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| class="noline" | <p>[Dedication: To the Most Illustrious Don Luisi de Cordola, Duke of Sessa, Orator of the Most Serene Emperor to Adrian VI.]</p>
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| class="noline" | <p>Dedication: To the Most Illustrious Don Luisi de Cordola, Duke of Sessa, Orator of the Most Serene Emperor to Adrian VI.</p>
 
| class="noline" | {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|12|lbl=1v}}
 
| class="noline" | {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|12|lbl=1v}}
  
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| '''Of the wild boar iron gate guard.'''
 
| '''Of the wild boar iron gate guard.'''
The eighth guard is called “cingiara porta di ferro”, in which the left foot is settled diagonally, bending the knee a little, but the right leg must remain straight. And as for the hands, that of the sword must rest with the fist in front of the left knee as you did in that of porta di ferro [i.e., as it was in front of the right knee in porta di ferro stretta], whence also it derived a large part of its name, but the left will be extended in defense of the head, with the buckler forward as was said a little while ago; and therefore it is called “wild boar” after the animal that has such a name, which while it approaches attacking, arranges itself with its head and tusks diagonally in the aforesaid manner of striking.
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The eighth guard is called “cingiara porta di ferro”, in which the left foot is settled diagonally, bending the knee a little, but the right leg must remain straight. And as for the hands, that of the sword must rest with the fist in front of the left knee as you did in that of porta di ferro,<ref>I.e., as it was in front of the right knee in porta di ferro stretta.</ref> whence also it derived a large part of its name, but the left will be extended in defense of the head, with the buckler forward as was said a little while ago; and therefore it is called “wild boar” after the animal that has such a name, which while it approaches attacking, arranges itself with its head and tusks diagonally in the aforesaid manner of striking.
 
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/27|3|lbl=-}}
  
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| '''Chapter 10, of the counters to the previously named offenses of guardia sopra braccio.'''
 
| '''Chapter 10, of the counters to the previously named offenses of guardia sopra braccio.'''
When the enemy throws the aforesaid two riversi,<sup>1</sup> you will parry the first with the sword, and as he will wish to do the second, immediately recoiling your right foot near to your left, you will pass forward with the said left giving him in this tempo a riverso driven out into his face; and if he pretends to do two riversi in order to give a mandritto,<sup>2</sup> you will throw your right foot behind your left, going with your sword into cingiara porta di ferro, and as he will want to strike with the mandritto, immediately returning your right foot forward and hitting that [i.e. his mandritto] together with the false edge of your sword, you will strike him with a riverso. But if he hits with a riverso<sup>3</sup> inside the rim of the buckler, you will turn a mandritto to his face. But if he makes a show of a riverso<sup>4</sup> in order to give you a mandritto, to such a show you will go into guardia di faccia; and as he throws in order to give you the aforesaid mandritto, you will make your sword a little lower, parrying that, and you will immediately pass your left foot toward his right side extending to him a riverso into his right temple, so that your right leg follows behind your left. But if he passes with the left foot in order to feint to give you a riverso,<sup>5</sup> you will immediately settle yourself with your sword into guardia di faccia, and as he passes toward your left side in order to give you a fendente, you will immediately strike his right temple diagonally with a riverso.
+
When the enemy throws the aforesaid two riversi,<sup>1</sup> you will parry the first with the sword, and as he will wish to do the second, immediately recoiling your right foot near to your left, you will pass forward with the said left giving him in this tempo a riverso driven out into his face; and if he pretends to do two riversi in order to give a mandritto,<sup>2</sup> you will throw your right foot behind your left, going with your sword into cingiara porta di ferro, and as he will want to strike with the mandritto, immediately returning your right foot forward and hitting that<ref>I.e. his mandritto.</ref> together with the false edge of your sword, you will strike him with a riverso. But if he hits with a riverso<sup>3</sup> inside the rim of the buckler, you will turn a mandritto to his face. But if he makes a show of a riverso<sup>4</sup> in order to give you a mandritto, to such a show you will go into guardia di faccia; and as he throws in order to give you the aforesaid mandritto, you will make your sword a little lower, parrying that, and you will immediately pass your left foot toward his right side extending to him a riverso into his right temple, so that your right leg follows behind your left. But if he passes with the left foot in order to feint to give you a riverso,<sup>5</sup> you will immediately settle yourself with your sword into guardia di faccia, and as he passes toward your left side in order to give you a fendente, you will immediately strike his right temple diagonally with a riverso.
  
 
But if he extends a punta riversa,<sup>6</sup> you will ward it with the sword; and he throwing two tramazzoni* at you, you will immediately go with your sword into guardia di testa and then you will ward those, striking him with a mandritto to the face.
 
But if he extends a punta riversa,<sup>6</sup> you will ward it with the sword; and he throwing two tramazzoni* at you, you will immediately go with your sword into guardia di testa and then you will ward those, striking him with a mandritto to the face.
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As the enemy throws a riverso<sup>1</sup> to your face, you will pass forward with your left foot toward his right side throwing in that tempo a riverso at him toward his right temple.
 
As the enemy throws a riverso<sup>1</sup> to your face, you will pass forward with your left foot toward his right side throwing in that tempo a riverso at him toward his right temple.
  
But if he makes a falso<sup>2</sup> with a following mandritto, you will raise the false edge of your sword against him, and during his throwing of the mandritto, casting your right foot behind your left in large pace you will give a mezzo mandritto to his sword, placing it [i.e. yours] into cingiara porta di ferro, and then with your right foot you will immediately pass forward into large pace, pushing a thrust into the enemy’s face, and throwing thereafter a mandritto into the shins of his legs.
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But if he makes a falso<sup>2</sup> with a following mandritto, you will raise the false edge of your sword against him, and during his throwing of the mandritto, casting your right foot behind your left in large pace you will give a mezzo mandritto to his sword, placing it<ref>I.e. yours.</ref> into cingiara porta di ferro, and then with your right foot you will immediately pass forward into large pace, pushing a thrust into the enemy’s face, and throwing thereafter a mandritto into the shins of his legs.
  
 
But if he throws a riverso<sup>3</sup> while retreating backwards, you will step forward with your left foot, therewith throwing a riverso to his face.
 
But if he throws a riverso<sup>3</sup> while retreating backwards, you will step forward with your left foot, therewith throwing a riverso to his face.
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And having thus furnished the play, you will make a withdrawal back no less beautiful than the coming to play which was done in the first part of the present assault, which you will do by returning your right foot to the rear in such a way that it goes behind the left, and in that tempo you will throw an under-arm mandritto; then similarly returning your left to the rear you will execute a montante from your left side so that your sword rises into guardia alta, then you will execute another montante, from your right side, returning your sword into guardia alta and drawing your right foot likewise near your left.
 
And having thus furnished the play, you will make a withdrawal back no less beautiful than the coming to play which was done in the first part of the present assault, which you will do by returning your right foot to the rear in such a way that it goes behind the left, and in that tempo you will throw an under-arm mandritto; then similarly returning your left to the rear you will execute a montante from your left side so that your sword rises into guardia alta, then you will execute another montante, from your right side, returning your sword into guardia alta and drawing your right foot likewise near your left.
  
Then you will throw an under-arm mandritto, retiring back with your right foot, and then you will make a half turn of your body toward your right side, and in this turning your sword must go out from under your arm, turning it once about the upper part of your head so that the sword will lie in the guardia di Alicorno [unicorn], that is, with the fist high and the point aimed at the ground. Then you will cast your left foot back into large pace, extending a thrust from low to high, risen into guardia alta, and drawing your right foot even with your left, and thus will you be returned whence you began.
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Then you will throw an under-arm mandritto, retiring back with your right foot, and then you will make a half turn of your body toward your right side, and in this turning your sword must go out from under your arm, turning it once about the upper part of your head so that the sword will lie in the guardia di Alicorno,<ref>Unicorn.</ref> that is, with the fist high and the point aimed at the ground. Then you will cast your left foot back into large pace, extending a thrust from low to high, risen into guardia alta, and drawing your right foot even with your left, and thus will you be returned whence you began.
 
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/49|2|lbl=-|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|50|lbl=20v|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|51|lbl=21r|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|52|lbl=21v|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|53|lbl=22r|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/54|1|lbl=22v|p=1}}
 
{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/49|2|lbl=-|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|50|lbl=20v|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|51|lbl=21r|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|52|lbl=21v|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|53|lbl=22r|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/54|1|lbl=22v|p=1}}
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Then you will pass forward with your right foot, striking him with an over-arm mandritto in such a way that your right shoulder is placed with its point toward the breast of your enemy. Then throwing a riverso at him in the manner of a fendente that falls into coda lunga stretta you will strike is sword hand with a falso returned over-arm, and thereafter raising your sword hand into guardia alta, you will throw a mandritto at him under-arm, recovering your right foot near your left, and immediately stepping toward his right side with your right foot, you will strike him with a falso going to end in guardia di faccia; then, driving your left foot forward, you will pretend to give him a riverso to his right temple, but promptly crossing toward the left side of your enemy with your right foot, you will give him a fendente to the face which falls into porta di ferro larga in such fashion that your right leg will be the follower of your left to the rear, and here you will make your buckler guard your head well.
 
Then you will pass forward with your right foot, striking him with an over-arm mandritto in such a way that your right shoulder is placed with its point toward the breast of your enemy. Then throwing a riverso at him in the manner of a fendente that falls into coda lunga stretta you will strike is sword hand with a falso returned over-arm, and thereafter raising your sword hand into guardia alta, you will throw a mandritto at him under-arm, recovering your right foot near your left, and immediately stepping toward his right side with your right foot, you will strike him with a falso going to end in guardia di faccia; then, driving your left foot forward, you will pretend to give him a riverso to his right temple, but promptly crossing toward the left side of your enemy with your right foot, you will give him a fendente to the face which falls into porta di ferro larga in such fashion that your right leg will be the follower of your left to the rear, and here you will make your buckler guard your head well.
  
Then retiring your left foot near your right, you will propel a falso to end in guardia di faccia, and then crossing forward with your right foot, you will go with your sword into guardia alta, and you will immediately strike him in the head with a fendente followed by two tramazzoni to the face, and your buckler defending your head well, you will next do a montante into guardia alta, drawing your right foot near your left. Then stepping forward with your right foot you will throw a fendente to end in guardia di faccia; doing similarly with your left, but towards his right side, you will throw a tramazzone at him falling into cingiara porta di ferro, and from here you will pass with your right foot, making a show of giving him a tramazzone to the head; nonetheless you will strike him in the leg with a mandritto that goes under your arm. Then retiring your right foot to the rear you will strike his sword hand with a riverso, in such fashion that your head is well protected by your buckler. Then stepping forward with your right foot you will do a falso to end in guardia di faccia, and then immediately pretending to strike him with a mandritto, you will reach him with a riverso, passing forward with your left foot. Then you will retire your left foot to the rear, throwing a mandritto in that tempo that goes into guardia di faccia, and casting your right foot back next, you will make a turn of your hand, setting yourself into coda lunga alta; then, recovering your left foot near your left [n.b. original says “…piede manco appresso il sinestro”, i.e. “left foot near your left”— this should be “left foot near your right”], you will next pass forward with your right foot, extending a thrust to the face, followed by a fendente which does not go through guardia di faccia.
+
Then retiring your left foot near your right, you will propel a falso to end in guardia di faccia, and then crossing forward with your right foot, you will go with your sword into guardia alta, and you will immediately strike him in the head with a fendente followed by two tramazzoni to the face, and your buckler defending your head well, you will next do a montante into guardia alta, drawing your right foot near your left. Then stepping forward with your right foot you will throw a fendente to end in guardia di faccia; doing similarly with your left, but towards his right side, you will throw a tramazzone at him falling into cingiara porta di ferro, and from here you will pass with your right foot, making a show of giving him a tramazzone to the head; nonetheless you will strike him in the leg with a mandritto that goes under your arm. Then retiring your right foot to the rear you will strike his sword hand with a riverso, in such fashion that your head is well protected by your buckler. Then stepping forward with your right foot you will do a falso to end in guardia di faccia, and then immediately pretending to strike him with a mandritto, you will reach him with a riverso, passing forward with your left foot. Then you will retire your left foot to the rear, throwing a mandritto in that tempo that goes into guardia di faccia, and casting your right foot back next, you will make a turn of your hand, setting yourself into coda lunga alta; then, recovering your left foot near your left,<ref>N.B. original says “…piede manco appresso il sinestro”, i.e. “left foot near your left”—this should be “left foot near your right”.</ref> you will next pass forward with your right foot, extending a thrust to the face, followed by a fendente which does not go through guardia di faccia.
  
 
Then going immediately into guardia di testa you will throw a mandritto at him that goes under your arm, reducing your right foot near your left. Then, stepping forward with your left foot toward the enemy’s right side, you will throw a falso from low to high, to end in guardia di faccia; crossing subsequently forward with your right, you will go with your sword into guardia alta, throwing a fendente to his head, which will descend into porta di ferro stretta, so that your buckler is a good defender of your head. Afterwards, you will do a montante into guardia alta, retiring your right foot near your left and embellishing the play, as was said above.
 
Then going immediately into guardia di testa you will throw a mandritto at him that goes under your arm, reducing your right foot near your left. Then, stepping forward with your left foot toward the enemy’s right side, you will throw a falso from low to high, to end in guardia di faccia; crossing subsequently forward with your right, you will go with your sword into guardia alta, throwing a fendente to his head, which will descend into porta di ferro stretta, so that your buckler is a good defender of your head. Afterwards, you will do a montante into guardia alta, retiring your right foot near your left and embellishing the play, as was said above.
  
Then, driving your right foot forward, you will throw a less than full mandritto over your arm, and that done, you will pass with your left foot toward his right side, turning your buckler over your hand, and going with your sword into cingiara porta di ferro, and immediately passing forward with your right foot, you will hit the enemy’s sword with a falso that goes into guardia alta, and immediately throwing a mandritto to the leg, that goes under your arm, you will make your buckler guard your head well, and then, casting your right foot back, you will strike his sword hand with a riverso, so that that falls into coda lunga larga [note that this guard is not described in the text—see [[Achilles Marozzo|Marozzo]], Cap. 143, for description and illustration]. Then, drawing your left foot near your right, you will pass forward with your right, and will extend a thrust to the face. Thereafter, passing with your left toward your right side, you will pretend to give him a riverso; nevertheless, you will pass with your right toward his left side, throwing a fendente to his face in such a way that your sword descends into porta di ferro larga, and the left foot follows behind the right.
+
Then, driving your right foot forward, you will throw a less than full mandritto over your arm, and that done, you will pass with your left foot toward his right side, turning your buckler over your hand, and going with your sword into cingiara porta di ferro, and immediately passing forward with your right foot, you will hit the enemy’s sword with a falso that goes into guardia alta, and immediately throwing a mandritto to the leg, that goes under your arm, you will make your buckler guard your head well, and then, casting your right foot back, you will strike his sword hand with a riverso, so that that falls into coda lunga larga.<ref>Note that this guard is not described in the text—see [[Achilles Marozzo|Marozzo]], Cap. 143, for description and illustration.</ref> Then, drawing your left foot near your right, you will pass forward with your right, and will extend a thrust to the face. Thereafter, passing with your left toward your right side, you will pretend to give him a riverso; nevertheless, you will pass with your right toward his left side, throwing a fendente to his face in such a way that your sword descends into porta di ferro larga, and the left foot follows behind the right.
  
Then withdrawing your left foot near your right [this action may describe a gathering step forward with the left, as the left foot is presumably already to the rear], you will do a falso gone to end in guardia di faccia, accompanying it with your buckler, then immediately stepping forward with your right foot, you will throw a riverso to the face that falls into coda lunga stretta, and you will make your buckler defend your head well. Then, passing forward with the left, you will stick a thrust into his face, and doing similarly with the right, you will redouble two tramazzoni to his head, of which the last falls into porta di ferro stretta, and subsequently you will do a montante into guardia alta, drawing your right foot near your left, and embellishing the play in the fashion already described above.
+
Then withdrawing your left foot near your right,<ref>This action may describe a gathering step forward with the left, as the left foot is presumably already to the rear.</ref> you will do a falso gone to end in guardia di faccia, accompanying it with your buckler, then immediately stepping forward with your right foot, you will throw a riverso to the face that falls into coda lunga stretta, and you will make your buckler defend your head well. Then, passing forward with the left, you will stick a thrust into his face, and doing similarly with the right, you will redouble two tramazzoni to his head, of which the last falls into porta di ferro stretta, and subsequently you will do a montante into guardia alta, drawing your right foot near your left, and embellishing the play in the fashion already described above.
  
 
Then you will make a close to half sword, that is, you will pass forward with your right without moving your sword or buckler, and then you will step forward to large pace with your left foot, extending a thrust to him that goes in the gesture of a montante, to end in guardia di faccia.
 
Then you will make a close to half sword, that is, you will pass forward with your right without moving your sword or buckler, and then you will step forward to large pace with your left foot, extending a thrust to him that goes in the gesture of a montante, to end in guardia di faccia.
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| [[file:Manciolino 5.jpg|400x400px|center]]
 
| [[file:Manciolino 5.jpg|400x400px|center]]
| '''THIRD BOOK.'''
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| '''THIRD BOOK.'''<ref>N.B. I have glossed over sections of the short introduction of this particular book, skipping straight to the swordplay</ref>
[n.b. I have glossed over sections of the short introduction of this particular book, skipping straight to the swordplay]
 
 
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{{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|69|lbl=30r|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/70|1|lbl=30v|p=1}}
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| …as it does not occur that "mandritti", "riversi", "falsi", "punti", and similar such words (which need to be understood in the art) can be changed into other names, as the signification of "to pass" does, which occurs to me continuously while writing with the pen, whence many times one comes to say that players “pass” with the left or the right foot, since one can say "pass", "cross", "glide", "guide", or "direct" the feet, and so where "right" [destro] is said, we will sometimes say "straight", or "strong", or "able", because man naturally has more strength in his right side than in his left, and equally sometimes "sinister", sometimes "left", or "weak", in order to avoid tedious regret, there being nothing more odious than the frequent repetition of the same word…
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| …as it does not occur that "mandritti", "riversi", "falsi", "punti", and similar such words (which need to be understood in the art) can be changed into other names, as the signification of "to pass" does, which occurs to me continuously while writing with the pen, whence many times one comes to say that players “pass” with the left or the right foot, since one can say "pass", "cross", "glide", "guide", or "direct" the feet, and so where "right"<ref>''Destro.''</ref> is said, we will sometimes say "straight", or "strong", or "able", because man naturally has more strength in his right side than in his left, and equally sometimes "sinister", sometimes "left", or "weak", in order to avoid tedious regret, there being nothing more odious than the frequent repetition of the same word…
 
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| The third fashion is that, still having your right foot forward as in any of the above attacks, which we will not repeat in order to avoid tedium, you will turn a riverso to his right temple, and if the enemy protects himself from that, you will, with the hilt (or guard as you wish to say) of your sword hit that [i.e. the sword] of your enemy on the outside giving him a fendente to the head.
+
| The third fashion is that, still having your right foot forward as in any of the above attacks, which we will not repeat in order to avoid tedium, you will turn a riverso to his right temple, and if the enemy protects himself from that, you will, with the hilt (or guard as you wish to say) of your sword hit that<ref>I.e. the sword.</ref> of your enemy on the outside giving him a fendente to the head.
 
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| The fourth way of attacking is that you can lead him to believe that you will do a riverso, and immediately crossing toward his right side with your left foot you will turn the pommel of your sword over the enemy's wrist from the outside, and you will drive it [his hand] down in such a manner that you can strike his head with a riverso.
+
| The fourth way of attacking is that you can lead him to believe that you will do a riverso, and immediately crossing toward his right side with your left foot you will turn the pommel of your sword over the enemy's wrist from the outside, and you will drive it<ref>His hand.</ref> down in such a manner that you can strike his head with a riverso.
 
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| The counter to this will be that when he directs his left foot in the said fashion to give you the riverso, you will stick your sword hand well forward, covered by your superimposed buckler, and during the pretense that he makes of giving you his buckler in your face, you will extend it [your hand] well forward with the sword, so that he will have reason to find your arm in the aforesaid way; and while he takes your measure, you will beat the arm coming toward you, driving it forcefully downwards, and feeling this crushing he will drop his buckler due to the consequent pain, whence at your will you may strike him in the face with a riverso.
+
| The counter to this will be that when he directs his left foot in the said fashion to give you the riverso, you will stick your sword hand well forward, covered by your superimposed buckler, and during the pretense that he makes of giving you his buckler in your face, you will extend it<ref>Your hand.</ref> well forward with the sword, so that he will have reason to find your arm in the aforesaid way; and while he takes your measure, you will beat the arm coming toward you, driving it forcefully downwards, and feeling this crushing he will drop his buckler due to the consequent pain, whence at your will you may strike him in the face with a riverso.
 
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|}
 
|}
 
{{master end}}
 
{{master end}}
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== Temp ==
 
== Temp ==
 
{{master begin
 
{{master begin

Revision as of 16:20, 18 September 2020

Antonio Manciolino

Illustration from the title page of Manciolino's treatise
Born late 1400s?
Died after 1531
Occupation Fencing master
Citizenship Bolognese
Patron Don Luisi de Cordoba
Movement Dardi School
Influences
Genres Fencing manual
Language Italian
Notable work(s) Opera Nova (1531)
First printed
english edition
Leoni 2010
Concordance by Michael Chidester

Antonio Manciolino was a 16th century Italian fencing master. Little is known about this master's life; he seems to have been Bolognese by birth and he is thought to have been a student of Guido Antonio di Luca,[citation needed] the master who also taught Achille Marozzo. His fencing manual is dedicated to Don Luisi de Cordoba, Duke of Sessa, Orator of the Most Serene Emperor to Adrian VI; this dedication may indicate that Manciolino was attached as fencing master to the ducal court.

In 1531, Manciolino published a treatise on swordsmanship called Opera Nova ("A New Work"),[1] which is the oldest extant treatise in the Dardi or "Bolognese" school of swordsmanship.[2] The 1531 edition describes itself as "corrected and revised" and was probably based on an earlier version printed in ca. 1523; this date is based on the fact that Don Luisi de Cordoba was only orator to Adrian VI between September of 1522 and September of 1523.[3] Despite the breadth and detail of his work, Manciolino's efforts were overshadowed by the release of Marozzo's even more extensive work on Bolognese fencing thirteen years later.

Treatise

As Craig Pitt-Pladdy has refused our request to host his translations on Wiktenauer, we instead have links to their locations on other sites in the appropriate sections until such time as another translation appears.

Temp

Additional Resources

References

  1. The full title was Di Antonio Manciolino Bolognese opera noua, doue li sono tutti li documenti & uantaggi che si ponno ha uere nel mestier de l’armi d’ogni sorte nouamente corretta & stampata, which translates to "New Work by Antonio Manciolino, Bolognese, wherein are all the instructions and advantages that are to be had in the practice of arms of every sort; newly corrected and printed".
  2. Both Dardi and Luca are thought to have published treatises in the 15th century that have since been lost.
  3. Leoni, Tommasso. The Complete Renaissance Swordsman: Antonio Manciolino’s Opera Nova (1531). Wheaton, IL: Freelance Academy Press, 2010. pp 11-12.
  4. I.e., as it was in front of the right knee in porta di ferro stretta.
  5. I.e. his mandritto.
  6. Note that these “two tramazzoni” were, in both cases, singular in Ch. 9
  7. I.e. yours.
  8. This counter has no antecedent in Ch. 15.
  9. I.e. a mandritto that goes over your own left arm.
  10. Unicorn.
  11. Not specified.
  12. N.B. original says “…piede manco appresso il sinestro”, i.e. “left foot near your left”—this should be “left foot near your right”.
  13. Note that this guard is not described in the text—see Marozzo, Cap. 143, for description and illustration.
  14. This action may describe a gathering step forward with the left, as the left foot is presumably already to the rear.
  15. N.B. I have glossed over sections of the short introduction of this particular book, skipping straight to the swordplay
  16. Destro.
  17. I.e. the sword.
  18. His hand.
  19. Your hand.