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'''Fiore Furlano de’i Liberi de Cividale d’Austria''' (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; fl. 1381 - 1409) was a late [[century::14th century]] knight, diplomat, and [[fencing master]]. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.<ref name="de’i Liberi Morgan">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]]. New York City: [[Morgan Library & Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Getty">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] (ACNO 83.MR.183). Los Angeles: [[J. Paul Getty Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Pisani Dossi">[[Fiore de'i Liberi]]. ''Flos Duellatorum'' [manuscript]. [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]]. Italy: Private Collection, 1409. f 1rv.</ref> The term ''Liberi'', while potentially merely a surname, more probably indicates that his family had Imperial immediacy (''Reichsunmittelbarkeit''), either as part of the ''nobili liberi'' (''Edelfrei'', "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.<ref>He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.</ref><ref name="Mondschein 11">Mondschein, p 11.</ref><ref>Howe, Russ. “[http://ejmas.com/jwma/articles/2008/jwmaart_howe_0808.htm Fiore dei Liberi: Origins and Motivations]”. [[Journal of Western Martial Art]]. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2015-11-23.</ref> It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Heinrich V,<ref>Giusto Fontanini. {{Google books|929Oruf2qScC|Della Eloquenza italiana di monsignor Giusto Fontanini|page=274}}, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.</ref><ref>Gian Guiseppe Liruti. {{Google books|swCiIpD6UeIC|Notizie delle vite ed opere scritte da' letterati del Friuli|page=27}}, vol. 4 (in Italian). Alvisopoli, 1830. p 27.</ref><ref>Novati, pp 15-16.</ref> but this has yet to be proven.<ref>Malipiero, p 80.</ref>
 
'''Fiore Furlano de’i Liberi de Cividale d’Austria''' (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; fl. 1381 - 1409) was a late [[century::14th century]] knight, diplomat, and [[fencing master]]. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.<ref name="de’i Liberi Morgan">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]]. New York City: [[Morgan Library & Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Getty">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] (ACNO 83.MR.183). Los Angeles: [[J. Paul Getty Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Pisani Dossi">[[Fiore de'i Liberi]]. ''Flos Duellatorum'' [manuscript]. [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]]. Italy: Private Collection, 1409. f 1rv.</ref> The term ''Liberi'', while potentially merely a surname, more probably indicates that his family had Imperial immediacy (''Reichsunmittelbarkeit''), either as part of the ''nobili liberi'' (''Edelfrei'', "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.<ref>He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.</ref><ref name="Mondschein 11">Mondschein, p 11.</ref><ref>Howe, Russ. “[http://ejmas.com/jwma/articles/2008/jwmaart_howe_0808.htm Fiore dei Liberi: Origins and Motivations]”. [[Journal of Western Martial Art]]. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2015-11-23.</ref> It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Heinrich V,<ref>Giusto Fontanini. {{Google books|929Oruf2qScC|Della Eloquenza italiana di monsignor Giusto Fontanini|page=274}}, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.</ref><ref>Gian Guiseppe Liruti. {{Google books|swCiIpD6UeIC|Notizie delle vite ed opere scritte da' letterati del Friuli|page=27}}, vol. 4 (in Italian). Alvisopoli, 1830. p 27.</ref><ref>Novati, pp 15-16.</ref> but this has yet to be proven.<ref>Malipiero, p 80.</ref>
  
Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref name="de’i Liberi Pisani Dossi"/> He had ample opportunity to interact with both, being born in the Holy Roman Empire and later traveling widely in the northern Italian states. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student.<ref name="de’i Liberi Pisani Dossi"/> He further mentions that on five separate occasions he was forced to fight [[duel]]s for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp swords, unarmored except for gambesons and chamois gloves, and he won each without injury.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref>15th century jurist [[Paride del Pozzo]], in discussing Italian dueling customs, dismisses unarmored duels as the ignoble domain of the rash and the hot-headed, contrasted with honorable dueling done in armor with the full range of military weapons. This might provide insight into Fiore's disposition as a young man. See Leoni 2012, pp ⅹⅹⅳ-ⅹⅹⅴ.</ref>
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Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref name="de’i Liberi Pisani Dossi"/> He had ample opportunity to interact with both, traveling widely in the Italian states that formed the border of the Holy Roman Empire. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student.<ref name="de’i Liberi Pisani Dossi"/> He further mentions that on five separate occasions he was forced to fight [[duel]]s for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp swords, unarmored except for gambesons and chamois gloves, and he won each without injury.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref>15th century jurist [[Paride del Pozzo]], in discussing Italian dueling customs, dismisses unarmored duels as the ignoble domain of the rash and the hot-headed, contrasted with honorable dueling done in armor with the full range of military weapons. This might provide insight into Fiore's disposition as a young man. See Pozzo book 4, chapter 3, and also Leoni 2012, pp ⅹⅹⅳ-ⅹⅹⅴ.</ref>
  
Writing very little on his own career as a commander and master at arms, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one [[Johannes Suvenus|Johane dicto Suueno]], who he notes was a disciple of [[Nicholai de Toblem]];<ref name="de’i Liberi Pisani Dossi"/> unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well known in Fiore's time. He further offered an extensive list of the famous ''condottieri'' that he trained, including Piero Paolo del Verde (Peter von Grünen),<ref>[http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Niccolo Unricilino (Nikolo von Urslingen),<ref>Leoni, p 7.</ref> Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),<ref name="Galeazzo">[http://www.condottieridiventura.it/index.php/lettera-m/1450-galeazzo-da-mantova “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Lancillotto Beccaria di Pavia,<ref>[http://www.condottieridiventura.it/index.php/lettera-b/630-lancillotto-beccaria “LANCILLOTTO BECCARIA  (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Giovannino da Baggio di Milano,<ref name="Malipiero 9496">Malipiero, pp 94-96.</ref> and Azzone di Castelbarco,<ref name="Jens">[https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' Retrieved 2015-11-23.</ref> and also highlights some of their martial exploits.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/>
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Writing very little on his own career as ''condottiero'', Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one [[Johannes Suvenus|Johane dicto Suueno]], who he notes was a disciple of [[Nicholai de Toblem]];<ref name="de’i Liberi Pisani Dossi"/> unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well known in Fiore's time. He further offered an extensive list of the famous ''condottieri'' that he trained, including Piero Paolo del Verde (Peter von Grünen),<ref>[http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Niccolo Unricilino (Nikolo von Urslingen),<ref>Leoni, p 7.</ref> Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),<ref name="Galeazzo">[http://www.condottieridiventura.it/index.php/lettera-m/1450-galeazzo-da-mantova “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Lancillotto Beccaria di Pavia,<ref>[http://www.condottieridiventura.it/index.php/lettera-b/630-lancillotto-beccaria “LANCILLOTTO BECCARIA  (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2015-11-23.</ref> Giovannino da Baggio di Milano,<ref name="Malipiero 9496">Malipiero, pp 94-96.</ref> and Azzone di Castelbarco,<ref name="Jens">[https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' Retrieved 2015-11-23.</ref> and also highlights some of their martial exploits.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/>
  
The only known historical mentions of Fiore appear in connection with the Aquileian War of Succession, which erupted in 1381 as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly appointed Patriarch (prince-bishop of Aquileia), Philippe Ⅱ d'Alençon. Fiore seems to have supported the secular nobility against the Cardinal; he traveled to Udine in 1383 and was granted residency in the city on 3 August.<ref>Malipiero, p 84.</ref> On 30 September, the high council tasked him with inspection and maintenance of city's weapons, including the [[artillery]] pieces defending Udine (large crossbows and catapults).<ref name="Mondschein 11"/><ref>Malipiero, p 85.</ref><ref name="Easton">[[Matt Easton|Easton, Matt]]. “[http://www.fioredeiliberi.org/fiore/ Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum]”. London: Schola Gladiatoria, 2009. Retrieved 2015-11-23.</ref> In February of 1384, he was assigned the task of recruiting a mercenary company to augment Udine's forces and leading them back to the city.<ref>Malipiero, p 86.</ref> This task seems to have been accomplished in three months or less, as on 23 May he appeared before the high council again and was sworn in as a sort of magistrate charged with keeping the peace in one of the city's districts. After May 1384, the historical record is silent on Fiore's activities; the war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records four times in 1383-4, it would be quite odd for him to be completely unmentioned over the subsequent five years if he remained,<ref name="Mondschein 11"/><ref>Malipiero, pp 85-88.</ref> and since his absence from records coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.
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The only known historical mentions of Fiore appear in connection with the Aquileian War of Succession, which erupted in 1381 as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly appointed Patriarch (prince-bishop of Aquileia), Philippe Ⅱ Cardinal d'Alençon. Fiore seems to have supported the secular nobility against the Cardinal; he traveled to Udine in 1383 and was granted residency in the city on 3 August.<ref>Malipiero, p 84.</ref> On 30 September, the high council tasked him with inspection and maintenance of city's weapons, including the [[artillery]] pieces defending Udine (large crossbows and catapults).<ref name="Mondschein 11"/><ref>Malipiero, p 85.</ref><ref name="Easton">[[Matt Easton|Easton, Matt]]. “[http://www.fioredeiliberi.org/fiore/ Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum]”. London: Schola Gladiatoria, 2009. Retrieved 2015-11-23.</ref> In February of 1384, he was assigned the task of recruiting a mercenary company to augment Udine's forces and leading them back to the city.<ref>Malipiero, p 86.</ref> This task seems to have been accomplished in three months or less, as on 23 May he appeared before the high council again and was sworn in as a sort of magistrate charged with keeping the peace in one of the city's districts. After May 1384, the historical record is silent on Fiore's activities; the war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records four times in 1383-4, it would be quite odd for him to be completely unmentioned over the subsequent five years if he remained,<ref name="Mondschein 11"/><ref>Malipiero, pp 85-88.</ref> and since his absence from records coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.
  
Based on his autobiographical account, Fiore traveled a good deal in northern Italy, teaching fencing and training men for duels. He seems to have been in Perugia in 1381 in this capacity, when his student Peter von Grünen likely fought a duel with Peter Kornwald.<ref>This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See [https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students], ''Hans Talhoffer ~ as seen by Jens P. Kleinau'', in English and [http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”] and [http://www.condottieridiventura.it/index.php/lettera-c/971-pietro-della-corona “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”], ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550'', in Italian. Retrieved 2015-11-23.</ref> In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean Ⅱ le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. Both Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua, were in attendance. The duel was to begin with [[spear]]s on [[:category:Mounted Fencing|horseback]], but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.<ref>Malipiero, pp 55-58.</ref><ref name="Easton"/><ref name="Galeazzo"/>
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Based on his autobiographical account, Fiore traveled a good deal in northern Italy, teaching fencing and training men for duels. He seems to have been in Perugia in 1381 in this capacity, when his student Peter von Grünen likely fought a duel with Peter Kornwald.<ref>This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See [https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students], ''Hans Talhoffer ~ as seen by Jens P. Kleinau'', in English and [http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”] and [http://www.condottieridiventura.it/index.php/lettera-c/971-pietro-della-corona “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”], ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550'', in Italian. Retrieved 2015-11-23.</ref>
  
Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on 24 June and attended by Gian Galeazzo Visconti, Duke of Milan, as well as the Duchess and other nobles. The duel was to consist of three bouts of mounted lance followed by three bouts each of dismounted [[poleaxe]], [[estoc]], and [[dagger]]. They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor (and the fact that all of the weapons were blunted), both combatants reportedly emerged from these exchanges unharmed.<ref name="Malipiero 9496"/><ref name="Mondschein 12">Mondschein, p 12.</ref>
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In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean Ⅱ le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. It was jointly hosted by Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua. The duel was to begin with [[spear]]s on [[:category:Mounted Fencing|horseback]], but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.<ref>Malipiero, pp 55-58.</ref><ref name="Easton"/><ref name="Galeazzo"/>
  
Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco and Giovanni degli Ordelaffi, as the latter is known to have died in 1399.<ref>Malipiero, p 97.</ref> After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career.<ref name="Easton"/> Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as ''Fior di Battaglia'', ''Florius de Arte Luctandi'', and ''Flos Duellatorum''). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort;<ref name="de’i Liberi Pisani Dossi"/> as evidence suggests that at least two longer versions were composed some time before this,<ref>Fiore states in the preface to the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] that he had studied combat for fifty years, whereas the comparable statement in the [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]] and [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] mention the slightly shorter "forty years and more".</ref> we may assume that he devoted a considerable amount of time to writing during this decade.
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Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on 24 June and hosted by Gian Galeazzo Visconti, Duke of Milan. The duel was to consist of three bouts of mounted lance followed by three bouts each of dismounted [[poleaxe]], [[estoc]], and [[dagger]]. They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor (and the fact that all of the weapons were blunted), both combatants reportedly emerged from these exchanges unharmed.<ref name="Malipiero 9496"/><ref name="Mondschein 12">Mondschein, p 12.</ref>
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Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco against Giovanni degli Ordelaffi, as the latter is known to have died in 1399.<ref>Malipiero, p 97.</ref> After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career.<ref name="Easton"/> Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as ''Fior di Battaglia'', ''Florius de Arte Luctandi'', and ''Flos Duellatorum''). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort;<ref name="de’i Liberi Pisani Dossi"/> since evidence suggests that at least two longer versions were composed some time before this,<ref>Fiore states in the preface to the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] that he had studied combat for fifty years, whereas the comparable statement in the [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]] and [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] mention the slightly shorter "forty years and more".</ref> we may assume that he devoted a considerable amount of time to writing during this decade.
  
 
Beyond this, nothing certain is known of Fiore's activities in the 15th century. [[Francesco Novati]] and [[Luigi Zanutto]] both assume that some time before 1409 he accepted an appointment as court fencing master to Niccolò Ⅲ d’Este, Marquis of Ferrara, Modena, and Parma; presumably he would have made this change when Milan fell into disarray in 1402, though Zanutto went so far as to speculate that he trained Niccolò for his 1399 passage at arms.<ref>Zanutto, pp 211-212.</ref> However, while the records of the d’Este library indicate the presence of two versions of "the Flower of Battle", it seems more likely that the manuscripts were written as a diplomatic gift to Ferrara from Milan when they made peace in 1404.<ref name="Mondschein 12"/><ref name="Easton"/> C. A. Blengini di Torricella stated that late in life he made his way to Paris, France, where he could be placed teaching fencing in 1418 and creating a copy of a [[fencing manual]] located there in 1420. Though he attributes these facts to Novati, no publication verifying them has yet been located and this anecdote may be entirely spurious.<ref>In 1907, fencing master C. A. Blengini di Torricella mentioned that “In 1904, a historical work by [[Francesco Novati]], Director of the Academy in Milano and Gaffuri, Director of the graphical institute in Bergamo was published… These two prominent scholars uncovered documents, found in different archives, …''Rules for Fencing'' were printed by Fiore dei Liberi in 1420… And how could then dei Liberi have taught fencing lessons in Paris in 1418?” (translated from Norwegian by [[Roger Norling]]). See Blengini, di Torricella C. A. ''Haandbog i Fægtning med Floret, Kaarde, Sabel, Forsvar med Sabel mod Bajonet og Sabelhugning tilhest: Med forklarende Tegninger og en Oversigt over Fægtekunstens Historie og Udvikling.'' 1907. p 28.{{full}}</ref>
 
Beyond this, nothing certain is known of Fiore's activities in the 15th century. [[Francesco Novati]] and [[Luigi Zanutto]] both assume that some time before 1409 he accepted an appointment as court fencing master to Niccolò Ⅲ d’Este, Marquis of Ferrara, Modena, and Parma; presumably he would have made this change when Milan fell into disarray in 1402, though Zanutto went so far as to speculate that he trained Niccolò for his 1399 passage at arms.<ref>Zanutto, pp 211-212.</ref> However, while the records of the d’Este library indicate the presence of two versions of "the Flower of Battle", it seems more likely that the manuscripts were written as a diplomatic gift to Ferrara from Milan when they made peace in 1404.<ref name="Mondschein 12"/><ref name="Easton"/> C. A. Blengini di Torricella stated that late in life he made his way to Paris, France, where he could be placed teaching fencing in 1418 and creating a copy of a [[fencing manual]] located there in 1420. Though he attributes these facts to Novati, no publication verifying them has yet been located and this anecdote may be entirely spurious.<ref>In 1907, fencing master C. A. Blengini di Torricella mentioned that “In 1904, a historical work by [[Francesco Novati]], Director of the Academy in Milano and Gaffuri, Director of the graphical institute in Bergamo was published… These two prominent scholars uncovered documents, found in different archives, …''Rules for Fencing'' were printed by Fiore dei Liberi in 1420… And how could then dei Liberi have taught fencing lessons in Paris in 1418?” (translated from Norwegian by [[Roger Norling]]). See Blengini, di Torricella C. A. ''Haandbog i Fægtning med Floret, Kaarde, Sabel, Forsvar med Sabel mod Bajonet og Sabelhugning tilhest: Med forklarende Tegninger og en Oversigt over Fægtekunstens Historie og Udvikling.'' 1907. p 28.{{full}}</ref>
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The time and place of Fiore's death remain unknown.
 
The time and place of Fiore's death remain unknown.
  
Despite the extent and complexity of his writings, Fiore de’i Liberi does not seem to have been a very significant master in the evolution of fencing in Central Europe. That field was instead dominated by the traditions of two masters of the subsequent generation: [[Johannes Liechtenauer]] in the Holy Roman Empire and [[Filippo di Bartolomeo Dardi]] in the Italian states. Even so, there are a number of later treatises which bear strong resemblance to his work, including the writings of [[Philippo di Vadi]] and [[Ludwig VI von Eyb]]. This may be due to the direct influence of Fiore or his writings, or it may instead indicate that the older tradition of Johane and Nicholai survived and spread outside of Fiore's direct line.
+
Despite the extent and complexity of his writings, Fiore de’i Liberi does not seem to have been a very significant master in the evolution of fencing in Central Europe. That field was instead dominated by the traditions of two masters of the subsequent generation: [[Johannes Liechtenauer]] in Bavaria and [[Filippo di Bartolomeo Dardi]] in Bologna. Even so, there are a few later treatises which bear strong resemblance to his work, including the writings of [[Philippo di Vadi]] and [[Ludwig VI von Eyb]]. This may be due to the direct influence of Fiore or his writings, or it may instead indicate that the older tradition of Johane and Nicholai survived and spread outside of Fiore's direct line.
 
{{TOC limit|3}}
 
{{TOC limit|3}}
 
== Treatise ==
 
== Treatise ==
  
The d’Este family owned at least three manuscripts by Fiore during the 15th century,<ref>There are two records in the [https://archive.org/details/giornalestoricod14toriuoft/page/18/mode/2up 1436 catalog] and two records in the [https://books.google.com/books?id=yz5FAAAAYAAJ&pg=PA219 1467 catalog], but only one of the manuscript descriptions is similar between the catalogs. The 1436 catalog lists one unbound Latin manuscript and one Italian manuscript in red leather; the 1467 catalog lists two Latin manuscripts, one of which was only 15 unbound folia (probably the same as the one from 1436) and one of which was 58 folia bound in white leather. From this, we might speculate that the Getty manuscript was present in 1436, the Paris manuscript in 1467, and the third (very short) manuscript is currently unknown to us. If there were an error in the 1467 catalog, then the unknown manuscript could be the Pisani Dossi, which currently consists of 35 unbound folia.</ref> and a total of four copies survive to the present. Of these, the [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] (Getty) and the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] (Novati) are both dedicated to Niccolò Ⅲ d’Este and state that they were written at his request and according to his design. The [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]] (Morgan), on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence, while the [[Florius de Arte Luctandi (MS Latin 11269)|MS Latin 11269]] (Paris) lost any dedication it might have had along with its prologue. Each of the extant copies of the ''Flower of Battle'' follows a different order, though each of these pairs contains strong similarities to each other in order of presentation.  
+
The d’Este family owned at least three manuscripts by Fiore during the 15th century,<ref>There are two records in the [https://archive.org/details/giornalestoricod14toriuoft/page/18/mode/2up 1436 catalog] and two records in the [https://books.google.com/books?id=yz5FAAAAYAAJ&pg=PA219 1467 catalog], but only one of the manuscript descriptions is similar between the catalogs. The 1436 catalog lists one unbound Latin manuscript and one Italian manuscript in red leather; the 1467 catalog lists two Latin manuscripts, one of which was only 15 unbound folia (probably the same as the one from 1436) and one of which was 58 folia bound in white leather. From this, we might speculate that the Getty manuscript was present in 1436, the Paris manuscript in 1467, and the third (very short) manuscript is currently unknown to us. If there were an error in the 1467 catalog, then the unknown manuscript could be the Pisani Dossi, which currently consists of 35 unbound folia.</ref> and a total of four copies survive to the present. Of these, the [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig ⅩⅤ 13]] (Getty) and the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] (Novati) are both dedicated to Niccolò Ⅲ d’Este and state that they were written at his request and according to his design. The [[Tratt‍ato della sch‍erma (MS M.383)|MS M.383]] (Morgan), on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence, while the [[Florius de Arte Luctandi (MS Latin 11269)|MS Latin 11269]] (Paris) lost any dedication it might have had along with its prologue. Each of the extant copies of the ''Flower of Battle'' follows a unique specific sequence of plays, though the Getty and Novati contain strong similarities to each other in order of presentation, as do the Morgan and Paris.  
  
 
In addition, Philippo di Vadi’s manuscript from the 1480s, whose second half is essentially a redaction of the ''Flower of Battle'', provides a valuable fifth point of reference when considering Fiore’s teachings. (These is also a 17th century copy of the Morgan’s preface, transcribed by Apostolo Zeno, but it contributes little to our understanding of the text.)
 
In addition, Philippo di Vadi’s manuscript from the 1480s, whose second half is essentially a redaction of the ''Flower of Battle'', provides a valuable fifth point of reference when considering Fiore’s teachings. (These is also a 17th century copy of the Morgan’s preface, transcribed by Apostolo Zeno, but it contributes little to our understanding of the text.)
  
The major sections of the work include: ''abrazare'' or [[grappling]]; ''[[dagger|daga]]'', including both unarmed defenses against the dagger and plays of dagger against dagger; ''spada a un mano'', the use of the [[longsword|sword]] in one hand (also called "the sword without the buckler"); ''spada a dui mani'', the use of the sword in two hands; ''spada en arme'', the use of the sword in [[armor]] (primarily techniques from the [[halfsword|shortened sword]]); ''azza'', plays of the [[poleaxe]] in armor; ''lancia'', [[spear]] and staff plays; and mounted combat (including the spear, the sword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as ''bastoncello'', or plays of a [[club (weapon)|small stick or baton]] against unarmed and dagger-wielding opponents; plays of sword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the [[spear|chiavarina]] against a man on horseback.
+
The major sections of the work include: ''abrazare'' or [[grappling]]; ''[[dagger|daga]]'', including both unarmed defenses against the dagger and plays of dagger against dagger; ''spada a un mano'', the use of the [[sword]] in one hand (also called "the sword without the buckler"); ''spada a dui mani'', the use of the sword in two hands; ''spada en arme'', the use of the sword in [[armor]] (primarily techniques from the [[halfsword|shortened sword]]); ''azza'', plays of the [[poleaxe]] in armor; ''lancia'', [[spear]] and staff plays; and mounted combat (including the spear, the sword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as ''bastoncello'', or plays of a [[club (weapon)|small stick or baton]] against unarmed and dagger-wielding opponents; plays of sword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the [[spear|chiavarina]] against a man on horseback.
  
 
The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters (or Teachers), figures in golden crowns who each demonstrate a particular guard for use with their weapon. These are followed by a master called ''Remedio'' ("Remedy") who demonstrates a defensive technique against some basic attack (usually how to use one of the listed guards to defend), and then by his various Scholars (or Students), figures wearing golden garters on their legs who demonstrate iterations and variations of this remedy. After the scholars there is typically a master called ''Contrario'' ("Counter" or "Contrary"), wearing both crown and garter, who demonstrates how to counter the master’s remedy (and those of his scholars), who is likewise sometimes followed by his own scholars in garters. In rare cases, a fourth type of master appears called ''Contra-Contrario'' ("Counter-counter"), who likewise wears the crown and garter and demonstrates how to defeat the master’s counter. Some sections feature multiple master remedies or master counters, while some have only one. While the crowns and garters are used across all extant versions of the treatise, the specific implementation of the system varies; all versions include at least a few apparently errors in assignation of crowns and garters, and there are many cases in which an illustration in one manuscript will only feature a scholar’s garter where the corresponding illustration in another also includes a master’s crown (depending on the instance, this may either be intentional or merely an error in the art). Alone of the four versions, the Morgan seeks to further expand the system by coloring the metallic portions of the master or scholar’s weapon silver, while that of the player is left uncolored; this is also imperfectly-executed, but seems to have been intended as a visual indicator of which weapon belongs to which figure.
 
The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters (or Teachers), figures in golden crowns who each demonstrate a particular guard for use with their weapon. These are followed by a master called ''Remedio'' ("Remedy") who demonstrates a defensive technique against some basic attack (usually how to use one of the listed guards to defend), and then by his various Scholars (or Students), figures wearing golden garters on their legs who demonstrate iterations and variations of this remedy. After the scholars there is typically a master called ''Contrario'' ("Counter" or "Contrary"), wearing both crown and garter, who demonstrates how to counter the master’s remedy (and those of his scholars), who is likewise sometimes followed by his own scholars in garters. In rare cases, a fourth type of master appears called ''Contra-Contrario'' ("Counter-counter"), who likewise wears the crown and garter and demonstrates how to defeat the master’s counter. Some sections feature multiple master remedies or master counters, while some have only one. While the crowns and garters are used across all extant versions of the treatise, the specific implementation of the system varies; all versions include at least a few apparently errors in assignation of crowns and garters, and there are many cases in which an illustration in one manuscript will only feature a scholar’s garter where the corresponding illustration in another also includes a master’s crown (depending on the instance, this may either be intentional or merely an error in the art). Alone of the four versions, the Morgan seeks to further expand the system by coloring the metallic portions of the master or scholar’s weapon silver, while that of the player is left uncolored; this is also imperfectly-executed, but seems to have been intended as a visual indicator of which weapon belongs to which figure.
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|-  
 
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| <p>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<ref>Here is where Fiore names his martial art: “Arte d’Armizare”—“the Art of Armed Combat”.</ref> both for fighting at the barrier<ref>“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.</ref> 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.</p>
+
| <p>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<ref>Here is where Fiore names his martial art: “Arte d’Armizare”—“the Art of Armed Combat”.</ref> both for fighting at the barrier<ref>“in Sbarra” means literally “at the barriers”. In many medieval sporting events the combatants would fight with swords 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.</ref> 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.</p>
  
 
<p>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.</p>
 
<p>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.</p>
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|  
 
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| <p>Next was the valiant squire<ref>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.</ref> Lancillotto da Becharia de Pavia,<ref>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.</ref> who exchanged six strikes with a sharpened steel lance<ref>Notice that although these are “sporting events” they were using real spears.</ref> against the valiant German knight Baldassarro,<ref>Baldassarro (Getty), Baldesar (Morgan) refers to the German knight Balthasar von Braunschweig-Grubenhagen (1336-1385)</ref> in a fight that took place in the lists at Imola.<ref name="Imola"/></p>
 
| <p>Next was the valiant squire<ref>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.</ref> Lancillotto da Becharia de Pavia,<ref>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.</ref> who exchanged six strikes with a sharpened steel lance<ref>Notice that although these are “sporting events” they were using real spears.</ref> against the valiant German knight Baldassarro,<ref>Baldassarro (Getty), Baldesar (Morgan) refers to the German knight Balthasar von Braunschweig-Grubenhagen (1336-1385)</ref> in a fight that took place in the lists at Imola.<ref name="Imola"/></p>
| <p>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.</p>
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| <p>Also the valiant squire Lancillotto Beccaria of Pavia. That was 6 thrusts of ground-iron lance<ref name="moladi">''Ferri moladi'' is an ambiguous term: ''molare'' means "to grind with a stone", but it's unclear whether this means the lance was sharp or blunt since both processes would involve a stone. However, another period account of Sirano's duel specifies that it was with ''lancee acute'' or sharp lances, so that's probably the grinding that Fiore meant.</ref> 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.</p>
 
| {{section|Page:MS XXIV 783v.jpg|4|lbl=-}}
 
| {{section|Page:MS XXIV 783v.jpg|4|lbl=-}}
 
| {{section|Page:MS M.383 1v.jpg|1v.1|lbl=1v}}
 
| {{section|Page:MS M.383 1v.jpg|1v.1|lbl=1v}}
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| <p>Next was the valiant squire Gioanino da Bavo,<ref>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.</ref> from Milan, who, in the castle in Pavia,<ref>The city of Pavia is 20 miles south of Milan.</ref> fought three passes with a sharpened steel lance, against the valiant German squire Sram.<ref>The identity of the German squire named Sram (Getty and Morgan), Schraam, or Schramm, is not known.</ref> 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.</p>
 
| <p>Next was the valiant squire Gioanino da Bavo,<ref>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.</ref> from Milan, who, in the castle in Pavia,<ref>The city of Pavia is 20 miles south of Milan.</ref> fought three passes with a sharpened steel lance, against the valiant German squire Sram.<ref>The identity of the German squire named Sram (Getty and Morgan), Schraam, or Schramm, is not known.</ref> 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.</p>
| <p>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.</p>
+
| <p>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 ground-iron lance<ref name="moladi"/> 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.</p>
 
| {{section|Page:MS XXIV 783v.jpg|5|lbl=-}}
 
| {{section|Page:MS XXIV 783v.jpg|5|lbl=-}}
 
| {{section|Page:MS M.383 1v.jpg|1v.2|lbl=-}}
 
| {{section|Page:MS M.383 1v.jpg|1v.2|lbl=-}}
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| <p>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<ref>These were duels of honor, and were taken very seriously in these times.</ref> with sharp edged and pointed swords<ref>Fiore actually says that the swords are “di taglo e di punta” meaning literally “for cutting and thrusting”, or “sharp edged and  
 
| <p>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<ref>These were duels of honor, and were taken very seriously in these times.</ref> with sharp edged and pointed swords<ref>Fiore actually says that the swords are “di taglo e di punta” meaning literally “for cutting and thrusting”, or “sharp edged and  
pointed”.</ref> wearing only a padded jacket,<ref>A “çuparello darmare” or “zuparello d’armare” is an arming jacket, that is, a cloth padded jacket worn underneath armour as  
+
pointed”.</ref> wearing only a padded jacket,<ref>A “çuparello darmare” or “zuparello d’armare” is an arming jacket, that is, a cloth padded jacket worn underneath armour as a foundation garment.</ref> 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.</p>
a foundation garment.</ref> 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.</p>
 
 
| <p>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.</p>
 
| <p>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.</p>
 
| {{section|Page:MS XXIV 783ar.jpg|3|lbl=-}}
 
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| <p>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.</p>
 
| <p>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.</p>
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<p>Also see plays of the arms in diverse ways.</p>
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| <p>Also see plays of the arms in diverse ways.</p>
 
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| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.9|lbl=-}}
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| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.10|lbl=-}}
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| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.11|lbl=-}}
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| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.12|lbl=-}}
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| {{section|Page:Pisani-Dossi MS 02b.jpg|2b.13|lbl=-}}
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| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
| class="noline" | {{section|Page:Pisani-Dossi MS 02b.jpg|2b.15|lbl=-}}
+
| class="noline" | {{section|Page:Pisani-Dossi MS 02b.jpg|2b.16|lbl=-}}
 
| class="noline" |  
 
| class="noline" |  
  
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| class="noline" | <p>{{red|b=1|Audacity/Daring}}</p>
 
| class="noline" | <p>{{red|b=1|Audacity/Daring}}</p>
  
<p>''None carries a more ardent heart than me, the lion,<br/>But to everyone I make an invitation to battle.''</p>
+
<p>''None carries a bolder heart than me, the lion,<br/>But to everyone I make an invitation to battle.''</p>
 
| class="noline" | <p>{{red|b=1|Courage}}</p>
 
| class="noline" | <p>{{red|b=1|Courage}}</p>
  
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|  
 
|  
 
| [[File:Pisani-Dossi MS 08b-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 08b-d.png|400px|center]]
| <p>[48] <em>You will go to the ground because of your lack of knowledge,<br/>And in armour this is a particularly safe throw.</em></p>
+
| <p>[48] <em>You will go to the ground because of your lack of knowledge,<br/>And in armor this is a particularly safe throw.</em></p>
  
 
<p>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.</p>
 
<p>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.</p>
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| <p>[56] ''I am a Master who covers with both hands,<br/>And I can hurt you from above or below.<br/>If I give a turn to your shoulder without releasing your arm,<br/>Then in this way I and my students will put you in great pain.''</p>
 
| <p>[56] ''I am a Master who covers with both hands,<br/>And I can hurt you from above or below.<br/>If I give a turn to your shoulder without releasing your arm,<br/>Then in this way I and my students will put you in great pain.''</p>
  
<p>I am the Fourth [Dagger Remedy] Master, and I play from this grip. From covers like this my students will hurt many…</p>
+
<p>I am the Fourth [Dagger Remedy] Master, and I play from this grip. From covers like this my students will hurt many. And if I turn to the right without releasing your arm, I will take your dagger and put you in great pain.</p>
 
| <p>''Using both hands, &lt;I&gt; the master now take hold of the associate.<br/>From above and beneath, I am able to injure you with a weapon.''</p>
 
| <p>''Using both hands, &lt;I&gt; the master now take hold of the associate.<br/>From above and beneath, I am able to injure you with a weapon.''</p>
 
|  
 
|  
| rowspan="2" |  
+
|  
 
<br/><br/><br/><br/>
 
<br/><br/><br/><br/>
 
{{section|Page:MS Ludwig XV 13 14v.jpg|14v-a}}
 
{{section|Page:MS Ludwig XV 13 14v.jpg|14v-a}}
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| [[File:Pisani-Dossi MS 09b-b.png|400px|center]]
 
| [[File:Pisani-Dossi MS 09b-b.png|400px|center]]
 
| <p>[57] <em>My Master spoke truly and unerringly:<br/>I can take your dagger, while you cannot escape.</em></p>
 
| <p>[57] <em>My Master spoke truly and unerringly:<br/>I can take your dagger, while you cannot escape.</em></p>
 
+
|
<p>…And if I turn to the right without releasing your arm, I will take your dagger and put you in great pain.</p>
 
 
|  
 
|  
 
|  
 
|  
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| class="noline" | <p>''By this means I will now seek the opponent, using both palms<ref>Literally “the two palms”.</ref><br/>In order to defend myself, just as the master does<br/>Who seizes the companion with both hands during wrestling.''</p>
 
| class="noline" | <p>''By this means I will now seek the opponent, using both palms<ref>Literally “the two palms”.</ref><br/>In order to defend myself, just as the master does<br/>Who seizes the companion with both hands during wrestling.''</p>
  
<p>''[The Paris resembles the Getty illustration.]''</p>
+
<p>''[The Paris resembles the Getty illustration, but the Master is missing his garter.]''</p>
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
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| rowspan="2" |  
 
| rowspan="2" |  
 
| rowspan="2" | [[File:Pisani-Dossi MS 12a-c.png|400px|center]]
 
| rowspan="2" | [[File:Pisani-Dossi MS 12a-c.png|400px|center]]
| class="noline" | <p>[91] <em>In armour this is a very strong cover<br/>Because from here you can bind either above or below;<br/>One way you go to the lower bind,<br/>The other way you go to the upper bind or the middle bind.</em></p>
+
| class="noline" | <p>[91] <em>In armor this is a very strong cover<br/>Because from here you can bind either above or below;<br/>One way you go to the lower bind,<br/>The other way you go to the upper bind or the middle bind.</em></p>
 
| class="noline" | <p>''That movement certainly prevails over the dagger while held in the cross[ing],<br/>And on the other hand it can work above and beneath in armor.<br/>This lower play openly goes to the outside <br/>Bind. The middle [bind] lies below, or perhaps [the] highest.''</p>
 
| class="noline" | <p>''That movement certainly prevails over the dagger while held in the cross[ing],<br/>And on the other hand it can work above and beneath in armor.<br/>This lower play openly goes to the outside <br/>Bind. The middle [bind] lies below, or perhaps [the] highest.''</p>
 
| class="noline" |  
 
| class="noline" |  
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|  
 
|  
 
| [[File:Pisani-Dossi MS 12a-b.png|400px|center]]
 
| [[File:Pisani-Dossi MS 12a-b.png|400px|center]]
| <p>[96] <em>After this turn that I make you do<br/>I will strike you and force you to the ground.</em></p>
+
| <p>[96] <em>After this turn that I quickly make you do<br/>I will strike you and force you to the ground.</em></p>
  
 
<p>…If I extend my left hand to his elbow, I can push it so strongly that I can strike him obliquely. Also, as I make him turn I can throw my arm around his neck and hurt him in a variety of possible ways.</p>
 
<p>…If I extend my left hand to his elbow, I can push it so strongly that I can strike him obliquely. Also, as I make him turn I can throw my arm around his neck and hurt him in a variety of possible ways.</p>
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If the Player that came before me had known to do this defense, he would have put his left hand to the Scholar behind his elbow in this way, turning him in the way that is demonstrated here. Then I should have had no need to make the counter to the Master who is in guard with the dagger.
 
If the Player that came before me had known to do this defense, he would have put his left hand to the Scholar behind his elbow in this way, turning him in the way that is demonstrated here. Then I should have had no need to make the counter to the Master who is in guard with the dagger.
  
''[In the Morgan, the Master is missing his crown.]''
+
''[In the Morgan, the Master is missing his crown. In the Paris, the Master is missing his garter.]''
 
|  
 
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<br/><br/>
 
<br/><br/>
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|-  
 
|-  
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+
| [[File:Pisani-Dossi MS 35b-d.png|400px|center]]
 
| [[File:MS Ludwig XV 13 19v-c.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 19v-c.jpg|400px|center]]
| <p>[8] <br/>&nbsp;</p>
+
| <p>[8] <em>This is another odd match:<br/>The sword makes an invitation against the dagger.<br/>The sword will make the play of the Scholar<br/>And will demonstrate that the dagger can do nothing.</em></p>
  
 
Here is another way for the sword to defeat the dagger. In this one I hold my sword with its point on the ground, as you see drawn here, and I say to the man with the dagger, who has grabbed me by the collar: “Go ahead and attack me with your dagger from this position. And when you try I will strike against your arm with my sword still in the scabbard, then I will draw my sword as I pass backwards with my right foot, and in this way I will be able to strike you with my sword before you are able to strike me with your dagger.<ref>The conclusion to this play is not illustrated in ''Fior di Battaglia'', but does appear in ''[[Die Blume des Kampfes|Blume des Kampfes]]''; see [[:Page:Cod.5278 202r.png|Cod.5278 202r]], [[:Page:MS B.26 032v.png|MS B.26 32v]], and [[:Page:Cod.10799 199r.jpg|Cod.10799 199r]].</ref>
 
Here is another way for the sword to defeat the dagger. In this one I hold my sword with its point on the ground, as you see drawn here, and I say to the man with the dagger, who has grabbed me by the collar: “Go ahead and attack me with your dagger from this position. And when you try I will strike against your arm with my sword still in the scabbard, then I will draw my sword as I pass backwards with my right foot, and in this way I will be able to strike you with my sword before you are able to strike me with your dagger.<ref>The conclusion to this play is not illustrated in ''Fior di Battaglia'', but does appear in ''[[Die Blume des Kampfes|Blume des Kampfes]]''; see [[:Page:Cod.5278 202r.png|Cod.5278 202r]], [[:Page:MS B.26 032v.png|MS B.26 32v]], and [[:Page:Cod.10799 199r.jpg|Cod.10799 199r]].</ref>
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|  
 
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|  
<br/><br/>
+
<br/><br/><br/><br/>
 
{{section|Page:MS Ludwig XV 13 19v.jpg|19v-c}}
 
{{section|Page:MS Ludwig XV 13 19v.jpg|19v-c}}
|  
+
| {{section|Page:Pisani-Dossi MS 35b.jpg|35b-d}}
 
| {{section|Page:MS Latin 11269 20v.jpg|20v-d}}
 
| {{section|Page:MS Latin 11269 20v.jpg|20v-d}}
  
 
|-  
 
|-  
| [[File:Pisani-Dossi MS 35b-d.png|400px|center]]
+
|  
 
| [[File:MS Ludwig XV 13 19v-d.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 19v-d.jpg|400px|center]]
| <p>[9] <em>This is another odd match:<br/>The sword makes an invitation against the dagger.<br/>The sword will make the play of the Scholar<br/>And will demonstrate that the dagger can do nothing.</em></p>
+
| <p>[9] This is a similar defense to the one shown before, although it is done slightly differently. As the man with dagger raises his arm to strike, I quickly raise my sheathed sword up under his dagger, aiming the point of my sheathed sword into his face, while at the same time passing back with my lead foot.<ref>Fiore literally says “returning my foot that is in front to the back”. This refers to a passing step backwards with the right foot.</ref> From here I can strike him as you see drawn in the next picture.</p>
  
This is a similar defense to the one shown before, although it is done slightly differently. As the man with dagger raises his arm to strike, I quickly raise my sheathed sword up under his dagger, aiming the point of my sheathed sword into his face, while at the same time passing back with my lead foot.<ref>Fiore literally says “returning my foot that is in front to the back”. This refers to a passing step backwards with the right foot.</ref> From here I can strike him as you see drawn in the next picture.
+
''[This Scholar wears a crown.]''
 
 
''[In the Getty, the Scholar wears a crown.]''
 
 
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 +
| {{section|Page:MS Ludwig XV 13 19v.jpg|19v-d}}
 
|  
 
|  
<br/><br/><br/><br/>
 
{{section|Page:MS Ludwig XV 13 19v.jpg|19v-d}}
 
| {{section|Page:Pisani-Dossi MS 35b.jpg|35b-d}}
 
 
|  
 
|  
  
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|-  
 
|-  
| <p>[2] ''Whether throwing the sword or striking cuts and thrusts,<br/>Nothing will trouble me because of the guard that I hold.<br/>Come one by one whoever wants to go against me<br/>Because I want to contend with them all.<br/>And whoever wants to see covers and strikes,<br/>Taking the sword and binding without fail,<br/>Watch what my Scholars know how to do:<br/>If you don't find a counter, they have no equal.''</p>
+
| <p>[2] ''Whether throwing the sword or striking cuts or thrusts,<br/>It amounts to nothing because of the guard that I hold.<br/>Come one by one whoever wants to go against me<br/>Because I want to contend with you all.<br/>And whoever wants to see covers and strikes,<br/>Taking the sword and binding without fail,<br/>Watch what my Scholars know how to do:<br/>If you don't find a counter, they have no equal.''</p>
  
 
<p>You are cowards<ref>“Cativi” means “cowardly wretches”. Here Fiore’s Master is talking directly to the three men who seek his death.</ref> and know little of this art. You are all words without any deeds. I challenge you to come at me one after another, if you dare, and even if there are a hundred of you, I will destroy all of you from this powerful guard. …</p>
 
<p>You are cowards<ref>“Cativi” means “cowardly wretches”. Here Fiore’s Master is talking directly to the three men who seek his death.</ref> and know little of this art. You are all words without any deeds. I challenge you to come at me one after another, if you dare, and even if there are a hundred of you, I will destroy all of you from this powerful guard. …</p>
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|  
 
| [[File:Pisani-Dossi MS 13b-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 13b-d.png|400px|center]]
| <p>[7] ''In this way, I uncover you to strike you with my point<br/>To defend myself from you from each neglect and shame.''</p>
+
| <p>[7] ''I uncover you in this way to strike you with my point<br/>To avenge myself on you for every manifest neglect.''</p>
  
 
<p>I have done what my teacher<ref>“Magistro” means both “Master” and “Teacher”. The translation “teacher” works well here.</ref> told me to do. That is to say I stepped off the line making a strong cover. And having rendered my opponent unprotected I now easily place a thrust into his face. And with my left hand I will demonstrate that I can take his sword, and send it to the ground.</p>
 
<p>I have done what my teacher<ref>“Magistro” means both “Master” and “Teacher”. The translation “teacher” works well here.</ref> told me to do. That is to say I stepped off the line making a strong cover. And having rendered my opponent unprotected I now easily place a thrust into his face. And with my left hand I will demonstrate that I can take his sword, and send it to the ground.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 13b-c.png|400px|center]]
 
| [[File:Pisani-Dossi MS 13b-c.png|400px|center]]
| <p>[8] ''Because of the hand that I have put beneath your hilt,<br/>If your sword doesn't hit the ground, call me feeble.<br/>&nbsp;''</p>
+
| <p>[8] ''Because of the hand that I have put beneath your hilt,<br/>If your sword doesn't go to the ground, call me squint-eyed.<br/>&nbsp;''</p>
  
 
From this position I can easily strike or stab you. And if I advance my front foot forward, I can lock you in the middle bind, as shown in the third play of the first Remedy Master of the dagger.<ref>Getty 10v-c</ref> Alternately I can do the play shown next, and strike and lock you as shown there.
 
From this position I can easily strike or stab you. And if I advance my front foot forward, I can lock you in the middle bind, as shown in the third play of the first Remedy Master of the dagger.<ref>Getty 10v-c</ref> Alternately I can do the play shown next, and strike and lock you as shown there.
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|  
 
|  
 
| [[File:Pisani-Dossi MS 14a-b.png|400px|center]]
 
| [[File:Pisani-Dossi MS 14a-b.png|400px|center]]
| <p>[10] <em>Because of the way in which I have caught your sword,<br/>Quickly I will have your hand empty.</em></p>
+
| <p>[10] <em>Because of the way in which I have caught your sword,<br/>I will quickly have hollowed out your hand.</em></p>
  
 
<p>Here I can easily strike you while taking your sword, and by rotating it in your hand I will make you drop it as the only way to prevent yourself being thrown to the ground.</p>
 
<p>Here I can easily strike you while taking your sword, and by rotating it in your hand I will make you drop it as the only way to prevent yourself being thrown to the ground.</p>
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| <p>[2] ''Six Masters we are, and we dispute one to another<br/>Each does something that the others do not:<br/>And every one of them holds his sword in guard;<br/>We will explain and demonstrate that which they are.''</p>
 
| <p>[2] ''Six Masters we are, and we dispute one to another<br/>Each does something that the others do not:<br/>And every one of them holds his sword in guard;<br/>We will explain and demonstrate that which they are.''</p>
  
<p>''For throwing I am well-prepared,<br/>On a big step I will make a bargain.''</p>
+
<p>''For throwing I am well-prepared,<br/>On a big step I will strike a bargain.''</p>
  
 
<p>We are six guards and each of us is different from the other, and I am the first to speak of my purpose. My method is to throw my sword. The other guards follow after me. I believe they will tell you themselves about their particular virtues.</p>
 
<p>We are six guards and each of us is different from the other, and I am the first to speak of my purpose. My method is to throw my sword. The other guards follow after me. I believe they will tell you themselves about their particular virtues.</p>
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| <p>[10] {{red|b=1|Middle Blows}}</p>
 
| <p>[10] {{red|b=1|Middle Blows}}</p>
  
<p>''We middle blows go thwarting;<br/>From the knee and above we go wounding;<br/>And we beat the thrusts out of the way<br/>And, redoubling the blow, striking is our deal;<br/>And if we of the middle blow enter cleaving,<br/>We waste many people with such blows.''</p>  
+
<p>''We middle blows go crossing;<br/>We go wounding from the knee and up;<br/>And we beat thrusts out of the way<br/>And strike a bargain by redoubling the blow;<br/>And if we of the middle blow enter cleaving,<br/>We waste many people with such blows.''</p>  
  
 
<p>We are the middle blows, and we are so-called because we go crosswise through the middle of the path of both the downward blows and the rising blows. And we strike with the true edge of the sword from the right, and with the false edge of the sword from the left. And our path could be anywhere between the knee and the head.</p>
 
<p>We are the middle blows, and we are so-called because we go crosswise through the middle of the path of both the downward blows and the rising blows. And we strike with the true edge of the sword from the right, and with the false edge of the sword from the left. And our path could be anywhere between the knee and the head.</p>
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| <p>[15] {{red|b=1|The Stance of the Window (Fluid)}}</p>
 
| <p>[15] {{red|b=1|The Stance of the Window (Fluid)}}</p>
  
<p>''I am the royal Stance of the True Window<br/>And I am always ready for the whole art.''</p>
+
<p>''I am the royal Stance of the True Window<br/>And I am always quick with the whole art.''</p>
  
 
<p>This is the Window Guard who is always quick, skillful<ref>“Di malizie” can mean “malicious” but can also mean “skillful”. I’ve chosen “skillful” as it makes more sense here.</ref> and deceptive. She is a master at covering and striking. She threatens all opposing guards, whether high guards or low guards. She moves quickly from this guard to other guards to confuse her opponent. And she is a very good guard from which to make powerful thrusts, break the opponent’s thrust or exchange points.</p>
 
<p>This is the Window Guard who is always quick, skillful<ref>“Di malizie” can mean “malicious” but can also mean “skillful”. I’ve chosen “skillful” as it makes more sense here.</ref> and deceptive. She is a master at covering and striking. She threatens all opposing guards, whether high guards or low guards. She moves quickly from this guard to other guards to confuse her opponent. And she is a very good guard from which to make powerful thrusts, break the opponent’s thrust or exchange points.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 18b-b.png|400px|center]]
 
| [[File:Pisani-Dossi MS 18b-b.png|400px|center]]
| <p>[18] {{red|b=1|The Headband Stance called the Crown (Fluid)}}</p>
+
| <p>[18] {{red|b=1|The Frontlet Stance called the Crown (Fluid)}}</p>
  
<p>''The Headband Stance, I am called the Crown;<br/>I will pardon no one, not from the edge nor from the point.''</p>
+
<p>''The Frontlet Stance, I am called the Crown;<br/>I pardon no one, not from the edge nor from the point.''</p>
  
<p>This is the Forehead Guard,<ref>Frontale means “front” or “forehead” (The “frontale” is the name given to the armor a war horse wears around its head, protecting its forehead all the way down its nose). So the guard could translate as simply the Front Guard. I like the name Forehead Guard because Fiore links it to another part of the head when he says it is also named (by others) the Crown Guard.</ref> called by some instructors<ref>“Magistro” can mean “Master”, or simply “Instructor”.</ref> the Crown Guard. She is a very good guard for crossing swords,<ref>“Making the cross” i.e. crossing the opponent’s incoming sword with yours, is one of the fundamental skills of Fiore’s system.</ref> and is also very good against thrusts. If she is attacked with a high thrust, she crosses swords  while stepping  off line . If she is attacked with a low thrust, she also steps offline, but this time she drives the opponent’s sword to the ground . She can also do other things. For example, in response to a thrust she can pass backwards with the front foot and respond with a downward strike to the head or arms, ending in the Boar’s Tusk, then she can quickly throw a thrust or two with advancing steps, then deliver a downward strike, ending in that same guard.</p>
+
<p>This is the Forehead Guard,<ref>Frontale means “front” or “forehead” (The “frontale” is the name given to the armor a war horse wears around its head, protecting its forehead all the way down its nose). So the guard could translate as simply the Front Guard. I like the name Forehead Guard because Fiore links it to another part of the head when he says it is also named (by others) the Crown Guard.</ref> called by some instructors<ref>“Magistro” can mean “Master”, or simply “Instructor”.</ref> the Crown Guard. She is a very good guard for crossing swords,<ref>“Making the cross” i.e. crossing the opponent’s incoming sword with yours, is one of the fundamental skills of Fiore’s system.</ref> and is also very good against thrusts. If she is attacked with a high thrust, she crosses swords  while stepping  off line. If she is attacked with a low thrust, she also steps offline, but this time she drives the opponent’s sword to the ground. She can also do other things. For example, in response to a thrust she can pass backwards with the front foot and respond with a downward strike to the head or arms, ending in the Boar’s Tusk, then she can quickly throw a thrust or two with advancing steps, then deliver a downward strike, ending in that same guard.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
 
<p>''I am called the famous Crown, the Frontlet Position itself.<br/>I don’t spare each one,<ref>I.e. I show compassion to no one</ref> destroying with cuts and the point.''</p>
 
<p>''I am called the famous Crown, the Frontlet Position itself.<br/>I don’t spare each one,<ref>I.e. I show compassion to no one</ref> destroying with cuts and the point.''</p>
  
<p>This is the Headband Stance, and some Masters call her the Stance of the Crown. She is good at crossing, and she is also good against thrusts because if a point comes attacking upwards, she crosses, stepping out of the way. And she also steps out of the way if a point comes attacking low, beating the thrust to the ground. Again, she can do it differently, such that in the attack of a thrust she returns her foot behind and comes with a downward blow through the head and through the arms and goes to the Boar's Tusk, and then suddenly throws a thrust or two with an advance of her foot and returns with a downward blow from her own guard.</p>
+
<p>This is the Frontlet Stance, and some Masters call her the Stance of the Crown. She is good at crossing, and she is also good against thrusts because if a point comes attacking upwards, she crosses, stepping out of the way. And she also steps out of the way if a point comes attacking low, beating the thrust to the ground. Again, she can do it differently, such that in the attack of a thrust she returns her foot behind and comes with a downward blow through the head and through the arms and goes to the Boar's Tusk, and then suddenly throws a thrust or two with an advance of her foot and returns with a downward blow from her own guard.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 4,575: Line 4,579:
 
| <p>[21] {{red|b=1|The Shortened Stance (Stable)}}</p>
 
| <p>[21] {{red|b=1|The Shortened Stance (Stable)}}</p>
  
<p>''I am the Shortened Stance and I hold my sword long;<br/>Often I thrust the point and then return with cunning.<br/><br/>''</p>
+
<p>''I am the Shortened Stance and I have the length of the sword;<br/>Often I thrust the point and then return with cunning.<br/><br/>''</p>
  
 
<p>This is the Short Guard that is more effective with a longer sword. It is a deceptive guard but it is risky to wait in. It is constantly moving, trying to see if it can enter with a thrust and a step against the opponent. And this guard is more effective in armor than without armor.</p>
 
<p>This is the Short Guard that is more effective with a longer sword. It is a deceptive guard but it is risky to wait in. It is constantly moving, trying to see if it can enter with a thrust and a step against the opponent. And this guard is more effective in armor than without armor.</p>
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|  
 
|  
 
| [[File:MS Ludwig XV 13 25v-a.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 25v-a.jpg|400px|center]]
| <p>[29] <em>By crossing at mid-sword, I will strike your left arm;<br/>I will do this quickly because the time is short.<br/>&nbsp;</em></p>
+
| <p>[29] <em>By crossing at mid-sword, I will strike your left arm;<br/>I will do this quickly because time is short.<br/>&nbsp;</em></p>
  
 
<p>I too am crossed in the Wide Play, but this time at the middle of the swords. And immediately after making my cross I let my sword drop down<ref>“discorrere” means to run backwards and forwards. This suggests a sawing motion if applied to the sword, i.e. a push forward and a pull back.</ref> to slide forwards and backwards over his hands. Or, if I choose to pass forward with my right foot and move offline, I can then make a thrust into your chest, as you will see drawn next.</p>
 
<p>I too am crossed in the Wide Play, but this time at the middle of the swords. And immediately after making my cross I let my sword drop down<ref>“discorrere” means to run backwards and forwards. This suggests a sawing motion if applied to the sword, i.e. a push forward and a pull back.</ref> to slide forwards and backwards over his hands. Or, if I choose to pass forward with my right foot and move offline, I can then make a thrust into your chest, as you will see drawn next.</p>
Line 4,817: Line 4,821:
 
|  
 
|  
 
| [[File:Pisani-Dossi MS 19b-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 19b-d.png|400px|center]]
| <p>[30] <em>From the Master who crosses at mid-sword,<br/>I do that which he said well.</em></p>
+
| <p>[30] <em>From the Master who crosses at mid-sword,<br/>I strike you a bargain with that which he has said.</em></p>
 
Here you see me completing the play of my teacher. I have made his cover, and then immediately I do what he said to do, that is I strike first to my opponent’s arms, and then I continue with a thrust into his chest.
 
Here you see me completing the play of my teacher. I have made his cover, and then immediately I do what he said to do, that is I strike first to my opponent’s arms, and then I continue with a thrust into his chest.
 
| <p>''I strike a bargain with you just as that earlier master before said.<br/>He who holds back the sword in the cross[ing], he would be able to deceive.''</p>
 
| <p>''I strike a bargain with you just as that earlier master before said.<br/>He who holds back the sword in the cross[ing], he would be able to deceive.''</p>
Line 5,181: Line 5,185:
 
| [[File:MS Latin 11269 26r-c.png|400px|center]]
 
| [[File:MS Latin 11269 26r-c.png|400px|center]]
 
| [[File:MS Ludwig XV 13 28r-b.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 28r-b.jpg|400px|center]]
| <p>[50] <em>Because of your hilt which I hold in my hand,<br/>I will strike you and your sword will be forfeit to me.<br/>&nbsp;</em></p>
+
| <p>[50] <em>Because of your hilt which I hold in my hand,<br/>I will strike you and your sword will be pledged to me.<br/>&nbsp;</em></p>
  
 
<p>Using the crossing my Master made with his right foot forward, I now complete the first play as follows: I pass forward with my left foot, and I reach over my right arm with my left hand, seizing his sword-grip in the middle, between his hands. And from here I can strike him with either my edge or my point. This grip can be made when fighting with the two-handed sword or the one-handed sword. And I can make this grip by reaching either under or over the crossed swords.</p>
 
<p>Using the crossing my Master made with his right foot forward, I now complete the first play as follows: I pass forward with my left foot, and I reach over my right arm with my left hand, seizing his sword-grip in the middle, between his hands. And from here I can strike him with either my edge or my point. This grip can be made when fighting with the two-handed sword or the one-handed sword. And I can make this grip by reaching either under or over the crossed swords.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 22a-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 22a-d.png|400px|center]]
| <p>[52] <em>This is another strike with my pommel,<br/>Following which the art and the Masters are ready.</em></p>
+
| <p>[52] <em>This is another strike with my pommel,<br/>Following the quickness of the art and the Masters.</em></p>
  
 
<p>This is another pommel strike, which is effective against a man with or without armor. Make this strike quickly if his face is unprotected, and you will certainly hurt him. I can tell you from experience that with this strike you’ll have him spitting out four teeth. From here, if you wish, you can also throw your sword around his neck, as my fellow student will show you next.</p>
 
<p>This is another pommel strike, which is effective against a man with or without armor. Make this strike quickly if his face is unprotected, and you will certainly hurt him. I can tell you from experience that with this strike you’ll have him spitting out four teeth. From here, if you wish, you can also throw your sword around his neck, as my fellow student will show you next.</p>
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|  
 
|  
 
|  
 
|  
 
|-
 
|
 
| [[File:MS Latin 11269 28r-b.png|400px|center]]
 
| <p>[62]</p>
 
| <p>''In order for you to be able to overthrow my sword, with the left hand<br/>You have come. But here also, you yourself will die by means of the counter.''</p>
 
 
<p>''[This Master appears to be missing his crown.]''</p>
 
|
 
|
 
|
 
| {{section|Page:MS Latin 11269 28r.jpg|28r-b}}
 
  
 
|-  
 
|-  
 
|  
 
|  
 
| [[File:Pisani-Dossi MS 23a-c.png|400px|center]]
 
| [[File:Pisani-Dossi MS 23a-c.png|400px|center]]
| <p>[63] <em>In this fashion I have bound you so well<br/>That you would be trapped in armor or without:<br/>And your sword will be useless against me;<br/>I make this counter of the taking of the sword with certainty.</em></p>
+
| <p>[62] <em>In this fashion I have bound you so well<br/>That you would be trapped in armor or without:<br/>And your sword will be useless against me;<br/>I make this counter of the taking of the sword with certainty.</em></p>
  
 
<p>If I am crossed at Narrow Play with someone, I can quickly make this move<ref>A presa is a grappling move, a grip (hold) or a grapple.</ref> to prevent him from attacking me by taking my sword, or a lock.</p>
 
<p>If I am crossed at Narrow Play with someone, I can quickly make this move<ref>A presa is a grappling move, a grip (hold) or a grapple.</ref> to prevent him from attacking me by taking my sword, or a lock.</p>
Line 5,388: Line 5,380:
 
|  
 
|  
 
| [[File:MS Ludwig XV 13 28v-d.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 28v-d.jpg|400px|center]]
| <p>[64] When I am crossed I move to the Narrow Game, and I place the hilt of my sword between your two hands. Then I push your two hands upwards so that your sword is high. From here I throw my left arm over your arms from the left, binding<ref>Fiore uses “ferero” which translates as “strike” or “wound”, but this is clearly a bind.</ref> them with your sword pinned under my left arm. Then I will strike multiple times until I am exhausted. The student who follows me will show you what happens next.</p>
+
| <p>[63] When I am crossed I move to the Narrow Game, and I place the hilt of my sword between your two hands. Then I push your two hands upwards so that your sword is high. From here I throw my left arm over your arms from the left, binding<ref>Fiore uses “ferero” which translates as “strike” or “wound”, but this is clearly a bind.</ref> them with your sword pinned under my left arm. Then I will strike multiple times until I am exhausted. The student who follows me will show you what happens next.</p>
 
|  
 
|  
 
|  
 
|  
Line 5,398: Line 5,390:
 
| [[File:Pisani-Dossi MS 23a-a.png|400px|center]]
 
| [[File:Pisani-Dossi MS 23a-a.png|400px|center]]
 
| [[File:MS Ludwig XV 13 29r-a.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 29r-a.jpg|400px|center]]
| <p>[65] <em>I locked your arms with my left arm,<br/>And this play is better armored than unarmored:<br/>Also, I counter the taking of the sword,<br/>According to where Master Fiore put me.</em></p>
+
| <p>[64] <em>I enclosed your arms with my left arm,<br/>And this play is better armored than unarmored:<br/>Also, I counter the taking of the sword,<br/>According to where Master Fiore put me.</em></p>
  
 
<p>The student who is before me has completed the play which I said to do. Your arms have been bound in ''ligadura mezana'' (middle bind). Your sword is prisoner, and it can not help you. And with mine I can cause you a lot of injuries. Without doubt I can put my sword to your neck. I can immediately do the play which is after me.</p>
 
<p>The student who is before me has completed the play which I said to do. Your arms have been bound in ''ligadura mezana'' (middle bind). Your sword is prisoner, and it can not help you. And with mine I can cause you a lot of injuries. Without doubt I can put my sword to your neck. I can immediately do the play which is after me.</p>
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|  
 
|  
 
| [[File:MS Ludwig XV 13 29r-b.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 29r-b.jpg|400px|center]]
| <p>[66] This play follows on from the previous one, where the student struck his opponent multiple times while using his left arm to keep the opponent’s arms and sword pinned. Now I throw my sword at my opponent’s neck as depicted. Then I throw him to the ground to complete the play.</p>
+
| <p>[65] This play follows on from the previous one, where the student struck his opponent multiple times while using his left arm to keep the opponent’s arms and sword pinned. Now I throw my sword at my opponent’s neck as depicted. Then I throw him to the ground to complete the play.</p>
 
|  
 
|  
 
|  
 
|  
Line 5,422: Line 5,414:
 
| [[File:MS Latin 11269 28v-a.png|400px|center]]
 
| [[File:MS Latin 11269 28v-a.png|400px|center]]
 
| [[File:Pisani-Dossi MS 23a-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 23a-d.png|400px|center]]
| <p>[67] <em>I have locked your hand with my sword,<br/>And I will give you a bargain with many strikes to your head;<br/>And I make the counter to the middle taking of the sword:<br/>This bind I have made which arises thus.</em></p>
+
| <p>[66] <em>I have enclosed your hand with my sword,<br/>And I will strike you a bargain with many strikes to your head;<br/>And I make the counter to the middle taking of the sword:<br/>This bind I have made which arises thus.</em></p>
 
| <p>''On my sword I enclose the palm. You, miserable, also endure many wounds<br/>To the crown of your head. But whatever I bring about<br/>Myself, I make the counter<ref>While ''contra'' is not normally a noun and ''contrario'' has been the noun for counter thus far, it seems to work best here to make ''contra'' a noun.</ref> with the sword. And it has very much superior<br/>Power in the bind, because it furnishes very many deeds.''</p>
 
| <p>''On my sword I enclose the palm. You, miserable, also endure many wounds<br/>To the crown of your head. But whatever I bring about<br/>Myself, I make the counter<ref>While ''contra'' is not normally a noun and ''contrario'' has been the noun for counter thus far, it seems to work best here to make ''contra'' a noun.</ref> with the sword. And it has very much superior<br/>Power in the bind, because it furnishes very many deeds.''</p>
 
|  
 
|  
Line 5,432: Line 5,424:
 
| [[File:MS Ludwig XV 13 28v-b.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 28v-b.jpg|400px|center]]
 
| [[File:Pisani-Dossi MS 22b-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 22b-d.png|400px|center]]
| <p>[68] <em>I have hindered your sword with my arm,<br/>And I have fixed the point of mine in your face:<br/>And I make the counter to the takings of the sword<br/>And all the various other narrow plays.</em></p>
+
| <p>[67] <em>I have hindered your sword with my arm,<br/>And I have fixed the point of mine in your face:<br/>And I counter the takings of the sword<br/>And all the various other narrow plays.</em></p>
  
 
<p>When I am crossed, I pass with a cover, and I injure you in your arms in this part. And this thrust you get in the face. And if I advance the left foot, both your arms will be bound. Or, that in the other play after me of grabbing you, you are bound at the sword by the hilt's retention.</p>
 
<p>When I am crossed, I pass with a cover, and I injure you in your arms in this part. And this thrust you get in the face. And if I advance the left foot, both your arms will be bound. Or, that in the other play after me of grabbing you, you are bound at the sword by the hilt's retention.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 23a-b.png|400px|center]]
 
| [[File:Pisani-Dossi MS 23a-b.png|400px|center]]
| <p>[69] <em>I have trapped your sword by the hilt,<br/>And I will make you a great bargain with my edge and my point:<br/>Also, I am the counter to the sword in the raised hand;<br/>I can strike you and you are not able to touch me with the sword.</em></p>
+
| <p>[68] <em>I have trapped your sword by the hilt,<br/>And I will strike you a great bargain with edge and point:<br/>Also, I am the counter to the sword in the raised hand;<br/>I can strike you and you cannot touch me.</em></p>
  
 
<p>This is the grip that the student before me said to do to you. I can injure you without danger. I retain your sword's hilt, I will give you cuts and thrusts cheaply (with no risk?). And this play breaks all sword-disarms, and doing it immediately spoils the narrow play.</p>
 
<p>This is the grip that the student before me said to do to you. I can injure you without danger. I retain your sword's hilt, I will give you cuts and thrusts cheaply (with no risk?). And this play breaks all sword-disarms, and doing it immediately spoils the narrow play.</p>
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|  
 
|  
 
| [[File:MS Ludwig XV 13 29v-b.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 29v-b.jpg|400px|center]]
| <p>[70] This play is taken from the first play of the First Dagger Remedy Master, who places his left hand over the opponent’s wrist<ref>Fiore actually writes that you grip him “below the dagger” Fiore means you grip the opponent’s dagger arm around the wrist. This play is taken from the dagger play at Getty 10v-a. I’ve changed the language to make this understandable.</ref> to take the dagger from his hand. In similar fashion the student here places his left hand over the opponent’s right forearm, rotating it outwards to remove the sword from his right hand…<ref>I’ve again added some language here to make this play more understandable.</ref></p>
+
| <p>[69] This play is taken from the first play of the First Dagger Remedy Master, who places his left hand over the opponent’s wrist<ref>Fiore actually writes that you grip him “below the dagger” Fiore means you grip the opponent’s dagger arm around the wrist. This play is taken from the dagger play at Getty 10v-a. I’ve changed the language to make this understandable.</ref> to take the dagger from his hand. In similar fashion the student here places his left hand over the opponent’s right forearm, rotating it outwards to remove the sword from his right hand…<ref>I’ve again added some language here to make this play more understandable.</ref></p>
 
| <p>''Using the sword to strike back, I become acquainted with your very own shoulder,<br/>Or I would pierce you, or even at once I would confine this <that> arms.''</p>
 
| <p>''Using the sword to strike back, I become acquainted with your very own shoulder,<br/>Or I would pierce you, or even at once I would confine this <that> arms.''</p>
 
|  
 
|  
| rowspan="2" | {{section|Page:MS Ludwig XV 13 29v.jpg|29v-b}}
+
| rowspan="3" | {{section|Page:MS Ludwig XV 13 29v.jpg|29v-b}}
 
|  
 
|  
 
| {{section|Page:MS Latin 11269 27v.jpg|27v-a}}
 
| {{section|Page:MS Latin 11269 27v.jpg|27v-a}}
 +
 +
|-
 +
|
 +
| [[File:MS Latin 11269 28r-b.png|400px|center]]
 +
| <p>[70]</p>
 +
| <p>''In order for you to be able to overthrow my sword, with the left hand<br/>You have come. But here also, you yourself will die by means of the counter.''</p>
 +
 +
<p>''[This Master appears to be missing his crown.]''</p>
 +
|
 +
|
 +
| {{section|Page:MS Latin 11269 28r.jpg|28r-b}}
  
 
|-  
 
|-  
Line 5,493: Line 5,496:
 
|  
 
|  
 
| [[File:Pisani-Dossi MS 23b-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 23b-d.png|400px|center]]
| <p>[72] <em>You wanted to lock my sword under your arm<br/>But the counter makes evil come to you here.</em></p>
+
| <p>[72] <em>You wanted to enclose my sword under your arm<br/>But the counter brings you to an evil end here.</em></p>
  
 
<p>I am the counter to the student who preceded me, if he tries to use the second play of the First Dagger Remedy Master against me that you heard about previously, and this is how I am done. And when I do this play I doubt you will be able to remain on your feet holding your sword.<ref>Meaning he is going to drive you forwards face first into the ground. Note, this counter is also seen in the dagger plays and is taken from Getty 10v-d.</ref></p>
 
<p>I am the counter to the student who preceded me, if he tries to use the second play of the First Dagger Remedy Master against me that you heard about previously, and this is how I am done. And when I do this play I doubt you will be able to remain on your feet holding your sword.<ref>Meaning he is going to drive you forwards face first into the ground. Note, this counter is also seen in the dagger plays and is taken from Getty 10v-d.</ref></p>
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| <p>''That movement by which I rob the man during the playing with the sword<br/>Is called by nearly all “the high on the right” in close fighting weapons,<br/>Which I, Florius, myself demonstrated by many exchanges.''</p>
 
| <p>''That movement by which I rob the man during the playing with the sword<br/>Is called by nearly all “the high on the right” in close fighting weapons,<br/>Which I, Florius, myself demonstrated by many exchanges.''</p>
  
<p>This is the taking of the sword from above: with the hilt of my sword I push forward and with my left hand I grasp his arms in such a way that it would serve him well to lose his sword. And then the Scholar who is after will make a bargain with great strikes. This play he demonstrates as the sword of the player is positioned on the ground.</p>
+
<p>This is the taking of the sword from above: with the hilt of my sword I push forward and with my left hand I grasp his arms in such a way that it would serve him well to lose his sword. And then the Scholar who is after will strike a bargain with great strikes. This play he demonstrates as the sword of the player is positioned on the ground.</p>
  
 
<p>''[In the Paris, the Scholar reaches in front of his opponent's sword, and his foot is outside of (behind) his opponent's.]''</p>
 
<p>''[In the Paris, the Scholar reaches in front of his opponent's sword, and his foot is outside of (behind) his opponent's.]''</p>
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| <p>[4] {{red|b=1|The Raised Serpent}}</p>
 
| <p>[4] {{red|b=1|The Raised Serpent}}</p>
  
<p><em>I am the Raised Serpent,<br/>I shoot great thrusts down low.<br/>I also cover against cuts and thrusts,<br/>Those strikes are little trouble to me.</em></p>
+
<p><em>I am the Serpent, the Sovereign;<br/>I shoot great thrusts down low.<br/>I also cover against cuts and thrusts,<br/>Those strikes amount to little to me.</em></p>
  
 
<p>I am the High Serpent and I am well positioned to give great underhand thrusts, since I begin high but end low. I will throw a great thrust into you as I step. That is my skill and I do it well. Your cuts do not concern me in the slightest, because when it is time to hand out great thrusts, you’ll get a large portion from me.</p>
 
<p>I am the High Serpent and I am well positioned to give great underhand thrusts, since I begin high but end low. I will throw a great thrust into you as I step. That is my skill and I do it well. Your cuts do not concern me in the slightest, because when it is time to hand out great thrusts, you’ll get a large portion from me.</p>
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| <p>[5] {{red|b=1|The Middle Iron Gate}}</p>
 
| <p>[5] {{red|b=1|The Middle Iron Gate}}</p>
  
<p><em>I am the Iron Gate in the Middle:<br/>And I am always ready to throw great thrusts.</em></p>
+
<p><em>I am the Iron Gate in the Middle:<br/>Throwing great thrusts, I am always deceitful.</em></p>
  
 
<p>My name is Middle iron Gate, and whether you are armoured or unarmored I make strong thrusts. I step offline with my left foot and I put a thrust into your face. I can also place my point and blade between your arms in such a way that I will put you into the middle bind, as depicted and identified earlier.</p>
 
<p>My name is Middle iron Gate, and whether you are armoured or unarmored I make strong thrusts. I step offline with my left foot and I put a thrust into your face. I can also place my point and blade between your arms in such a way that I will put you into the middle bind, as depicted and identified earlier.</p>
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|  
 
|  
 
| [[File:MS Ludwig XV 13 33r-c.jpg|400px|center]]
 
| [[File:MS Ludwig XV 13 33r-c.jpg|400px|center]]
| <p>[8] <em>With this cover I believe that I can waste anyone,<br/>Following that which you see the Scholar do.</em></p>
+
| <p>[8] <em>With this cover I believe that I can waste anyone,<br/>Following that which you will see the Scholar do to you.</em></p>
  
 
<p>This cover is made from the True Cross Guard, when I step diagonally offline. And so that you can see what can be done from this cover, my students will show the plays that follow it, and since they are experienced in mortal combat, they will show these skills without hesitation.</p>
 
<p>This cover is made from the True Cross Guard, when I step diagonally offline. And so that you can see what can be done from this cover, my students will show the plays that follow it, and since they are experienced in mortal combat, they will show these skills without hesitation.</p>
Line 6,100: Line 6,103:
 
|  
 
|  
 
| [[File:Pisani-Dossi MS 26b-b.png|400px|center]]
 
| [[File:Pisani-Dossi MS 26b-b.png|400px|center]]
| <p>[23] <em>I will send you to the ground with my hilt,<br/>And I will then waste you with my point.</em></p>
+
| <p>[23] <em>I send you to the ground with my hilt,<br/>And then I waste you with my point.</em></p>
 
| <p>''Learned in my art, I will turn your body face-up onto the ground.<br/>Henceforth, I will penetrate your gloomy self with my point.''</p>
 
| <p>''Learned in my art, I will turn your body face-up onto the ground.<br/>Henceforth, I will penetrate your gloomy self with my point.''</p>
  
Line 6,116: Line 6,119:
 
|  
 
|  
 
| [[File:Pisani-Dossi MS 26b-c.png|400px|center]]
 
| [[File:Pisani-Dossi MS 26b-c.png|400px|center]]
| <p>[24] <em>You will either lose the sword from your left hand,<br/>Or you will go to the ground because of this entry I make.</em></p>
+
| <p>[24] <em>Either you will lose the sword from your left hand,<br/>Or you will go to the ground because of this entry I make.</em></p>
 
| <p>''Either you will leave your very own sword from the left part,<br/>Or you, gloomy one, are going into the ground. You cannot deny this.''</p>
 
| <p>''Either you will leave your very own sword from the left part,<br/>Or you, gloomy one, are going into the ground. You cannot deny this.''</p>
  
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| <p>[2] {{red|b=1|The Stance of the True Cross}}</p>
 
| <p>[2] {{red|b=1|The Stance of the True Cross}}</p>
  
<p>''I am the strong stance called the Cross:<br/>Neither blows of the axe nor thrusts can bother me.''</p>
+
<p>''I am the strong stance called the Cross:<br/>Nothing can bother me, neither blows of the axe nor thrusts.''</p>
  
 
<p>I am named the Guard of the True Cross, since I defend myself by crossing weapons, and the entire art of fencing and armed combat is based on defending yourself with the covers of crossed weapons. Strike as you wish, I’ll be waiting for you. And just as the student of the First Remedy Master of the sword in armor does, so I can do with a step and a thrust with my poleaxe.</p>
 
<p>I am named the Guard of the True Cross, since I defend myself by crossing weapons, and the entire art of fencing and armed combat is based on defending yourself with the covers of crossed weapons. Strike as you wish, I’ll be waiting for you. And just as the student of the First Remedy Master of the sword in armor does, so I can do with a step and a thrust with my poleaxe.</p>
Line 6,253: Line 6,256:
  
 
<p>''Behold, I am a Position of strength, and I am called the Cross. No blow is<br/>Bothersome to me, nor as yet the point of the poleaxe<ref>Literally “trident”, perhaps referring to the three striking surfaces of the weapon’s head (axe or hammer, hook, and spear point).</ref> at any time.''</p>
 
<p>''Behold, I am a Position of strength, and I am called the Cross. No blow is<br/>Bothersome to me, nor as yet the point of the poleaxe<ref>Literally “trident”, perhaps referring to the three striking surfaces of the weapon’s head (axe or hammer, hook, and spear point).</ref> at any time.''</p>
 +
 +
<p>''[This Master was initially missing his crown, but a crown seems to have been drawn in by a later annotator.]''</p>
 
|  
 
|  
 
| {{section|Page:MS Ludwig XV 13 35v.jpg|lbl=-|35v-bttl}}
 
| {{section|Page:MS Ludwig XV 13 35v.jpg|lbl=-|35v-bttl}}
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|  
 
|  
 
| [[File:MS Latin 11269 09r-c.png|400px|center]]
 
| [[File:MS Latin 11269 09r-c.png|400px|center]]
| <p>[7] <em>I have beaten your axe to the ground;<br/>And mine will quickly be thrust in your face.</em></p>
+
| <p>[7] <em>I have beaten your axe to the ground;<br/>Mine will quickly be thrust in your face.</em></p>
  
 
<p>These are the plays that these guards put to the test. Each guard can do them, and each guard believes it will prevail. As is drawn here, whoever beats his opponent’s poleaxe to the ground can do these plays, and will succeed as long as the opponent fails to counter him.</p>
 
<p>These are the plays that these guards put to the test. Each guard can do them, and each guard believes it will prevail. As is drawn here, whoever beats his opponent’s poleaxe to the ground can do these plays, and will succeed as long as the opponent fails to counter him.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 27b-b.png|400px|center]]
 
| [[File:Pisani-Dossi MS 27b-b.png|400px|center]]
| <p>[9] <em>I have come from the Boar's Tusk with my axe,<br/>And with that I have wounded you in the face.</em></p>
+
| <p>[9] <em>I am risen from the Boar's Tusk with my axe,<br/>And with that I have wounded you in your face.</em></p>
  
 
<p>The previous student can also do this play when he is at close range, as you can see here. He steps with his left foot on top of his opponent’s poleaxe head, and draws back his own poleaxe, then thrusts it into his opponent’s face.</p>
 
<p>The previous student can also do this play when he is at close range, as you can see here. He steps with his left foot on top of his opponent’s poleaxe head, and draws back his own poleaxe, then thrusts it into his opponent’s face.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 27b-c.png|400px|center]]
 
| [[File:Pisani-Dossi MS 27b-c.png|400px|center]]
| <p>[10] <em>I have lifted your visor—you can feel it—<br/>And I will bore out your teeth with my axe.</em></p>
+
| <p>[10] <em>I have lifted your visor—you feel it—<br/>And I will bore out your teeth with my axe.</em></p>
  
 
<p>The previous student saw that it was not possible to strike his opponent in the face with his poleaxe, because his opponent’s visor is too strong. So he advances his left foot forward and lifts the opponent’s visor, and drives his point into his face with as much force as he can give to his poleaxe. You can add on this play to any of the previous plays, as well as to any of the plays which follow.</p>
 
<p>The previous student saw that it was not possible to strike his opponent in the face with his poleaxe, because his opponent’s visor is too strong. So he advances his left foot forward and lifts the opponent’s visor, and drives his point into his face with as much force as he can give to his poleaxe. You can add on this play to any of the previous plays, as well as to any of the plays which follow.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 28a-a.png|400px|center]]
 
| [[File:Pisani-Dossi MS 28a-a.png|400px|center]]
| <p>[12] <em>I will make a quick rotation from this catch:<br/>Your axe will be lost, and mine will strike you in the face.<br/>&nbsp;</em></p>
+
| <p>[12] <em>I will make a quick rotation through this catch:<br/>You will lose your axe; mine will strike you in the head.<br/>&nbsp;</em></p>
  
 
<p>With a half-turn of this poleaxe I will take it from your hands. And once I have taken it from you with this particular turn, I will strike you in the head with it, as the next student shows. And I do not believe you will survive this.</p>
 
<p>With a half-turn of this poleaxe I will take it from your hands. And once I have taken it from you with this particular turn, I will strike you in the head with it, as the next student shows. And I do not believe you will survive this.</p>
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<br/><br/><br/><br/><br/><br/><br/><br/><br/>
 
<br/><br/><br/><br/><br/><br/><br/><br/><br/>
  
We are three guards of the left side and I am the first, in the Boar's Tusk. Those guards that are on the right side do the same as we do on the left side: we step out of the way, first advancing the foot which is behind (as was said, out of the way), and with our thrusts on the right side we make a bargain. And to finish the beat, both the right side and the left converge in a thrust so that other offenses with the lance cannot follow.
+
We are three guards of the left side and I am the first, in the Boar's Tusk. Those guards that are on the right side do the same as we do on the left side: we step out of the way, first advancing the foot which is behind (as was said, out of the way), and with our thrusts on the right side we strike a bargain. And to finish the beat, both the right side and the left converge in a thrust so that other offenses with the lance cannot follow.
 
|  
 
|  
 
<br/><br/><br/><br/><br/><br/><br/><br/><br/>
 
<br/><br/><br/><br/><br/><br/><br/><br/><br/>
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| <p>[11] <em>In this way I wait with the dagger and with the staff:<br/>The staff will make a cover, the dagger will strike you in the chest.<br/>And that which I do with a staff, I could also do with a sword,<br/>Although I could find much stronger plays with the sword.</em></p>
 
| <p>[11] <em>In this way I wait with the dagger and with the staff:<br/>The staff will make a cover, the dagger will strike you in the chest.<br/>And that which I do with a staff, I could also do with a sword,<br/>Although I could find much stronger plays with the sword.</em></p>
  
<p>This master awaits these two with their spears. The Master, who is waiting with a staff and a dagger, sees that the first intends to attack with an overhand strike, while the second intends to strike underhand. Before one opponent attacks with his spear,<ref>Fiore actually writes “When the opponent attacks…” But the guard must be assumed before the attack, not during it.</ref> the Master tilts his staff to the right, similar to the guard Full iron Gate, turning himself without moving his feet nor lifting the staff off the ground. And the Master waits in this guard. As one opponent attacks, the Master pushes the spear aside with his staff to the left, using his dagger too if needed. Following that cover, the Master steps and strikes. Both attackers with their spears will discover that this is his defense.</p>
+
<p>This Master awaits these two men with spears. The Master, who's waiting with a staff and a dagger, sees that the first intends to attack with an overhand strike, while the second intends to strike underhand. In each case, before either opponent attacks with his spear, the Master tilts his staff to the right, like the guard Low Iron Gate, turning himself without moving his feet or lifting the staff off the ground. And so the Master waits in this guard. As either opponent attacks, the Master pushes the spear aside with his staff to the left, using his dagger too if needed. Following that cover, the Master steps and strikes. Both attackers with their spears will discover that he has a good defense.</p>
 
| <p>''In the same way, holding fast to dagger and staff,<br/>I delay you while the staff offers cover to me, and that<br/>Dagger strikes the breast. Nevertheless, I drive out everything the sword would have accomplished, <br/>Using the staff. However, we can use the better<br/>Plays herein easily, exercising the nimble shoulders.''</p>
 
| <p>''In the same way, holding fast to dagger and staff,<br/>I delay you while the staff offers cover to me, and that<br/>Dagger strikes the breast. Nevertheless, I drive out everything the sword would have accomplished, <br/>Using the staff. However, we can use the better<br/>Plays herein easily, exercising the nimble shoulders.''</p>
  
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|-  
 
|-  
| <p>[12] This is the play of the Master who awaits the two opponents with their spears. The Master has a dagger in his right hand, and with his left hand he holds a staff vertically in front of him. He can show you this play, but I will demonstrate it for him. If my opponent had known what to do he could have easily avoided my dagger strike. If he had widened his grip on his spear, and made cover under my dagger (that is, a crossing) with the back end of his spear, then this would not have happened. If he had known how to do this counter with his spear, he would have destroyed me.</p>
+
| <p>[12] We were both planning on striking this master, but as you heard we can no longer do that, unless we deceive him [when he blocks our strike] by rotating our spear so that the steel blade is at the rear and then striking him with the spear-butt. Then, if he blocks the butt-strike, we'll rotate our spear again and strike him on his other side with the steel blade. That's how we will counter him.</p>
 
|  
 
|  
 
|  
 
|  
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|  
 
|  
 
| [[File:Pisani-Dossi MS 15a-c.png|400px|center]]
 
| [[File:Pisani-Dossi MS 15a-c.png|400px|center]]
| <p>[14] <em>I wait here with two sticks and a dagger:<br/>The one I will throw at you and with the other I will cover, coming to the narrow,<br/>And quickly I will strike you in the chest with my dagger.</em></p>
+
| <p>[14] <em>I wait here with two sticks and a dagger:<br/>I will throw the one at you and I will cover with the other, coming to the narrow,<br/>And I will quickly strike you in the chest with my dagger.</em></p>
  
 
<p>This Master defends with two cudgels against a spear, as follows: when the spear man approaches to attack, the Master with strikes at his opponent’s head with the cudgel in his right hand. Then he quickly strikes with the cudgel in his left hand so as to make cover against the spear, and then he strikes his opponent in the chest with his dagger, as is shown next.</p>
 
<p>This Master defends with two cudgels against a spear, as follows: when the spear man approaches to attack, the Master with strikes at his opponent’s head with the cudgel in his right hand. Then he quickly strikes with the cudgel in his left hand so as to make cover against the spear, and then he strikes his opponent in the chest with his dagger, as is shown next.</p>
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|  
 
|  
 
| [[File:Pisani-Dossi MS 32a-d.png|400px|center]]
 
| [[File:Pisani-Dossi MS 32a-d.png|400px|center]]
| <p>[17] <em>By crossing ahead of your sword I have deviated it<br/>And with mine I have given a great blow:<br/>And also I could have given it to you with my point;<br/>And none of the weapons that you have could stop me.</em></p>
+
| <p>[17] <em>By crossing ahead of your sword I have deviated it<br/>And with mine I have given a great blow:<br/>And also I could have given it to you with my point;<br/>And none of the weapons that you have amount to anything to me.</em></p>
  
 
This is the another play, the third, where, after beating aside your opponent’s sword, you grab it with your left hand and strike him in the head. You could also strike him with a thrust.
 
This is the another play, the third, where, after beating aside your opponent’s sword, you grab it with your left hand and strike him in the head. You could also strike him with a thrust.
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|  
 
|  
 
| [[File:Pisani-Dossi MS 33b-c.png|400px|center]]
 
| [[File:Pisani-Dossi MS 33b-c.png|400px|center]]
| <p>[28] <em>I want to throw you and your horse to the ground;<br/>The chest of mine will go to the crupper<ref>The armor covering the hindquarters of a horse.</ref> of yours:<br/>I will not release the bit of your horse,<br/>And in the end you will not avoid the ground;<br/>And when one is well-armored this is a fine hold,<br/>Because against armor you cannot make an offense.</em></p>
+
| <p>[28] <em>I want to throw you and your horse to the ground;<br/>The chest of mine will go to the crupper<ref>The armor covering the hindquarters of a horse.</ref> of yours:<br/>I will not release the bit of your horse,<br/>And in the end you will not avoid the ground;<br/>And when one is well-armored, this is a fine hold,<br/>Because an offense cannot be made with weapons.</em></p>
  
 
This is a method of throwing your opponent to the ground by throwing his horse. It’s done like this:<ref>I’ve removed the redundant repetition.</ref> when you and your mounted opponent close, ride to his right side. Then throw your right arm over the neck of his horse, and grab the bridle close to where the bit enters its mouth, and forcefully wrench it upwards and over. At the same time make sure your horse’s shoulders<ref>Petto means chest but no part of a horse is named the “chest”, so I changed this to “shoulders” which refers to the area of the horse Fiore is talking about that would ram the opponent’s horse.</ref> drive into his horse’s haunches<ref>The “groppa” means the crupper, which refers to the horse’s hind quarters.</ref> In this way you will bring down both him and his horse at the same time.
 
This is a method of throwing your opponent to the ground by throwing his horse. It’s done like this:<ref>I’ve removed the redundant repetition.</ref> when you and your mounted opponent close, ride to his right side. Then throw your right arm over the neck of his horse, and grab the bridle close to where the bit enters its mouth, and forcefully wrench it upwards and over. At the same time make sure your horse’s shoulders<ref>Petto means chest but no part of a horse is named the “chest”, so I changed this to “shoulders” which refers to the area of the horse Fiore is talking about that would ram the opponent’s horse.</ref> drive into his horse’s haunches<ref>The “groppa” means the crupper, which refers to the horse’s hind quarters.</ref> In this way you will bring down both him and his horse at the same time.
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| authors    = [[Bibliothèque Nationale de France]]
 
| authors    = [[Bibliothèque Nationale de France]]
 
| source link = http://gallica.bnf.fr/ark:/12148/btv1b8514426f
 
| source link = http://gallica.bnf.fr/ark:/12148/btv1b8514426f
| source title= Bibliothèque Nationale de France
+
| source title= Gallica
| license    = permission
+
| license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
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== Additional Resources ==
 
== Additional Resources ==
  
* [[user:Michael Chidester|Chidester, Michael]]. ''The Flower of Battle: MS M 383.'' Somerville, MA: [[HEMA Bookshelf]], 2021. ISBN 978-1-953683-07-6
+
{{bibliography}}
* Deacon, Jacob Henry. "Prologues, Poetry, Prose and Portrayals: The Purposes of Fifteenth Century Fight Books According to the Diplomatic Evidence". ''[[Acta Periodica Duellatorum]]'' '''4'''(2): 69-90. 2016. {{doi|10.36950/apd-2016-014}}
 
* [[Colin Hatcher|Hatcher, Colin]]. ''The Flower of Battle: MS Ludwig ⅩⅤ 13''. Ed. Tracy Mellow. Tyrant Industries, 2017. ISBN 978-0-9847716-8-4
 
* Hayes, Sean. "Memory and Performance: Visual and Rhetorical Strategies of Il Fior di Battaglia". ''Can These Bones Come to Life? Insights from Reconstruction, Reenactment, and Re-creation'' '''1''': 62-29. Wheaton, IL: [[Freelance Academy Press]], 2014. ISBN 978-1-937439-13-2
 
* Leoni, Tom. ''Fiore de’ Liberi’s Fior di Battaglia''. 1st ed. Self-published, 2009. 2nd ed. Wheaton, IL: [[Freelance Academy Press]], 2012.
 
* Leoni, Tom and Mele, Greg. ''Flowers of Battle, Volume 1: Historical Overview and the Getty Manuscript''. Wheaton, IL: [[Freelance Academy Press]], 2017. ISBN 978-1-937439-18-7
 
* Lodà, Francesco (in Italian). ''Florius. De arte luctandi. Traduzione e cura del testo di Francesco Lodà.'' Rome: Bonanno Editore, 2014. ISBN 978-88-96950-86-9
 
* Malipiero, Massimo (in Italian). ''Il Fior di battaglia di Fiore dei Liberi da Cividale: Il Codice Ludwing ⅩⅤ 13 del J. Paul Getty Museum''. Udine: Ribis, 2006. ISBN 978-887-44503-5-0
 
* Marsden, Richard. ''The Flower of Battle: MS Latin 11269''. Trans. Benjamin Winnick. Tyrant Industries, 2019. ISBN 978-0-9847716-3-9
 
* Mondschein, Ken. ''The Knightly Art of Battle''. Los Angeles: [[J. Paul Getty Museum]], 2011. ISBN 978-160-60607-6-6
 
* Mondschein, Ken. "Notes on Bibliothèque Nationale MS Lat. 11269, ''Florius de Arte Luctandi''". ''Arms & Armour'' '''8'''(2): 117-22. October 2011. {{doi|10.1179/174962611X13097916223163}}
 
* Mondschein, Ken. "On the Art of Fighting: A Humanist Translation of Fiore dei Liberi’s Flower of Battle Owned by Leonello D’Este". ''[[Acta Periodica Duellatorum]]'' '''6'''(1): 99-135. 2018. {{doi|10.2478/apd-2018-0004}}
 
* Mondschein, Ken and Mele, Greg. ''Flowers of Battle, Volume 3: Florius de Arte Luctandi''. Wheaton, IL: [[Freelance Academy Press]], 2018. ISBN 978-1-937439-19-4
 
* [[Francesco Novati|Novati, Francesco]] (in Italian). ''[[:File:Novati (Full).pdf|Flos Duellatorum, Il Fior di Battaglia di Maestro Fiore dei Liberi da Premariacco]]''. Bergamo: Instituto Italiano d'Arte Grafiche, 1902.
 
* Палій, Людмила Іванівна (in Ukrainian). "Витоки художнього стилю ілюстрацій «Квітки Битви» майстра Фіоре Фріулано деі Лібері". ''Науковий вісник Ужгородського університету'' '''2'''(43): 84-102, 2020. {{doi|10.24144/2523-4498.2(43).2020.217366}}
 
* Rapisardi, Giovanni (in Italian). ''Fiore de’ Liberi Flos Duellatorum - in armis, sine armis equester et pedesta''. Gladitoria Press, 1998. ISBN 978-888-94041-6-4
 
* [[Marco Rubboli|Rubboli, Marco]]; [[Luca Cesari|Cesari, Luca]] (in Italian). ''Flos Duellatorum. Manuale di Arte del Combattimento del ⅩⅤ secolo''. Rome: [[Il Cerchio Iniziative Editoriali]], 2002. ISBN 88-8474-023-1
 
* [[Philippo di Vadi|Vadi, Filippo]]. ''Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi''. Trans. Luca Porzio and Gregory Mele. Union City, CA: [[Chivalry Bookshelf]], 2002. ISBN 978-1891448164
 
* [[Philippo di Vadi|Vadi, Filippo]]; [[Marco Rubboli|Rubboli, Marco]]; [[Luca Cesari|Cesari, Luca]] (in Italian). ''L’arte Cavalleresca del Combattimento''. Rome: [[Il Cerchio Iniziative Editoriali]], 2005. ISBN 88-8474-079-7
 
* [[Guy Windsor|Windsor, Guy]]. ''The Art of Sword Fighting in Earnest: Philippo Vadi’s De Arte Gladiatoria Dimicandi''. Spada Press, 2018. ISBN 978-952-7157-37-4
 
* [[Guy Windsor|Windsor, Guy]]. ''From Medieval Manuscript to Modern Practice: The Longsword Techniques of Fiore dei Liberi''. Spada Press, 2020. ISBN 978-9527157558
 
* [[Guy Windsor|Windsor, Guy]]. ''Veni Vadi Vici. A Transcription, Translation and Commentary of Philippo Vadi's De Arte Gladiatoria Dimicandi.'' The School of European Swordsmanship, 2013. ISBN 978-952-93-1686-1
 
* [[Luigi Zanutto|Zanutto, Luigi]] (in Italian). ''[http://www.historicalfencing.org/PDF/Zanutto-Fiore%20da%20Premariacco.pdf Fiore di Premariacco ed I Ludi e Le Feste Marziali e Civili in Friuli]''. Udine: D. Del Bianco, 1907.
 
  
 
== References ==
 
== References ==
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[[Category:New format]]
 
[[Category:New format]]
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[[Category:Modular display candidate]]

Latest revision as of 20:10, 5 March 2024

Fiore Furlano de’i Liberi

This man appears sporadically throughout both the Getty and Pisani Dossi MSS, and may be a representation of Fiore himself.
Born Cividale del Friuli
Relative(s) Benedetto de’i Liberi (father)
Occupation
Nationality Friulian
Patron
  • Gian Galeazzo Visconti (?)
  • Niccolò Ⅲ d’Este (?)
Influences
Influenced Philippo di Vadi
Genres
Language
Notable work(s) The Flower of Battle
Manuscript(s)
Concordance by Michael Chidester
Translations

Fiore Furlano de’i Liberi de Cividale d’Austria (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; fl. 1381 - 1409) was a late 14th century knight, diplomat, and fencing master. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.[1][2][3] The term Liberi, while potentially merely a surname, more probably indicates that his family had Imperial immediacy (Reichsunmittelbarkeit), either as part of the nobili liberi (Edelfrei, "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.[4][5][6] It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Heinrich V,[7][8][9] but this has yet to be proven.[10]

Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands.[1][2][3] He had ample opportunity to interact with both, traveling widely in the Italian states that formed the border of the Holy Roman Empire. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student.[3] He further mentions that on five separate occasions he was forced to fight duels for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp swords, unarmored except for gambesons and chamois gloves, and he won each without injury.[1][2][11]

Writing very little on his own career as condottiero, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one Johane dicto Suueno, who he notes was a disciple of Nicholai de Toblem;[3] unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well known in Fiore's time. He further offered an extensive list of the famous condottieri that he trained, including Piero Paolo del Verde (Peter von Grünen),[12] Niccolo Unricilino (Nikolo von Urslingen),[13] Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),[14] Lancillotto Beccaria di Pavia,[15] Giovannino da Baggio di Milano,[16] and Azzone di Castelbarco,[17] and also highlights some of their martial exploits.[1][2]

The only known historical mentions of Fiore appear in connection with the Aquileian War of Succession, which erupted in 1381 as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly appointed Patriarch (prince-bishop of Aquileia), Philippe Ⅱ Cardinal d'Alençon. Fiore seems to have supported the secular nobility against the Cardinal; he traveled to Udine in 1383 and was granted residency in the city on 3 August.[18] On 30 September, the high council tasked him with inspection and maintenance of city's weapons, including the artillery pieces defending Udine (large crossbows and catapults).[5][19][20] In February of 1384, he was assigned the task of recruiting a mercenary company to augment Udine's forces and leading them back to the city.[21] This task seems to have been accomplished in three months or less, as on 23 May he appeared before the high council again and was sworn in as a sort of magistrate charged with keeping the peace in one of the city's districts. After May 1384, the historical record is silent on Fiore's activities; the war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records four times in 1383-4, it would be quite odd for him to be completely unmentioned over the subsequent five years if he remained,[5][22] and since his absence from records coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.

Based on his autobiographical account, Fiore traveled a good deal in northern Italy, teaching fencing and training men for duels. He seems to have been in Perugia in 1381 in this capacity, when his student Peter von Grünen likely fought a duel with Peter Kornwald.[23]

In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean Ⅱ le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. It was jointly hosted by Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua. The duel was to begin with spears on horseback, but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.[24][20][14]

Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on 24 June and hosted by Gian Galeazzo Visconti, Duke of Milan. The duel was to consist of three bouts of mounted lance followed by three bouts each of dismounted poleaxe, estoc, and dagger. They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor (and the fact that all of the weapons were blunted), both combatants reportedly emerged from these exchanges unharmed.[16][25]

Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco against Giovanni degli Ordelaffi, as the latter is known to have died in 1399.[26] After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career.[20] Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as Fior di Battaglia, Florius de Arte Luctandi, and Flos Duellatorum). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort;[3] since evidence suggests that at least two longer versions were composed some time before this,[27] we may assume that he devoted a considerable amount of time to writing during this decade.

Beyond this, nothing certain is known of Fiore's activities in the 15th century. Francesco Novati and Luigi Zanutto both assume that some time before 1409 he accepted an appointment as court fencing master to Niccolò Ⅲ d’Este, Marquis of Ferrara, Modena, and Parma; presumably he would have made this change when Milan fell into disarray in 1402, though Zanutto went so far as to speculate that he trained Niccolò for his 1399 passage at arms.[28] However, while the records of the d’Este library indicate the presence of two versions of "the Flower of Battle", it seems more likely that the manuscripts were written as a diplomatic gift to Ferrara from Milan when they made peace in 1404.[25][20] C. A. Blengini di Torricella stated that late in life he made his way to Paris, France, where he could be placed teaching fencing in 1418 and creating a copy of a fencing manual located there in 1420. Though he attributes these facts to Novati, no publication verifying them has yet been located and this anecdote may be entirely spurious.[29]

The time and place of Fiore's death remain unknown.

Despite the extent and complexity of his writings, Fiore de’i Liberi does not seem to have been a very significant master in the evolution of fencing in Central Europe. That field was instead dominated by the traditions of two masters of the subsequent generation: Johannes Liechtenauer in Bavaria and Filippo di Bartolomeo Dardi in Bologna. Even so, there are a few later treatises which bear strong resemblance to his work, including the writings of Philippo di Vadi and Ludwig VI von Eyb. This may be due to the direct influence of Fiore or his writings, or it may instead indicate that the older tradition of Johane and Nicholai survived and spread outside of Fiore's direct line.

Treatise

The d’Este family owned at least three manuscripts by Fiore during the 15th century,[30] and a total of four copies survive to the present. Of these, the MS Ludwig ⅩⅤ 13 (Getty) and the Pisani Dossi MS (Novati) are both dedicated to Niccolò Ⅲ d’Este and state that they were written at his request and according to his design. The MS M.383 (Morgan), on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence, while the MS Latin 11269 (Paris) lost any dedication it might have had along with its prologue. Each of the extant copies of the Flower of Battle follows a unique specific sequence of plays, though the Getty and Novati contain strong similarities to each other in order of presentation, as do the Morgan and Paris.

In addition, Philippo di Vadi’s manuscript from the 1480s, whose second half is essentially a redaction of the Flower of Battle, provides a valuable fifth point of reference when considering Fiore’s teachings. (These is also a 17th century copy of the Morgan’s preface, transcribed by Apostolo Zeno, but it contributes little to our understanding of the text.)

The major sections of the work include: abrazare or grappling; daga, including both unarmed defenses against the dagger and plays of dagger against dagger; spada a un mano, the use of the sword in one hand (also called "the sword without the buckler"); spada a dui mani, the use of the sword in two hands; spada en arme, the use of the sword in armor (primarily techniques from the shortened sword); azza, plays of the poleaxe in armor; lancia, spear and staff plays; and mounted combat (including the spear, the sword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as bastoncello, or plays of a small stick or baton against unarmed and dagger-wielding opponents; plays of sword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the chiavarina against a man on horseback.

The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters (or Teachers), figures in golden crowns who each demonstrate a particular guard for use with their weapon. These are followed by a master called Remedio ("Remedy") who demonstrates a defensive technique against some basic attack (usually how to use one of the listed guards to defend), and then by his various Scholars (or Students), figures wearing golden garters on their legs who demonstrate iterations and variations of this remedy. After the scholars there is typically a master called Contrario ("Counter" or "Contrary"), wearing both crown and garter, who demonstrates how to counter the master’s remedy (and those of his scholars), who is likewise sometimes followed by his own scholars in garters. In rare cases, a fourth type of master appears called Contra-Contrario ("Counter-counter"), who likewise wears the crown and garter and demonstrates how to defeat the master’s counter. Some sections feature multiple master remedies or master counters, while some have only one. While the crowns and garters are used across all extant versions of the treatise, the specific implementation of the system varies; all versions include at least a few apparently errors in assignation of crowns and garters, and there are many cases in which an illustration in one manuscript will only feature a scholar’s garter where the corresponding illustration in another also includes a master’s crown (depending on the instance, this may either be intentional or merely an error in the art). Alone of the four versions, the Morgan seeks to further expand the system by coloring the metallic portions of the master or scholar’s weapon silver, while that of the player is left uncolored; this is also imperfectly-executed, but seems to have been intended as a visual indicator of which weapon belongs to which figure.

The concordance below includes Zeno’s transcription of the Morgan preface for reference, and then drops the (thereafter empty) column in favor of a second illustration column for the main body of the treatise. (The Zeno transcript is in the first transcription column even though it’s the youngest source so that the others can remain in the same position throughout.) Generally only the right-side column will contain illustrations—the left-side column will only contain additional content when when the text describes an illustration that spans the width of the page in the manuscripts, or when there are significant discrepancies between the available illustrations (in such cases, they sometimes display two stages of the same technique and will be placed in "chronological" order if possible). The illustrations from the Getty, Morgan, and Paris are taken from high-resolution scans supplied by those institutions, whereas the illustrations of the Pisani Dossi are taken from Novati’s 1902 facsimile (scanned by Wiktenauer). There are likewise two translation columns, with the the two manuscripts dedicated to Niccolò on the left and the two undedicated manuscripts on the right; in both columns, the short text of the PD and Paris will come first, followed by the longer paragraphs of the Getty and Morgan.

Additional Resources

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

References

  1. 1.0 1.1 1.2 1.3 Fiore de'i Liberi. Fior di Battaglia [manuscript]. MS M.383. New York City: Morgan Library & Museum, ca. 1400. ff 1r-2r.
  2. 2.0 2.1 2.2 2.3 Fiore de'i Liberi. Fior di Battaglia [manuscript]. MS Ludwig ⅩⅤ 13 (ACNO 83.MR.183). Los Angeles: J. Paul Getty Museum, ca. 1400. ff 1r-2r.
  3. 3.0 3.1 3.2 3.3 3.4 Fiore de'i Liberi. Flos Duellatorum [manuscript]. Pisani Dossi MS. Italy: Private Collection, 1409. f 1rv.
  4. He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.
  5. 5.0 5.1 5.2 Mondschein, p 11.
  6. Howe, Russ. “Fiore dei Liberi: Origins and Motivations”. Journal of Western Martial Art. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2015-11-23.
  7. Giusto Fontanini. Della Eloquenza italiana di monsignor Giusto Fontanini, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.
  8. Gian Guiseppe Liruti. Notizie delle vite ed opere scritte da' letterati del Friuli, vol. 4 (in Italian). Alvisopoli, 1830. p 27.
  9. Novati, pp 15-16.
  10. Malipiero, p 80.
  11. 15th century jurist Paride del Pozzo, in discussing Italian dueling customs, dismisses unarmored duels as the ignoble domain of the rash and the hot-headed, contrasted with honorable dueling done in armor with the full range of military weapons. This might provide insight into Fiore's disposition as a young man. See Pozzo book 4, chapter 3, and also Leoni 2012, pp ⅹⅹⅳ-ⅹⅹⅴ.
  12. “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2015-11-23.
  13. Leoni, p 7.
  14. 14.0 14.1 “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2015-11-23.
  15. “LANCILLOTTO BECCARIA (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”. Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550. Retrieved 2015-11-23.
  16. 16.0 16.1 Malipiero, pp 94-96.
  17. Fiore his masters and his students. Hans Talhoffer ~ as seen by Jens P. Kleinau. Retrieved 2015-11-23.
  18. Malipiero, p 84.
  19. Malipiero, p 85.
  20. 20.0 20.1 20.2 20.3 Easton, Matt. “Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum”. London: Schola Gladiatoria, 2009. Retrieved 2015-11-23.
  21. Malipiero, p 86.
  22. Malipiero, pp 85-88.
  23. This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See Fiore his masters and his students, Hans Talhoffer ~ as seen by Jens P. Kleinau, in English and “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.” and “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”, Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550, in Italian. Retrieved 2015-11-23.
  24. Malipiero, pp 55-58.
  25. 25.0 25.1 Mondschein, p 12.
  26. Malipiero, p 97.
  27. Fiore states in the preface to the Pisani Dossi MS that he had studied combat for fifty years, whereas the comparable statement in the MS M.383 and MS Ludwig ⅩⅤ 13 mention the slightly shorter "forty years and more".
  28. Zanutto, pp 211-212.
  29. In 1907, fencing master C. A. Blengini di Torricella mentioned that “In 1904, a historical work by Francesco Novati, Director of the Academy in Milano and Gaffuri, Director of the graphical institute in Bergamo was published… These two prominent scholars uncovered documents, found in different archives, …Rules for Fencing were printed by Fiore dei Liberi in 1420… And how could then dei Liberi have taught fencing lessons in Paris in 1418?” (translated from Norwegian by Roger Norling). See Blengini, di Torricella C. A. Haandbog i Fægtning med Floret, Kaarde, Sabel, Forsvar med Sabel mod Bajonet og Sabelhugning tilhest: Med forklarende Tegninger og en Oversigt over Fægtekunstens Historie og Udvikling. 1907. p 28.[Full citation needed]
  30. There are two records in the 1436 catalog and two records in the 1467 catalog, but only one of the manuscript descriptions is similar between the catalogs. The 1436 catalog lists one unbound Latin manuscript and one Italian manuscript in red leather; the 1467 catalog lists two Latin manuscripts, one of which was only 15 unbound folia (probably the same as the one from 1436) and one of which was 58 folia bound in white leather. From this, we might speculate that the Getty manuscript was present in 1436, the Paris manuscript in 1467, and the third (very short) manuscript is currently unknown to us. If there were an error in the 1467 catalog, then the unknown manuscript could be the Pisani Dossi, which currently consists of 35 unbound folia.
  31. 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.
  32. 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”).
  33. 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.
  34. “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”.
  35. 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.
  36. “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.
  37. 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.
  38. Here is where Fiore names his martial art: “Arte d’Armizare”—“the Art of Armed Combat”.
  39. “in Sbarra” means literally “at the barriers”. In many medieval sporting events the combatants would fight with swords 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.
  40. 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.
  41. 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.
  42. 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.
  43. 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.
  44. Niccolo “Inghileso” (Getty and Morgan) translates as Nicholas “the Englishman”. However, there is no historical record as to who this person was.
  45. 45.0 45.1 The city of Imola is about 120 miles south-west of Venice.
  46. 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.
  47. 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.
  48. Padova (Padua) is about 20 miles west of Venice.
  49. 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.
  50. 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.
  51. Notice that although these are “sporting events” they were using real spears.
  52. Baldassarro (Getty), Baldesar (Morgan) refers to the German knight Balthasar von Braunschweig-Grubenhagen (1336-1385)
  53. 53.0 53.1 Ferri moladi is an ambiguous term: molare means "to grind with a stone", but it's unclear whether this means the lance was sharp or blunt since both processes would involve a stone. However, another period account of Sirano's duel specifies that it was with lancee acute or sharp lances, so that's probably the grinding that Fiore meant.
  54. 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.
  55. The city of Pavia is 20 miles south of Milan.
  56. The identity of the German squire named Sram (Getty and Morgan), Schraam, or Schramm, is not known.
  57. 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.
  58. Çuanne di Ordelaffi (Getty), Zohanni di li Ordelaffig (Morgan) refers to Giovanni Ordelaffi, an Italian condottiero captain (1355-1399).
  59. Jacomo di Boson (Getty), Jacomo de Besen (Morgan), or Giacomo da Boson, likely refers to the German nobleman Jakob von Bozen.
  60. These were duels of honor, and were taken very seriously in these times.
  61. Fiore actually says that the swords are “di taglo e di punta” meaning literally “for cutting and thrusting”, or “sharp edged and pointed”.
  62. A “çuparello darmare” or “zuparello d’armare” is an arming jacket, that is, a cloth padded jacket worn underneath armour as a foundation garment.
  63. We don’t know if this means he won all five duels, or simply acquitted himself well. But he says he was not injured.
  64. 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.
  65. If they never lost and always acquitted themselves honorably, then presumably they always either won or drew.
  66. Letter scratched out, possibly "n".
  67. 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.
  68. 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.”
  69. 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”.
  70. 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.
  71. 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.
  72. The word solaço means “pleasure”. Fiore means grappling for sport. Fiore is distinguishing between fighting for fun and fighting to the death.
  73. The expression da ira means “in anger”. Fiore is contrasting this with grappling for fun. Thus I have translated ira as “earnest”.
  74. 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.
  75. The word crudelita means “cruelty”. I prefer the word “viciousness” here.
  76. The taking of guards would suggest he has some training and thus some skill in grappling.
  77. The words are prese (“holds”, “grips” or grapples”) and ligadure (“locks” or “binds”).
  78. inle femine sottol mento means literally “in the soft part below the chin”. Fiore means the throat/larynx.
  79. The fianchi, the “flanks”, are the unprotected (“soft”) areas of the side of the torso, below the lower ribs but above the hips.
  80. chose means literally “eight things”.
  81. 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.
  82. 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.
  83. 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.
  84. 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”.
  85. Written at the end of the line, with a mark indicating the insertion point.
  86. Literally “Masters of the Battle” or “Masters of the Fight”.
  87. Fiore just calls him the “Second Master”, but Fiore means by this that he is the Second Master of Battle.
  88. 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.
  89. 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.”
  90. 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.
  91. 91.0 91.1 Should be "et e"?
  92. 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.
  93. Fiore actually says libro (“book”), but I’ve changed it to “system”.
  94. The word Rubriche means writing in red ink. I chose to translate this word simply as “text”.
  95. "e di maistri" appears twice in a row in the text, but isn't struck out like other duplications.
  96. Corrected from "a"(?) to "i".
  97. 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.
  98. 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.)
  99. Word disrupted by a lynx.
  100. “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”).
  101. “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.
  102. 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.
  103. “la sagitta del cielo” means literally “the arrow from the sky”. Fiore means of course a bolt of lightning.
  104. “Avanzare” means to excel or surpass. I understand Fiore to be saying that the Tiger is faster than lightning.
  105. The bottom of the page, including the elephant verse, has been cut off.
  106. “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.”
  107. Added later: "pro".
  108. Added later: "scilicet tu".
  109. It looks like the period maybe was changed to a slash/comma.
  110. Nec sine is an emphatic, not a negation.
  111. Phrase doubled.
  112. Maybe should have been "terra"?
  113. 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.
  114. Added later: "+ ut".
  115. Added later: "+ posuj".
  116. Added later: "scilicet ego".
  117. Added later: "situ".
  118. Added later: "+ mergit(?)".
  119. Added later: "scilicet ego".
  120. Tot: so many, such a number.
  121. Added later: "tu scilicet".
  122. "senza" appears twice, but neither is struck out.
  123. "de" appears twice, but neither is struck out.
  124. Maybe "laevo".
  125. Possibly a scribal error—the first sentence seems to be missing a “me” and the second has one it doesn’t need.
  126. The illustration clearly shows a thrust to the arm, not the shoulder.
  127. Could be “praesto”, Latin adv. “ready, available” or Italian “presto”.
  128. Added later: "scilicet occidam"
  129. The character (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.
  130. 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.”
  131. Added later: "scilicet ego".
  132. 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.
  133. Or "backhand cover"
  134. Or "of the backhand cover"
  135. Or "reverse cover"
  136. Added later: "scilicet ego".
  137. 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.
  138. Denodare appears to be a technical term for breaking or dislocating limbs; appears only in Ducange.
  139. Added later: "scilicet revolutum".
  140. Or "Master's reverse cover"
  141. Or "with the reverse cover"
  142. Added later: "ego s."
  143. 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).
  144. There is an unreadable marking here.
  145. Added later: "ego scilicet".
  146. Added later: "scilicet ego".
  147. 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).
  148. See Capelli 285; this can be read as either prope (near) or proprie (specifically).
  149. Literally “the two palms”.
  150. Should be "defendam".
  151. Note: pectora is plural, perhaps meant to indicate both halves of the chest.
  152. refers to elbow 'cubitum' or fist 'pugnum'
  153. Or “I put to the test where I would at once bend you back acutely.”
  154. Added later: "vel probabo(?)".
  155. Or “I will not be deceived while breaking the left shoulder.”
  156. Or possibly “weighed”.
  157. Added later: "~ ut".
  158. Written as segnodo, but with a mark that seems to indicate the letters should be switched.
  159. "lo" appears twice, but neither is struck out.
  160. N.B. “I will enter” begins the fourth line in the Latin. It was moved to fit English sentence structure.
  161. Variant of "namque".
  162. There's a marginal note that's hard to interpret: "n p o" or perhaps "R P O".
  163. "vidi" appears twice, but neither is struck out.
  164. Meaning “if you know how to use a dagger to fight against a sword”.
  165. The word Fiore uses is “rebatter” which means “to beat back”. This suggests a hard block, not a gentle parry.
  166. Fiore just writes “with a turn” (“in un voltare”), but I have added language to make it clearer that he is talking about the move with his dagger as well as the footwork.
  167. Here Fiore literally says “you need the close game”. Note that “zogo stretto” can mean both “Narrow Play”, or the “Narrow Game”, or simply “close range”. Here I believe the translation “close with your opponent” works best.
  168. “Zugadore” means “player”. Here I’ve used “attacker” to make the translation more understandable.
  169. Fiore is pointing out that this play is made early, after the opponent has made cover with his dagger but before the opponent has had time to launch a Remedy. Since the Remedy was never launched, no Counter is needed. Note Fiore calls the man with the dagger “the Master who waits in guard with his dagger”. I have shortened this to “dagger Master”.
  170. See Getty 20v-c and 20v-d.
  171. See Getty 10v-c.
  172. I can see no relevance to Fiore’s comment here that the middle bind is made “a hands-breadth from the face”. The middle bind technique in the dagger section is NOT made close to either your own face or your opponent’s face. It remains a mystery, other than to point out that the entire text of the Getty is written in loose rhyme. Here Fiore chooses the word “spana” to rhyme with the earlier word “mezana”. That appears to me to be the sole reason for its use here.
  173. Corrected from "u" to "a".
  174. Added later: "scilicet si".
  175. Meaning here is a play where the attacker with the dagger is defeated.
  176. Cavezo means “collar”, that is, the front of the tunic up at the neck. In modern terminology it is a lapel grab.
  177. See Getty 10v-a.
  178. See Getty 10v-c.
  179. The conclusion to this play is not illustrated in Fior di Battaglia, but does appear in Blume des Kampfes; see Cod.5278 202r, MS B.26 32v, and Cod.10799 199r.
  180. Fiore literally says “returning my foot that is in front to the back”. This refers to a passing step backwards with the right foot.
  181. A “grande fatto” is something of great worth, like a mighty deed.
  182. “Tristo” can mean “sad”, but it can also mean “crafty”, “clever”, or “skillful”
  183. “Cativi” means “cowardly wretches”. Here Fiore’s Master is talking directly to the three men who seek his death.
  184. The "s" replaces an earlier letter that was scraped off, possible "S".
  185. Written as "e" and then corrected to "i".
  186. Word contains both an abbreviation for "r" and another letter was overwritten to "r"; it could also be read as "ferirere", but that's not a word.
  187. The second letter appears to have been corrected.
  188. A pun for ridere/riddare?.
  189. “ala traversa”—crosswise. Here this means sideways.
  190. Remember, “passando” might mean “passing” (passing step) or it might mean simply “stepping”.
  191. Tentative reading; badly damaged
  192. Tentative reading; badly damaged
  193. Tentative reading; badly damaged
  194. Badly damaged; also, could be a variant spelling of laeva.
  195. Accusative of duration of time
  196. “Magistro” means both “Master” and “Teacher”. The translation “teacher” works well here.
  197. Lit. “made to the fingernails”, an expression meaning to be a perfect person.
  198. This page shows signs of scraping and rewriting.
  199. this might be vindicaveram instead
  200. Getty 10v-c
  201. Romans used dative to describe body parts
  202. “Butare” actually means to “cast” or “throw”. I decided “wrap” would work better here.
  203. “Zitassi” means “cast” as in “threw”.
  204. “Ardito” means “bold”, “passionate” (“ardent”). But here I went after the meaning as I understand it, which is with intensity, thus “aggressively”.
  205. The expression “stando fermo” translates literally as “remaining firm”. In the context of Fiore’s art I interpret this “volta” when referring to step (footwork) to refer to weight transfers between the two feet with the feet turning slightly on the balls of the feet, but without actually stepping. Used in relation to the crossed swords, I translate “stando fermo” as “maintaining pressure”. In my interpretation this refers to crossed swords in front of the opponent’s sword attack, maintaining strong pressure against his blade, crossing his blade at the “front”, i.e. the incoming sword, and then thrusting to the “back”, i.e. at the opponent’s body. The “volta” or “turn” of the sword involved here is a clockwise rotation of the sword around its long axis, i.e. a “screwing” motion as you turn the sword from crossguard more vertical to crossguard more horizontal. This motion is of course the Germanic tradition “winden” or “winding” of the sword. Thus I translate “volta stabile” as a “turn in place”.
  206. Fiore’s word is actually “cose”—“things”. In this context it is better translated as “movements”, “steps” or “footwork”.
  207. “Tornare” literally means “to return”. Thus it is a “returning” step. Note it does NOT mean “to turn”. In certain instances “tornare” refers simply to a passing step backwards, i.e. the reverse of a passing step forwards. Elsewhere it is used by Fiore to show a second movement that returns along the path the first movement took.
  208. “Accressere” means literally “to increase”. The noun form would be “accresso” or “accressimento”. As I interpret it it refers to a shuffle step in any direction where the lead foot moves out away from the body first, resulting in an increase in distance between the feet. Fiore does not include passing steps forward or backward under this term.
  209. “Discressere” means literally “to decrease”. The noun form would be “discresso” or “discressimento”. As I interpret it this refers to a shuffle step in any direction where the first foot that moves, moves back towards the body, i.e. the distance between the feet is shortened (decreased). A shuffle step forwards thus is made up of two of Fiore’s “cose”: first an “accresso” as the lead foot moves forward, then a “discresso”, as the rear foot moves forwards too.
  210. The word Fiore uses is not “and” (“e”) but is “perche”, which usually translates as “because”. But if we translate the line with “because” then it reads “I am named the guard or post of the Lady, because I am distinct from the other sword grips.” That line then makes no sense at all, and certainly does NOT tell us WHY the high guard over the shoulder is named “Guard of the Lady”. I’ve changed it to make more sense.
  211. Fiore actually says “these other guards” (“queste altra prese”), not “the four sword guards shown above” but I have changed this so that the sentence makes more sense. Fiore is comparing the Guard of the Lady, which is number five out of the six guards shown in this section, with the previous four guards. This section is one of Fiore’s most poorly written passages, very hard to understand and a challenge to translate!
  212. Fiore uses the expression “prese de spada” which means literally “grips of the sword”. He means the guards.
  213. This sentence is confusing. I have therefore made an interpretive translation to make sense of the sentence. Here I believe Fiore means that the Guard of the Lady is different from the prior four guards shown, which are all low guards, in that the Guard of the Lady is a high guard (held above the shoulder).
  214. The sixth guard is indeed also the Guard of the Lady but the sword is held reversed so as to use it like a poleaxe. The character in the drawing here is simply pointing out that while you might think the two guards (fifth and sixth) are the same guard (both hold the weapon high on the right shoulder), they are different in that the sixth is wielding the sword reversed like an axe. The text of the sixth guard points out that notwithstanding this, this guard too is named “Guard of the Lady”.
  215. Word bisected by sword.
  216. For more information about this sword, see Armored Sword 29.
  217. Fiore sometimes spells the word “fendente” for the plural, and sometimes “fendenti”.
  218. “Cum rasone” literally means “with reason”, which makes no sense. I decided to translate this as “with precision”, since “rasone” suggests mental calculation is involved.
  219. Fiore actually says “cum inzegno”—“cleverly”. But there is nothing “clever” about a fendente strike. It is a big downward hit. So I changed this word to “effectively”.
  220. Fiore actually uses the word “sangue segno”—“a sign of blood”, but I think the expression “trail of blood” works better.
  221. Another use of the “returning” concept—here making it clear that the verb is “return” not “turn” by spelling it “retornamo”—“we return”.
  222. “Pulsativa” actually means “good for hitting”. Fiore names only a few of his guards “pulsativa”, namely the ones from which you can strike really hard. Hence my choice of the translation “powerful”.
  223. The word is “tutta” Iron Gate. While this is sometimes translated as “Whole Iron Gate”, “Full Iron Gate” or “Complete Iron Gate” (“tutta” also meaning “all”), none of these translations make much sense to me. I note however that in the Morgan manuscript (Morgan 6r-b) Fiore uses “tuta” to refer to the base of the sword (at the crossguard). Thus in that case “Tuta” or “Tutta” carries the meaning of “at the base”, from where I get my translation “Iron Gate at the base”, or simply “low Iron Gate”.
  224. Fiore’s words are “longa e curta” (“long and short”). I’ve liberally translated that as “whatever its length.”
  225. “Strette” literally means “narrow”. At times Fiore uses it to refer to swordplay made when the defender covers (crosses swords) in front of the opponent’s blade with the right foot forward instead of the left. Fiore terms this configuration (both parties’ right foot leading at the crossed swords position, with the defender’s sword crossed in front of the attack), the “Narrow Game”, or “Zogho Stretto”. Why this “game” is “narrow” is beyond the scope of these footnotes.
  226. Fiore is referring here to the “scambiar de punta” (“Exchange of Thrusts”) of Getty 26v-a.
  227. Fiore is referring here to the “rompere de punta” (“Breaking of the Thrust”) of Getty 26v-c.
  228. The intent of this word seems clear, but the letter forms look almost like anta.
  229. Added later: "scilicet nobis".
  230. Added later: "+".
  231. I have deliberately translated this “Guard of the Lady” and not “Lady’s Guard” so as to leave open the possibility of a link between Donna and the Madonna. “Donna” means a “Lady”, with perhaps a reference to “Our Lady”, the Madonna.
  232. The last two words “per certo” (“for sure”) serve no purpose other than to rhyme with “discoperto”, so I have omitted them.
  233. “Donna” means noble lady or mistress, and is also the name of the chess piece. I use the latter translation because I believe the name is a reference to the versatility of the guard.
  234. “Di malizie” can mean “malicious” but can also mean “skillful”. I’ve chosen “skillful” as it makes more sense here.
  235. I.e. quick.
  236. Added later: "i.e. velocem". We also considered a volverem reading.
  237. This is an additional instance of “dicor,” which on 19v we identified as a pun (also meaning consecrated) when used to describe the True Cross.
  238. Note that this verse says “janua” rather than “porta” in the previous Iron stance; we’ve rendered “porta” as gate and “janua” as door.
  239. The word Fiore uses is actually “tastando”—“tasting”. I’ve translated this as “probing”.
  240. Frontale means “front” or “forehead” (The “frontale” is the name given to the armor a war horse wears around its head, protecting its forehead all the way down its nose). So the guard could translate as simply the Front Guard. I like the name Forehead Guard because Fiore links it to another part of the head when he says it is also named (by others) the Crown Guard.
  241. “Magistro” can mean “Master”, or simply “Instructor”.
  242. “Making the cross” i.e. crossing the opponent’s incoming sword with yours, is one of the fundamental skills of Fiore’s system.
  243. I.e. I show compassion to no one
  244. Word bisected by sword.
  245. Word bisected by sword.
  246. The text contains an error here; the illustration shows the Lady’s Position, not the Boar’s Tooth.
  247. Versito: full of stratagems, wily, cunning
  248. A revelation: the umlauts placed over the words seem to correspond with two words which form the name of a guard but which are not placed near each other.
  249. Added later: "aftraro"?.
  250. “Dente” means “tooth”, but Fiore is clearly here using the image of the boar’s tusks. The wild boar, when fighting, hooks diagonally with its tusks (elongated lower teeth).
  251. My translation here is fairly liberal. Fiore says literally “because it takes its method of striking from the wild boar.”
  252. potentially remeatio, but written as *tior to rhyme with brevior, minor, and revertor
  253. Or "saepe" (often), which may be more likely than "sepe" (hedge or defensive barrier)
  254. The umlaut theory falls down here: there’s only one. Possibly, the “i” in ipse is meant to have two dots, which would make the pair here “I Myself.”
  255. Corrected from "e" to "i".
  256. More likely laevus than levus
  257. Post is written above this paragraph and then mostly erased.
  258. The last word seems faded
  259. The superscript says “certainly I”; we believe this note represents an incorrect reading of the line, and have not incorporated it into our translation.
  260. Added later: "scilicet ego."
  261. The expression “ala traversa” here just means crossing swords diagonally, but based on what comes after this I prefer my translation.
  262. The word Fiore uses is “languire” to make someone collapse, without either strength or spirit.
  263. “Spada a doy man” means “two handed sword” or “sword in two hands”. I prefer the latter however, because Fiore’s “sword in one hand” (shown elsewhere) is not a single hand or arming sword. It is the Italian “longsword” being wielded in one hand. In both “sword in one hand” and “sword in two hands” the same sword is being used—the two handed sword. So strictly speaking here this section is “the two handed sword being used with two hands”.
  264. In translating this text I have left out the repetition of the expression “what the previous Master told you”, as it is redundant. Generally when I translate Fiore I try to make the text make sense to the modern reader. This may sometimes mean leaving words out, altering an expression, or altering the tense of verbs entirely.
  265. “discorrere” means to run backwards and forwards. This suggests a sawing motion if applied to the sword, i.e. a push forward and a pull back.
  266. Levum previously appeared on 13v; it is likely laevum (“left”, rather than levum, “light” in the weight sense) despite not having the ae ligature used on earlier pages in this text (an e with a narrow loop sticking off the lower left side, pointing down and left). Several of these e-for-ae substitutions have happened; maybe he has stopped using the ae symbol.
  267. Added later: "dixit".
  268. Added later: "con? ut."
  269. “Denanzi” or “denanci” means “in front of” when applied to position, and “previously” or “before” when applied to time.
  270. Fiore rarely uses the word “taglio” when talking of the sword striking as opposed to thrusting. For hitting he usually uses the word “colpo”, a “blow”.
  271. Fiore actually writes “against the back of his leg or under his knee” which makes no sense. The stomp depicted is effective against the inside of the knee joint from the side or just under the kneecap from the front. This is an example where my personal knowledge of the mechanics of this stomp contradicts the literal text, and where the literal text thus makes no sense.
  272. "m'a insegnato che" partially effaced.
  273. “Zogho” translates as “play” or “game” but could also translate as “technique”.
  274. A “Villano” is a peasant, i.e. a person not of noble birth. Fiore uses the term “Villano” to refer to a man lacking in skill. Fiore’s art, in Fiore’s own words, was not taught to commoners. The “Peasant’s Strike” is an over committed and uncontrolled downward strike, a strike that does not stop on the center line but continues to the ground. Because it is uncontrolled it lies outside Fiore’s Arte e Scientia. Thus it is attributed to a Peasant, who is unskilled in sword-fighting.
  275. Another example where the word “passo” does NOT mean “a passing step”. Here it translates best as “a stance” (foot position).
  276. Fiore actually writes that you should move your left foot off the line “inverso la parte dritta”, which translates “towards the right side”. However, you are NOT moving your left foot to your right side but to your left side. The translation “towards the right side” only makes sense if you translate it as “towards your opponent’s right side.”
  277. I understand "against the right side" to mean "toward the left side", but it's an odd expression.
  278. “Scambiar de punta” could translate as either “exchange of points” or “exchange of thrusts”. Both work here, but I favor the translation “exchange of points”.
  279. “Passa a la traversa” means “step crosswise”. I've used "step to the side". You will note that only a few words later Fiore uses the word “traversando” which here means “crossing” as in “crossing swords.”
  280. Fiore actually says “brazzi” (“arms”) low, but he means your hands.
  281. "cum" appears twice, but neither is struck out.
  282. Madentem means dripping with either sweat or tears.
  283. Word bisected by sword.
  284. There is a pun here, since this play could be called both “Exchange of Thrusts” and/or “Exchange of Points” (“punta”).
  285. There is a pun here too, since this play could be called both “Breaking the Thrust” and/or “Breaking the Point” (“punta”).
  286. “Le strette” (“La stretta”) means “close range” here.
  287. Fiore literally writes: “I put with strength my right foot above his sword.” I’ve translated all that simply as “I stomp on it.”
  288. Added later: "pro operarj".
  289. Fiore says strike to the head, but clearly in this play the sword blade will strike into the opponent’s face. Thus it would not be an effective move if the opponent had a steel visor protecting his face.
  290. Other translations translate “Punta Falsa” as “False Thrust”. However, this is not a false thrust. It is a false (pretend) strike. The final killshot is a thrust, as Fiore says “into the throat or chest”, but that thrust is not “false”, i.e. not a feint. Therefore I choose to translate it as “False Point” or “Short Point”.
  291. Or “I extend underneath into the oblique part from the straight part.”
  292. The compound subject in the Latin necessitates the plural comparison, but would be rendered with a singular in English.
  293. I’ve added some language here to make the description understandable.
  294. Word bisected by sword.
  295. Added later: "ego".
  296. Fiore actually writes “per lo mood ch’è depento”, “in the manner shown”, but this move is actually not shown until the next drawing.
  297. A presa is a grappling move, a grip (hold) or a grapple.
  298. Fiore uses “ferero” which translates as “strike” or “wound”, but this is clearly a bind.
  299. While contra is not normally a noun and contrario has been the noun for counter thus far, it seems to work best here to make contra a noun.
  300. This might be a typo for efficit, which is supported by the use of 'ipse', and the fact that the next clause has the speaker working against this action
  301. Again Fiore actually says “fiero in gli toy brazzi”, “I hurt your arms”. But the move is a bind.
  302. “Elsa”, “elso”, “elzo”,”elço” are all variations on the word for “hilt”. But the picture clearly shows the bind is around his sword blade and the grip is made on the opponent’s cross-guard, not his sword handle. Hence I have translated “elzo” as “cross-guard”.
  303. "a farlo subito" appears twice, but neither is struck out.
  304. These umlaut-like dots appear on a few other pages, where they indicate words that should be read as a pair. Here the marked words are both part of a phrase naming a technique, similar to other times the dots appear. Interestingly, on this page it looks like the dots were written by the original scribe (for example, the dots over the a in spataeque have the same faded look as the a). However, appearing on so few pages, these dots don't seem to be part of the overall orthographic style of the manuscript.
  305. Fiore actually writes that you grip him “below the dagger” Fiore means you grip the opponent’s dagger arm around the wrist. This play is taken from the dagger play at Getty 10v-a. I’ve changed the language to make this understandable.
  306. I’ve again added some language here to make this play more understandable.
  307. Added later: "cum". Potentially could be read as "eum" but we believe "cum" is a useful clarification of this sentence.
  308. While lacertos and brachia refer specifically to the upper and lower arms respectively, this is probably an attempt by the translator to avoid repetition, rather than specific parts of the arm that are affected by the actions. We have retained the specificity for linguistic reasons. We used arm instead of shoulder in the following couplet because the technique does not work with the shoulder.
  309. The second play of the First Dagger Remedy Master (the middle bind) is found at Getty 10v-c.
  310. “Ligadura” translates as “bind”, or “lock”, as in binding or locking a joint so that it cannot move. By “That bind belongs to this student” Fiore means that it is this student from this position who could demonstrate it for us.
  311. Meaning he is going to drive you forwards face first into the ground. Note, this counter is also seen in the dagger plays and is taken from Getty 10v-d.
  312. Meaning another counter against the student in Getty 29v-b.
  313. Corrected from "o" to "i".
  314. "se fa ad... sono inguali" partially effaced.
  315. Text says "from below", but appears to be referring to the previous two sword-takings.
  316. Added later: "+".
  317. Fiore says “a man riversa”, which means “to the left”. The turn however is clockwise, which is to your right. That means HIS left.
  318. Word bisected by sword.
  319. Word bisected by sword.
  320. Word bisected by sword.
  321. Word bisected by sword.
  322. The position shown is called True Cross in Fiore’s other manuscripts, whereas Vadi calls it the Leopard’s Tail. Vadi also has a Serene Leopard, but it is Fiore’s Bastard Cross (which is called the True Cross in this manuscript).
  323. This may also be read as immanis but inanis is closer to the Italian
  324. Added later: "pro cum".
  325. Dicor could be a present passive indicative first person conjugation of either dicere (say, talk, name/call, et c) or dicare (dedicate, consecrate, deify, devote)—since the stances are usually named using the verb vocor, perhaps this was intentionally chosen as a pun. Also, in other Fiore texts this is the Bastard Cross.
  326. Interrupted by a sword.
  327. "lo magistro" appears twice, but neither is struck out.
  328. Here the word “subito” (immediately, quickly) means the picture following immediately after this one.
  329. Literally “lost your honor”.
  330. Literally “You’ll have short comfort.” The use of “festa” here is so as to rhyme with “testa” before it.
  331. Fiore actually says “outside the lead foot”, but I’ve translated it as a step behind the lead foot to make the meaning clearer.
  332. Corrected from "de".
  333. Fiore says unable to strike “cum danno”, “with danger”. “Effectively” seems a good choice here.
  334. Lit. “pounded to pulp”.
  335. Lit. “palm”.
  336. Added later: "scilicet manum".
  337. Bipennifera (two-edged axe) likely refers to the poleaxe, even though in that section the manuscript refers to it as “three-pointed” instead.
  338. Added later: "scilicet me".
  339. Likely haec
  340. Added later: "scilicet ensis".
  341. The period after habetur may be a later addition, since it overlaps the final stroke of the r.
  342. There's a light mark above Arte that looks like the abbreviation for haec.
  343. A Medieval Italian pound was an approximate measure equal to 300-350 g, or 0.66 to 0.77 standard pounds. Fiore indicates here that the sword should be 5 to 7 [Italian] pounds, so taking the upper and lower values as bounds, this gives a potential range of 3.3 to 5.4 lbs. Values are derived from this link: Measurement in the Middle Ages.
  344. The “terza” of the sword is the same as the “mezza spada” or middle of the blade.
  345. Fiore literally says “will be marked”.
  346. Fiore literally says “defend yourself”.
  347. Literally “trident”, perhaps referring to the three striking surfaces of the weapon’s head (axe or hammer, hook, and spear point).
  348. Added later: "quisquam".
  349. Corrected from "e" to "i".
  350. Marginal note: "+ ecce".
  351. The text says "a doii mane cum la spada" with symbols next to "a" and "cum" apparently indicating that it should move. Since "cum a doii mane" makes no sense, I've moved the whole phrase "cum la spada".
  352. This may be an error for fascis.
  353. Literally “I am made with a short right arm”.
  354. Literally “We do not have stability.”
  355. Added later: "scilicet subito".
  356. Word partially effaced.
  357. Added later: "+ tibi".
  358. “Presa” means a hold, a grip or a grapple.
  359. We are translating 'captura' as 'the taking' or 'the takings'. Other possible contexts for this word in Latin are from hunting (captura=prey, the fishing catch, the bag of animals brought in) or from economics, in which 'captura' refers to ill-gotten or immorally gained profits.
  360. Fiore actually writes that this grappling move is “better than the others”, but gives us no clue as to what the “others” are.
  361. As in full of holes.
  362. I believe this is not an apology for the poleaxe itself but an apology for showing the dirty trick of the corrosive powder. As such it should really be placed higher up.
  363. “Titimallo” refers to a plant named spurge, genus Euphorbia. Used in medieval medicine as a laxative, spurge has a poisonous milky white latex-like sap. For more information, see "Pollaxe in Armour" by Matt Easton and "Being wrong can lead to wonderful things" by Guy Windsor.
  364. Tom Leoni notes that this is a flower also used to create a powder commonly used as makeup. It had a swelling effect on the skin.
  365. Telum refers specifically to a distance weapon, which can include any of the following: missile weapon, dart, shaft, spear, javelin, sword, axe, sunbeam, lightning (the last two are the specific province of Jove)
  366. Enjambment bracket
  367. Enjambment bracket
  368. Enjambment bracket
  369. Word partially effaced.
  370. Added later: "…trare".
  371. Possibly “pulsating/throbbing teeth”.
  372. contraria is the most common term marked with a + in this text.
  373. This verse has a bracket shape to its right that encloses the second line and the space below it, similar to an enjambment bracket.
  374. Changed from "o" to "i".
  375. A tiny note (M, perhaps) may have been removed above “agitando”.
  376. Probably meant to be "de si".
  377. Corrected from "e" to "i".
  378. Added later: "+ hoc ego".
  379. Corrected from "e" to "l".
  380. Added later: "nomen properum". Partially obliterated
  381. Added later: "nomen properum".
  382. Added later: "de fresne".
  383. To the right of the first two lines, there appear to be three lines of smudgy pencil (most likely M or F), but nothing specific can be made out.
  384. Added later: "matreque?".
  385. Added later: "four words that might be latin".
  386. There is no enjambment bracket, but grammar and syntax led to enjambment in the translation.
  387. Or “the precaution of the proud master moves me”.
  388. "e" changed to "r".
  389. Possibly "maestum"
  390. Enjambment bracket
  391. Added later: "reparer renouvelir".
  392. Note that in the Morgan, this octave is used to introduce the spear, but a very similar sestet is used in the Pisani Dossi to introduce the mounted fencing. They are included here in the mounted section rather than the spear because the Pisani Dossi has a different introductory octave for the spear.
  393. Fiore means that the text of 41r-a actually applies to the drawing at 41r-b (i.e. the drawing to the right, who is the rider winning the engagement, hence the “Re” [King]). I assume this was an error by the scribe. I've expanded the line so that it is comprehensible.
  394. The abbreviation a for "persona" isn't attested in Capelli, but he does list ꝑam for "personam", which is close enough. Morgan has ꝑsona.
  395. Nunc/mihi in some order?
  396. The second line has been over-written to darken worn-away letters. If there were annotations, they have not survived.
  397. This pair of verses has a bracket at the end, which has been posited as indicating enjambment of the lines by Mondschein.
  398. Depending on the interpretation of the final abbreviation, the last line may be read in different ways; the final verb might be perdet (loses), raedet (pillages), or prodet (thrusts forward). We have chosen the last of these as it is least specific to whether the lance in question is winning or losing the fight, which is unclear from the rest of the verse.
  399. Up to this point, the text is partially effaced.
  400. Corrected from "e" to "o".
  401. Added later: "ego".
  402. Added later: "de la pointe".
  403. Added later: "remoror [!] jaculum".
  404. Added later: "eqqus". Probably meant to be “equus”, but the two q’s are fairly clear.
  405. Corrected from "a" to "e".
  406. This word was obliterated somehow (“et” and “cesura” both show uncorrected damage) but has been written over by a later hand in similarly-colored ink. Further, someone has tried to write something above it, perhaps a French equivalent—the superscript is unreadable, but the second word, above cuspide, appears to end in “te” and could be “pointe”. The superscript above “acute” may have been in the D1 or F hand, but not enough is clear. There may have been a superscript above mucronem that was erased, although the remaining strokes look like they may have suffered the same damage as the rest of the page. None of the superscripts are clear enough to certainly identify the hands.
  407. A bracket, similar to the enjambment bracket, hangs off the last line.
  408. "ue" is mostly effaced.
  409. Enjambment bracket
  410. Supposing cuspide means sword and not point, ense could mean something other than sword, such as “sword technique” or “sword position”.
  411. We believe this is "vulnerare" but the condition of the page has elided an abbreviation mark.
  412. There is an erasure above “cervice”, but we were not able to discern any letters.
  413. Enjambment bracket
  414. Rebecca notes: small words like et or hoc may be left out in order to shape it into something like meter.
  415. Enjambment bracket
  416. I’ve expanded this sentence so that it makes more sense.
  417. This paragraph is written with a wedge-shaped gap in the text. This might be a coincidence, or it might indicate that the manuscript being copied had the text flowing around the sword of the player (as is done on the next page), and the scribe assumed that would be the case here as well.
  418. This paragraph is partially effaced and hard to read.
  419. Fiore actually writes “Then I pass from my quick cover” but the words make no sense, since he is not in a cover but has just hit his opponent in the face with a pommel strike. I’ve altered it to give it more sense.
  420. Added later: "te juc g???et".
  421. Added later: "de la poignee".
  422. There is no enjambment bracket, but the punctuation and text indicate it.
  423. Note the switch from “he” to “you”. This is something Fiore does quite a lot.
  424. Abrazare comes from “A brazi”—“with the arms”.
  425. Added later: “??eeu vit”. Could this be “heeume”, misspelling of “heaume”, old french for “helmet”? There are certainly letters beginning above the g in “galea” and reaching to above the e in “prensum”, but we can’t make out enough to guess further. If the latter word is meant to be “heaume”, this must be hand F.
  426. Enjambment bracket
  427. Literally "ē", which would be read as "en", but in context it seems to make more sense as è, a conjugation of essere.
  428. There is a marginal notation to the right of the verse beginning with +. The marginal note seems likely to be hand F, but the + may be from one of the Latin hands. My best guess: ??a??e tram ? perm
  429. Enjambment bracket
  430. We have rendered per terram as “to the ground” rather than “through the ground”.
  431. Added later: "pro tui".
  432. Added later: "scilicet".
  433. or 'Si pargere', but Rebecca says there is a scribal practice for separating the first letter of a line in this manner.
  434. Enjambment bracket
  435. The armor covering the hindquarters of a horse.
  436. I’ve removed the redundant repetition.
  437. Petto means chest but no part of a horse is named the “chest”, so I changed this to “shoulders” which refers to the area of the horse Fiore is talking about that would ram the opponent’s horse.
  438. The “groppa” means the crupper, which refers to the horse’s hind quarters.
  439. Corrected from "i"; probably intended to be a "u", but looks like an "a".
  440. Added later: "eqquus".
  441. Added later: "te mordé de\per bride".
  442. According to Cappelli, p. 257
  443. Probably laedere
  444. Possible scribal flourish
  445. Overwritten and difficult to decipher.
  446. Written over a previously-effaced word that can't be deciphered.
  447. This word was the source of considerable trouble. We initially assumed, as others have, that it denoted that Fiore was deceased when the manuscript was prepared (quondam Florius, “the late Fiore”). However, further research on the word (which seemed merited since it could indicate a significant biographical fact) indicated that such a reading was simply not possible for most examples of the word in Medieval literature, e.g. “ubi quondam Deus” is probably not seeking to describe a deceased God. In fact, “quondam” is generally an adverb rather than a quasi-adjective, and some dictionaries, such as Lewis & Short, specify that it only has the meaning of “the late” if the person it is applied to is deceased. Rather than becoming trapped in a loop of circular reasoning (assuming Fiore is deceased and translating quondam that way, and then concluding that Fiore is deceased due to the translation of quondam), we interpreted the word in its more normal adverbial sense and applied it to “edidit”. For more definitions of quondam, see the entries in Logeion: http://logeion.uchicago.edu/index.html#quondam