi questo e suo zogho pero che questo tore di daga io lo façço in suo logho, che cargo la sua daga inverso la terra dritto, per torgli la daga como si sopra e scritto. E per la volta che ala daga faro fare. La punta in lo petto gli mettero senza fallare.	[11a-d] Lo scolar che denanci non fa suo zogho E a tore la daga io mostro in suo logho	[36r-d] ¶ Tollere nunc doceo dagam ludendo sodalj. Hoc quam discipulus nescivit ludere primus.
[80] So that this student cannot dislocate my arm, I pull it towards me and bend it. And the farther I pull it towards me and bend it, the better, because in this way I make the counter to the Remedy Master of the close play of the dagger.		[15v-d] ¶ A ço che questo scolaro non mi possa lo Brazzo dislogare io lo tegno curto e linzinado. E si io li tignisse piu linçinado saria anchora meglio, per chi i faço lo contrario del Re e magistro del zogho stretto dela daga.

Template:Fiore de'i Liberi/Mounted Fencing

↑ Fiore Furlan means “Fiore the Friulian”, i.e. “Fiore of Friuli”. Friuli is an area in the extreme north-eastern corner of Italy, to the north-east of Venice, with Austria to the north and Slovenia to the east.
↑ Fiore the Friulian, of the free knights of Premariacco is usually referred to as Fiore dei Liberi (one translation would be “Fiore of the Free Knights”). We don’t know for sure whether “Fiore” (“Flower”) was his real name or a pen-name. “Fiore” certainly existed as a real name for a man in medieval Italy—it was a common unisex medieval Christian name derived from the Italian word for flower. Alternately “Flower of the Free Knights” also makes sense, meaning “The best of the free knights.” As to the question of whether “Liberi” is a family name or simply refers to the class of free knights, since the word is spelled in Fiore’s manuscripts, in Getty (“liberi”), Pisani-Dossi (“liberorum”) and Morgan (“liberi”), with a small “l” for “liberi”, I am translating this word not as a family name (“Liberi”) but as “free knights” (“milites liberi”).
↑ I have translated the entire Prologue into the first person “I”, rather than use the third person “Fiore”, so as to make it more friendly and direct to read.
↑ “Armiçare” or “Armizare” means the art of armed fighting or fighting with weapons. Fiore refers to his martial art as both “L’Arte d’Armizare” (Art of Armed Combat) and “La Scientia d’Armizare” (Science of Armed Combat). However, you should note that the words Arte and Scientia do not necessarily have their modern meanings. Arte may mean simply “skill” and the word “Scientia” may mean simply “knowledge”. Thus “the skill and knowledge of armed fighting”.
↑ Fiore is comparing the two kinds of fighting: sport/tournament (“combatter a sbarra”—“in the lists”) and mortal combat (“combatter adoltrança”—“to the death”). To fight “in the lists” was not however without serious risks of injury and/or death. Medieval knights took these tournaments very seriously as matters of honor, and renown was won and lost in such events. Fiore also appears to include duels of honor in his term “in sbara”. The fights he describes below include duels of honor.
↑ “tempere di ferri” means literally “the tempering of iron”. I have translated this liberally to “the construction of weapons” to more clearly reflect what I believe Fiore means here. See also fn. 37 below.
↑ It is important to remember that when Fiore refers to “Germans” and “Italians” he is referring to language/cultures and not referring to nation states. Neither “Germany” nor “Italy” existed at this time.
↑ Here is where Fiore names his martial art: “Arte d’Armizare”—“the Art of Armed Combat”.
↑ “in Sbarra” means literally “at the barriers”. In many medieval sporting events the combatants would fight with longswords or spears over a fence (barrier). This prevented the combatants from closing to grapple and thus tested their long range fighting skills. Fiore uses this term to refer to sporting events as opposed to fights to the death. Fiore tells us he was asked to teach for both.
↑ Piero del Verde (Getty), Piero dal Verde (Morgan), (lit. “Peter of the Green”), also named elsewhere as Paolo del Verde, Pietro del Verde and Pietro von Grünen, was a recorded German condottiero (mercenary) captain who died in 1384. His birth date is not known.
↑ Piero della Corona (Getty), Piero dalla Corona (Morgan) (lit “Peter of the Crown”), also named elsewhere as Pietro della Corona, Peter Kornwald, Pietro Cornuald, was another recorded German condottiero (mercenary) captain who died in 1391. His birth date is not known.
↑ Perosa/Perusia is now known as Perugia. It is situated about 100 miles north of Rome. The date of this duel is estimated between 1379 and 1381, when both knights are recorded as present in this region.
↑ Nicolo Voriçilino (Getty), Nicholo Vnriçilino (Morgan), is named elsewhere variously as Niccolo Voricilino, Niccolo Borialino, Niccolo Waizilino, Nikolaus Weiss , and Nicholas von Urslingen. There is no historical record, however, as to who this person was.
↑ Niccolo “Inghileso” (Getty and Morgan) translates as Nicholas “the Englishman”. However, there is no historical record as to who this person was.
↑ ^15.0 ^15.1 The city of Imola is about 120 miles south-west of Venice.
↑ Galeazzo de Capitani da Grimello da Mantova (Getty), Galeaz delli capitani de Grimello chiamado da Montoa (Morgan), also named Galeazzo de Mantova (eng. Mantua), Galeazzo Cattaneo dei Grumelli, and Galeazzo Gonzaga, was an Italian condottiero captain who died in 1406. We do not know his birth. Significantly Galeazzo fought two duels against Buzichardo de Fraza, also known as Boucicault, one in 1395 that was stopped by the supervising Lord where the parties were evenly matched, and one in 1406, where Galeazzo defeated Boucicault. To be able to say that one of his students defeated the mighty Boucicault in single combat would have looked very impressive on Fiore’s resume.
↑ Buçichardo de Fraca (Getty), Briçichardo de Franza (Morgan), named elsewhere as Buzichardo de Fraza, also known as Boucicault, or Jean II Le Maingre (1364-1421), was a French military general who was honored by King Charles VI as Marshall of France in 1391, and was a knight of great renown for his military skill, and his strength and athleticism in single combat. Apparently at a dinner at which both Boucicault and Galeazzo were present, Boucicault insulted Italians claiming he could beat any Italian knight in single combat. Galeazzo accepted the challenge, and the two fought with spears on foot in 1395, a duel that was a draw, when it was halted by the supervising lord, Francesco Gonzaga, Lord of Mantova. The enmity was not forgotten however, and the two repeated their duel in 1406, this time on horseback with lances, at which time Boucicault was defeated by Galeazzo.
↑ Padova (Padua) is about 20 miles west of Venice.
↑ A squire was a nobleman who was trained and skilled in the knightly arts, but who had not yet been knighted. Note the fighting abilities of the squire were not necessarily any different from the knight proper.
↑ Lancillotto da Becharia de Pavia (Getty), Lanzilotto de Boecharia da Pavia (Morgan), also called Lancilotto Beccaria was an Italian condottiero captain who died in 1418. We do not know his birthdate.
↑ Notice that although these are “sporting events” they were using real spears.
↑ Baldassarro (Getty), Baldesar (Morgan) refers to the German knight Balthasar von Braunschweig-Grubenhagen (1336-1385)
↑ Gioanino de Bavo (Getty), Zohanni de Baio (Morgan), also named Giovannino da Baio likely refers to the French knight Jean de Bayeux, who is recorded as being in the area at this time.
↑ The city of Pavia is 20 miles south of Milan.
↑ The identity of the German squire named Sram (Getty and Morgan), Schraam, or Schramm, is not known.
↑ Açço da Castell Barcho (Getty), Azo da Castelbarcho (Morgan), refers to Azzone Francesco di Castelbarco, an Italian condottiero captain who died in 1410. We do not know his birthdate.
↑ Çuanne di Ordelaffi (Getty), Zohanni di li Ordelaffig (Morgan) refers to Giovanni Ordelaffi, an Italian condottiero captain (1355-1399).
↑ Jacomo di Boson (Getty), Jacomo de Besen (Morgan), or Giacomo da Boson, likely refers to the German nobleman Jakob von Bozen.
↑ These were duels of honor, and were taken very seriously in these times.
↑ Fiore actually says that the swords are “di taglo e di punta” meaning literally “for cutting and thrusting”, or “sharp edged and pointed”.
↑ A “çuparello darmare” or “zuparello d’armare” is an arming jacket, that is, a cloth padded jacket worn underneath armour as a foundation garment.
↑ We don’t know if this means he won all five duels, or simply acquitted himself well. But he says he was not injured.
↑ In addition to “L’Arte d’Armizare” (the art of armed fighting), L’Arte del Combattere (the art of combat) is a second name Fiore gives to his art.
↑ If they never lost and always acquitted themselves honorably, then presumably they always either won or drew.
↑ Letter scratched out, possibly "n".
↑ The word is decretali (Decretals). A Decretal is a Papal Constitution in letter form, i.e., a written decree from a Pope stating the Church’s legal position on a specific legal or moral issue.
↑ Scientia d’Armizare is Fiore’s other term for his Arte d’Armizare. Scientia means science or knowledge. Thus Scientia d’Armizare could translate as “Knowledge of Armed Combat” or “Science of Armed Combat.”
↑ Fiore writes di ferri e di tempere which literally means “of iron and of tempering”, i.e., hardening of steel. However, since Fiore’s manuscript clearly does not show anything about blacksmithing or how weapons are actually made, this literal translation does not serve me. Thus I changed it to “weapons and their applications”.
↑ It is not clear here whether Fiore is saying he actually consulted with Niccolo III of Este prior to the creation of the book, that Niccolo indicated how he wants the book laid out, and that Fiore has decided to lay it out exactly as Niccolo has asked for it to be done, or simply that he knows what Niccolo likes.
↑ I translate Abrazare or Abracare as “grappling” rather than “wrestling”, since wrestling suggests ground-fighting, and there is no ground fighting in Fiore’s system.
↑ The word solaço means “pleasure”. Fiore means grappling for sport. Fiore is distinguishing between fighting for fun and fighting to the death.
↑ The expression da ira means “in anger”. Fiore is contrasting this with grappling for fun. Thus I have translated ira as “earnest”.
↑ Both ingano and falsita mean “deceit”. It is not clear why Fiore uses both, but any difference in these two words are lost in translation. I therefore translated ingano as “cunning” so that there were still three words as in the original.
↑ The word crudelita means “cruelty”. I prefer the word “viciousness” here.
↑ The taking of guards would suggest he has some training and thus some skill in grappling.
↑ The words are prese (“holds”, “grips” or grapples”) and ligadure (“locks” or “binds”).
↑ inle femine sottol mento means literally “in the soft part below the chin”. Fiore means the throat/larynx.
↑ The fianchi, the “flanks”, are the unprotected (“soft”) areas of the side of the torso, below the lower ribs but above the hips.
↑ Viii chose means literally “eight things”.
↑ Note: attributes numbers 4 and 8 seem to be the same attribute. This is noted especially because in the earlier Pisani Dossi manuscript Fiore tells us there are seven attributes (not eight as here in the Getty). Roture (“breaking”), Romper (“tearing apart”) and Dislogar (“dislocating”) arms and legs appear here to be duplicative.
↑ Frontale means the front of the head, i.e., the forehead. Elsewhere Fiore comments that this guard is often named (by others) as Posta Corona (“The Crown Guard”), the “crown” referring to the top of the head.
↑ Dredo means “Behind” but in this context it translates better as “after”, be cause we can see from the way the manuscript is laid out that the remedies are shown first, and the counters later.
↑ The “Special” Remedy that comes at the very end, that Fiore is referring to is a Counter to the Counter, which, as you will see below, Fiore calls Contra-contrario or the “Counter-counter”.
↑ Written at the end of the line, with a mark indicating the insertion point.
↑ Literally “Masters of the Battle” or “Masters of the Fight”.
↑ Fiore just calls him the “Second Master”, but Fiore means by this that he is the Second Master of Battle.
↑ Fiore here calls them Zugadori (Players) rather than Scolari (Students), but that is confusing, because the way the manuscript is visually structured, the students of the Remedy Master who wear the golden garter are named Scolari (Students), not Zugadori (Players). The Zugadori are drawn without any garter at all. Therefore here I translate zugadori as Students (Scolari), so as to be consistent with what is drawn.
↑ Divisa means literally “device” but also refers to a uniform or insignia that marks a person's rank or position. I have chosen to translate the word divisa as “garter”. In the PD, Fiore refers to the golden ribbon worn around one leg by the Students as a lista doro. A lista is a strip of material, like a ribbon, garter or scarf. Doro means D’oro - “of gold.”
↑ Fiore actually writes “The Remedy Master and his plays, but since the Counter Master also defects the Remedy Master’s students, who show all the plays, I decided to translate it as above.
↑ ^60.0 ^60.1 Should be "et e"?
↑ I’ve rearranged the sentences here to make my translation clearer. Thus the red and blue letters in the original don’t match up at all in my translation.
↑ Fiore actually says libro (“book”), but I’ve changed it to “system”.
↑ The word Rubriche means writing in red ink. I chose to translate this word simply as “text”.
↑ "e di maistri" appears twice in a row in the text, but isn't struck out like other duplications.
↑ Corrected from "a"(?) to "i".
↑ This was translated from an Italian translation of the Latin, and needs to be checked against the original language to be promoted to B-class.
↑ The full statement, as given by Philippo di Vadi, is "It is not meet that the Imperial Majesty be honored in arms alone, but it is necessary also that it be armored in sacred laws". (El non bixogna solo la maestà inperiale essere honorata di arme ma ancora è necesario epsa sia armata de le sacre legge.)
↑ Word disrupted by a lynx.
↑ “Lovo cerviero” (Lupo Cerviere) translates literally as “sharp-eyed wolf”. Fiore means the Eurasian Lynx that was said to have not only astonishing eyesight and the ability to see in the dark, but also the ability to see around corners and even see into the future. The choice of the Lynx to represent the ability to “read” the fight and proceed carefully is thus meaningful. The lynx has been used to symbolize the search for knowledge, or the search for the truth. In 1603, for example, the Accademia dei Lincei (Academy of the Lynxes) was founded in Italy, dedicated to providing a sharp and penetrating insight into science and nature. For its emblem, the academy chose the lynx, and its symbol, the lynx passant is remarkably similar to Fiore’s lynx. The great Galileo himself was inducted into the Accademia dei Lincei in 1609, and published papers under the Accademia dei Lincei name. In fact, after joining the Accademia dei Lincei, Gailieo thereafter signed his name Galileo Galilei Linceo (“Galileo the Lynx”).
↑ “A sesto e misura” - Fiore’s Lynx represents the intelligence and scientific application of knowledge. Hence it proceeds literally holding a “sesta” which is a pair of compasses or dividers. Note “sesta” is the pair of dividers, used for drawing circles and arcs and for measuring distance, not a nautical compass showing north south east west. A “misura” is a measure or rule, also used for measuring and drawing. The symbol of freemasonry is the “compass and square” (the square being a type of rule, namely two rules at right angles to each other). “A misura” means “with measure”, i.e. carefully. See, for example, Compass-and-straightedge construction.
↑ 'subitos' is problematic, meaning plural masculine things that appear or attack unexpectedly. 'subito' is an adverb meaning 'suddenly', which appears several other times in the text. 'subitos' only appears here.
↑ The final letters are obliterated; the likeliest candidates are "am" or "or"
↑ This word does not appear in any dictionary. It must be a misspelling of some word related to lightning such as fulmen or a conjugation of fulminare.
↑ Fiore’s Tigro is not the black and orange striped tiger (cat family), but is a mythical creature from the medieval Bestiaries that resembles a giant wolfhound (dog family). The tiny mouse-like creature drawn in the Getty does not do justice to this mighty mythical Tiger that was said to be as big as a horse and was attributed incredible speed. There is a most beautiful painting of a medieval Tiger in the Aberdeen Bestiary.
↑ “la sagitta del cielo” means literally “the arrow from the sky”. Fiore means of course a bolt of lightning.
↑ “Avanzare” means to excel or surpass. I understand Fiore to be saying that the Tiger is faster than lightning.
↑ This abbreviation can also be read "nec."
↑ This punctuation mark is not used elsewhere in the text, and its meaning is not known. It could be a tie-mark indicating a word written in the margin and labeled with this punctuation should be inserted here.
↑ These words are not visible in standard photography; this reading is based on ultraviolet imaging.
↑ “Ne perdo vargo” means literally “I do not lose my way”. From the Bestiaries however we understand that what the Elephant never does is fall over. In the Bestiaries we are told the Elephant has no knees and if it once lies down can never get up again. Thus Fiore’s Elephant stands for stability and sure-footedness. The Aberdeen Bestiary reads as follows: “[Of the elephant] ... no larger animal is seen. The Persians and Indians, carried in wooden towers on their backs, fight with javelins as from a wall. ...The elephant has this characteristic: if it falls down, it cannot rise. But it falls when it leans on a tree in order to sleep, for it has no joints in its knees. A hunter cuts part of the way through the tree, so that when the elephant leans against it, elephant and tree will fall together.”
↑ The bottom of the page, including the elephant verse, has been cut off.
↑ Added later: "pro".
↑ Added later: "scilicet tu".
↑ It looks like the period maybe was changed to a slash/comma.
↑ Nec sine is an emphatic, not a negation.
↑ Phrase doubled.
↑ Apposui is clearly “I served up,” but with the convention that the captions are spoken by the wearer of the crown or garter, this makes little sense (as the palms are in the face of that person). Further, the Pisani Dossi text reverses the speaker.
↑ Added later: "+ ut".
↑ Added later: "+ posuj".
↑ Added later: "scilicet ego".
↑ Added later: "situ".
↑ Added later: "& mergit".
↑ Added later: "scilicet ego".
↑ Tot: so many, such a number.
↑ Added later: "tu scilicet".
↑ The accusatives [direct objects] are unusual in both of these lines
↑ There are no personal pronouns indicating whose eyes are getting injured in this couplet. Only the second person verb in the first line indicates whose eyes are getting damaged.
↑ "senza" appears twice, but neither is struck out.
↑ "de" appears twice, but neither is struck out.
↑ cautus (from cavere) is a common term in Roman jurist texts, where it means security in the sense of assurance or collateral
↑ Maybe "laevo".
↑ Possibly a scribal error—the first sentence seems to be missing a “me” and the second has one it doesn’t need.
↑ The illustration clearly shows a thrust to the arm, not the shoulder.
↑ Could be “praesto”, Latin adv. “ready, available” or Italian “presto”.
↑ Added later: "scilicet occidam"
↑ The character ꝑ (a p with a stroke through the descender) would indicate that it should be read as per, but since romperer isn't a word and the stroke is much shorter than usual, I think it was an error and the scribe stopped writing it as soon as he realized. I have thus transcribed it as a normal p.
↑ Alternative with accusatives in opposite order: “I would seize the arm(s) in front suddenly / <I> the strong one would bring the dagger around in a violent whirling motion close by the elbow.”
↑ Added later: "scilicet ego".
↑ Interestingly, this page appears to be dirty and damaged; the recto looks like it’s warped from water damage. The next several pages also show warping; the art quality has also declined substantially.
↑ Or "backhand cover"
↑ Or "of the backhand cover"
↑ Or "reverse cover"
↑ Added later: "scilicet ego".
↑ This page has lots of dirt smudges, drips, and stains; some—to the left of the combatants in the upper register, and just below the verse in the lower—look like they might be handwritten smudges, but without clear meaning.
↑ Denodare appears to be a technical term for breaking or dislocating limbs; appears only in Ducange.
↑ Added later: "scilicet revolutum".
↑ Or "Master's reverse cover"
↑ Or "with the reverse cover"
↑ Added later: "ego s."
↑ Demittere mentem is recorded (by Bantam dictionary) as an idiom meaning “to lose heart”. Possibly mente sedebit is referencing this, in a pun (e.g., demittere in the sense of depose, and sedeo in the sense of hold court).
↑ There is an unreadable marking here.
↑ Added later: "ego scilicet".
↑ Added later: "scilicet ego".
↑ This looks like it may have originally said “veter” but was corrected to “vetes” (e.g. from first person present passive to second active present).
↑ See Capelli 285; this can be read as either prope (near) or proprie (specifically).
↑ Literally “the two palms”.
↑ Should be "defendam".
↑ Note: pectora is plural, perhaps meant to indicate both halves of the chest.
↑ refers to elbow 'cubitum' or fist 'pugnum'
↑ Or “I put to the test where I would at once bend you back acutely.”
↑ Added later: "vel probabo(?)".
↑ Or “I will not be deceived while breaking the left shoulder.”
↑ Or possibly “weighed”.
↑ Added later: "~ ut".

[1] Fiore Furlan means “Fiore the Friulian”, i.e. “Fiore of Friuli”. Friuli is an area in the extreme north-eastern corner of Italy, to the north-east of Venice, with Austria to the north and Slovenia to the east.

[2] Fiore the Friulian, of the free knights of Premariacco is usually referred to as Fiore dei Liberi (one translation would be “Fiore of the Free Knights”). We don’t know for sure whether “Fiore” (“Flower”) was his real name or a pen-name. “Fiore” certainly existed as a real name for a man in medieval Italy—it was a common unisex medieval Christian name derived from the Italian word for flower. Alternately “Flower of the Free Knights” also makes sense, meaning “The best of the free knights.” As to the question of whether “Liberi” is a family name or simply refers to the class of free knights, since the word is spelled in Fiore’s manuscripts, in Getty (“liberi”), Pisani-Dossi (“liberorum”) and Morgan (“liberi”), with a small “l” for “liberi”, I am translating this word not as a family name (“Liberi”) but as “free knights” (“milites liberi”).

[3] I have translated the entire Prologue into the first person “I”, rather than use the third person “Fiore”, so as to make it more friendly and direct to read.

[4] “Armiçare” or “Armizare” means the art of armed fighting or fighting with weapons. Fiore refers to his martial art as both “L’Arte d’Armizare” (Art of Armed Combat) and “La Scientia d’Armizare” (Science of Armed Combat). However, you should note that the words Arte and Scientia do not necessarily have their modern meanings. Arte may mean simply “skill” and the word “Scientia” may mean simply “knowledge”. Thus “the skill and knowledge of armed fighting”.

[5] Fiore is comparing the two kinds of fighting: sport/tournament (“combatter a sbarra”—“in the lists”) and mortal combat (“combatter adoltrança”—“to the death”). To fight “in the lists” was not however without serious risks of injury and/or death. Medieval knights took these tournaments very seriously as matters of honor, and renown was won and lost in such events. Fiore also appears to include duels of honor in his term “in sbara”. The fights he describes below include duels of honor.

[6] “tempere di ferri” means literally “the tempering of iron”. I have translated this liberally to “the construction of weapons” to more clearly reflect what I believe Fiore means here. See also fn. 37 below.

[7] It is important to remember that when Fiore refers to “Germans” and “Italians” he is referring to language/cultures and not referring to nation states. Neither “Germany” nor “Italy” existed at this time.

[8] Here is where Fiore names his martial art: “Arte d’Armizare”—“the Art of Armed Combat”.

[9] “in Sbarra” means literally “at the barriers”. In many medieval sporting events the combatants would fight with longswords or spears over a fence (barrier). This prevented the combatants from closing to grapple and thus tested their long range fighting skills. Fiore uses this term to refer to sporting events as opposed to fights to the death. Fiore tells us he was asked to teach for both.

[10] Piero del Verde (Getty), Piero dal Verde (Morgan), (lit. “Peter of the Green”), also named elsewhere as Paolo del Verde, Pietro del Verde and Pietro von Grünen, was a recorded German condottiero (mercenary) captain who died in 1384. His birth date is not known.

[11] Piero della Corona (Getty), Piero dalla Corona (Morgan) (lit “Peter of the Crown”), also named elsewhere as Pietro della Corona, Peter Kornwald, Pietro Cornuald, was another recorded German condottiero (mercenary) captain who died in 1391. His birth date is not known.

[12] Perosa/Perusia is now known as Perugia. It is situated about 100 miles north of Rome. The date of this duel is estimated between 1379 and 1381, when both knights are recorded as present in this region.

[13] Nicolo Voriçilino (Getty), Nicholo Vnriçilino (Morgan), is named elsewhere variously as Niccolo Voricilino, Niccolo Borialino, Niccolo Waizilino, Nikolaus Weiss , and Nicholas von Urslingen. There is no historical record, however, as to who this person was.

[14] Niccolo “Inghileso” (Getty and Morgan) translates as Nicholas “the Englishman”. However, there is no historical record as to who this person was.

[Imola-15] 15.0 ^15.1 The city of Imola is about 120 miles south-west of Venice.

[16] Galeazzo de Capitani da Grimello da Mantova (Getty), Galeaz delli capitani de Grimello chiamado da Montoa (Morgan), also named Galeazzo de Mantova (eng. Mantua), Galeazzo Cattaneo dei Grumelli, and Galeazzo Gonzaga, was an Italian condottiero captain who died in 1406. We do not know his birth. Significantly Galeazzo fought two duels against Buzichardo de Fraza, also known as Boucicault, one in 1395 that was stopped by the supervising Lord where the parties were evenly matched, and one in 1406, where Galeazzo defeated Boucicault. To be able to say that one of his students defeated the mighty Boucicault in single combat would have looked very impressive on Fiore’s resume.

[17] Buçichardo de Fraca (Getty), Briçichardo de Franza (Morgan), named elsewhere as Buzichardo de Fraza, also known as Boucicault, or Jean II Le Maingre (1364-1421), was a French military general who was honored by King Charles VI as Marshall of France in 1391, and was a knight of great renown for his military skill, and his strength and athleticism in single combat. Apparently at a dinner at which both Boucicault and Galeazzo were present, Boucicault insulted Italians claiming he could beat any Italian knight in single combat. Galeazzo accepted the challenge, and the two fought with spears on foot in 1395, a duel that was a draw, when it was halted by the supervising lord, Francesco Gonzaga, Lord of Mantova. The enmity was not forgotten however, and the two repeated their duel in 1406, this time on horseback with lances, at which time Boucicault was defeated by Galeazzo.

[18] Padova (Padua) is about 20 miles west of Venice.

[19] A squire was a nobleman who was trained and skilled in the knightly arts, but who had not yet been knighted. Note the fighting abilities of the squire were not necessarily any different from the knight proper.

[20] Lancillotto da Becharia de Pavia (Getty), Lanzilotto de Boecharia da Pavia (Morgan), also called Lancilotto Beccaria was an Italian condottiero captain who died in 1418. We do not know his birthdate.

[21] Notice that although these are “sporting events” they were using real spears.

[22] Baldassarro (Getty), Baldesar (Morgan) refers to the German knight Balthasar von Braunschweig-Grubenhagen (1336-1385)

[23] Gioanino de Bavo (Getty), Zohanni de Baio (Morgan), also named Giovannino da Baio likely refers to the French knight Jean de Bayeux, who is recorded as being in the area at this time.

[24] The city of Pavia is 20 miles south of Milan.

[25] The identity of the German squire named Sram (Getty and Morgan), Schraam, or Schramm, is not known.

[26] Açço da Castell Barcho (Getty), Azo da Castelbarcho (Morgan), refers to Azzone Francesco di Castelbarco, an Italian condottiero captain who died in 1410. We do not know his birthdate.

[27] Çuanne di Ordelaffi (Getty), Zohanni di li Ordelaffig (Morgan) refers to Giovanni Ordelaffi, an Italian condottiero captain (1355-1399).

[28] Jacomo di Boson (Getty), Jacomo de Besen (Morgan), or Giacomo da Boson, likely refers to the German nobleman Jakob von Bozen.

[29] These were duels of honor, and were taken very seriously in these times.

[30] Fiore actually says that the swords are “di taglo e di punta” meaning literally “for cutting and thrusting”, or “sharp edged and pointed”.

[31] A “çuparello darmare” or “zuparello d’armare” is an arming jacket, that is, a cloth padded jacket worn underneath armour as a foundation garment.

[32] We don’t know if this means he won all five duels, or simply acquitted himself well. But he says he was not injured.

[33] In addition to “L’Arte d’Armizare” (the art of armed fighting), L’Arte del Combattere (the art of combat) is a second name Fiore gives to his art.

[34] If they never lost and always acquitted themselves honorably, then presumably they always either won or drew.

[35] Letter scratched out, possibly "n".

[36] The word is decretali (Decretals). A Decretal is a Papal Constitution in letter form, i.e., a written decree from a Pope stating the Church’s legal position on a specific legal or moral issue.

[37] Scientia d’Armizare is Fiore’s other term for his Arte d’Armizare. Scientia means science or knowledge. Thus Scientia d’Armizare could translate as “Knowledge of Armed Combat” or “Science of Armed Combat.”

[38] Fiore writes di ferri e di tempere which literally means “of iron and of tempering”, i.e., hardening of steel. However, since Fiore’s manuscript clearly does not show anything about blacksmithing or how weapons are actually made, this literal translation does not serve me. Thus I changed it to “weapons and their applications”.

[39] It is not clear here whether Fiore is saying he actually consulted with Niccolo III of Este prior to the creation of the book, that Niccolo indicated how he wants the book laid out, and that Fiore has decided to lay it out exactly as Niccolo has asked for it to be done, or simply that he knows what Niccolo likes.

[40] I translate Abrazare or Abracare as “grappling” rather than “wrestling”, since wrestling suggests ground-fighting, and there is no ground fighting in Fiore’s system.

[41] The word solaço means “pleasure”. Fiore means grappling for sport. Fiore is distinguishing between fighting for fun and fighting to the death.

[42] The expression da ira means “in anger”. Fiore is contrasting this with grappling for fun. Thus I have translated ira as “earnest”.

[43] Both ingano and falsita mean “deceit”. It is not clear why Fiore uses both, but any difference in these two words are lost in translation. I therefore translated ingano as “cunning” so that there were still three words as in the original.

[44] The word crudelita means “cruelty”. I prefer the word “viciousness” here.

[45] The taking of guards would suggest he has some training and thus some skill in grappling.

[46] The words are prese (“holds”, “grips” or grapples”) and ligadure (“locks” or “binds”).

[47] inle femine sottol mento means literally “in the soft part below the chin”. Fiore means the throat/larynx.

[48] The fianchi, the “flanks”, are the unprotected (“soft”) areas of the side of the torso, below the lower ribs but above the hips.

[49] Viii chose means literally “eight things”.

[50] Note: attributes numbers 4 and 8 seem to be the same attribute. This is noted especially because in the earlier Pisani Dossi manuscript Fiore tells us there are seven attributes (not eight as here in the Getty). Roture (“breaking”), Romper (“tearing apart”) and Dislogar (“dislocating”) arms and legs appear here to be duplicative.

[51] Frontale means the front of the head, i.e., the forehead. Elsewhere Fiore comments that this guard is often named (by others) as Posta Corona (“The Crown Guard”), the “crown” referring to the top of the head.

[52] Dredo means “Behind” but in this context it translates better as “after”, be cause we can see from the way the manuscript is laid out that the remedies are shown first, and the counters later.

[53] The “Special” Remedy that comes at the very end, that Fiore is referring to is a Counter to the Counter, which, as you will see below, Fiore calls Contra-contrario or the “Counter-counter”.

[54] Written at the end of the line, with a mark indicating the insertion point.

[55] Literally “Masters of the Battle” or “Masters of the Fight”.

[56] Fiore just calls him the “Second Master”, but Fiore means by this that he is the Second Master of Battle.

[57] Fiore here calls them Zugadori (Players) rather than Scolari (Students), but that is confusing, because the way the manuscript is visually structured, the students of the Remedy Master who wear the golden garter are named Scolari (Students), not Zugadori (Players). The Zugadori are drawn without any garter at all. Therefore here I translate zugadori as Students (Scolari), so as to be consistent with what is drawn.

[58] Divisa means literally “device” but also refers to a uniform or insignia that marks a person's rank or position. I have chosen to translate the word divisa as “garter”. In the PD, Fiore refers to the golden ribbon worn around one leg by the Students as a lista doro. A lista is a strip of material, like a ribbon, garter or scarf. Doro means D’oro - “of gold.”

[59] Fiore actually writes “The Remedy Master and his plays, but since the Counter Master also defects the Remedy Master’s students, who show all the plays, I decided to translate it as above.

[ede-60] 60.0 ^60.1 Should be "et e"?

[61] I’ve rearranged the sentences here to make my translation clearer. Thus the red and blue letters in the original don’t match up at all in my translation.

[62] Fiore actually says libro (“book”), but I’ve changed it to “system”.

[63] The word Rubriche means writing in red ink. I chose to translate this word simply as “text”.

[64] "e di maistri" appears twice in a row in the text, but isn't struck out like other duplications.

[65] Corrected from "a"(?) to "i".

[66] This was translated from an Italian translation of the Latin, and needs to be checked against the original language to be promoted to B-class.

[67] The full statement, as given by Philippo di Vadi, is "It is not meet that the Imperial Majesty be honored in arms alone, but it is necessary also that it be armored in sacred laws". (El non bixogna solo la maestà inperiale essere honorata di arme ma ancora è necesario epsa sia armata de le sacre legge.)

[68] Word disrupted by a lynx.

[69] “Lovo cerviero” (Lupo Cerviere) translates literally as “sharp-eyed wolf”. Fiore means the Eurasian Lynx that was said to have not only astonishing eyesight and the ability to see in the dark, but also the ability to see around corners and even see into the future. The choice of the Lynx to represent the ability to “read” the fight and proceed carefully is thus meaningful. The lynx has been used to symbolize the search for knowledge, or the search for the truth. In 1603, for example, the Accademia dei Lincei (Academy of the Lynxes) was founded in Italy, dedicated to providing a sharp and penetrating insight into science and nature. For its emblem, the academy chose the lynx, and its symbol, the lynx passant is remarkably similar to Fiore’s lynx. The great Galileo himself was inducted into the Accademia dei Lincei in 1609, and published papers under the Accademia dei Lincei name. In fact, after joining the Accademia dei Lincei, Gailieo thereafter signed his name Galileo Galilei Linceo (“Galileo the Lynx”).

[70] “A sesto e misura” - Fiore’s Lynx represents the intelligence and scientific application of knowledge. Hence it proceeds literally holding a “sesta” which is a pair of compasses or dividers. Note “sesta” is the pair of dividers, used for drawing circles and arcs and for measuring distance, not a nautical compass showing north south east west. A “misura” is a measure or rule, also used for measuring and drawing. The symbol of freemasonry is the “compass and square” (the square being a type of rule, namely two rules at right angles to each other). “A misura” means “with measure”, i.e. carefully. See, for example, Compass-and-straightedge construction.

[71] 'subitos' is problematic, meaning plural masculine things that appear or attack unexpectedly. 'subito' is an adverb meaning 'suddenly', which appears several other times in the text. 'subitos' only appears here.

[72] The final letters are obliterated; the likeliest candidates are "am" or "or"

[73] This word does not appear in any dictionary. It must be a misspelling of some word related to lightning such as fulmen or a conjugation of fulminare.

[74] Fiore’s Tigro is not the black and orange striped tiger (cat family), but is a mythical creature from the medieval Bestiaries that resembles a giant wolfhound (dog family). The tiny mouse-like creature drawn in the Getty does not do justice to this mighty mythical Tiger that was said to be as big as a horse and was attributed incredible speed. There is a most beautiful painting of a medieval Tiger in the Aberdeen Bestiary.

[75] “la sagitta del cielo” means literally “the arrow from the sky”. Fiore means of course a bolt of lightning.

[76] “Avanzare” means to excel or surpass. I understand Fiore to be saying that the Tiger is faster than lightning.

[77] This abbreviation can also be read "nec."

[78] This punctuation mark is not used elsewhere in the text, and its meaning is not known. It could be a tie-mark indicating a word written in the margin and labeled with this punctuation should be inserted here.

[79] These words are not visible in standard photography; this reading is based on ultraviolet imaging.

[80] “Ne perdo vargo” means literally “I do not lose my way”. From the Bestiaries however we understand that what the Elephant never does is fall over. In the Bestiaries we are told the Elephant has no knees and if it once lies down can never get up again. Thus Fiore’s Elephant stands for stability and sure-footedness. The Aberdeen Bestiary reads as follows: “[Of the elephant] ... no larger animal is seen. The Persians and Indians, carried in wooden towers on their backs, fight with javelins as from a wall. ...The elephant has this characteristic: if it falls down, it cannot rise. But it falls when it leans on a tree in order to sleep, for it has no joints in its knees. A hunter cuts part of the way through the tree, so that when the elephant leans against it, elephant and tree will fall together.”

[81] The bottom of the page, including the elephant verse, has been cut off.

[82] Added later: "pro".

[83] Added later: "scilicet tu".

[84] It looks like the period maybe was changed to a slash/comma.

[85] Nec sine is an emphatic, not a negation.

[86] Phrase doubled.

[87] Apposui is clearly “I served up,” but with the convention that the captions are spoken by the wearer of the crown or garter, this makes little sense (as the palms are in the face of that person). Further, the Pisani Dossi text reverses the speaker.

[88] Added later: "+ ut".

[89] Added later: "+ posuj".

[90] Added later: "scilicet ego".

[91] Added later: "situ".

[92] Added later: "& mergit".

[93] Added later: "scilicet ego".

[94] Tot: so many, such a number.

[95] Added later: "tu scilicet".

[96] The accusatives [direct objects] are unusual in both of these lines

[97] There are no personal pronouns indicating whose eyes are getting injured in this couplet. Only the second person verb in the first line indicates whose eyes are getting damaged.

[98] "senza" appears twice, but neither is struck out.

[99] "de" appears twice, but neither is struck out.

[100] utus (from cavere) is a common term in Roman jurist texts, where it means security in the sense of assurance or collateral

[101] Maybe "laevo".

[102] Possibly a scribal error—the first sentence seems to be missing a “me” and the second has one it doesn’t need.

[103] The illustration clearly shows a thrust to the arm, not the shoulder.

[104] Could be “praesto”, Latin adv. “ready, available” or Italian “presto”.

[105] Added later: "scilicet occidam"

[106] The character ꝑ (a p with a stroke through the descender) would indicate that it should be read as per, but since romperer isn't a word and the stroke is much shorter than usual, I think it was an error and the scribe stopped writing it as soon as he realized. I have thus transcribed it as a normal p.

[107] Alternative with accusatives in opposite order: “I would seize the arm(s) in front suddenly / <I> the strong one would bring the dagger around in a violent whirling motion close by the elbow.”

[108] Added later: "scilicet ego".

[109] Interestingly, this page appears to be dirty and damaged; the recto looks like it’s warped from water damage. The next several pages also show warping; the art quality has also declined substantially.

[110] Or "backhand cover"

[111] Or "of the backhand cover"

[112] Or "reverse cover"

[113] Added later: "scilicet ego".

[114] This page has lots of dirt smudges, drips, and stains; some—to the left of the combatants in the upper register, and just below the verse in the lower—look like they might be handwritten smudges, but without clear meaning.

[115] Denodare appears to be a technical term for breaking or dislocating limbs; appears only in Ducange.

[116] Added later: "scilicet revolutum".

[117] Or "Master's reverse cover"

[118] Or "with the reverse cover"

[119] Added later: "ego s."

[120] Demittere mentem is recorded (by Bantam dictionary) as an idiom meaning “to lose heart”. Possibly mente sedebit is referencing this, in a pun (e.g., demittere in the sense of depose, and sedeo in the sense of hold court).

[121] There is an unreadable marking here.

[122] Added later: "ego scilicet".

[123] Added later: "scilicet ego".

[124] This looks like it may have originally said “veter” but was corrected to “vetes” (e.g. from first person present passive to second active present).

[125] See Capelli 285; this can be read as either prope (near) or proprie (specifically).

[126] Literally “the two palms”.

[127] Should be "defendam".

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

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

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

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

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

[133] Or possibly “weighed”.

[134] Added later: "~ ut".

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Fiore de'i Liberi/Images

Contents

Preface

First Italian Preface

Latin Preface

Second Italian Preface

Seven Swords

Grappling

Baton

Dagger

Introduction

1st Master

2nd Master

3rd Master

4th Master

5th Master

6th Master

7th Master

8th Master

9th Master

Dagger vs. Sword

Sword in One Hand

Sword in Two Hands

Introduction

Wide Plays

Close Plays

Sword vs. Spear

Sword in Armor

Axe in Armor

Spear

Spear vs. Other Weapons

Mounted Fencing

Navigation menu

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