Wiktenauer logo.png

Difference between revisions of "Girolamo Cavalcabo"

From Wiktenauer
Jump to navigation Jump to search
Line 131: Line 131:
 
|-  
 
|-  
 
! <p>Images<br/></p>
 
! <p>Images<br/></p>
! <p>{{rating|C|Draft Translation (from the German)}}<br/>by [[Kevin Maurer]]</p>
+
! <p>{{rating|D|Flawed Translation (from the German)}}<br/>by [[Kevin Maurer]]</p>
 
! <p>[[Nobilissimo discorso intorno il schermo (MS Italien 1527)|Archetype]] (ca. 1580s)<br/></p>
 
! <p>[[Nobilissimo discorso intorno il schermo (MS Italien 1527)|Archetype]] (ca. 1580s)<br/></p>
 
! <p>[[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|French Translation]] (1597)<br/></p>
 
! <p>[[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|French Translation]] (1597)<br/></p>
Line 913: Line 913:
 
|-  
 
|-  
 
|  
 
|  
| <p></p>
+
| <p>The fourth is sent, when you continue the right with the left, and thus with this you acquire the correct position. With this Step, one is not enough, it should be, when your opponent again steps back or you have made a wide space with him, thus that it sometimes is necessary, in acquiring the measure, to use one or two steps, but never in the same succession. If you will use these previous examples, thus you must pay careful attention, when you outstretch your Rappier a little, and will give good attention to the adversary's side, when it will not be
 +
advantageous to you, and when you can thrust again to him with opportunity.</p>
 +
 
 +
<p>I hate it, when one always tramps with the foot (or taps), Then above that, it stands in evil, it is also very hindering.</p>
 +
 
 +
<p>Henceforth we must also say, how one shall use the previous thrusts, However, because I have made the Quarte first, we will follow this
 +
same Order.</p>
 +
 
 +
<p>When you see, that your opponent gives to you his inside opening, thus you can be practiced in all measures. First however you will pay attention, both in Tertia and Quarte, also like in the going through below the rappier, that you make no thrusts, for then, you have your rappier, as the adversary of his.</p>
 +
 
 +
<p>If it's sent however, that it is under yours', thus you must</p>
 +
|
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| <p>pull in your body, and see, before you complete the thrust, that you have your rappier at least as high as the enemy does: In summation, you must see, that you complete your thrusts quickly, and thus you take the opponents tempo.</p>
 +
 
 +
<p>How one shall meet an attack</p>
 +
 
 +
<p>When two go at one another with earnestness, come right at each other, and have the proper measure, thus it is my opinion, that not more than three Tempos occur: It is then that the "congressorn" only jokes with each other. I dont deny, that one can well contrive a great number from
 +
contraris temporibus: However such Actiones are more play than fencing. To do such, would rather show, that they themselves "salviren" and can be taken out, when their enemies mean to be serious. That to the first Tempus, which you can use in attacking, will be, when your Opponent wants to set on to you, that you in "eodem momento" thrust against him. That to the second when he thrusts to you, and you void him with the body That to the third, when your opponent presents a half thrust to you, and with his body voids: then you also do the same to him.</p>
 +
|
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| <p>The last is , when your oppenent presents a false thrust to you, and turns his body, and you do the same to him with your body: Which is very serious to do however.</p>
 +
 
 +
<p>You will know from your Adversaries thrusts, how you can again go at him with advantage, Thus you must have diligence in your attention, to when wants to pass, that you take his tempo at once with a Tertie or Quarta, and step forth with the right foot. And in particular, see that you always hold your rappier's point higher than your opponent.</p>
 +
 
 +
<p>Furthermore you can acquire your tempo correctly, when you endeavor to Counterthrust your Adversario where he will step forth,</p>
 +
 
 +
<p>You must however pay careful attention, if your opponent has a mind to soon after thrust to you, or if he wants to acquire the Measure, which is very difficult to remember. Nevertheless, those that have practiced for a time, and have learned from many people,. whether they tend to thrust at once, or they pause, there is no difficulty (to know), And conversely however you can easily see someone who has previously not practiced much.</p>
 +
 
 +
<p>Will you however allow the first tempo to go by, or where you have missed, thus you must take him out with your rappier in secundo tempore.</p>
 
|  
 
|  
 
|  
 
|  
Line 920: Line 957:
 
|-  
 
|-  
 
|  
 
|  
| <p></p>
+
| <p>And this to you is a common Rule: All of the Thrusts, which happen to you on the inside, you should also parry inwards to your left side without a turning of the fist, just as you would thrust in Quarta. Those however that would be done to your outside, these you should take out with reversed fist, as if you would thrust in Tertia. And when you likewise will parry with the feet, I hold it advisable, that you set forth the left, with this it wont be easy for your opponent to be powerful on your Hilt or Arm: And where you can protect yourself so much the better, see that you come forth to him, and once you have taken him out, you strive, to do unto him that which he has in mind to do to you. Such it is easier to effect, when you draw back with your right arm and rappier: Hence it follows, that he will not have so much opportunity, to get you, and you are also more forecful with your rappier, you give him a Stoccade from the apparent opportunities.</p>
 +
 
 +
<p>there is also still taken from another Art, that which we call Stringiren or surpressing, is sent thustly: when you begin to parry in Quarte, and in a motu, complete it with a thrust in tertia. Will you however be forceful on the opponent's rappier, thus will it be most advisable, that you acquire this same, outside, how it is often said, over the right fist of his Rappier's hilt or arm, or however inside under your left arm and with such you may take hold of him. However, before you can correctly do such work, will you give him a cut to your opportunity, it is manly or not,</p>
 
|  
 
|  
 
|  
 
|  
Line 927: Line 966:
 
|-  
 
|-  
 
|  
 
|  
| <p></p>
+
| <p>and again draw back your rappier at once, and hereupon the above stated Stucke are known to be used. All of this seizing of the rappier or the neck, just like Supplantationem or setting under foot, belongs more to wrestling than to fencing. I think its good, particularly the one before, that you have the strength and quickness of the Body.</p>
 +
 
 +
<p>END</p>
 
|  
 
|  
 
|  
 
|  

Revision as of 17:26, 6 May 2022

Girolamo Cavalcabo
Born 16th century
Bologna, Italy
Died 17th century
London, England? (?)
Relative(s) Zachara Cavalcabo (father?)
Occupation Fencing master
Influences Angelo Viggiani dal Montone
Influenced André des Bordes (?)
Genres Fencing manual
Language
Notable work(s) Traité ou instruction pour tirer des armes (1597)
Manuscript(s) MS Italien 1527 (1580s)

Girolamo Cavalcabo (Hieronyme Calvacabo, Hieronimo Cavalcabo) was a 16th century Italian fencing master. He was trained in the Bolognese school of fencing, possibly under Angelo Viggiani dal Montone,[1] and seems to have traveled to London, England in the 1580s or 1590s and set up a school.[citation needed] During this period he also wrote a treatise on the use of the rapier entitled Nobilissimo discorso intorno il schermo ("Most Noble Discourse on Defense"), though it would not be published until 1597. In the early 17th century, he received a position in the court of Henry IV of France as fencing instructor to his son Louis (the future Louis XIII).[citation needed]

Treatise

Additional Resources

  • Runacres, Rob. Treatise or Instruction for Fencing: By Hieronymus Calvacabo of Bologna and Patenostrier of Rome. Self-published, 2015.

References

  1. This has been asserted by some writers, but it may be a confused interpretation of the fact that Zachara Cavalcabo produced the second printing of Viggiani's book in 1588.