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| [[File:Giganti 02.png|400x400px|center|Figure 2]]<br/>[[File:Giganti 03.png|400x400px|center|Figure 3]]
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| [[File:Giganti 02.png|400x400px|center|Figure 2]]
| <p>[5] '''GUARDS, OR POSTURES'''</p>
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| rowspan="2" | <p>[5] '''GUARDS, OR POSTURES'''</p>
  
 
<p>Many are the guards of the single sword, and many still the counterguards. In my first book I will not teach any other than two sorts of guards and counterguards, of which you will be able to avail yourself for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two tempi: one will be the disengage of the sword, and the other the wounding of you. In this way you will accommodate yourself against all the guards, either high or low, according to how you see your enemy accommodated, always taking care to not give opportunity and occasion to the enemy to be able to wound you in a single tempo. You will do this if you take care that the point of his sword is not toward the middle of your vita, so that pushing his sword forward quickly and strongly it will not be possible for him to wound you. Therefore, cover the enemy’s sword with yours as you see in this figure, so that the enemy’s sword is outside of your vita and he cannot wound you if he does not disengage his sword. You will settle yourself with your feet strong, stable with your vita, with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not place yourself in a counterguard and secure yourself from his sword you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an incontro and both wound each other, or he could place you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I have said above he will not be able to move nor do any action that you will not see and have opportunity to parry. These figures here are two guards with the swords forward, and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you, and as I will go about showing you in the subsequent lessons.</p>
 
<p>Many are the guards of the single sword, and many still the counterguards. In my first book I will not teach any other than two sorts of guards and counterguards, of which you will be able to avail yourself for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two tempi: one will be the disengage of the sword, and the other the wounding of you. In this way you will accommodate yourself against all the guards, either high or low, according to how you see your enemy accommodated, always taking care to not give opportunity and occasion to the enemy to be able to wound you in a single tempo. You will do this if you take care that the point of his sword is not toward the middle of your vita, so that pushing his sword forward quickly and strongly it will not be possible for him to wound you. Therefore, cover the enemy’s sword with yours as you see in this figure, so that the enemy’s sword is outside of your vita and he cannot wound you if he does not disengage his sword. You will settle yourself with your feet strong, stable with your vita, with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not place yourself in a counterguard and secure yourself from his sword you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an incontro and both wound each other, or he could place you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I have said above he will not be able to move nor do any action that you will not see and have opportunity to parry. These figures here are two guards with the swords forward, and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you, and as I will go about showing you in the subsequent lessons.</p>
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| [[File:Giganti 03.png|400x400px|center|Figure 3]]
  
 
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| [[File:Giganti 07.png|400x400px|center|Figure 7]]
 
| [[File:Giganti 07.png|400x400px|center|Figure 7]]
| THE COUNTERDISENGAGE<br/>OF THE SWORD ON THE OUTSIDE
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| <p>[11] '''THE COUNTERDISENGAGE''' OF THE SWORD ON THE OUTSIDE</p>
  
This method of wounding by way of outside counterdisengage is similar to the inside counterdisengage, only there is a difference: that your enemy being in guard and you coming to bind, being outside of measure you must place yourself against his guard, securing yourself from his sword outside and making the enemy resolve himself to disengage. While he disengages, in the same tempo you will again disengage, turning the point of your sword under his together with your wrist, resting the forte of the edge of your sword and going along the edge of it, holding your arm long and extended, loosening the vita and lengthening the pace, as is seen in the figure, so you come to wound him without him sensing it. But be advised that if the enemy throws the sword strongly and you want to disengage yours so that the enemy does not reach and wound you, you need to hold your vita back in your disengage so that you stay safe. Supposing the enemy had thrown strongly, he would disconcert himself and come to wound himself on your sword. Then you will stay superior to him, being able to wound him where you parry, taking care to always hold your sword outside of your vita so that he cannot wound you.
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<p>This method of wounding by way of outside counterdisengage is similar to the inside counterdisengage, only there is a difference: that your enemy being in guard and you coming to bind, being outside of measure you must place yourself against his guard, securing yourself from his sword outside and making the enemy resolve himself to disengage. While he disengages, in the same tempo you will again disengage, turning the point of your sword under his together with your wrist, resting the forte of the edge of your sword and going along the edge of it, holding your arm long and extended, loosening the vita and lengthening the pace, as is seen in the figure, so you come to wound him without him sensing it. But be advised that if the enemy throws the sword strongly and you want to disengage yours so that the enemy does not reach and wound you, you need to hold your vita back in your disengage so that you stay safe. Supposing the enemy had thrown strongly, he would disconcert himself and come to wound himself on your sword. Then you will stay superior to him, being able to wound him where you parry, taking care to always hold your sword outside of your vita so that he cannot wound you.</p>
| DELLA CONTRACAVATIONE<br/>DELLA SPADA DI FUORI.
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| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|41|lbl=21}}
 
 
QUesto modo di ferire per via di contracavatione di fuori, è simile alla contracavatione di dentro: & solo vi è differenza, che stando l’inimico vostro in guardia, & venendovi à stringere; voi essendo fuori di misura, poner vi dovete contro la sua guardia, assicurandovi dalla sua spada di fuori, facciate che l’inimico si risolva di cavare; & mentre egli cava, voi nel medesimo tempo cavare ancora, girando la punta della vostra spada sotta alla sua, & insieme il nodo della mano, & poggiando il forte del filo della vostra spada, & caminando il filo di essa, portando il braccio lungo, & disteso, & snodando la vita, & allungando il passo, come si vede nella figura; che così voi lo venirete à ferire, che egli non se ne avvederà. Ma avvertite, che tirando l’inimico forte la spada, & volendo voi cavare la vostra, acciò la spada nemica non vi giunga, & vi ferisca, bisogna che nel cavare, portiate la vita indetro, che così restarete sicuro: & supposto che l’inimico habbi tirato forte, egii si disconcerta; & verrà così à ferirsi dalla vostra spada; & voi allhora gli restate superiore potendolo ferire, ove vi parerà; avvertendo sempre di tener la vostra spada fuori della vostra vita, acciò non vi possa ferire.
 
 
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| [[File:Giganti 08.png|400x400px|center|Figure 8]]
 
| [[File:Giganti 08.png|400x400px|center|Figure 8]]
| EXPLANATION<br/>OF THE FEINT<br/>Making a show of disengaging the sword with your wrist
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| <p>[12] '''EXPLANATION OF THE FEINT''' ''Making a show of disengaging the sword with your wrist''</p>
  
The ways of wounding are various and as a consequence my lessons are also various. But don’t expect at all that I will tell all the things that are possible to do in this profession because, those being infinite, my work would be too long and would bring tedium to the Readers. However, I will untangle those things that to me appear most beautiful, most artificial, and most useful, from which arise many others easier and less artificial. Therefore, among all the methods of wounding artificially the feint, in my opinion, exceeds all others. This is nothing more than hinting at doing one thing and doing another. It is done in different ways, and they are these: I want you to place yourself on your feet, on the right side with the sword forward, with the right arm extended in order to give your enemy occasion to come to bind you. As he comes into measure with you, watch if he wants to wound you from fixed feet or instead with a pass. You will know at the disengage you make with the sword. Disengage the sword with your wrist and feint a thrust at his face, but throw wide of the enemy’s sword so that it does not find yours. If the enemy does not parry throw it resolutely so that you wound him. If he parries, in his parrying redisengage the sword and wound as you see in this figure, where the enemy carelessly wounds himself. Take care that in redisengaging you do not let the sword be found because then your plan could be in vain, and in disengaging bring the head and vita back a little in order to see what the enemy does, because if he were to throw and you had not withdrawn backward, he could produce an incontro and you would wound each other. Moreover, you are advised to run with the right edge of your sword along the edge of the enemy’s sword, turning the inside of your wrist upwards in wounding with your sword over the debole of that of the enemy. As soon as the stoccata is given, either resolute or feinted, return backward outside of measure, securing yourself as shown to you above. The feint is therefore performed in this way: first one displays the sword to either the face or chest of the enemy, and then one lengthens the arm without stepping. If the enemy parries, disengage the sword in the same tempo, accompanying it forward with the step so that you wound him unawares. If he does not parry, increase the step and strike him. This is the method of wounding by feint.
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<p>The ways of wounding are various and as a consequence my lessons are also various. But don’t expect at all that I will tell all the things that are possible to do in this profession because, those being infinite, my work would be too long and would bring tedium to the Readers. However, I will untangle those things that to me appear most beautiful, most artificial, and most useful, from which arise many others easier and less artificial. Therefore, among all the methods of wounding artificially the feint, in my opinion, exceeds all others. This is nothing more than hinting at doing one thing and doing another. It is done in different ways, and they are these: I want you to place yourself on your feet, on the right side with the sword forward, with the right arm extended in order to give your enemy occasion to come to bind you. As he comes into measure with you, watch if he wants to wound you from fixed feet or instead with a pass. You will know at the disengage you make with the sword. Disengage the sword with your wrist and feint a thrust at his face, but throw wide of the enemy’s sword so that it does not find yours. If the enemy does not parry throw it resolutely so that you wound him. If he parries, in his parrying redisengage the sword and wound as you see in this figure, where the enemy carelessly wounds himself. Take care that in redisengaging you do not let the sword be found because then your plan could be in vain, and in disengaging bring the head and vita back a little in order to see what the enemy does, because if he were to throw and you had not withdrawn backward, he could produce an incontro and you would wound each other. Moreover, you are advised to run with the right edge of your sword along the edge of the enemy’s sword, turning the inside of your wrist upwards in wounding with your sword over the debole of that of the enemy. As soon as the stoccata is given, either resolute or feinted, return backward outside of measure, securing yourself as shown to you above. The feint is therefore performed in this way: first one displays the sword to either the face or chest of the enemy, and then one lengthens the arm without stepping. If the enemy parries, disengage the sword in the same tempo, accompanying it forward with the step so that you wound him unawares. If he does not parry, increase the step and strike him. This is the method of wounding by feint.</p>
| DELLA FINTA<br/>DICHIARATIONE<br/>Far vista di cavar la spada con il nodo della mano.
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VArie sono le maniere di ferire, & per conseguenza varie saranno ancora le mie lettioni, ma non aspetti alcuno, ch’io vadi tutte le cose raccontando, che in questa professione si possono fare, poiche essendo infinite, l’opera mia sarebbe troppo lunga, & apportarebbe a i Lettori tedio; però andrò sciogliendo quelle cose, che à me pareranno più belle, più artificiose, & più utili, dalle quali nascono molte altre più facili, & meno artificiose. Fra tutti i modi dunque di ferire artificiosamente, la finta, per opinione mia, ogn’altro eccede; la quale altro non è se non accennare di fare una cosa, & farne un’altra; & questo si fà in diversi modi, & sono questi. Voglio che vi poniate in piedi, & in lato destro, con la spada innanzi, col braccio dritto disteso per dar al vostro nemico occasione di venirvi à stringere; & come egli viene in misura con voi, guardate s’egli vuole ferirvi di piede fermo, o pur passare; e lo conoscerete al cavar, che farete della spada; & cavate la spada con il nodo della mano, & fingete di tirargli una punta al viso; ma tirate largo dalla spada nemica, acciò quella non trovi la vostra; se l’inimico non ripara, taratela ressoluta, che lo ferirete; mà se egli ripara, nel suo riparare voi ricavate la spada, & ferite come vedete in questa figura, ove l’inimico inavedutamenta si và à ferire: ma avvertite, che nel ricavare non vi lasciaste ritrovar la spada, perche vi riuscirebbe vano il pensiero, & nel cavar portar la testa, e vita indietro alquanto, per veder ciò che opera l’inimico; perche s’egli tirasse, & voi non vi ritiraste indietro, fareste un incontro, & tutti due vi ferireste. Di più bisogna avvertire di caminare con il filo dritto della vostra spada per lo filo della spada nemica, volgendo il polso all’insù nel ferire della vostra spada sopra il debole di quella del nemico, & subito data la stoccata, ò risoluto, ò finta, tornare à dietro fuori di misura, assicurandovi, come di sopra vi dimostrai; la Finta dunque si fà in questa maniera. prima si mostra la spada, ò al viso, ò al petto dell’inimico, & si slonga il braccio senza far passo: ove se l’inimico và à riparare, voi nell’istesso tempo cavate la spada, & accompagnatala innanzi col passo, che lo ferirete inavedutamente; ma s’egli non và à riparare, crescete il passo, & gli darete; & questo è il modo di ferire di Finta.
 
 
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| Although they appear similar, the following two figures are nevertheless different from each other since they contain different methods of feinting. Although they contain almost the same goal of wounding, and although it would have sufficed to give you a single figure to discuss and teach different methods of feinting in order to wound, to show clearly the different ways of feinting I wanted to put two of them here that differ widely from one other, which is shown to you in their explanations.
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| <p>[13] ''Although they appear similar, the following two figures are nevertheless different from each other since they contain different methods of feinting. Although they contain almost the same goal of wounding, and although it would have sufficed to give you a single figure to discuss and teach different methods of feinting in order to wound, to show clearly the different ways of feinting I wanted to put two of them here that differ widely from one other, which is shown to you in their explanations.''</p>
| LE due seguente figure, benche paiano simili, sono però differenti tra loro, poiche hanno in se diversi modi di fingere, se bene hanno in se quasi un medesimo fine per ferire; & se bene havrebbe bastato mettervi una sola figura, sopra la quale si potesse discorere, & insegnare diversi modi di fingere per ferire; pure per mostrare evidentemente il diverso modo di fingere, ho voluto ponerne quì due più differenti trà loro; ilche vi dimostro nelle loro dichiarationi.
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| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|45|lbl=25}}
 
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| [[File:Giganti 09.png|400x400px|center|Figure 9]]
 
| [[File:Giganti 09.png|400x400px|center|Figure 9]]
| METHOD OF WOUNDING IN THE CHEST<br/>WITH THE SINGLE SWORD WHEN THEY ARE IN<br/>measure with the swords equal
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| <p>[14] '''METHOD OF WOUNDING IN THE CHEST''' WITH THE SINGLE SWORD WHEN THEY ARE IN measure with the swords equal</p>
 
 
The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: one needs to place themselves in guard with the sword forward on the left side and if the enemy comes to bind you and cover your sword with his let him come until he finds himself in measure with you. When he is in measure with you disengage, putting your sword inside of his, straightening the point against the enemy’s face. If he does not go to parry, wound him resolutely, going as I have said above with the right edge of yours on the edge of his, turning your wrist and carrying the body across a bit. But if the enemy comes to parry and wound you while you disengage do not throw the thrust but hold it a little outside, and in the same tempo that he wants to parry and wound, redisengage your sword under the hilt of his, done aiming at the chest of the enemy so that you strike him in the chest safely, increasing a little with the sword, as you see in the present figure, taking care to disengage and redisengage it in the same tempo, never holding it still so that the enemy does not find it. In the movement he makes to parry, pass to him with your vita on the outside, taking care to place your hand on the hilt of the sword. This pass makes this effect: he takes the chance to wound you and you can wound him how and where you like and please.
 
| IL MODO DI FERIRE NEL PETTO<br/>DI SPADA SOLA, QUANDO SONO IN<br/>misura con le spade dal pari.
 
  
LA presente figura è un artificiosa maniera di ferire l’inimico nel petto, & assicurarsi della sua spada, che non possa offendere, mentre che passate per ferirlo; & si fa in questa maniera: bisogna mettersi in guardia con la spada dal lato manco innanzi: & se l’inimico viene à stringervi, & coprire la vostra spada con la sua; lasciatelo venir per insino che egli si ritrova in misura con voi; & come è in misura con voi; voi cavate mettendo la vostra spada dentro della sua, drizzando la punta verso il viso dell’inimico; & s’egli non và à riparare, lo ferite risoluto, caminando come ho detto di sopra con il filo dritto della vostra per lo filo della sua, volgendo il polso, e portando il corpo al traverscio alquanto. Ma se l’inimico, mentre cavate, viene al riparo, & à ferirvi; non tirate la punta: ma tenetela alquanto fuori, & nell’istesso tempo ch’egli vuol riparare & ferire, ricavate la spada vostra sotto i fornimenti della sua, & fate, che miri il petto dell’inimico, che così gli darete nel petto sicuro, crescendo alquanto con la spada, come vedete nella presente figura, avertendo di cavarla, & ricavarla in un tempo medesimo, non la tenendo mai ferma, acciò l’inimico non la travi; & nel andar ch’egli mostra al parato, voi passateli con la vita adosso di fuori, avertendo di poner la mano all’else della spada; la qual passata fa questo effetto, che gli toglie il potervi ferire, & voi potete ferir lui, come & dove vi pare, & piace.
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<p>''The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: one needs to place themselves in guard with the sword forward on the left side and if the enemy comes to bind you and cover your sword with his let him come until he finds himself in measure with you. When he is in measure with you disengage, putting your sword inside of his, straightening the point against the enemy’s face. If he does not go to parry, wound him resolutely, going as I have said above with the right edge of yours on the edge of his, turning your wrist and carrying the body across a bit. But if the enemy comes to parry and wound you while you disengage do not throw the thrust but hold it a little outside, and in the same tempo that he wants to parry and wound, redisengage your sword under the hilt of his, done aiming at the chest of the enemy so that you strike him in the chest safely, increasing a little with the sword, as you see in the present figure, taking care to disengage and redisengage it in the same tempo, never holding it still so that the enemy does not find it. In the movement he makes to parry, pass to him with your vita on the outside, taking care to place your hand on the hilt of the sword. This pass makes this effect: he takes the chance to wound you and you can wound him how and where you like and please.''</p>
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| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|47|lbl=27|p=1}}
 
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| [[File:Giganti 10.png|400x400px|center|Figure 10]]
 
| [[File:Giganti 10.png|400x400px|center|Figure 10]]
| THE PASS WITH FEINT AT A DISTANCE
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| <p>[15] ''THE PASS WITH FEINT AT A DISTANCE''</p>
 
 
This is an artificial way of passing at the enemy so that he does not perceive it, and it is of great consideration for the effect it shows, as is seen in the present figure, where one passes with a feint and wounds the enemy. It is done in this way: you need to see in what guard your enemy places himself and how he is accommodated. Go to bind him in guard, directing the point of your sword at his face, and when you find yourself almost in measure, if you see that he stays waiting and doesn’t move, throw a thrust at his face strongly as figure number …. shows and if he does not parry strongly you make the effect of figure number …. not having to make other feints, but if he parries you will both be with the swords equal. Immediately return backward outside of measure and put yourself in the same first guard, and when you are almost in measure feint throwing the same thrust at his face. While he goes to parry it, disengage the point of your sword underneath the hilt of the enemy’s sword with your wrist, making sure you keep the enemy sword outside your vita. Then in the same tempo pass, going with your sword over the furnishings of his, accompanying it with the left hand, and immediately put it over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you wound him if he does not see your goal. This done, leap outside of measure and replace the sword within that of the enemy, securing yourself in the above way, and beating his sword, return to wound him with two or three resolute and irreparable thrusts.
 
| DELLA PASSATA CON FINTA IN DISTANZA.
 
  
QUESTA è un artificiosa maniera di passare adosso all’inimico, si che non se n’avveda; & è di gran consideratione per l’effetto che mostra, come si vede nella presente figura, ove si passa con una finta, & si và à ferire l’inimico; & si fà in questo modo. Bisogna vedere in che guardia si pone l’inimico vostro, & come s’è accomodato, andate à stringerlo in guardia drizzandogli la punta della vostra spada verso il viso; & come vi ritrovate quasi in misura, & che vedete, ch’egli stà aspettando, e non si muove, tirategli forte una punta al viso, come dimostra la figura num.... & s’egli non ripara forte, farete l’effetto della figura num.... ne haverete da far altre finte; ma se egli ripara, sarete ambidue con la spada del pari, & subito tornate indietro fuori di misura, & ponetevi nella medesima prima guardia, & come sete quasi in misura, fingete di tirargli al viso la medesima punta; & mentre egli và à ripararla, cavate co’l nodo della mano per sotto l’else della spada del nemico la punta della vostra spada, havendo riguardo di tenervi la spada nemica fuori della vita, & poi nell’istesso tempo passate, caminando con la vostra spada sopra i fornimenti della sua, accompagnandovi la mano sinistra; & subito ponerla sopra ll’else della nemica spada, acciò non vi dia un rovescio nella faccia, che senza dubio lo ferirete, che non se n’avvederà punto; & fatto questo saltarete fuori di misura, & rimettete la spada entro quella del nemico, assicurandovi nel modo di sopra, e battendo la sua spada, tornarete à ferirlo di due, ò trè punte risolute, & irreparabili.
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<p>This is an artificial way of passing at the enemy so that he does not perceive it, and it is of great consideration for the effect it shows, as is seen in the present figure, where one passes with a feint and wounds the enemy. It is done in this way: you need to see in what guard your enemy places himself and how he is accommodated. Go to bind him in guard, directing the point of your sword at his face, and when you find yourself almost in measure, if you see that he stays waiting and doesn’t move, throw a thrust at his face strongly as figure number …. shows and if he does not parry strongly you make the effect of figure number …. not having to make other feints, but if he parries you will both be with the swords equal. Immediately return backward outside of measure and put yourself in the same first guard, and when you are almost in measure feint throwing the same thrust at his face. While he goes to parry it, disengage the point of your sword underneath the hilt of the enemy’s sword with your wrist, making sure you keep the enemy sword outside your vita. Then in the same tempo pass, going with your sword over the furnishings of his, accompanying it with the left hand, and immediately put it over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you wound him if he does not see your goal. This done, leap outside of measure and replace the sword within that of the enemy, securing yourself in the above way, and beating his sword, return to wound him with two or three resolute and irreparable thrusts.</p>
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| The pass with feint over the point of the sword
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| <p>[16] ''The pass with feint over the point of the sword''</p>
  
This is another kind of disengage and feint not commonly used, which produces the effect of the previous two figures. It is done so: one must put oneself in guard with the sword to the left side, with the arm extended and long. Letting the enemy come to bind you in the described way, when he is in measure disengage your sword over the point of his and if you see that he does not parry throw at him strongly and resolutely, as I have said to you, so that you will not make other feints. But if he parries, do not stop with the sword but avoid the guard of the enemy sword and pass in the above way and wound him in the chest, withdrawing yourself then as was said.
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<p>This is another kind of disengage and feint not commonly used, which produces the effect of the previous two figures. It is done so: one must put oneself in guard with the sword to the left side, with the arm extended and long. Letting the enemy come to bind you in the described way, when he is in measure disengage your sword over the point of his and if you see that he does not parry throw at him strongly and resolutely, as I have said to you, so that you will not make other feints. But if he parries, do not stop with the sword but avoid the guard of the enemy sword and pass in the above way and wound him in the chest, withdrawing yourself then as was said.</p>
| Della Passata con Finta sopra la punta della spada.
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QUesta è un’altra sorte di cavatione, & di finta non troppo messa in uso, la quale viene à far l’effett odi queste due anteposte figure: & si fà così; Bisogna mettersi in guardia con la spada al lato sinistro, con il braccio disteso, & lungo; & lasciar che l’inimico venga à stringervi nel modo descritto; & come egli è in misura, cavate la spada vostra sopra la punta della sua; & se vedete, ch’egli non ripara, tarategli voi forte, & risoluto, come v’ho detto, che non vi occorrerà far altra finta; ma se egli ripara, voi non vi fermate con la spada; ma scapolate il guarnimento della spada nemica, & passate con il modo di sopra, e lo ferirete nel petto, ritirandovi poi come s’è detto.
 
 
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| [[File:Giganti 11.png|400x400px|center|Figure 11]]
 
| [[File:Giganti 11.png|400x400px|center|Figure 11]]
| THE FEINT TO THE FACE AT A DISTANCE
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| <p>[17] '''THE FEINT''' TO THE FACE AT A DISTANCE</p>
  
This feint is no different from the other except that the first has its disengage under the hilt of the sword and this has it over in order to throw at the enemy’s face. This stoccata becomes a feint if he parries and is resolute if he does not parry. In the rest then, the same guards, distances, and measures are observed, and one carries the vita equally, as is seen in the figure, and immediately returns outside of measure as soon as the thrust is thrown. The most important thing is knowing how to make the feint natural so that it cannot be distinguished from the resolute, which is done in this way. One presents the point (for example) over the outside at his face, and in going with point underneath the hilt of the enemy sword in order to wound him inside, it must be done so that the thrust wounds his face or chest with the disengage. This is what is meant by “natural feint”. But be advised that you never perform a feint if the enemy does not parry resolutely, because you would be in danger of wounding each other and you would end up in danger.
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<p>''This feint is no different from the other except that the first has its disengage under the hilt of the sword and this has it over in order to throw at the enemy’s face. This stoccata becomes a feint if he parries and is resolute if he does not parry. In the rest then, the same guards, distances, and measures are observed, and one carries the vita equally, as is seen in the figure, and immediately returns outside of measure as soon as the thrust is thrown. The most important thing is knowing how to make the feint natural so that it cannot be distinguished from the resolute, which is done in this way. One presents the point (for example) over the outside at his face, and in going with point underneath the hilt of the enemy sword in order to wound him inside, it must be done so that the thrust wounds his face or chest with the disengage. This is what is meant by “natural feint”. But be advised that you never perform a feint if the enemy does not parry resolutely, because you would be in danger of wounding each other and you would end up in danger.''</p>
| DELLA FINTA IN DISTANTIA NEL VISO.
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QUESTA Finta non è differente in altro, se non che la prima hà la sua cavatione sotto l’else della spada, e questa l’hà sopra per tirar’ nel viso all’inimico, la qual’ stoccata s’egli ripara, va finta, e se non ripara risoluta. Nel resto poi s’osservano l’istesse guardie, l’istesse distanze, & l’istesse misure; e parimente si porta la vita, e la spada, si come si vede nella figura, e subito tirata la punta si torna fuor’ di misura; La maggior’ importanza che sia è saper fare la finta naturale, che non si conosca dalla risoluta. La quale si fà in questa maniera. Si gira la punta (ciò sia per essempio) di sopra dalla parte di fuori al viso, e nel caminare che si fà, con la punta per sotto l’else della spada nemica per venirlo à ferir’ dentro, bisogna far che la punta ferisca con la cavatione nel viso, ò nel petto. E questa s’intende Finta naturalissima; ma avertite di non far mai finta, se l’inimico non và al parato della risoluta, perche sareste in pericolo di ferirvi tutti due & voi restare in pericolo.
 
 
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| [[File:Giganti 12.png|400x400px|center|Figure 12]]
 
| [[File:Giganti 12.png|400x400px|center|Figure 12]]
| THE PROPER METHOD TO GIVE<br/>A THRUST WITH THE SINGLE SWORD<br/>WHILE THE ENEMY THROWS<br/>a cut
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| <p>[18] '''THE PROPER METHOD TO GIVE A THRUST WITH THE SINGLE SWORD''' WHILE THE ENEMY THROWS a cut</p>
  
This figure teaches you to avail yourself of the tempo in order to give your enemy a stoccata to the face while he raises the sword, if he can be given a stoccata while his sword is in the air, and before he reaches you. Note how this is done. After having placed yourself in whichever guard you like, go to bind your enemy and when you are in measure if the enemy throws a cut toward your head, in the raising of the sword you make use of the tempo, enter forward, and throw the sword at his face so that without doubt you wound him while the enemy sword is in the air, as you see in the figure. But, in throwing turn the inside of your wrist and the right edge of the sword upwards, holding your arm long and high, and make the guard of your sword cover your head so that if the enemy disengages his sword he would find you covered and it will not be possible to offend you. It is necessary, however, to throw this thrust quickly. When it is not made quickly the enemy could parry it and wound you. After you have thrown, quickly withdraw yourself backward outside of measure, securing yourself with your sword against that of the enemy.<br/>
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<p>This figure teaches you to avail yourself of the tempo in order to give your enemy a stoccata to the face while he raises the sword, if he can be given a stoccata while his sword is in the air, and before he reaches you. Note how this is done. After having placed yourself in whichever guard you like, go to bind your enemy and when you are in measure if the enemy throws a cut toward your head, in the raising of the sword you make use of the tempo, enter forward, and throw the sword at his face so that without doubt you wound him while the enemy sword is in the air, as you see in the figure. But, in throwing turn the inside of your wrist and the right edge of the sword upwards, holding your arm long and high, and make the guard of your sword cover your head so that if the enemy disengages his sword he would find you covered and it will not be possible to offend you. It is necessary, however, to throw this thrust quickly. When it is not made quickly the enemy could parry it and wound you. After you have thrown, quickly withdraw yourself backward outside of measure, securing yourself with your sword against that of the enemy.</p>
I did not want to put all the ways of parrying the cuts, which are many, in my first book, but I have placed this alone for you, this appearing to me most useful and commodious for understanding the tempo and making use of it, which is necessary to understand in every occasion.
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| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/53|1|lbl=33}}
| IL VERO MODO DI DARA<br/>UNA PUNTA DI SPADA SOLA<br/>MENTRE L’INIMICO TIRA<br/>una Coltellata.
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VINSEGNA questa Figura à servirvi del tempo per dare una stoccata nel viso al vostro inimico, mentre egli alza la spada, se gli può dare una stoccata, mentre la sua spada è in aria, & prima che vi giunga. Et come questo si facci, notate. Dopò l’esservi messo in che guardia vi piacerà, anderete à stringere il vostro inimico, & come sarete in misura, se l’inimico vi tirasse una coltellata verso la testa, voi nell’alzar che fà della spada, servitevi del tempo, & entrate innanzi, & tirategli della spada nel viso, che senza dubio lo firerete, mentre la spada nemica è in aria, come vedete nella figura; ma nel tirar volgete il polso in sù, & il filo dritto della spada all’insù, tenendo il braccio lungo, & alto, & facciate che le guardie della vostra spada vi coprano la testa, accioche se l’inimico calasse la sua spada, vi trovi coperto, & non vi possa offendere; bisogna però tirare presto questa punta; che quando non si facesse presto, l’inimico la riparerebbe, & vi potrebbe ferire; & dopo che haverete tirata, presto ritiratevi indietro fuor di misura, assicurandovi con la spada vostra contra quella dell’inimico.<br/>
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Io non ho voluto poner in questo mio Primo libro tutti i modi di riparar le coltellate, i quali sono molti; ma vi ho posto questo solo; parendomi questo più utile, & più commodo per saper conoscer il tempo, & servirsene di esso; il quale è necessario conoscer in ogni occasione.
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| <p>[19] I did not want to put all the ways of parrying the cuts, which are many, in my first book, but I have placed this alone for you, this appearing to me most useful and commodious for understanding the tempo and making use of it, which is necessary to understand in every occasion.</p>
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| [[File:Giganti 13.png|400x400px|center|Figure 13]]
 
| [[File:Giganti 13.png|400x400px|center|Figure 13]]
| THE PROPER WAY TO SAFELY WOUND<br/>with both hands and the single sword
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| <p>[20] ''THE PROPER WAY TO SAFELY WOUND with both hands and the single sword''</p>
  
This figure shows you a method of safely wounding the enemy which is impossible to parry. It is done in two manners. First one needs to find the occasion to have your sword equal with the enemy’s, having yours outside, then affront your sword toward the enemy’s face which, if not parried strongly, strikes him in the face as is seen in the fourth figure. If he parries well and strongly, increase with your left foot, putting your left hand over your sword, driving strongly with both hands, straightening the point against the enemy’s chest and lowering the hilt of your sword as is seen in the present figure, taking care to do all these things in one tempo.<br/>
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<p>''This figure shows you a method of safely wounding the enemy which is impossible to parry. It is done in two manners. First one needs to find the occasion to have your sword equal with the enemy’s, having yours outside, then affront your sword toward the enemy’s face which, if not parried strongly, strikes him in the face as is seen in the fourth figure. If he parries well and strongly, increase with your left foot, putting your left hand over your sword, driving strongly with both hands, straightening the point against the enemy’s chest and lowering the hilt of your sword as is seen in the present figure, taking care to do all these things in one tempo.''</p>
Next, accommodated in guard in the aforesaid way but with your sword inside, I want you to disengage the sword in place to wound outside, and in the same tempo that you disengage the sword, place your left hand over your sword and with the strength of both hands beat the enemy sword with yours. That beaten away, immediately pass with your left foot forward as seen in the figure. So that this succeeds well, it is necessary to take care to do all these things in one tempo. That is, disengaging the sword, placing your hand over and beating the enemy sword with yours, and passing forward with the left foot. Not doing these things in one tempo you would not succeed and be in danger, as you would be with some valiant men that know how to disengage the sword quickly and well. Therefore, so that you succeed at this you must do it quickly and suddenly.
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| IL VERO MODO DI FERIR SICURO<br/>di Spada sola, con tutte due le mani.
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QUESTA figura vi mostra un modo di ferire sicuro l’inimico; quale è impossibile à ripararlo; & si fà in due maniere; prima bisogna ritrovare l’occasione di esser al pari con l’inimico delle spade, & haver la vostra al difuori; & all’hora affrontate la vostra spada verso la faccia dell’inimico, ilquale se non ripata forte, lo colpite nel viso, come si vede nella quarta figura; ma se ripara bene, & forte, voi crescerete con il piede sinistro, ponendo la mano sinistra sopra la vostra spada, calcando forte con ambe due le mani, drizzando la punta verso il petto dell’inimico, abbassando i fornimenti della vostra spada, come si vede nella presente figura; avertendo di far tutte queste cose in un tempo.<br/>
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Dipoi accommodato, che sarete in guardia nella sopradetta maniera; ma con la vostra spada di dentro, voglio che cavate la spada in atto di ferir di fuori; & nel medesimo tempo che cavate la spada, mettiate la mano sinistra sopra la vostra spada, & con la forza di ambe le mani battiate con la vostra la spada nemica, la quale battuta lontano, subito passiate con il piede sinistro innanzi, come vedete nella figura; Ma accioche questo vi riesca bene, bisogna avertire di fare tutte queste cose in un tempo, cioè cavar la spada, mettervi sopra la mano, & battere con la vostra la spada nemica, & passar innanzi co’l piede manco; che non facendo tutte queste cose in un tempo. Non vi riuscirebbe, & sareste in pericolo, come havreste à fare con qualche valent’huomo che sapesse cavare presto, & bene la spada; però acciò che questo vi riesca, bisogna farlo presto, & all’improviso.
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| <p>[21] ''Next, accommodated in guard in the aforesaid way but with your sword inside, I want you to disengage the sword in place to wound outside, and in the same tempo that you disengage the sword, place your left hand over your sword and with the strength of both hands beat the enemy sword with yours. That beaten away, immediately pass with your left foot forward as seen in the figure. So that this succeeds well, it is necessary to take care to do all these things in one tempo. That is, disengaging the sword, placing your hand over and beating the enemy sword with yours, and passing forward with the left foot. Not doing these things in one tempo you would not succeed and be in danger, as you would be with some valiant men that know how to disengage the sword quickly and well. Therefore, so that you succeed at this you must do it quickly and suddenly.''</p>
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| [[File:Giganti 14.png|400x400px|center|Figure 14]]
 
| [[File:Giganti 14.png|400x400px|center|Figure 14]]
| THE PROPER WAY<br/>TO PARRY THE CUT<br/>OR RIVERSO, THAT COMES AT THE LEG
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| <p>[22] '''THE PROPER WAY TO PARRY THE CUT''' OR RIVERSO, THAT COMES AT THE LEG</p>
 
 
In this lesson, in which we reflect on the mandritto or riverso cut to the leg, I cannot say anything further on parrying and wounding the enemy in one same tempo. Rather, I will say why the enemy ends up offending himself on the point of your sword, except to say that the enemy dropping a dritto or riverso to your leg, it is necessary that he lengthen his step, and his vita, and carry his face forward. While the enemy drops to wound you, you then carry the front leg, lifting it backward, and in the same tempo throw a thrust at his face that is impossible to parry. He wounds himself, neither can you then be wounded. You then (as I have said other times) return backward outside of measure.<br/>
 
And since the present lesson is very artificial it is necessary to learn it in order to be able to make use of it in such occasions as the figure clearly demonstrates to you.
 
| IL VERO MODO<br/>DI PARARE LA COLTELLATA,<br/>O RIVERSO, CHE VENISSE PER GAMBA.
 
  
IN questa lettione, nella quale ragionaremo della Coltellata mandritta, ò riversa per gamba, altro non posso dire per insegnare à parare, e ferire l’inimico in un’istesso tempo; anzi dirò perche l’inimico resti offeso da se stesso dalla punta della vostra spada, se non che calando l’inimico un dritto, ò un riverso per gamba, è necessario, che egli allunghi il passo, e la vita, e porti la faccia innanzi, e mentre l’inimico cala per ferirvi, voi all’hora portate la gamba dinanzi, levendola in dietro, & in un tempo medesimo tirategli la punta al viso, che da sè, senze potersi riparare, si ferisce, nè può poi ferir’ voi. Voi poi (come altre volte ho detto) tornarete indietro fuor’ di misura.<br/>
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<p>''In this lesson, in which we reflect on the mandritto or riverso cut to the leg, I cannot say anything further on parrying and wounding the enemy in one same tempo. Rather, I will say why the enemy ends up offending himself on the point of your sword, except to say that the enemy dropping a dritto or riverso to your leg, it is necessary that he lengthen his step, and his vita, and carry his face forward. While the enemy drops to wound you, you then carry the front leg, lifting it backward, and in the same tempo throw a thrust at his face that is impossible to parry. He wounds himself, neither can you then be wounded. You then (as I have said other times) return backward outside of measure.''</p>
Et si come la presente lettione, è molto artificiosa, così ancora fa di mestieri intenderla per potersi di lei servire in tale occasione, come la Figura chiaramente vi dimostra.
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| [[File:Giganti 15.png|400x400px|center|Figure 15]]
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| THE INQUARTATA<br/>OR SLIP OF THE VITA
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| <p>[23] ''And since the present lesson is very artificial it is necessary to learn it in order to be able to make use of it in such occasions as the figure clearly demonstrates to you.''</p>
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| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/57|2|lbl=-}}
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Knowing the inquartata, or slip, is necessary in order to master the body. But this not ordinarily used in the schools, except by the French in order to exercise the body. In truth many are these slips, or inquartate, but I judged in my first book to show only three of them, in my judgement the safest and most beautiful, as appears in the present figure.<br/>
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The first of these is done putting yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword at the face of the enemy. Let the enemy come to bind you, and when he is almost in measure disengage the sword in a feint a little wide, and in the tempo the enemy parries, redisengage it, returning it to its first position, running along the edge of his sword with the disengage in a way that as soon as you have disengaged you have wounded the enemy, because if you were to disengage the sword and then wound you would be in danger, since there would be two tempi. Carry the left leg and equally the left shoulder across, turning, and make the effect, giving him (as is seen in the figure) a thrust either in the face or chest without him perceiving the aim, holding the arm stiff, and with the hilt of your sword covering you, far from the sword of the enemy. Keep your eye on his face, taking care not to turn your face with the vita as some do, because you would find yourself in danger and not see your action. After this return immediately back out of measure with your sword over his, securing yourself as above.
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| rowspan="2" | [[File:Giganti 15.png|400x400px|center|Figure 15]]
| DELLA INQUARTATA,<br/>OVERO SCANSO DI VITA.
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| <p>[24] '''THE INQUARTATA''' OR SLIP OF THE VITA</p>
  
E Necessario il sapere l’Inquartata, overo Scanso per poter’ dominare il corpo. Ma questa ordinariamente non si usa nelle Scuole, è de’ Francesi per essercitar la vita. Molti in vero sono questi Scansi, overo Inquartate, ma io hò giudicato in questo mio primo mostrarne solo trè, al mio giudicio più sicure, e più belle, sì come nella presente figura appare.<br/>
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<p>Knowing the inquartata, or slip, is necessary in order to master the body. But this not ordinarily used in the schools, except by the French in order to exercise the body. In truth many are these slips, or inquartate, but I judged in my first book to show only three of them, in my judgement the safest and most beautiful, as appears in the present figure.</p>
La prima delle quali si fà co’l porsi in guardia fuor’ di misura con il piè destro innanzi, con la spada lunga, & il braccio disteso, stando forte per fianco dritto, tenendo la punta della spada alla faccia, dell’inimico; lasciate che l’inimico venga à stringervi, com’egli è quasi che in misura, cavate la spada in finta un poco larga, e nel tempo, che l’inimico vuol’parare, ricavatela, tornandola nel modo di prima, caminando con la cavatione per il filo della sua spada, dimaniera che non l’habiate si tosto cavate, che habbiate ferito l’inimico; perche se volesse cavare la spada, e poi ferire saresti in pericolo, poiche sarebbono duo tempi; e portando la gamba sinistra à traverso, e parimente la spalla manca, girando farete l’effetto, dandogli (come si vede nella figura) una punta, ò nel viso, ò nel petto, che egli non se n’accorgerà punto, tenendo il braccio duro, e con l’else della vostra spada coprendovi, lontano la spada nemica, tenendo l’occhio alla sua faccia, avvertendo di non girare la faccia con la vita, come fanno alcuni, perche vi trovareste in pericolo, e non vedreste il fatto vostro. Dopò questo tornate in dietro con la vostra spada sù la sua fuori di misura immediate, assicurandovi come sopra.
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| <p>[25] The first of these is done putting yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword at the face of the enemy. Let the enemy come to bind you, and when he is almost in measure disengage the sword in a feint a little wide, and in the tempo the enemy parries, redisengage it, returning it to its first position, running along the edge of his sword with the disengage in a way that as soon as you have disengaged you have wounded the enemy, because if you were to disengage the sword and then wound you would be in danger, since there would be two tempi. Carry the left leg and equally the left shoulder across, turning, and make the effect, giving him (as is seen in the figure) a thrust either in the face or chest without him perceiving the aim, holding the arm stiff, and with the hilt of your sword covering you, far from the sword of the enemy. Keep your eye on his face, taking care not to turn your face with the vita as some do, because you would find yourself in danger and not see your action. After this return immediately back out of measure with your sword over his, securing yourself as above.</p>
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| The inquartata, or slip of the vita
 
  
This is no different from the other inquartata from before, except in the way in which it wounds. That is, having regard in going to the edge of the enemy sword, approaching to wound him under the pommel of his sword, lifting the arm with the wrist, as seen in the figure, and after having turned your person, stopping yourself and not passing upon the enemy in order to not come to grips, because you would go into danger, compared to returning outside of measure and securing yourself from that. This inquartata is very difficult to parry, in fact I will say impossible, when it is done with judgement.
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| Dell’Inquartata, overo Scanso di vita.
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| <p>[26] ''The inquartata, or slip of the vita''</p>
  
NON è differente in altro questa Inquartata dalla prima, se non nella maniera del ferire, cioè haver’ riguardo nel caminare per il filo della spada nemrca, andandolo à ferire sotto il pomo della sua spada, alzando il braccio con il nodo della mano, come si vede nella figura, e dopò haver girato la persona fermarvi, e non trascorrere addosso all’inimico, per non venir con lui alle prese, perche andareste in pericolo, rispetto al poter tornare fuori di misura, & assicurarvi da quello. Questa Inquartata è difficilissima à ripararsi, anzi dirò impossibiie, quandoche è fatta con giudicio.
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<p>This is no different from the other inquartata from before, except in the way in which it wounds. That is, having regard in going to the edge of the enemy sword, approaching to wound him under the pommel of his sword, lifting the arm with the wrist, as seen in the figure, and after having turned your person, stopping yourself and not passing upon the enemy in order to not come to grips, because you would go into danger, compared to returning outside of measure and securing yourself from that. This inquartata is very difficult to parry, in fact I will say impossible, when it is done with judgement.</p>
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| THE THIRD INQUARTATA,<br/>or slip of the vita
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| <p>[27] ''THE THIRD INQUARTATA, or slip of the vita''</p>
 
 
This third inquartata is the most beautiful and safest of all, which is done in this way. Placing yourself in guard, as in the other two, holding the sword to the right side with the arm extended and firm, as the enemy comes to bind you with his sword over yours and you are in measure, disengage the sword with the turn of your wrist. If he does not parry, strike him in the face and make the effect of the figure, nor should you do more. But if he parries, you find yourself with the swords equal. Affront his sword strongly with yours so that he affronts, and as he affronts disengage, going with the disengage under the hilt of his sword, turning your body as above, wound him in the chest, which he will not perceive, and do the effect of the present figure. Then return outside of measure, securing yourself as in the other lessons.
 
| DELLA TERZA INQUARTATA,<br/>o Scanso di vita.
 
  
QUesta Terza Inquartata è la più bella, e più sicura di tutte, la quale si fà in questa maniera. Ponetevi in guardia, come nell’altre due, tenendo la spada per fianco destro, con il braccio disteso, e fermo: & come l’inimico viene à stringervi con la sua spada sopra la vostra, e che sete in misura; cavate la spada con il giro del nodo della mano: se egli non ripara, gli date nel viso, e farete l’effetto della figura, nè vi occorrerà far altro. Ma se egli ripara, vi trovate con le spade del pari: all’hora affrontate forte la vostra sopra la sua spada, accioche egli ancora affronti, e come egli affronta; voi cavando caminarete con la cavatione di sotto l’else della sua spada, girando il corpo, come sopra, lo ferirete nel petto, che egli non se n’accorgerà: e fatto l’effetto della presente figura, poi tornarete fuori di misura, assicurandovi, come nell’altre lettioni.
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<p>''This third inquartata is the most beautiful and safest of all, which is done in this way. Placing yourself in guard, as in the other two, holding the sword to the right side with the arm extended and firm, as the enemy comes to bind you with his sword over yours and you are in measure, disengage the sword with the turn of your wrist. If he does not parry, strike him in the face and make the effect of the figure, nor should you do more. But if he parries, you find yourself with the swords equal. Affront his sword strongly with yours so that he affronts, and as he affronts disengage, going with the disengage under the hilt of his sword, turning your body as above, wound him in the chest, which he will not perceive, and do the effect of the present figure. Then return outside of measure, securing yourself as in the other lessons.''</p>
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| An artificial way to strike in the chest, affronting the swords
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| <p>[28] ''An artificial way to strike in the chest, affronting the swords''</p>
  
In the previous lessons I demonstrated the method of the inquartate, that is, how one would affront the swords outside in order to come to wound the enemy inside. Now I will briefly say how one would carry the swords inside and wound outside. As you meet with the enemy, affront strongly with the edge of your sword, holding the point at his face, with the forte over the enemy sword. If he is weaker than you, give him a stoccata, either in the face or chest that he cannot parry. If he is stronger than you, feeling how much your sword is affronted disengage the sword under the hilt of his so that his falls downward, and he equally takes a thrust from which there is no defense. In the same tempo pass without any danger and put your left hand on his hilt, wounding him with three or four thrusts that cannot be avoided. Then return outside of measure, securing yourself as above.
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<p>''In the previous lessons I demonstrated the method of the inquartate, that is, how one would affront the swords outside in order to come to wound the enemy inside. Now I will briefly say how one would carry the swords inside and wound outside. As you meet with the enemy, affront strongly with the edge of your sword, holding the point at his face, with the forte over the enemy sword. If he is weaker than you, give him a stoccata, either in the face or chest that he cannot parry. If he is stronger than you, feeling how much your sword is affronted disengage the sword under the hilt of his so that his falls downward, and he equally takes a thrust from which there is no defense. In the same tempo pass without any danger and put your left hand on his hilt, wounding him with three or four thrusts that cannot be avoided. Then return outside of measure, securing yourself as above.''</p>
| D’un modo artificioso di dar nel petto affrontando le spade.
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NElle passate lettioni hò dimostrato il modo dell’Inquartate, cioè come si affrontino le spade di fuori per venir à ferire di dentro l’inimico: hora come si portino le spade di dentro, e si ferisca di fuora, dirò brevemente. Come sete accozzati con l’inimico; affrontate forte con il taglio della vostra spada, tenendo la punta alla faccia, e co’l forte sopra la spada nemica: Se avverrà ch’egli sia men forte di voi, gli darete una stoccata, ò nella faccia, ò nel petto, che non può ripararla, ma se egli è più forte di voi, sentendo quanto la vostra spada affronta, cavate la spada di sotto l’else della sua, che la sua cade in terra, ed egli parimente tiene una punta dalla quale non può difendersi, & in quell’istesso tempo passate senza alcun pericolo, e ponendo la mano sinistra all’else della sua, lo ferite di trè, o quattro punte, che non può schivarle. Poi tornate fuor di misura, assicurandovi, come sopra.
 
 
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| The way of playing single sword against single sword with resolute thrusts
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| <p>[29] ''The way of playing single sword against single sword with resolute thrusts''</p>
  
Many are those in the schools that when they assail the enemy come resolutely throwing thrusts, imbroccate, and cuts, nor do they give any tempo, throwing always with fury and very great impetus. These things ordinarily mess up and disorder every beautiful player and fencer. Accordingly, in such occasions it is necessary to know how to defend oneself. It is necessary that you place yourself to the guard of the enemy sword with yours ready to defend, outside the measure, in a that is pace restrained rather than long, and in the tempo that he throws a thrust, imbroccata, stoccata, or other similar blow, beat the enemy sword with the forte of yours and immediately lengthen your pace, and throwing him a thrust wound him in the chest or face and quickly return backward with the lead foot to where you were before, resting your sword on his in order to secure yourself from it, in a way that he cannot wound if he does not disengage. Turning your wrist inside, return to beat the enemy sword with the forte of yours, lengthening your pace throw him a thrust and wound him and quickly return backward with the foot as above, likewise securing yourself from his sword with yours. If he returns anew to redisengage, always return and do the same.<br/>
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<p>''Many are those in the schools that when they assail the enemy come resolutely throwing thrusts, imbroccate, and cuts, nor do they give any tempo, throwing always with fury and very great impetus. These things ordinarily mess up and disorder every beautiful player and fencer. Accordingly, in such occasions it is necessary to know how to defend oneself. It is necessary that you place yourself to the guard of the enemy sword with yours ready to defend, outside the measure, in a that is pace restrained rather than long, and in the tempo that he throws a thrust, imbroccata, stoccata, or other similar blow, beat the enemy sword with the forte of yours and immediately lengthen your pace, and throwing him a thrust wound him in the chest or face and quickly return backward with the lead foot to where you were before, resting your sword on his in order to secure yourself from it, in a way that he cannot wound if he does not disengage. Turning your wrist inside, return to beat the enemy sword with the forte of yours, lengthening your pace throw him a thrust and wound him and quickly return backward with the foot as above, likewise securing yourself from his sword with yours. If he returns anew to redisengage, always return and do the same.''</p>
This lesson is more useful than beautiful and contains two tempi which you can make before the enemy has time to make one of them. The first of which is the parry, the other is the wound. Which, as has been observed, you have understood.
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| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/61|2|lbl=-}}
| Del modo di giucar di Spada sola contro Spada sola, di punte risolute.
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SOn molti, che nelle Scuole, quando vogliono assalire l’inimico, vengono risoluti tirando Punte, Imbroccate, Coltellate, nè danno tempo alcuno tirando sempre con furia, & impeto grandissimo; le quali cose sogliono per ordinario mettere in disordine ogni bel giuocatore, e schermitore; Perilche è necessario sapere in tal occasione il modo di defendirsi. Bisogna, che vi poniate alla guardia della Spada nemica con la vostra in atto di difesa, e fuor’ di misura, in un passo più tosto ristretto che lungo: e nel tempo, che egli vi tira o Punta, o Imbroccata, o Stoccata, o altro colpo simile, battete con il forte della vostra, la spada nemica, e subito allunganda il passo tirategli una punta, e lo ferirete, o nel petto, o nella faccia, e tosto tornate indietro con il piede dinanzi, ove eravate prima, appoggiando la vostra spada alla sua per assicurarvi da quella; di maniera, che egli non vi possa ferire, se non cava: e se cava, voi volgendo i nodi della mano in fuora, tornate à battere con il forte della vostra la spada nemica, & allungando il passo, tirategli una punta, e feritelo, e tosto tornate à dietro con il piede, come sopra, assicurandovi parimente con la vostra dalla sua spada, e se torna di nuovo à ricavare, e voi sempre tornate à fare il medesimo.<br/>
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Questa lettione è più utile, che bella, & hà in se due tempi, i quali voi potete far prima, che l’inimico habbia tempo di farne uno: L’uno de i quali è il riparo, l’altro è il ferire. I quali, come si osservino, havete inteso.
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| <p>[30] ''This lesson is more useful than beautiful and contains two tempi which you can make before the enemy has time to make one of them. The first of which is the parry, the other is the wound. Which, as has been observed, you have understood.''</p>
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| [[File:Giganti 16.png|400x400px|center|Figure 16]]
 
| [[File:Giganti 16.png|400x400px|center|Figure 16]]
| PARRYING STOCCATE<br/>THAT COME AT THE CHEST WITH THE SINGLE SWORD
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| <p>[31] '''PARRYING STOCCATE''' THAT COME AT THE CHEST WITH THE SINGLE SWORD</p>
 
 
Seen in this figure is the safe method of parrying thrusts that come at your chest, wounding the chest. It is done in different ways because some may pass at a distance, others stay in measure, and others inside the measure, but one who has understanding of tempo and knows how to parry well as my figure demonstrates will parry all the methods. From which you note that, being with your enemy with the swords equal and he passes in order to wound you in the chest, by necessity in that same tempo follow his sword with yours, lowering, however, the point of yours and raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword wound him in the chest, holding your left hand over the hilt of his sword. Then, the stoccata given, disengage the sword in the way described above, returning backward outside of measure.
 
| DEL PARAR LE STOCCATE<br/>CHE VENGONO NEL PETTO DI SPADA SOLA.
 
  
SI vede da questa Figura il modo sicuro di parare le punte, che vengono nel petto, & il ferire nel petto, ilche si fà in diversi modi, perche altri passano in distanza; altri stanno in misura; altri dentro la misura: Ma chi havrà cognitione del tempo; e saprà ben parare come la mia figura dimostra, parerà in tutti i modi. Onde notate, ch’essendo voi con il vostro nemico con le spade del pari, e che egli passasse per ferirvi nel petto; fà di mestieri, che voi in quel tempo medesimo seguitiate con la vostra la sua spada, abbassando però la punta della vostra, con alzar in nodo della mano, e parare con la medesima, e passare con il piè manco verso la parte destra, togliendovi via dalla sua spada, e feriretelo nel petto, tenendo la vostra man manca sopra i fornimenti della sua spada. Dato poi che haverete la stoccata, cavarete la spada al modo descritto di sopra, tornando in dietro fuori di misura.
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<p>Seen in this figure is the safe method of parrying thrusts that come at your chest, wounding the chest. It is done in different ways because some may pass at a distance, others stay in measure, and others inside the measure, but one who has understanding of tempo and knows how to parry well as my figure demonstrates will parry all the methods. From which you note that, being with your enemy with the swords equal and he passes in order to wound you in the chest, by necessity in that same tempo follow his sword with yours, lowering, however, the point of yours and raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword wound him in the chest, holding your left hand over the hilt of his sword. Then, the stoccata given, disengage the sword in the way described above, returning backward outside of measure.</p>
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| [[File:Giganti 17.png|400x400px|center|Figure 17]]
 
| [[File:Giganti 17.png|400x400px|center|Figure 17]]
| THE THRUST<br/>IN THE FACE<br/>TURNING YOUR WRIST
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| <p>[32] '''THE THRUST IN THE FACE''' TURNING YOUR WRIST</p>
 
 
With this figure you are taught a very beautiful method of wounding your enemy’s face, and it consists entirely of seizing the occasion of being with the swords equal, causing your enemy to be in the motion of parrying by giving him suspicion that you want to disengage the sword. In the same tempo, turn your wrist, put your left hand on the guard of his sword, and increase with the foot in one tempo so that you strike him in the face, as you see. Doing it properly it cannot be parried. Having given that, increase with your left hand over the hilt of the enemy sword and redisengaging the sword you can give him two or three stoccate where you like. Then return backward outside of measure, always holding your sword over theirs, as above.
 
| DELLA PUNTA<br/>NEL VISO<br/>VOLTANDO IL NODO DELLA MANO.
 
  
VI s’insegna con questa figura un bellissimo modo di ferire nel volto il vostro nemico: & il tutto consiste nel pigliare l’occasione, di stare con le spade del pari, facendo stare il vostro nemico in moto di parare, mettendogli sospetto di voler cavare la spada: e voi in un tempo medesimo, voltando il nodo della mano, metterete la mano sinistra alla guardia della sua spada, e crescerete con il piede in un tempo, che gli darete nel viso, come vedete; nè è possibile, che si ripari, facendola voi giusta; Dato che haverete, creserete con la mano manca sopra gli finimenti della spada nemica: e ricavando la spada, potrete tirargli due, o trè stoccate, ove vorrete. Poi tornarete in dietro fuori di misura, tenendo sempre la vostra su la sua spada, come sopra.
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<p>With this figure you are taught a very beautiful method of wounding your enemy’s face, and it consists entirely of seizing the occasion of being with the swords equal, causing your enemy to be in the motion of parrying by giving him suspicion that you want to disengage the sword. In the same tempo, turn your wrist, put your left hand on the guard of his sword, and increase with the foot in one tempo so that you strike him in the face, as you see. Doing it properly it cannot be parried. Having given that, increase with your left hand over the hilt of the enemy sword and redisengaging the sword you can give him two or three stoccate where you like. Then return backward outside of measure, always holding your sword over theirs, as above.</p>
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| [[File:Giganti 18.png|400x400px|center|Figure 18]]<br/>[[File:Giganti 19.png|400x400px|center|Figure 19]]
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| [[File:Giganti 18.png|400x400px|center|Figure 18]]
| THE COUNTERDISENGAGE AT A DISTANCE
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| rowspan="2" | <p>[33] '''THE COUNTERDISENGAGE AT A DISTANCE'''</p>
This is one and the same counterdisengage at a distance against one who has their left foot forward and wants to pass by inquartata. I wanted to demonstrate to you with this figure the postures and wound so that it is possible to comprehend it well for the sake of necessity (when one is coming to bind you with their left foot forward). Stand in guard as you see in this figure, giving occasion to your enemy to throw at your chest. If he is a valiant man he will pass with his foot quickly and strongly turn his wrist in the manner of the inquartata in order to defend himself from your sword. In the same tempo that he passes, redisengage the sword under the hilt, lowering your vita as you see in the present figure so that you wound him in the face before he wounds you. In fact, while he carries his foot forward in order to pass it is not possible to parry. At times it is necessary to make the effect of this figure. Exercise well these two figures placed before.
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| DELLA CONTRACAVATIONE IN DISTANTIA.
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<p>This is one and the same counterdisengage at a distance against one who has their left foot forward and wants to pass by inquartata. I wanted to demonstrate to you with this figure the postures and wound so that it is possible to comprehend it well for the sake of necessity (when one is coming to bind you with their left foot forward). Stand in guard as you see in this figure, giving occasion to your enemy to throw at your chest. If he is a valiant man he will pass with his foot quickly and strongly turn his wrist in the manner of the inquartata in order to defend himself from your sword. In the same tempo that he passes, redisengage the sword under the hilt, lowering your vita as you see in the present figure so that you wound him in the face before he wounds you. In fact, while he carries his foot forward in order to pass it is not possible to parry. At times it is necessary to make the effect of this figure. Exercise well these two figures placed before.</p>
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QUESTA è una medesima contracavatione, in distanza d’uno, che fusse in piè manco, & che volesse passare d’Inquartata. Hò voluto dimostrarvi con questa figura le posture, & il ferire. & acciò si possa ben comprendere, fà di mestieri (che venendo uno à stringervi in piè manco,) che stiate in guardia come vedete in questa figura, dando campo al vostro nemico di tirarvi nel petto. S’egli sarà velent’huomo, passerà con il piede presto, & volterà forte il nodo della mano, à modo d’Inquartata, per riprararsi dalla vostra spada: e voi nel medesimo tempo, che passa, ricavarete la spada sotto i finimenti, abbassando la vita, come vedete nella presente figura, che lo ferirete nel viso, innanzi che lui ferisca voi: Anzi mentre porterà  il piede innanzi per voler passare, e non si potrà riparare. Ma à volte far l’effetto di questa figura, fa di mestieri essercitarsi bene in queste due poste innanzi.
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| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| [[File:Giganti 19.png|400x400px|center|Figure 19]]
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| class="noline" | [[File:Giganti 20.png|400x400px|center|Figure 20]]
 
| class="noline" | [[File:Giganti 20.png|400x400px|center|Figure 20]]
| class="noline" | METHOD OF PLAYING WITH THE SINGLE SWORD,<br/>while the enemy has sword and dagger
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| class="noline" | <p>[34] METHOD OF PLAYING WITH THE SINGLE SWORD, while the enemy has sword and dagger</p>
  
With this figure I will demonstrate to you parrying and wounding, you with the single sword against an enemy who has sword and dagger. You will stand with your right foot forward with a just pace, with your vita back, holding the sword forward ready to parry and wound when there is a tempo. It is necessary that you not be first to throw, because you will be in danger, since in throwing your enemy could parry your stoccata with the dagger and if he were a valiant man you would not be able to parry his. If you stay in guard as I have said above, ready to parry, showing fear of him so that he throws disconcerted. While he throws parry strongly with the forte of your sword and throw the stoccata at his face, because he will throw at you strongly and long and while throwing his dagger will remove itself so you can strike him securely. That given, immediately return backwards outside of measure, holding your sword in his in the way described above. As many times as he throws, you will wound the same, taking care however not to throw at his chest, which would not be secure, since the one that has sword and dagger will be much bolder than one who finds themselves with the single sword, and thus thinking to give you as many stoccate as he likes, he will come to be disconcerted at throwing forward at you, not thinking of anything else. If you stay in guard with judgement you can parry securely and strongly and wound your enemy, always in the face, returning securely outside of measure with your sword over his. If your enemy were to disengage the sword to the inside, turn your wrist and parry and throw strongly as I have said. If you see that he wants to fly upon you, throw yourself back and throw at him in that tempo that he moves himself to come forward. If you were to find yourself in guard with your sword in his and you would like  to first parry with the dagger and then wound, in the tempo that you see that he lowers the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number … Immediately after return outside of measure with your sword over his. Take care, however, not to throw if he stays in guard if by chance you do not see some tempo that when you throw he cannot wound you, as described above when tempo and measure were discussed. If he stays in guard waiting, or out of fear, or rather with art in order to deceive you, stay outside of measure with your sword over his and seek to parry and wound securely according to the occasion.
+
<p>With this figure I will demonstrate to you parrying and wounding, you with the single sword against an enemy who has sword and dagger. You will stand with your right foot forward with a just pace, with your vita back, holding the sword forward ready to parry and wound when there is a tempo. It is necessary that you not be first to throw, because you will be in danger, since in throwing your enemy could parry your stoccata with the dagger and if he were a valiant man you would not be able to parry his. If you stay in guard as I have said above, ready to parry, showing fear of him so that he throws disconcerted. While he throws parry strongly with the forte of your sword and throw the stoccata at his face, because he will throw at you strongly and long and while throwing his dagger will remove itself so you can strike him securely. That given, immediately return backwards outside of measure, holding your sword in his in the way described above. As many times as he throws, you will wound the same, taking care however not to throw at his chest, which would not be secure, since the one that has sword and dagger will be much bolder than one who finds themselves with the single sword, and thus thinking to give you as many stoccate as he likes, he will come to be disconcerted at throwing forward at you, not thinking of anything else. If you stay in guard with judgement you can parry securely and strongly and wound your enemy, always in the face, returning securely outside of measure with your sword over his. If your enemy were to disengage the sword to the inside, turn your wrist and parry and throw strongly as I have said. If you see that he wants to fly upon you, throw yourself back and throw at him in that tempo that he moves himself to come forward. If you were to find yourself in guard with your sword in his and you would like  to first parry with the dagger and then wound, in the tempo that you see that he lowers the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number … Immediately after return outside of measure with your sword over his. Take care, however, not to throw if he stays in guard if by chance you do not see some tempo that when you throw he cannot wound you, as described above when tempo and measure were discussed. If he stays in guard waiting, or out of fear, or rather with art in order to deceive you, stay outside of measure with your sword over his and seek to parry and wound securely according to the occasion.</p>
| class="noline" | DEL MODO DI GIUCARE CON SPADA SOLA,<br/>e che il nemico habbia Spada, e Pugnale.
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| class="noline" | {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|71|lbl=51}}
 
 
VI dimostrerò con questa figura il parare, e’l ferire voi con spada sola contro al nemico c’habbia spada e pugnale. Starete in piedi dritto innanzi con un passo giusto, con la vita indietro tenendo la spada innanzi pronta à parare, e ferire quando sarà il tempo. & non bisogna esser primo à tirare, perche sarete in pericolo, poiche tirando il vostro inimico potrebbe parare con il pugnale la vostra stoccata, e voi non potresti parare la sua, se egli fusse valent’huomo; ma se voi starete in guardia, come hò detto di sopra in atto di parare, mostrando temerlo, accioche egli tiri sconsertato, voi mentre che lui tira, parerete gagliardo con il forte della vostra spada, e tirerete la stoccata al viso; perche egli vi tirerà forte, e longo, e in tirando il suo pugnale, si allontanarà, si che voi gli darete sicuro, e subito dato, tornerete in dietro fuori di misura, tenendo la vostra nella sua spada al modo descritto di sopra; e quante volte, ch’egli tirerà, voi farete il medesimo; avertendo però di non  tirargli al petto, che non sarebbe sicura, poiche colui, che hà spada, e pugnale, sarà molto più ardito contro quello, che si ritrovi spada sola, e così pensando egli darvi quante stoccate, ch’ei vuole, verrà sconsertato à tirarvi innanzi non pensando à cosa alcuna: ma voi se starete in guardia con giudicio, potrete parare sicuro, e forte, e ferire il vostro nemico sempre nel viso, e tornar sicuro con la vostra spada sopra la sua fuor di misura. Ma se il vostro nemico cavasse la spada di dentro; voi voltando il nodo della mano pararete, e tirerete forte, come hò detto. E se vedrete, ch’egli vogli fogarvisi addosso, voi tirandovi indietro, gli tirerete in quel tempo, ch’ei si muove per venire innanzi, e se voi vi ritrovaste in guardia con la vostra nella sua spada, e che vorreste prima parare con il Pugnale, e poi ferire, in quel tempo, che voi vedete, ch’egli abbassa il Pugnale per parare; e voi subito cavarete la spada di sopra al pugnale al modo descritto nella Figura Num..,. Subito poi tornarete fuor di misura con la vostra sopra la sua spada, avertendo però, che se egli stesse in guardia non tirare, se à sorte voi non vedreste qualche tempo, che quando tiriate, egli non vi possa ferire, come è descritto di sopra, quando si tratta del tempo, e della misura. Se egli stà in guardia aspetteando, o per paura, overo con arte per ingannarvi starete fuor di misura, con la vostra sopra la sua spada, e cercherete di parare, e ferire sicuro, secondo l’occasione.
 
 
| class="noline" | [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
 
| class="noline" | [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
 
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| [[File:Giganti 21.png|400x400px|center|Figure 21]]
 
| [[File:Giganti 21.png|400x400px|center|Figure 21]]
| METHOD OF PARRYING THE STOCCATA THAT COMES<br/>at the face from the right side with sword and dagger
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| <p>[35] METHOD OF PARRYING THE STOCCATA THAT COMES at the face from the right side with sword and dagger</p>
  
To achieve the effect of the present figure, it is necessary to stand in guard as you will learn. I say it is necessary to stand in a just pace, strong, holding the weapons ready to parry and wound, with the dagger toward the guard of the enemy sword and your sword ready to wound where it is most convenient. If you see that your enemy wants to wound you with a thrust to your face, parry with the edge of the dagger and wound the enemy in the right shoulder in the same tempo, so that doing it in one tempo it will be difficult to parry. To make the effect so that he cannot parry, it is not enough to only understand these things, but also necessary to know how to put them into effect. That is, in the same tempo to stand strongly in guard, with the right foot forward, with the left foot strong on the ground supporting all the body, holding the right foot back as in various other lessons in order to increase quickly forward and back according to the occasion, always holding the point of your sword at the face or chest of the enemy, the dagger high in proportion to the enemy sword, inclining the vita back rather than forward, standing with a lively and vigilant eye, with a bold heart, and without one bit of fear of the enemy. If (while you stand in this guard) your enemy comes to throw a thrust or imbroccata at your face, then parrying with the edge of the dagger throw him a stoccata in the same tempo so that you make the effect of the figure. Take heed that you parry strongly and safely, turn your head and vita a little, and while he throws at you, parrying strongly, throw your stoccata in the same tempo. If you were to parry first then throw it would not be possible, since your enemy could withdraw his arm and body and would be in tempo to parry, and your life would be in danger. But if you parry and wound in the same tempo, give him the stoccata under the flank of the sword while he comes forward so you do it justly and in tempo and it is difficult for him to parry. Taking heed that when you have thrown the stoccata you hold your left foot on the ground firmly and strongly and as soon as you have thrown carry your vita backward, returning outside of measure. Having thrown, to return backward safely it is necessary to first bring the head, then the vita backward, then the leg will come by itself. If you were to pull your leg first your head would go forward, your life would be in danger, and you would not be able to return outside of measure. Throwing a long and strong stoccata without knowing how to return backward with the vita is worthless. In order to make the effect of the figure it is necessary to practise, so that when you see that your enemy wants to throw, you throw in that tempo so that your stoccata will arrive before his, although he is first to throw.
+
<p>To achieve the effect of the present figure, it is necessary to stand in guard as you will learn. I say it is necessary to stand in a just pace, strong, holding the weapons ready to parry and wound, with the dagger toward the guard of the enemy sword and your sword ready to wound where it is most convenient. If you see that your enemy wants to wound you with a thrust to your face, parry with the edge of the dagger and wound the enemy in the right shoulder in the same tempo, so that doing it in one tempo it will be difficult to parry. To make the effect so that he cannot parry, it is not enough to only understand these things, but also necessary to know how to put them into effect. That is, in the same tempo to stand strongly in guard, with the right foot forward, with the left foot strong on the ground supporting all the body, holding the right foot back as in various other lessons in order to increase quickly forward and back according to the occasion, always holding the point of your sword at the face or chest of the enemy, the dagger high in proportion to the enemy sword, inclining the vita back rather than forward, standing with a lively and vigilant eye, with a bold heart, and without one bit of fear of the enemy. If (while you stand in this guard) your enemy comes to throw a thrust or imbroccata at your face, then parrying with the edge of the dagger throw him a stoccata in the same tempo so that you make the effect of the figure. Take heed that you parry strongly and safely, turn your head and vita a little, and while he throws at you, parrying strongly, throw your stoccata in the same tempo. If you were to parry first then throw it would not be possible, since your enemy could withdraw his arm and body and would be in tempo to parry, and your life would be in danger. But if you parry and wound in the same tempo, give him the stoccata under the flank of the sword while he comes forward so you do it justly and in tempo and it is difficult for him to parry. Taking heed that when you have thrown the stoccata you hold your left foot on the ground firmly and strongly and as soon as you have thrown carry your vita backward, returning outside of measure. Having thrown, to return backward safely it is necessary to first bring the head, then the vita backward, then the leg will come by itself. If you were to pull your leg first your head would go forward, your life would be in danger, and you would not be able to return outside of measure. Throwing a long and strong stoccata without knowing how to return backward with the vita is worthless. In order to make the effect of the figure it is necessary to practise, so that when you see that your enemy wants to throw, you throw in that tempo so that your stoccata will arrive before his, although he is first to throw.</p>
 
| DEL MODO DI PARARE LA STOCCATA, CHE VENGA<br/>nel viso dalla banda dritta di Spade, e Pugnale.
 
| DEL MODO DI PARARE LA STOCCATA, CHE VENGA<br/>nel viso dalla banda dritta di Spade, e Pugnale.
  
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| [[File:Giganti 22.png|400x400px|center|Figure 22]]
 
| [[File:Giganti 22.png|400x400px|center|Figure 22]]
| THE PROPER METHOD OF PARRYING<br/>THE STOCCATA<br/>THAT COMES TOWARD YOUR LEFT FLANK
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| <p>[36] THE PROPER METHOD OF PARRYING THE STOCCATA THAT COMES TOWARD YOUR LEFT FLANK</p>
  
In the present figure it is necessary to place yourself like in that above. If your enemy intends to throw at your left flank, stand with your dagger toward the guard of his sword and in the tempo that he throws parry with the edge of the dagger and wound the enemy in the sword shoulder in the same tempo. Nay, throw yours sooner than he throws his stoccata, staying alert with your eye and mind, collected in the vita, and in the tempo you see he wants to throw his throw yours at his shoulder and parry his in that tempo, so that he cannot parry yours because you wound in that tempo he comes forward, as is seen in the figure. The stoccata thrown, return backward outside of measure in the same way as the first figure of sword and dagger.
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<p>In the present figure it is necessary to place yourself like in that above. If your enemy intends to throw at your left flank, stand with your dagger toward the guard of his sword and in the tempo that he throws parry with the edge of the dagger and wound the enemy in the sword shoulder in the same tempo. Nay, throw yours sooner than he throws his stoccata, staying alert with your eye and mind, collected in the vita, and in the tempo you see he wants to throw his throw yours at his shoulder and parry his in that tempo, so that he cannot parry yours because you wound in that tempo he comes forward, as is seen in the figure. The stoccata thrown, return backward outside of measure in the same way as the first figure of sword and dagger.</p>
 
| IL VERO MODO DI PARARE<br/>LA STOCCATA,<br/>CHE VENISSE NEL FIANCO MANCO.
 
| IL VERO MODO DI PARARE<br/>LA STOCCATA,<br/>CHE VENISSE NEL FIANCO MANCO.
  
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| [[File:Giganti 23.png|400x400px|center|Figure 23]]
 
| [[File:Giganti 23.png|400x400px|center|Figure 23]]
| METHOD OF PARRYING<br/>A THRUST THAT COMES<br/>AT YOUR RIGHT FLANK WITH SWORD<br/>AND DAGGER
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| <p>[37] METHOD OF PARRYING A THRUST THAT COMES AT YOUR RIGHT FLANK WITH SWORD AND DAGGER</p>
  
As you see in this figure, if you are in this same guard described above and your enemy were to come to bind with the sword low in order to wound you in the right flank it would be necessary for you to raise your sword arm and stand in third guard for an imbroccata with the point of your sword toward his face or chest, with the dagger a little low and the arm to the guard of the enemy sword. As the enemy throws the thrust at your flank, parry and throw an imbroccata at the enemy sword shoulder in the same tempo so that you see the effect of the figure. In fact, it would be better when you see your enemy wants to throw the thrust to throw yours forward so that you will more easily wound him. The stoccata or imbroccata given, immediately return backward outside of measure.<br/>
+
<p>As you see in this figure, if you are in this same guard described above and your enemy were to come to bind with the sword low in order to wound you in the right flank it would be necessary for you to raise your sword arm and stand in third guard for an imbroccata with the point of your sword toward his face or chest, with the dagger a little low and the arm to the guard of the enemy sword. As the enemy throws the thrust at your flank, parry and throw an imbroccata at the enemy sword shoulder in the same tempo so that you see the effect of the figure. In fact, it would be better when you see your enemy wants to throw the thrust to throw yours forward so that you will more easily wound him. The stoccata or imbroccata given, immediately return backward outside of measure.</p>
These are the four kinds of wounding and parrying stoccata and imbroccata, and they proceed in the same way, that is, parrying and wounding in the same tempo and in carrying the feet always taking care as you throw the stoccata to increase a little with your right foot, holding the left foot strongly on the ground. Be advised that holding the left foot on the ground will appear difficult to you at first, but with practice you will succeed easily.
 
 
| DEL MODO DI PARARE<br/>UNA PUNTA, CHE VENISSE<br/>NEL FIANCO DESTRO DI SPADA,<br/>E PUGNALE
 
| DEL MODO DI PARARE<br/>UNA PUNTA, CHE VENISSE<br/>NEL FIANCO DESTRO DI SPADA,<br/>E PUGNALE
  
IN questa figura, come vedete, se voi foste in questa guardia medesim come sopra è descritta, e che’l vostro nemico vi venisse à stringer con la spada bassa, per ferirvi nel fianco dritto, bisogna che voi alciate il braccio della spada, e state in guardia terza per imbroccata con la punta della vostra spada, verso il suo viso, overo il petto, & con il pugnale alquanto basso, con il braccio alla guardia della spada nemica. E come il nemico tira la punta nel fianco, e voi parate, e tirate per imbroccata nella spalla della spada nemica in un istesso tempo, che parate, che vedrete l’effetto della figura. Anzi sarebbe meglio, come vedete il vostro nemico, che vuol tirare la punta, tirare innanzi la vostra, che più facilmente lo ferirete; e subito data la stoccata, overo imbroccata, tornare indietro fuor di misura.<br/>
+
IN questa figura, come vedete, se voi foste in questa guardia medesim come sopra è descritta, e che’l vostro nemico vi venisse à stringer con la spada bassa, per ferirvi nel fianco dritto, bisogna che voi alciate il braccio della spada, e state in guardia terza per imbroccata con la punta della vostra spada, verso il suo viso, overo il petto, & con il pugnale alquanto basso, con il braccio alla guardia della spada nemica. E come il nemico tira la punta nel fianco, e voi parate, e tirate per imbroccata nella spalla della spada nemica in un istesso tempo, che parate, che vedrete l’effetto della figura. Anzi sarebbe meglio, come vedete il vostro nemico, che vuol tirare la punta, tirare innanzi la vostra, che più facilmente lo ferirete; e subito data la stoccata, overo imbroccata, tornare indietro fuor di misura.
Queste sono le quattro sorti di ferire, e parare di stoccata, & imbroccata, & tutto vanno in un medesimo modo, cioè parare, e ferire in un istesso tempo; e nel portar de’ piedi, avertire sempre, come tirate la stoccata, crescere alquanto con il piè destro, tenendo il piè manco forte in terra. Avertite, che à tener forte il piede manco in terra vi parrà difficile nel principio, ma con l’esercitio vi riuscirà facile.
 
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| <p>[38] These are the four kinds of wounding and parrying stoccata and imbroccata, and they proceed in the same way, that is, parrying and wounding in the same tempo and in carrying the feet always taking care as you throw the stoccata to increase a little with your right foot, holding the left foot strongly on the ground. Be advised that holding the left foot on the ground will appear difficult to you at first, but with practice you will succeed easily.</p>
 +
| Queste sono le quattro sorti di ferire, e parare di stoccata, & imbroccata, & tutto vanno in un medesimo modo, cioè parare, e ferire in un istesso tempo; e nel portar de’ piedi, avertire sempre, come tirate la stoccata, crescere alquanto con il piè destro, tenendo il piè manco forte in terra. Avertite, che à tener forte il piede manco in terra vi parrà difficile nel principio, ma con l’esercitio vi riuscirà facile.
 +
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| [[File:Giganti 24.png|400x400px|center|Figure 24]]
 
| [[File:Giganti 24.png|400x400px|center|Figure 24]]
| METHOD OF PARRYING<br/>THE THRUST OF SWORD<br/>AND DAGGER AT YOUR FACE
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| <p>[39] METHOD OF PARRYING THE THRUST OF SWORD AND DAGGER AT YOUR FACE</p>
  
In order to put into effect that which is shown to you by this figure it is necessary that you stand in the same guard, and seeing the enemy coming to throw a stoccata at your face, parrying with the edge of the dagger, to push forward the stoccata at his flank in one tempo so that you make this effect. Be advised, however, when you see the enemy’s thrust at your face, to hold the dagger a little wide from it, giving him occasion to throw at you, and when he throws at you parry with the dagger and turn your head a little in order to pull it away from his sword. In the tempo you parry, wound him with a thrust in the flank that is uncovered and closest to wound. As soon as you have wounded, return backward in the described way.
+
<p>In order to put into effect that which is shown to you by this figure it is necessary that you stand in the same guard, and seeing the enemy coming to throw a stoccata at your face, parrying with the edge of the dagger, to push forward the stoccata at his flank in one tempo so that you make this effect. Be advised, however, when you see the enemy’s thrust at your face, to hold the dagger a little wide from it, giving him occasion to throw at you, and when he throws at you parry with the dagger and turn your head a little in order to pull it away from his sword. In the tempo you parry, wound him with a thrust in the flank that is uncovered and closest to wound. As soon as you have wounded, return backward in the described way.</p>
 
| DEL MODO DI PARARE<br/>LA PUNTA DI SPADA,<br/>E PUGNALE NEL VISO.
 
| DEL MODO DI PARARE<br/>LA PUNTA DI SPADA,<br/>E PUGNALE NEL VISO.
  
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| [[File:Giganti 25.png|400x400px|center|Figure 25]]
 
| [[File:Giganti 25.png|400x400px|center|Figure 25]]
| METHOD OF PARRYING<br/>THE CUT<br/>ON THE HEAD WITH SWORD AND DAGGER
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| <p>[40] METHOD OF PARRYING THE CUT ON THE HEAD WITH SWORD AND DAGGER</p>
  
As you see, one learns from this figure to parry the cuts with the dagger that come at the top of your head. It is necessary to place oneself in the guard of the first lesson, and if your enemy comes throwing you a cut on the head meet it with your dagger edge, in that same tempo throwing the thrust to the enemy’s face and increasing forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut that comes it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your stoccata at his face so that he will need to withdraw his head a little backward. He will clamp his eyes and you will take the strength of the cut. To make this effect, it is necessary to be bold, to not be afraid of the sword or of the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long stoccata well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast the dagger from your hand and wound you on the head. If you parry with the edge holding the arm extended there will be no danger. Having thrown the thrust return backward outside of measure, as above.
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<p>As you see, one learns from this figure to parry the cuts with the dagger that come at the top of your head. It is necessary to place oneself in the guard of the first lesson, and if your enemy comes throwing you a cut on the head meet it with your dagger edge, in that same tempo throwing the thrust to the enemy’s face and increasing forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut that comes it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your stoccata at his face so that he will need to withdraw his head a little backward. He will clamp his eyes and you will take the strength of the cut. To make this effect, it is necessary to be bold, to not be afraid of the sword or of the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long stoccata well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast the dagger from your hand and wound you on the head. If you parry with the edge holding the arm extended there will be no danger. Having thrown the thrust return backward outside of measure, as above.</p>
 
| DEL MODO DI PARARE<br/>LA COLTELLATA<br/>SU LA TESTA DI SPADA E PUGNALE.
 
| DEL MODO DI PARARE<br/>LA COLTELLATA<br/>SU LA TESTA DI SPADA E PUGNALE.
  
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| [[File:Giganti 26.png|400x400px|center|Figure 26]]
 
| [[File:Giganti 26.png|400x400px|center|Figure 26]]
| METHOD OF PARRYING<br/>A RIVERSO<br/>WITH THE DAGGER
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| <p>[41] METHOD OF PARRYING A RIVERSO WITH THE DAGGER</p>
  
As you see, one learns from this figure how to parry a riverso that comes at your face. It is necessary to place oneself in guard of the first lesson with the dagger high and strong, and when you see the riverso come go to meet it with the edge of the dagger. In the same tempo increase a little with your right foot, throwing the stoccata at his uncovered flank so that you see the effect of the figure. Be aware that all six of these figures are of one manner, but it is necessary to parry and wound in one tempo. If you were to delay an instant from parrying to wounding, you would not create the effect. To create the effect it is necessary to exercise, to practice, and the stoccata given, to immediately return backward outside of measure.<br/>
+
<p>As you see, one learns from this figure how to parry a riverso that comes at your face. It is necessary to place oneself in guard of the first lesson with the dagger high and strong, and when you see the riverso come go to meet it with the edge of the dagger. In the same tempo increase a little with your right foot, throwing the stoccata at his uncovered flank so that you see the effect of the figure. Be aware that all six of these figures are of one manner, but it is necessary to parry and wound in one tempo. If you were to delay an instant from parrying to wounding, you would not create the effect. To create the effect it is necessary to exercise, to practice, and the stoccata given, to immediately return backward outside of measure.</p>
Be advised that these six lessons are the most important and the most beautiful that are found in fencing, but it is necessary to perform them well holding the dagger strongly, and when you see the sword come against you, with the thrust as with the cut, go to meet it with the dagger and in that same tempo throw the stoccata where the enemy is uncovered.
 
 
| DEL MODO DI PARARE<br/>UN RIVERSO<br/>CON IL PUGNALE.
 
| DEL MODO DI PARARE<br/>UN RIVERSO<br/>CON IL PUGNALE.
  
SI impara da questa figura, come vedete à parare un riverso, che venisse verso la faccia: Bisogna porsi in guardia della prima lettione con il Pugnale alto, e forte: e come vedete venir il riverso; andiate ad incontrarlo con il taglio del Pugnale, & in un tempo crescer alquanto con il piede dritto, ti randogli la stoccata nel fianco, che sarà discoperto, che vedrete l’effetto della figura. Avertendo, che tutte sei queste figure sono d’una maniera. Ma bisogna parare, e ferire in un tempo; che se voi tardaste punto dal parare al ferire, non fereste l’effetto. A far questo effetto, bisogna essercitarsi, a far prattica, e subito data la stoccata, tornare in dietro fuor di misura.<br/>
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SI impara da questa figura, come vedete à parare un riverso, che venisse verso la faccia: Bisogna porsi in guardia della prima lettione con il Pugnale alto, e forte: e come vedete venir il riverso; andiate ad incontrarlo con il taglio del Pugnale, & in un tempo crescer alquanto con il piede dritto, ti randogli la stoccata nel fianco, che sarà discoperto, che vedrete l’effetto della figura. Avertendo, che tutte sei queste figure sono d’una maniera. Ma bisogna parare, e ferire in un tempo; che se voi tardaste punto dal parare al ferire, non fereste l’effetto. A far questo effetto, bisogna essercitarsi, a far prattica, e subito data la stoccata, tornare in dietro fuor di misura.
Egli è d’avertire, che queste sei lettioni sono le più importanti, e le più belle, che nella Scrimia si ritrovino: ma bisogna fargli bene tenere il Pugnal forte, e come vedete la spada venire contro di voi, così di punta, come di taglio, andarla ad incontrare con il Pugnale, & in quel medesimo tempo tirare la stoccata, ove il nemico sarà discoperto.
 
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| <p>[42] Be advised that these six lessons are the most important and the most beautiful that are found in fencing, but it is necessary to perform them well holding the dagger strongly, and when you see the sword come against you, with the thrust as with the cut, go to meet it with the dagger and in that same tempo throw the stoccata where the enemy is uncovered.</p>
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| Egli è d’avertire, che queste sei lettioni sono le più importanti, e le più belle, che nella Scrimia si ritrovino: ma bisogna fargli bene tenere il Pugnal forte, e come vedete la spada venire contro di voi, così di punta, come di taglio, andarla ad incontrare con il Pugnale, & in quel medesimo tempo tirare la stoccata, ove il nemico sarà discoperto.
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| [[File:Giganti 27.png|400x400px|center|Figure 27]]
 
| [[File:Giganti 27.png|400x400px|center|Figure 27]]
| THRUST THROWN AT THE CHEST<br/>WITH THE SWORD<br/>AND DAGGER
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| <p>[43] THRUST THROWN AT THE CHEST WITH THE SWORD AND DAGGER</p>
  
The first quality that one who delights in making a profession of arms must have is the knowledge of how to approach to bind the enemy, give a stoccata to him, and return in guard outside of measure. To do this it is necessary to have understanding of the counterguards and know how to throw the stoccata where you see the enemy is uncovered. If he were a little uncovered in the chest it would be necessary to approach to bind him slowly, with the sword low, holding the point toward the enemy’s chest with the dagger to the guard of his sword, and when you are in measure throw the sword first, then the vita, and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the vita you will give him the stoccata in the chest and he will not perceive it. Otherwise, if you were to move the vita first and then throw the stoccata, since he could see it and be able to parry and respond in the same tempo you would then be in danger. Having thrown the stoccata, immediately retreat outside of measure, standing in guard with your weapons ready to parry and wound because the enemy seeing himself wounded will become disconcerted enough to throw either a thrust or cut at you. You will then parry and wound in one tempo as described in the first six figures. The importance of this figure consists (after having thrown) in knowing how to return outside of measure. In order to return safely it is necessary (as has been said above) to carry your head back first so that the vita will come, and the leg, because if you were to pull your leg first you would be in danger either of falling or of your enemy wounding you since your head would go forward. This one of the principal things that you learn.
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<p>The first quality that one who delights in making a profession of arms must have is the knowledge of how to approach to bind the enemy, give a stoccata to him, and return in guard outside of measure. To do this it is necessary to have understanding of the counterguards and know how to throw the stoccata where you see the enemy is uncovered. If he were a little uncovered in the chest it would be necessary to approach to bind him slowly, with the sword low, holding the point toward the enemy’s chest with the dagger to the guard of his sword, and when you are in measure throw the sword first, then the vita, and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the vita you will give him the stoccata in the chest and he will not perceive it. Otherwise, if you were to move the vita first and then throw the stoccata, since he could see it and be able to parry and respond in the same tempo you would then be in danger. Having thrown the stoccata, immediately retreat outside of measure, standing in guard with your weapons ready to parry and wound because the enemy seeing himself wounded will become disconcerted enough to throw either a thrust or cut at you. You will then parry and wound in one tempo as described in the first six figures. The importance of this figure consists (after having thrown) in knowing how to return outside of measure. In order to return safely it is necessary (as has been said above) to carry your head back first so that the vita will come, and the leg, because if you were to pull your leg first you would be in danger either of falling or of your enemy wounding you since your head would go forward. This one of the principal things that you learn.</p>
 
| PUNTA TIRATE NEL PETTO<br/>DI SPADA,<br/>E PUGNALE.
 
| PUNTA TIRATE NEL PETTO<br/>DI SPADA,<br/>E PUGNALE.
  
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| [[File:Giganti 28.png|400x400px|center|Figure 28]]
 
| [[File:Giganti 28.png|400x400px|center|Figure 28]]
| THROWING THE STOCCATA<br/>WHILE THE ENEMY<br/>MOVES
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| <p>[44] THROWING THE STOCCATA WHILE THE ENEMY MOVES</p>
  
In fencing the principal things are understanding measure and tempo, which we discuss in this figure. When you have the sword in hand so that you go against your enemy, go to bind him with a lively eye, with the weapons ready to parry and wound. In that tempo take heed of whether he wants to be the first to wound or not. If you see that he wants to be first give a tempo to him so that he throws and meanwhile you, going to the parry, throw at him in the same tempo as above. But if you see that he is timid and stays in guard in order to wait approach him little by little to bind on the side where he is uncovered, and when you are in measure, holding the dagger forward to the guard of his sword, first throw the point, then the vita, and after the foot, always holding the dagger forward, so that if the enemy throws in that same tempo you are able to parry so that he does not produce an incontro and strike both of you. Having thrown, return backward outside of measure in the described way. It is necessary when you approach to bind him that he do one of these three things: either he throws, stays firm in order to parry, or he moves himself to one side or another in order to take himself outside. Therefore, it is necessary whether he throws or stays firm when you are in measure that you do it in the way described in the present lesson, but if he were to move himself, either withdrawing himself or here, there, or in whichever way, throw the stoccata at him strongly and quickly while his foot is moving, because while he moves you can wound him there in the tempo that you throw. Then return outside of measure as usual.
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<p>In fencing the principal things are understanding measure and tempo, which we discuss in this figure. When you have the sword in hand so that you go against your enemy, go to bind him with a lively eye, with the weapons ready to parry and wound. In that tempo take heed of whether he wants to be the first to wound or not. If you see that he wants to be first give a tempo to him so that he throws and meanwhile you, going to the parry, throw at him in the same tempo as above. But if you see that he is timid and stays in guard in order to wait approach him little by little to bind on the side where he is uncovered, and when you are in measure, holding the dagger forward to the guard of his sword, first throw the point, then the vita, and after the foot, always holding the dagger forward, so that if the enemy throws in that same tempo you are able to parry so that he does not produce an incontro and strike both of you. Having thrown, return backward outside of measure in the described way. It is necessary when you approach to bind him that he do one of these three things: either he throws, stays firm in order to parry, or he moves himself to one side or another in order to take himself outside. Therefore, it is necessary whether he throws or stays firm when you are in measure that you do it in the way described in the present lesson, but if he were to move himself, either withdrawing himself or here, there, or in whichever way, throw the stoccata at him strongly and quickly while his foot is moving, because while he moves you can wound him there in the tempo that you throw. Then return outside of measure as usual.</p>
 
| A TIRARE LA STOCCATA,<br/>MENTRE IL NEMICO<br/>SI MUOVE.
 
| A TIRARE LA STOCCATA,<br/>MENTRE IL NEMICO<br/>SI MUOVE.
  
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| [[File:Giganti 29.png|400x400px|center|Figure 29]]
 
| [[File:Giganti 29.png|400x400px|center|Figure 29]]
| THRUST THROWN<br/>OVER THE DAGGER
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| <p>[45] THRUST THROWN OVER THE DAGGER</p>
  
To give a stoccata to someone who holds the dagger low it is necessary (as one sees in this figure) to approach him to bind on the side of the dagger, and when you are in measure first throw the sword, and then the vita, raising your wrist a little so that you make the effect. Then return backward in the way described in Figure ……, It is very difficult to defend oneself from one who is practiced at first throwing the sword, then the vita, and after this quickly returning backward in the way described in lesson ….., who understands approaching to bind with tempo, and when he is in measure throwing where the enemy is uncovered, since it is necessary that he is uncovered somewhere, as the sword and dagger cannot cover everything and where he is uncovered it is necessary to approach him to bind in the described way.
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<p>To give a stoccata to someone who holds the dagger low it is necessary (as one sees in this figure) to approach him to bind on the side of the dagger, and when you are in measure first throw the sword, and then the vita, raising your wrist a little so that you make the effect. Then return backward in the way described in Figure ……, It is very difficult to defend oneself from one who is practiced at first throwing the sword, then the vita, and after this quickly returning backward in the way described in lesson ….., who understands approaching to bind with tempo, and when he is in measure throwing where the enemy is uncovered, since it is necessary that he is uncovered somewhere, as the sword and dagger cannot cover everything and where he is uncovered it is necessary to approach him to bind in the described way.</p>
 
| PUNTA TIRATA<br/>SOPRA IL PUGNALE.
 
| PUNTA TIRATA<br/>SOPRA IL PUGNALE.
  
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| [[File:Giganti 30.png|400x400px|center|Figure 30]]
 
| [[File:Giganti 30.png|400x400px|center|Figure 30]]
| Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to one who understands tempo and measure. In war one who knows how to make guards with artifice will always deceive the enemy.
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| <p>[46] Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to one who understands tempo and measure. In war one who knows how to make guards with artifice will always deceive the enemy.</p>
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| Molte sono le guardie, che si possono fare, perche ogni modo di tenere la spada è guardia, come si è detto: e tutte le guardie sono buone, à chi sà conoscere il tempo, e la misura: E quello che in guerra saprà far guardie con artificio ingannerà sempre l’inimico.
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| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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ARTIFICIAL GUARD<br/>UNCOVERING<br/>THE LEFT SIDE
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| <p>[47] ARTIFICIAL GUARD UNCOVERING THE LEFT SIDE</p>
  
The artificial guards are infinite, but I will only place three of them in my first book, which for those who understand will be a light and road to making as many guards as they wish.<br/>
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<p>The artificial guards are infinite, but I will only place three of them in my first book, which for those who understand will be a light and road to making as many guards as they wish.</p>
The proper and first method of standing in artificial guard is this: uncovering a part of the body while the other parts are completely covered, so that the enemy cannot wound you if not in one part alone, as you see in this figure where all of the left shoulder is uncovered. This is done so the enemy will intend to wound you in the uncovered part, and when he sets out to wound he will be in danger, since as he aims to throw at you either with a thrust or cut you can parry and wound him in the same tempo, increasing with the foot so that it accompanies the sword while you parry. As soon as the stoccata is thrown return outside of measure as above. These artificial guards are for studious men that have understanding of tempo and measure and have practiced well, because many things can be done in these guards. Most of all in this first one can approach to bind the enemy, and when you are in measure, that same enemy waiting, it is possible to wound him in the part that is uncovered. If he throws you are able to do many things, such as parry and wound in one tempo, parry and make a feint, a pass, or all that you know how to do in other guards in which you are practiced. If your enemy standing in guard throws disconcerted you parry and wound in one tempo, or rather, disconcerted, and return immediately backward out of measure. This guard deceives many of those that know and do not know playing at weapons. Seeing you uncovered, he will throw at that uncovered part, and you easily parrying and wounding in the way described above in the first lessons of sword and dagger will strike him safely and easily.
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| GUARDIA ARTIFICIOSA<br/>DI SCOPRIRSI<br/>LA PARTE SINISTRA.
| Molte sono le guardie, che si possono fare, perche ogni modo di tenere la spada è guardia, come si è detto: e tutte le guardie sono buone, à chi sà conoscere il tempo, e la misura: E quello che in guerra saprà far guardie con artificio ingannerà sempre l’inimico.
 
  
GUARDIA ARTIFICIOSA<br/>DI SCOPRIRSI<br/>LA PARTE SINISTRA.
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LE Guardie con artificio sono infinite; ma io in questo mio primo libro ne porrò trè sole, che sarà una luce, e strada à gli intendenti di fare quante guardie vorranno.
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LE Guardie con artificio sono infinite; ma io in questo mio primo libro ne porrò trè sole, che sarà una luce, e strada à gli intendenti di fare quante guardie vorranno.<br/>
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Il vero, e primo modo di stare in guardia artificiosa è questo, scoprirsi una parte del corpo, & l’altre parti siano tutti coperte, che l’inimico non vi possi ferire, se non in una parte sola, come vedete in questa figura, ove è scoperta tutta la spalla sinistra, perche verrà l’inimico à ferirvi nella parte scoperta, e come vuol ferire, sarà in pericolo, poiche egli come vi vorrà tirare, ò di punta, ò di taglio, potrete parare, e ferire in un’ istesso tempo lui, crescendo con il piede, che accompagna la spada, mentre che parate. Subito tirata la stoccata tornate fuori di misura come sopra. Queste guardie di artificio sono per huomini studiosi, che hanno conoscimento di tempo, e di misura, e che hanno buona prattica, perche in queste guardie si possono far molte cose, massime in questa prima si può andare à stringer l’inimico; e come sete in misura, che stesse aspettando, si può ferirlo in quella parte, che è discoperta; e se tirasse potrete fare molte cose: Come parare, e ferire in un tempo; parare, e fare una finta, una passata, o tutto quello che saprete fare in altre guardie, nelle quali sete esercitato. E se il vostro nemico stando in guardia tirasse sconcertato; voi parate, e ferite in un tempo, overo sconcertato, e subito tornare indietro fuori di misura. Questa guardia inganna molto quelli, che sanno, e che non sanno giuocare d’armi; perche vedendovi discoperto, vi tirarà à quella parte scoperta; e voi facilmente parando, e ferendo al modo descritto sopra nelle prime lettioni di Spada, e Pugnale, gli darete sicura, e facilmente.
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| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| <p>[48] The proper and first method of standing in artificial guard is this: uncovering a part of the body while the other parts are completely covered, so that the enemy cannot wound you if not in one part alone, as you see in this figure where all of the left shoulder is uncovered. This is done so the enemy will intend to wound you in the uncovered part, and when he sets out to wound he will be in danger, since as he aims to throw at you either with a thrust or cut you can parry and wound him in the same tempo, increasing with the foot so that it accompanies the sword while you parry. As soon as the stoccata is thrown return outside of measure as above. These artificial guards are for studious men that have understanding of tempo and measure and have practiced well, because many things can be done in these guards. Most of all in this first one can approach to bind the enemy, and when you are in measure, that same enemy waiting, it is possible to wound him in the part that is uncovered. If he throws you are able to do many things, such as parry and wound in one tempo, parry and make a feint, a pass, or all that you know how to do in other guards in which you are practiced. If your enemy standing in guard throws disconcerted you parry and wound in one tempo, or rather, disconcerted, and return immediately backward out of measure. This guard deceives many of those that know and do not know playing at weapons. Seeing you uncovered, he will throw at that uncovered part, and you easily parrying and wounding in the way described above in the first lessons of sword and dagger will strike him safely and easily.</p>
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| Il vero, e primo modo di stare in guardia artificiosa è questo, scoprirsi una parte del corpo, & l’altre parti siano tutti coperte, che l’inimico non vi possi ferire, se non in una parte sola, come vedete in questa figura, ove è scoperta tutta la spalla sinistra, perche verrà l’inimico à ferirvi nella parte scoperta, e come vuol ferire, sarà in pericolo, poiche egli come vi vorrà tirare, ò di punta, ò di taglio, potrete parare, e ferire in un’ istesso tempo lui, crescendo con il piede, che accompagna la spada, mentre che parate. Subito tirata la stoccata tornate fuori di misura come sopra. Queste guardie di artificio sono per huomini studiosi, che hanno conoscimento di tempo, e di misura, e che hanno buona prattica, perche in queste guardie si possono far molte cose, massime in questa prima si può andare à stringer l’inimico; e come sete in misura, che stesse aspettando, si può ferirlo in quella parte, che è discoperta; e se tirasse potrete fare molte cose: Come parare, e ferire in un tempo; parare, e fare una finta, una passata, o tutto quello che saprete fare in altre guardie, nelle quali sete esercitato. E se il vostro nemico stando in guardia tirasse sconcertato; voi parate, e ferite in un tempo, overo sconcertato, e subito tornare indietro fuori di misura. Questa guardia inganna molto quelli, che sanno, e che non sanno giuocare d’armi; perche vedendovi discoperto, vi tirarà à quella parte scoperta; e voi facilmente parando, e ferendo al modo descritto sopra nelle prime lettioni di Spada, e Pugnale, gli darete sicura, e facilmente.
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| [[File:Giganti 31.png|400x400px|center|Figure 31]]
 
| [[File:Giganti 31.png|400x400px|center|Figure 31]]
| ARTIFICIAL GUARD<br/>UNCOVERING THE RIGHT<br/>SIDE
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| <p>[49] ARTIFICIAL GUARD UNCOVERING THE RIGHT SIDE</p>
  
This is another artificial guard, as you see, that uncovers all the right side, and the rest of the vita is completely covered so that the enemy cannot wound if not in your uncovered right shoulder. However, you can parry with the sword or dagger as you like and wound with a firm foot or else pass with your foot, as is convenient. In this guard you can do many feints. These guards are good with those desirous to wound, who do not have patience to wait to throw with tempo and measure, and who as they see the enemy uncovered come toward him without considering that which he could still do, often finding themselves in danger. They are still good with those that know much, since you see your own work better. Making a feint at you, you will be able to parry it better than standing in a narrow guard, and the resolute thrusts are parried more easily still by carrying the vita back, and parrying, turning the body, according to how quick and long the thrusts will be.
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<p>This is another artificial guard, as you see, that uncovers all the right side, and the rest of the vita is completely covered so that the enemy cannot wound if not in your uncovered right shoulder. However, you can parry with the sword or dagger as you like and wound with a firm foot or else pass with your foot, as is convenient. In this guard you can do many feints. These guards are good with those desirous to wound, who do not have patience to wait to throw with tempo and measure, and who as they see the enemy uncovered come toward him without considering that which he could still do, often finding themselves in danger. They are still good with those that know much, since you see your own work better. Making a feint at you, you will be able to parry it better than standing in a narrow guard, and the resolute thrusts are parried more easily still by carrying the vita back, and parrying, turning the body, according to how quick and long the thrusts will be.</p>
 
| GUARDIA ARTIFICIOSA<br/>DI SCOPRIRSI LA PARTE<br/>DESTRA.
 
| GUARDIA ARTIFICIOSA<br/>DI SCOPRIRSI LA PARTE<br/>DESTRA.
  
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| [[File:Giganti 32.png|400x400px|center|Figure 32]]
 
| [[File:Giganti 32.png|400x400px|center|Figure 32]]
| ARTIFICIAL GUARD<br/>UNCOVERING THE CHEST
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| <p>[50] ARTIFICIAL GUARD UNCOVERING THE CHEST</p>
  
In this other guard, where the chest is uncovered, it is because your enemy cannot wound you either on the side of the sword or on that of the dagger, because coming in order to wound you he will throw at your ribcage, that being the only thing uncovered. While he throws, parry and wound in the same tempo, either in the right shoulder or the face, these being closest to you. You can also perform feints in this guard, pass with your foot, and all that you have learned in the other guards. It is also good with the choleric, who throw resolutely and do not perform feints. With those that have tempo and measure and know well how to throw a resolute thrust and a feint it is not to be used. Instead, bind with the weapons and seek to cover the enemy sword with yours outside of measure where you can parry and wound safely according to the occasion.
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<p>In this other guard, where the chest is uncovered, it is because your enemy cannot wound you either on the side of the sword or on that of the dagger, because coming in order to wound you he will throw at your ribcage, that being the only thing uncovered. While he throws, parry and wound in the same tempo, either in the right shoulder or the face, these being closest to you. You can also perform feints in this guard, pass with your foot, and all that you have learned in the other guards. It is also good with the choleric, who throw resolutely and do not perform feints. With those that have tempo and measure and know well how to throw a resolute thrust and a feint it is not to be used. Instead, bind with the weapons and seek to cover the enemy sword with yours outside of measure where you can parry and wound safely according to the occasion.</p>
 
| GUARDIA ARTIFICIOSA<br/>DI SCOPRIRE IL PETTO.
 
| GUARDIA ARTIFICIOSA<br/>DI SCOPRIRE IL PETTO.
  
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| [[File:Giganti 33.png|400x400px|center|Figure 33]]
 
| [[File:Giganti 33.png|400x400px|center|Figure 33]]
| FEINT WITH SWORD<br/>AND DAGGER<br/>IN ORDER TO WOUND OVER THE DAGGER
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| <p>[51] FEINT WITH SWORD AND DAGGER IN ORDER TO WOUND OVER THE DAGGER</p>
  
Just as the understanding of tempo and measure are the principal foundation of fencing, so the disengage and feint are the ornament of it. The disengage consists entirely in the wrist. The feint is showing the doing of one thing and not doing it. It is not possible to do the feint without the disengage. One disengages above or under the guards of the sword, or over or under the point of the dagger, or inside or outside. I cannot discuss the feint without including the disengage. The feint is a deadly deception, almost irreparable to persons of valour and professors of this science, and hardly to those without understanding. This is done in this way. At times in order to give a stoccata over the dagger in the chest or face of the enemy it is necessary to do it like so: bind him with the sword low under the dagger, holding your dagger to the guard of his sword. When you find yourself in measure, throw a resolute stoccata and then return backward, and if you run at him nothing else will happen, but if he parries, return to bind and when you are in measure, throw the thrust without extending your step, standing with the vita firm underneath the dagger. And while the enemy goes to parry it, in his lowering of the dagger raise the point of the sword with a turn of your hand then, extending your step and vita, wound him either in the chest or face, which he will certainly not perceive, as you see in the figure. To have the effect it needs to be done with great speed so that he will not know if it is resolute or a feint. Be advised that in approaching with the point of the sword over the enemy’s dagger you must proceed with the disengage so that it has disengaged and wounded in the same tempo. Then return outside of measure, as above, securing yourself from the enemy’s sword.
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<p>Just as the understanding of tempo and measure are the principal foundation of fencing, so the disengage and feint are the ornament of it. The disengage consists entirely in the wrist. The feint is showing the doing of one thing and not doing it. It is not possible to do the feint without the disengage. One disengages above or under the guards of the sword, or over or under the point of the dagger, or inside or outside. I cannot discuss the feint without including the disengage. The feint is a deadly deception, almost irreparable to persons of valour and professors of this science, and hardly to those without understanding. This is done in this way. At times in order to give a stoccata over the dagger in the chest or face of the enemy it is necessary to do it like so: bind him with the sword low under the dagger, holding your dagger to the guard of his sword. When you find yourself in measure, throw a resolute stoccata and then return backward, and if you run at him nothing else will happen, but if he parries, return to bind and when you are in measure, throw the thrust without extending your step, standing with the vita firm underneath the dagger. And while the enemy goes to parry it, in his lowering of the dagger raise the point of the sword with a turn of your hand then, extending your step and vita, wound him either in the chest or face, which he will certainly not perceive, as you see in the figure. To have the effect it needs to be done with great speed so that he will not know if it is resolute or a feint. Be advised that in approaching with the point of the sword over the enemy’s dagger you must proceed with the disengage so that it has disengaged and wounded in the same tempo. Then return outside of measure, as above, securing yourself from the enemy’s sword.</p>
 
| DELLA<br/>FINTA DI SPADA,<br/>E PUGNALE,<br/>PER FERIRE SOPRA IL PUGNALE.  
 
| DELLA<br/>FINTA DI SPADA,<br/>E PUGNALE,<br/>PER FERIRE SOPRA IL PUGNALE.  
  
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|-  
 
|-  
 
| [[File:Giganti 34.png|400x400px|center|Figure 34]]
 
| [[File:Giganti 34.png|400x400px|center|Figure 34]]
| FEINT<br/>WITH SWORD AND DAGGER<br/>IN ORDER TO WOUND IN THE CHEST
+
| <p>[52] FEINT WITH SWORD AND DAGGER IN ORDER TO WOUND IN THE CHEST</p>
  
This feint is not any different from the last, except that wounds over the dagger and this underneath. One does this with the same rule as the other. In this you have to hold the sword high, and when you have the enemy close throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”. If he does not parry nothing else will happen, but if he parries, you must present the point to him, not more or less, standing with your pace and foot firm, and while he goes to the parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest so that he will not perceive it. Then return backward outside of measure, securing yourself as above.
+
<p>This feint is not any different from the last, except that wounds over the dagger and this underneath. One does this with the same rule as the other. In this you have to hold the sword high, and when you have the enemy close throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”. If he does not parry nothing else will happen, but if he parries, you must present the point to him, not more or less, standing with your pace and foot firm, and while he goes to the parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest so that he will not perceive it. Then return backward outside of measure, securing yourself as above.</p>
 
| DELLA FINTA<br/>DI SPADA, E PUGNALE,<br/>PER FERIRE NEL PETTO.
 
| DELLA FINTA<br/>DI SPADA, E PUGNALE,<br/>PER FERIRE NEL PETTO.
  
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|-  
 
|-  
 
| [[File:Giganti 35.png|400x400px|center|Figure 35]]
 
| [[File:Giganti 35.png|400x400px|center|Figure 35]]
| FEINT<br/>WITH SWORD AND DAGGER<br/>AT THE FACE<br/>Disengaging the sword over the point of the dagger
+
| <p>[53] FEINT WITH SWORD AND DAGGER AT THE FACE Disengaging the sword over the point of the dagger</p>
  
To give a stoccata at the outset to your enemy’s face, it is necessary to do this feint which, just as it is the most difficult, is yet the most beautiful. It is necessary therefore to bind the enemy from the sword side, holding the point to his face from the right side, in order to wait for if he wants to wound, or rather if he wants to stand in guard in order to parry. If he is in guard, feint a thrust at his face and as he goes with the dagger to obedience turn the point of the sword over the enemy dagger with your wrist and wound him so that he will not perceive it, since in parrying he will completely uncover himself. The thrust being given, do as above.
+
<p>To give a stoccata at the outset to your enemy’s face, it is necessary to do this feint which, just as it is the most difficult, is yet the most beautiful. It is necessary therefore to bind the enemy from the sword side, holding the point to his face from the right side, in order to wait for if he wants to wound, or rather if he wants to stand in guard in order to parry. If he is in guard, feint a thrust at his face and as he goes with the dagger to obedience turn the point of the sword over the enemy dagger with your wrist and wound him so that he will not perceive it, since in parrying he will completely uncover himself. The thrust being given, do as above.</p>
 
| DELLA FINTA<br/>DI SPADA, E PUGNALE<br/>NEL VISO<br/>Cavando la Spada sopra la punta del Pugnale.
 
| DELLA FINTA<br/>DI SPADA, E PUGNALE<br/>NEL VISO<br/>Cavando la Spada sopra la punta del Pugnale.
  
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|-  
 
|-  
 
| [[File:Giganti 36.png|400x400px|center|Figure 36]]
 
| [[File:Giganti 36.png|400x400px|center|Figure 36]]
| PARRYING THE<br/>LONG STOCCATA<br/>WITH THE SWORD<br/>BY BRINGING<br/>the vita back
+
| <p>[54] PARRYING THE LONG STOCCATA WITH THE SWORD BY BRINGING the vita back</p>
  
It is such a necessity to be good at parrying that I hold that understanding parrying well is the most important thing in this profession. Now I want to teach you three ways to defend yourself from long stoccate. Stand in guard in the above way with the sword and vita forward, holding the chest a little uncovered, and stand either at measure or outside of measure, but not inside the measure. Being at measure when you see the stoccata being thrown at you, carry your vita backward and parry with the sword as you see in the figure. In the same tempo (because throwing yourself backward you escape from the thrust of the enemy’s sword, a little far, so that it does not reach you), dropping down with the vita he puts himself into disorder and it will be difficult for him to parry, whence you can lengthen your step, wounding him, and escape from him as above, taking care to stand strongly over your feet while you parry or return backward.
+
<p>It is such a necessity to be good at parrying that I hold that understanding parrying well is the most important thing in this profession. Now I want to teach you three ways to defend yourself from long stoccate. Stand in guard in the above way with the sword and vita forward, holding the chest a little uncovered, and stand either at measure or outside of measure, but not inside the measure. Being at measure when you see the stoccata being thrown at you, carry your vita backward and parry with the sword as you see in the figure. In the same tempo (because throwing yourself backward you escape from the thrust of the enemy’s sword, a little far, so that it does not reach you), dropping down with the vita he puts himself into disorder and it will be difficult for him to parry, whence you can lengthen your step, wounding him, and escape from him as above, taking care to stand strongly over your feet while you parry or return backward.</p>
 
| DEL PARARE LA<br/>STOCCATA LUNGA<br/>CON LA SPADA,<br/>CON IL PORTARE<br/>la vita in dietro.
 
| DEL PARARE LA<br/>STOCCATA LUNGA<br/>CON LA SPADA,<br/>CON IL PORTARE<br/>la vita in dietro.
  
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|-  
 
|-  
 
| [[File:Giganti 37.png|400x400px|center|Figure 37]]
 
| [[File:Giganti 37.png|400x400px|center|Figure 37]]
| PARRYING WITH<br/>THE DAGGER,<br/>BRINGING THE VITA BACK
+
| <p>[55] PARRYING WITH THE DAGGER, BRINGING THE VITA BACK</p>
  
Stand in the same guard as above, with the vita forward with artifice, holding the dagger to the guard of the enemy’s sword. When you are in measure and you see that he throws the thrust at you, parry with the dagger in the same tempo and bring the vita back with a withdrawal of your forward leg and the sword holding ready to wound, as you see in the figure where standing with the feet strong and the sword free you can do many things before he returns to guard, since throwing long and falling with his vita he will give you opportunity to do them.
+
<p>Stand in the same guard as above, with the vita forward with artifice, holding the dagger to the guard of the enemy’s sword. When you are in measure and you see that he throws the thrust at you, parry with the dagger in the same tempo and bring the vita back with a withdrawal of your forward leg and the sword holding ready to wound, as you see in the figure where standing with the feet strong and the sword free you can do many things before he returns to guard, since throwing long and falling with his vita he will give you opportunity to do them.</p>
 
| DEL PARARE CON<br/>IL PUGNALE<br/>PORTANDO LA VITA IN DIETRO.
 
| DEL PARARE CON<br/>IL PUGNALE<br/>PORTANDO LA VITA IN DIETRO.
  
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|-  
 
|-  
 
| [[File:Giganti 38.png|400x400px|center|Figure 38]]
 
| [[File:Giganti 38.png|400x400px|center|Figure 38]]
| PARRYING WITH<br/>THE DAGGER,<br/>CARRYING THE VITA<br/>BACK,<br/>and wounding with the sword in the same tempo
+
| <p>[56] PARRYING WITH THE DAGGER, CARRYING THE VITA BACK, and wounding with the sword in the same tempo</p>
  
In the previous two figures one parried with the dagger, carrying the vita backward and then wounding. These show two tempi: one in the parrying and the other in the wounding. With this other figure you are shown how to parry and wounds in one tempo. The reason for this carrying back of the vita is that you disconcert the enemy and better see your work. Now, therefore, put yourself in the same guard as above, with sword, dagger, and vita forward, leaning your body. When you are in measure forgo throwing, and when he throws at you you must do three things in one tempo. That is, parrying with the dagger, bringing the vita backward, and pulling your front foot even with the rear, ending up curved with the body, your arm lengthened, and throwing the thrust at his chest. This method of parrying and wounding so deceives the enemy that it is impossible for him to defend himself. After this return outside of measure and secure yourself as has been said.
+
<p>In the previous two figures one parried with the dagger, carrying the vita backward and then wounding. These show two tempi: one in the parrying and the other in the wounding. With this other figure you are shown how to parry and wounds in one tempo. The reason for this carrying back of the vita is that you disconcert the enemy and better see your work. Now, therefore, put yourself in the same guard as above, with sword, dagger, and vita forward, leaning your body. When you are in measure forgo throwing, and when he throws at you you must do three things in one tempo. That is, parrying with the dagger, bringing the vita backward, and pulling your front foot even with the rear, ending up curved with the body, your arm lengthened, and throwing the thrust at his chest. This method of parrying and wounding so deceives the enemy that it is impossible for him to defend himself. After this return outside of measure and secure yourself as has been said.</p>
 
| DEL PARARE CON<br/>IL PUGNALE<br/>PORTANDO LA VITA<br/>IN DIETRO,<br/>E ferire con la Spada in un tempo medesimo.
 
| DEL PARARE CON<br/>IL PUGNALE<br/>PORTANDO LA VITA<br/>IN DIETRO,<br/>E ferire con la Spada in un tempo medesimo.
  
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|-  
 
|-  
 
| [[File:Giganti 39.png|400x400px|center|Figure 39]]
 
| [[File:Giganti 39.png|400x400px|center|Figure 39]]
| THE THRUST AT THE FACE<br/>PARRYING WITH THE SWORD
+
| <p>[57] THE THRUST AT THE FACE PARRYING WITH THE SWORD</p>
  
Demonstrated in this figure is a very useful thrust of the firm foot, beautiful to those that know how to put it into work and who practice it. It is done in this way. If your enemy wishes to throw an imbroccata at your face, or rather a straight thrust, parrying with your sword straighten the point in the same tempo to the enemy’s face so that he will not be able to parry with the dagger in the same tempo, throwing in the same tempo that he does. If he intends to parry with the dagger, beat it with your sword and you will end up with the point in his face. This lesson only teaches how to wound him in the face - if you wished to throw at his chest he would be able to parry it with the dagger. If you want to do it more artificially so that you deceive even the knowledgeable, it is necessary to uncover your left side and hold the dagger low, giving the enemy occasion to throw either at your face or over the dagger, so that he believes you will parry with the dagger. In the same tempo you will parry with the forte of your sword and increase with your right foot, holding the point of your sword toward his face. If he attempts to parry he bumps into his own sword and cannot parry or wound, as in the figure. The thrust thrown, return backward outside of measure as above.
+
<p>Demonstrated in this figure is a very useful thrust of the firm foot, beautiful to those that know how to put it into work and who practice it. It is done in this way. If your enemy wishes to throw an imbroccata at your face, or rather a straight thrust, parrying with your sword straighten the point in the same tempo to the enemy’s face so that he will not be able to parry with the dagger in the same tempo, throwing in the same tempo that he does. If he intends to parry with the dagger, beat it with your sword and you will end up with the point in his face. This lesson only teaches how to wound him in the face - if you wished to throw at his chest he would be able to parry it with the dagger. If you want to do it more artificially so that you deceive even the knowledgeable, it is necessary to uncover your left side and hold the dagger low, giving the enemy occasion to throw either at your face or over the dagger, so that he believes you will parry with the dagger. In the same tempo you will parry with the forte of your sword and increase with your right foot, holding the point of your sword toward his face. If he attempts to parry he bumps into his own sword and cannot parry or wound, as in the figure. The thrust thrown, return backward outside of measure as above.</p>
 
| DELLA PUNTA NEL VISO<br/>PARANDO CON LA SPADA.
 
| DELLA PUNTA NEL VISO<br/>PARANDO CON LA SPADA.
  
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|-  
 
|-  
 
| [[File:Giganti 40.png|400x400px|center|Figure 40]]
 
| [[File:Giganti 40.png|400x400px|center|Figure 40]]
| THE PASS<br/>WITH SWORD AND DAGGER<br/>IN ORDER TO COME<br/>TO GRIPS<br/>and wound with the dagger in the face
+
| <p>[58] THE PASS WITH SWORD AND DAGGER IN ORDER TO COME TO GRIPS and wound with the dagger in the face</p>
  
The approach to the grips and wounding with the dagger is done in many ways according to the occasions in which the enemy is found. Many that come to the grips cannot do otherwise, as is the case when the enemy is furious in the passing. Others who do not have patience in judging the thrust of the sword pass from cholera. Others pass with artifice in order to wound with the dagger. In my first book I will only write a pass with artifice in order to wound safely with the dagger so that your enemy will not be able to offend you with either the sword or dagger. This pass is done in this way. It is necessary to place yourself in guard in a way that you end up with all your right parts uncovered and give occasion to the enemy, who throws resolutely, namely by thrust or cut. You then parry with your sword, passing with your foot, strongly affront his sword with yours and place your sword in his dagger arm, as you see in the figure, for the reason that your enemy will not be able to move either the sword or the dagger and you will be able to give him as many dagger wounds as you like. This lesson is very safe to those who have practiced.
+
<p>The approach to the grips and wounding with the dagger is done in many ways according to the occasions in which the enemy is found. Many that come to the grips cannot do otherwise, as is the case when the enemy is furious in the passing. Others who do not have patience in judging the thrust of the sword pass from cholera. Others pass with artifice in order to wound with the dagger. In my first book I will only write a pass with artifice in order to wound safely with the dagger so that your enemy will not be able to offend you with either the sword or dagger. This pass is done in this way. It is necessary to place yourself in guard in a way that you end up with all your right parts uncovered and give occasion to the enemy, who throws resolutely, namely by thrust or cut. You then parry with your sword, passing with your foot, strongly affront his sword with yours and place your sword in his dagger arm, as you see in the figure, for the reason that your enemy will not be able to move either the sword or the dagger and you will be able to give him as many dagger wounds as you like. This lesson is very safe to those who have practiced.</p>
 
| DELLA PASSATA<br/>DI SPADA, E PUGNALE<br/>PER ANDARE<br/>ALLE PRESE,<br/>E ferire con il Pugnale nel viso.
 
| DELLA PASSATA<br/>DI SPADA, E PUGNALE<br/>PER ANDARE<br/>ALLE PRESE,<br/>E ferire con il Pugnale nel viso.
  
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|-  
 
|-  
 
| [[File:Giganti 41.png|400x400px|center|Figure 41]]
 
| [[File:Giganti 41.png|400x400px|center|Figure 41]]
| THE THRUST<br/>WITH THE SWORD AND DAGGER<br/>THROWN ON THE SIDE<br/>of the right shoulder
+
| <p>[59] THE THRUST WITH THE SWORD AND DAGGER THROWN ON THE SIDE of the right shoulder</p>
  
Someone in this profession who wants to be a valiant man will never place himself in guard, but will stand well outside of measure, consider the guard of the enemy, approach to bind him little by little at his uncovered place and when he is in measure will throw according to the method of the present figure, in which the right shoulder is uncovered, taking care to approach to bind him from the side of the sword. If he sees that he stands in guard in order to wait, he will throw the stoccata strongly in the described way, turning his wrist on the side of the enemy’s sword, as is seen. After the stoccata is thrown, return outside of measure as above.
+
<p>Someone in this profession who wants to be a valiant man will never place himself in guard, but will stand well outside of measure, consider the guard of the enemy, approach to bind him little by little at his uncovered place and when he is in measure will throw according to the method of the present figure, in which the right shoulder is uncovered, taking care to approach to bind him from the side of the sword. If he sees that he stands in guard in order to wait, he will throw the stoccata strongly in the described way, turning his wrist on the side of the enemy’s sword, as is seen. After the stoccata is thrown, return outside of measure as above.</p>
 
| DELLA PUNTA DI<br/>SPADA, E PUGNALE<br/>TIRATA DALLA BANDA<br/>della spalla destra.
 
| DELLA PUNTA DI<br/>SPADA, E PUGNALE<br/>TIRATA DALLA BANDA<br/>della spalla destra.
  
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|-  
 
|-  
 
| class="noline" | [[File:Giganti 42.png|400x400px|center|Figure 42]]
 
| class="noline" | [[File:Giganti 42.png|400x400px|center|Figure 42]]
| class="noline" | PASSING<br/>WITH THE FOOT<br/>WITH SWORD<br/>AND DAGGER
+
| class="noline" | <p>[60] PASSING WITH THE FOOT WITH SWORD AND DAGGER</p>
  
This figure does not serve as a demonstration of what I did in my first book, but of the others that I will, God willing, bring to light. I will discuss the passes of sword and dagger, that is, passing with the foot, since in this book more than the firm foot were not discussed because all that one does with firm foot, if one knows how to take the tempo, one can do with a pass of the foot. The pass done then, it is necessary to know how to disengage the sword and then escape as you see in this figure, where it is seen that he passed, has disengaged the sword, and can safely give as many stoccate as he likes, holding the enemy’s sword with his dagger. If the enemy were to disengage the sword it would be necessary to follow it with the dagger and then wound with the sword, and when you have given the stoccate that you wish return backward outside of measure. If one knows how to take the tempo well and passes with the foot but does not know how to disengage the sword, it must be said that he knows nothing since in passing, although he wounds, he finds himself in danger in regard to the enemy who still will attempt to make his blow. This is because those courageous are found that even wounded still want to avenge themselves. Thus infuriated, they throw in the worst way possible, so that you can still end up wounded and dead. Even if in passing the enemy were to parry the stoccata you would find yourself in huge danger if you did not know how to disengage the sword and were you to not know how to fight at half-sword, as you see in the figure, and be able to return backward and escape as I, God willing, will discuss in my other books, My Lord.
+
<p>This figure does not serve as a demonstration of what I did in my first book, but of the others that I will, God willing, bring to light. I will discuss the passes of sword and dagger, that is, passing with the foot, since in this book more than the firm foot were not discussed because all that one does with firm foot, if one knows how to take the tempo, one can do with a pass of the foot. The pass done then, it is necessary to know how to disengage the sword and then escape as you see in this figure, where it is seen that he passed, has disengaged the sword, and can safely give as many stoccate as he likes, holding the enemy’s sword with his dagger. If the enemy were to disengage the sword it would be necessary to follow it with the dagger and then wound with the sword, and when you have given the stoccate that you wish return backward outside of measure. If one knows how to take the tempo well and passes with the foot but does not know how to disengage the sword, it must be said that he knows nothing since in passing, although he wounds, he finds himself in danger in regard to the enemy who still will attempt to make his blow. This is because those courageous are found that even wounded still want to avenge themselves. Thus infuriated, they throw in the worst way possible, so that you can still end up wounded and dead. Even if in passing the enemy were to parry the stoccata you would find yourself in huge danger if you did not know how to disengage the sword and were you to not know how to fight at half-sword, as you see in the figure, and be able to return backward and escape as I, God willing, will discuss in my other books, My Lord.</p>
  
 
THE END
 
THE END

Revision as of 02:41, 13 July 2020

Nicoletto Giganti
Born 1550-1560
Fossombrone, Italy
Died after 1622
Venice, Italy (?)
Occupation
Nationality Italian
Citizenship Republic of Venice
Patron Cosimo II de Medici
Influenced Bondì di Mazo (?)
Genres Fencing manual
Language Italian
Notable work(s)

Nicoletto Giganti (Niccoletto, Nicolat; 1550s-after 1622[1]) was a 16th – 17th century Italian soldier and fencing master. He was likely born to a noble family in Fossombrone in central Italy,[2] and only later became a citizen of Venice as he stated on the title page of his 1606 treatise. Little is known of Giganti’s life, but in the dedication to his 1606 treatise he counts twenty seven years of professional experience (possibly referring to service in the Venetian military, a long tradition of the Giganti family).[3] The preface to his 1608 treatise describes him as a Mastro d'Arme of the Order of St. Stephen in Pisa, giving some further clues to his career.

In 1606, Giganti published a popular treatise on the use of the rapier (both single and with the dagger) titled Scola, overo teatro ("School or Fencing Hall"). This treatise is structured as a series of progressively more complex lessons, and Tom Leoni opines that this treatise is the best pedagogical work on rapier fencing of the early 17th century.[4] It is also the first treatise to fully articulate the principle of the lunge.

In 1608, Giganti made good the promise in his first book that he would publish a second volume.[5] Titled Libro secondo di Niccoletto Giganti Venetiano, it covers the same weapons as the first as well as rapier and buckler, rapier and cloak, rapier and shield, single dagger, and mixed weapon encounters. This text in turn promises two additional works, on the dagger and on cutting with the rapier, but there is no record of these books ever being published.

While Giganti's second book quickly disappeared from history, his first seems to have been quite popular: reprints, mostly unauthorized, sprang up many times over the subsequent decades, both in the original Italian and, beginning in 1619, in French and German translations. This unauthorized dual-language edition also included book 2 of Salvator Fabris' 1606 treatise Lo Schermo, overo Scienza d’Arme which, coupled with the loss of Giganti's true second book, is probably what has lead many later bibliographers to accuse Giganti himself of plagiarism.

Treatise

Research on Giganti's newly-rediscovered second book is still ongoing, and it is not currently included in the tables below.

Additional Resources

  • Giganti, Nicoletto; Pendragon, Joshua; Terminiello, Piermarco. The 'Lost' Second Book of Nicoletto Giganti (1608): A Rapier Fencing Treatise. Vulpes, 2013. ISBN 978-1909348318
  • Leoni, Tom. Venetian Rapier: The School, or Salle. Nicoletto Giganti's 1606 Rapier Fencing Curriculum. Wheaton, IL: Freelance Academy Press, 2010. ISBN 978-0-9825911-2-3
  • Mediema, Aaron Taylor. Nicoletto Giganti's the School of the Sword: A New Translation by Aaron Taylor Miedema. Legacy Books Press, 2014. ISBN 978-1927537077

References

  1. Leoni, p xii.
  2. Lancellotti, Francesco Maria. Quadro letterario degli uomini illustri della città di Fossombrone. In Colucci, Giuseppe. Antichità picene, XXVIII. Fermo, 1796. p 33.
  3. Calcaterra, Francesco. Corti e cortigiani nella Roma barocca. Rome, 2012. p 76.
  4. Leoni, p xi.
  5. This treatise was considered lost for centuries, and as early as 1673 the Sicilian master Giuseppe Morsicato Pallavicini stated that this second book was never published at all. See La seconda parte della scherma illustrata. Palermo, 1673. p v.