Wiktenauer logo.png

Difference between revisions of "Nicoletto Giganti"

From Wiktenauer
Jump to navigation Jump to search
(Brought translation completely up-to-date)
Line 85: Line 85:
  
 
|-  
 
|-  
| class="noline" | <p>'''By Nicoletto Giganti, Venetian, To The Most Serene Don Cosmo De’ Medici Great Prince Of Tuscany'</p>
+
| class="noline" | <p>'''By Nicoletto Giganti, Venetian, To The Most Serene Don Cosimo de’ Medici Great Prince Of Tuscany'</p>
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|2|lbl=-}}
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|2|lbl=-}}
 
| class="noline" | {{section|Nicoletto Giganti/1644 German|2|lbl=-}}
 
| class="noline" | {{section|Nicoletto Giganti/1644 German|2|lbl=-}}
Line 120: Line 120:
 
|-  
 
|-  
 
|  
 
|  
| <p>Wherefore I, recognizing and admiring with humblest affection the mature splendour of your newly made and happy years, and reading in the face of the world the secure hopes and fruits of the future age, adoring that hand from which Italy and the entire world is taking safe rest and glorious protection, to that I offer and consecrate with humble dedication this small, I will certainly not say fruit, but work of my labours. Therefore, it only must please you, being of material welcomed by you which deigns to bend your Most Serene eye. To that end, let many of your highest rays pass over where the baseness of my ingenuity with the exercise of this art that I have dealt with for 27 years does not arrive. Let this work, in itself humble, present itself happily to the view of the World. It will be effected with the action of my devotion, together with the fruit of your Most Serene mercy, who serving being the full glory, I pray that Heaven makes me a worthy, even lowest servant. In Venice February 10, 1606.</p>
+
| <p>Wherefore I, recognizing and admiring with humblest affection the mature splendour of your newly made and happy years, and reading in the face of the world the secure hopes and fruits of the future age, adoring that hand from which Italy and the entire world is taking safe rest and glorious protection, to that I offer and consecrate with humble dedication this small, I will certainly not say fruit, but work of my labours. Therefore, it only must please you, being of material welcomed by you which deigns to bend your Most Serene eye. To that end, let many of your highest rays pass over where the baseness of my ingenuity with the exercise of this art that I have dealt with for 27 years does not arrive. Let this work, in itself humble, present itself happily to the view of the World. It will be effected with the action of my devotion, together with the fruit of your Most Serene mercy, who serving being the full glory, I pray that Heaven makes me a worthy, even lowest servant. In Venice February 10, 1606</p>
  
 
:Of Your Most Serene Highness,
 
:Of Your Most Serene Highness,
Line 133: Line 133:
 
|-  
 
|-  
 
|  
 
|  
| <p>'''To the Lordly Readers, Almoro Lombardo,''' Son of the Most Renowned Lord Marco.</p>
+
| <p>'''To the Lord Readers, Almoro Lombardo,''' Son of the Most Renowned Lord Marco.</p>
  
<p>Wanting to write on the matter of arms, although the author does not mention that it is a science, to me it appears a necessary thing, Lord Readers, to treat with what share it has, and of which name it would adorn itself so that everyone knows its greatness, dignity, and privilege.</p>
+
<p>Desiring to write on the matter of arms, although the author does not mention that it is a science, to me it appears a necessary thing, Lord Readers, to treat with what share it has, and of which name it would adorn itself so that everyone knows its greatness, dignity, and privilege.</p>
  
 
<p>Whereupon first some students of this this most noble science read and discuss the most learned and easy observations of this valorous and knowledgeable professor Nicoletto Giganti, I, by observing the rule and general precept of a person who wants to address anything, will come to the definition, and then to the general division of this word Science, from which it will be possible for two things to finally be recognized by everyone, showing us that this beautiful profession is science.</p>
 
<p>Whereupon first some students of this this most noble science read and discuss the most learned and easy observations of this valorous and knowledgeable professor Nicoletto Giganti, I, by observing the rule and general precept of a person who wants to address anything, will come to the definition, and then to the general division of this word Science, from which it will be possible for two things to finally be recognized by everyone, showing us that this beautiful profession is science.</p>
Line 216: Line 216:
 
|-  
 
|-  
 
|  
 
|  
| <p>The Artificial is that which, with ingenuity and long use and exercise, finds under short rules and impossible methods different manners of parrying and wounding with the above noted things. Accordingly, coming to some occasion the man extracts from this the real ends of his safety. In his lessons the author shows great understanding of those two qualities, and the reader will be fully satisfied with them.</p>
+
| <p>The Artificial is that which finds with ingenuity and long use and exercise under short rules and impossible methods different manners of parrying and wounding with the above noted things. Accordingly, coming to some occasion the man extracts from this the real ends of his safety. In his lessons the author shows great understanding of those two qualities, and the reader will be fully satisfied with them.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/15|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/15|3|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|12|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|12|lbl=-}}
Line 235: Line 235:
 
<p>The first concepts are real things that are first learned from the intellect, like parrying and wounding, and these come in the first intention. The second concepts are formed from the intellect, and these make the second of our intentions, the knowledge in order to be able to wound and parry, and are made through the first, for the reason that immediately when our intellect has learned this aim of wounding and parrying, it soon discusses how this can be done in a different manner and with different methods.</p>
 
<p>The first concepts are real things that are first learned from the intellect, like parrying and wounding, and these come in the first intention. The second concepts are formed from the intellect, and these make the second of our intentions, the knowledge in order to be able to wound and parry, and are made through the first, for the reason that immediately when our intellect has learned this aim of wounding and parrying, it soon discusses how this can be done in a different manner and with different methods.</p>
  
<p>The second Demonstrative consists of the complex ends, that is, of ends that unite in themselves more ends for the same demonstratives, and these aims either united in measure or separate in distance demonstrate their ends, like being in guard with the weapons closed demonstrates, or the posture or counterposture of the body in measure or at distance which is the aim of that, and how many things can be done with that working. For this reason one sees of how much consideration this beautiful science is for its qualities, and for the aims it contains.</p>
+
<p>The second Demonstrative consists of the complex ends, that is, of ends that unite in themselves more ends for the same demonstratives, and these aims either united at measure or separate at a distance demonstrate their ends, like being in guard with the weapons closed demonstrates, either at a distance, or at measure with the posture of the body, or counterposture which is the aim of that, and how many things can be done with that working. For this reason, one sees of how much consideration this beautiful science is for its qualities, and for the aims it contains.</p>
 
|  
 
|  
 
{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/16|2|lbl=-|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/17|1|lbl=xiii|p=1}}
 
{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/16|2|lbl=-|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/17|1|lbl=xiii|p=1}}
Line 244: Line 244:
 
|-  
 
|-  
 
|  
 
|  
| <p>Therefore, just as it is of great dignity, because it is real Speculative Mathematics of Geometry and Arithmetic, and for many parts found under itself, such decorum and reputation I say it requires. No other will be the decorum and reputation if not this. And also considering, o Readers, that this science for the most part is found in royal courts, and of every Prince, in the most famous Cities, studied by Barons, Counts, Knights, and persons of great quality, and for no other reason if not because just as it is noble, it excites and inflames our spirits to great things, to learn, and to heroic actions, to match of the virtue of the spirit, the valour of the body, the vigour of the strength, and the skill of the person. This always seeks parity, and does not allow any blemish to it. It wants to be understood and learned, but not to be professed for every folly one takes up. It flees the disputes of villainous persons. It does not do all that it can. It shows itself at the time and place. It avoids the practices of excess. It is of few words. It desires a serious comportment, a lively eye, an honoured dress, and a noble practice. This is enough about its decorum and reputation.</p>
+
| <p>Therefore, just as it is of great dignity because it is real Speculative Mathematics of Geometry and Arithmetic, and for many parts found under itself, such decorum and reputation I say it requires. No other will be the decorum and reputation if not this. And also considering, o Readers, that this science for the most part is found in royal courts, and of every Prince, in the most famous Cities, studied by Barons, Counts, Knights, and persons of great quality, and for no other reason if not because just as it is noble, it excites and inflames our spirits to great things, to learn, and to heroic actions, to match of the virtue of the spirit, the valour of the body, the vigour of the strength, and the skill of the person. This always seeks parity, and does not allow any blemish to it. It wants to be understood and learned, but not to be professed for every folly one takes up. It flees the disputes of villainous persons. It does not do all that it can. It shows itself at the time and place. It avoids the practices of excess. It is of few words. It desires a serious comportment, an alert eye, an honoured dress, and a noble practice. This is enough about its decorum and reputation.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/17|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/17|2|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|15|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|15|lbl=-}}
Line 253: Line 253:
 
| <p>In regard to the honour that it requires, advising that the observance of all the said things is honour to this profession, it remains only to be said what obligation one who carries the sword is under.</p>
 
| <p>In regard to the honour that it requires, advising that the observance of all the said things is honour to this profession, it remains only to be said what obligation one who carries the sword is under.</p>
  
<p>We will pass by the aims of these Duelists who, just as they have badly learned the said profession, so I say with many of their propositions they degrade it and have reduced it to such an unhappy state that it not only casts aside the virtuous life which demands such a science, and human discourse, and every reason, but forgetting the great God, and themselves as a consequence, their unjust aims can only possess it for the damnation of their spirits, postponing the divine church for their diabolical thoughts.</p>
+
<p>We will pass by the aims of these Duellists who, just as they have badly learned the said profession, so I say with many of their propositions they degrade it and have reduced it to such an unhappy state that it not only casts aside the virtuous life which demands such a science, and human discourse, and every reason, but forgetting the great God, and themselves as a consequence, their unjust aims can only possess it for the damnation of their spirits, postponing the divine church for their diabolical thoughts.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/17|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/17|3|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|16|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|16|lbl=-}}
Line 260: Line 260:
 
|-  
 
|-  
 
|  
 
|  
| <p>This profession, o Readers, puts one who practices it under obligation to learn, and considering this wants to be used in four occasions: the first for Faith, then for Country, for defence of one’s own life, and finally for honour. It always wants to be a defender of reason, never taken hold of in order to do wrong, and one who does so makes an injury to this profession. Neither will a man of honour have held onto a wrong in order to fight, but will only do so for the said things. It is necessary to have occasion because fighting without one is a thing of the foolish and drunk.</p>
+
| <p>This profession, o Readers, puts one who practises it under obligation to learn, and considering this wants to be used in four occasions: the first for Faith, then for Country, for defence of one’s own life, and finally for honour. It always wants to be a defender of reason, never taken hold of in order to do wrong, and one who does so makes an injury to this profession. Neither will a man of honour have held onto a wrong in order to fight, but will only do so for the said things. It is necessary to have occasion because fighting without one is a thing of the foolish and drunk.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/18|1|lbl=xiv}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/18|1|lbl=xiv}}
 
| {{section|Nicoletto Giganti/1644 German|17|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|17|lbl=-}}
Line 270: Line 270:
 
| <p>Some as soon as they have acquired some beginning of this mock, putting the Sword at their side, and using a thousand insolences, either stop or wound someone, and at such time kill some miserable person, believing themselves to have acquired honour and fame. They do evil, because other than making an outrage to the nobility of this which must not be put in use without reason, they offend the just God and themselves.</p>
 
| <p>Some as soon as they have acquired some beginning of this mock, putting the Sword at their side, and using a thousand insolences, either stop or wound someone, and at such time kill some miserable person, believing themselves to have acquired honour and fame. They do evil, because other than making an outrage to the nobility of this which must not be put in use without reason, they offend the just God and themselves.</p>
  
<p>In order to not come to tedium I will not continue, but only exhort each to study such a noble and real science, begging him to keep in mind the underwritten observations of our noble professor, and practice in it, because with brevity of time one can acquire no small profit, observing how much it suits honour, glory, and greatness themselves.</p>
+
<p>In order to not come to tedium I will not continue, but only exhort each to study such a noble and real science, begging him to keep in mind the underwritten observations of our noble professor, and practise in it, because with brevity of time one can acquire no small profit, observing how much it suits honour, glory, and greatness themselves.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/18|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/18|2|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|18|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|18|lbl=-}}
Line 302: Line 302:
 
| class="noline" | <p>December 23, 1605 in Senate</p>
 
| class="noline" | <p>December 23, 1605 in Senate</p>
  
<p>The power is granted to our faithful Nicoletto Giganti, Venetian, that other than him or one at his behest, it is not permitted for the space of the next thirty years to venture to print in this City, nor any other City, Land, or place of our Domain, nor printed elsewhere to conduct or sell in Our Domain the book composed by him, titled ''School, or Theatre'', under pain of losing the work printed or conducted, which is by the aforesaid Nicoletto Giganti, and being obliged to observe what is required by our law in matters of Printing, of paying three hundred ducats: a third to our Arsenal, a third to the Magistrate that makes the execution, and the other third to the complainant.</p>
+
<p>The power is granted to our faithful Nicoletto Giganti, Venetian, that other than him or one at his behest, it is not permitted for the space of the next thirty years to venture to print in this City, nor any other City, Land, or place of our Domain, nor printed elsewhere to conduct or sell in Our Domain the book composed by him, titled School, or Theatre, under pain of losing the printed or conducted works, which are by the aforesaid Nicoletto Giganti, and being obliged to observe what is required by our law in matters of Printing, of paying three hundred ducats: a third to our Arsenal, a third to the Magistrate that makes the execution, and the other third to the complainant.</p>
 
| class="noline" | {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|20|lbl=xvi}}
 
| class="noline" | {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|20|lbl=xvi}}
 
| class="noline" |  
 
| class="noline" |  
Line 333: Line 333:
 
| <p>[1] '''Guards and Counterguards'''</p>
 
| <p>[1] '''Guards and Counterguards'''</p>
  
<p>It is necessary for someone wanting to become a professor of the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss the guards and counterguards, or postures and counterpostures, of the sword. This, because coming to some incident of contention it is first necessary to understand this to be able to secure oneself against the enemy. To place oneself in guard then, many things must be observed, as can be seen in my figures: standing firm over the feet, that are low and the foundation of the entire body, in a just pace, restrained rather than long in order to be able to increase it, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, ready to parry and wound so that the enemy throwing either a thrust or cut can be parried and wounded in the same tempo, with the vita disposed and ready because lacking the disposition and readiness of that it will be an easy thing for the enemy to put it into disorder with a dritto, a riverso, a thrust, or in another manner, and even if such a person parried they would remain in danger. It is advised to let the dagger watch the enemy’s sword, because if the enemy throws it will parry that. Always aim the sword at the uncovered part of the enemy so that the enemy is wounded when throwing. This is all the artifice of this profession. Moreover, one must note that all the motions of the sword are guards to one who knows them, and all guards are good to one who practices, as on the contrary no motion is a guard to one who does not understand, and they are not good for one who does not know how to use them.</p>
+
<p>It is necessary for someone wanting to become a professor of the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss the guards and counterguards, or postures and counterpostures, of the sword. This, because coming to some incident of contention it is first necessary to understand this to be able to secure oneself against the enemy. To place oneself in guard then, many things must be observed, as can be seen in my figures: standing firm over the feet, that are low and the foundation of the entire body, in a just pace, restrained rather than long in order to be able to increase it, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, ready to parry and wound so that the enemy throwing either a thrust or cut can be parried and wounded in the same tempo, with the vita disposed and ready because lacking the disposition and readiness of that it will be an easy thing for the enemy to put it into disorder with a dritto, a riverso, a thrust, or in another manner, and even if such a person parried they would remain in danger. It is advised to let the dagger watch the enemy’s sword, because if the enemy throws it will parry that. Always aim the sword at the uncovered part of the enemy so that the enemy is wounded when throwing. This is all the artifice of this profession. Moreover, one must note that all the motions of the sword are guards to one who knows them, and all guards are good to one who practises, as on the contrary no motion is a guard to one who does not understand, and they are not good for one who does not know how to use them.</p>
 
|  
 
|  
 
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|22|lbl=02|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/23|1|lbl=03|p=1}}
 
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|22|lbl=02|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/23|1|lbl=03|p=1}}
Line 392: Line 392:
 
|-  
 
|-  
 
|  
 
|  
| <p>[8] If he disengages, in the disengagement one can wound him, and this is a tempo. If he changes guard, while he changes is a tempo. If he turns, it is a tempo. If he binds to come to measure, while he walks before arriving in measure is a tempo to wound him. If he throws, parrying and wounding in a tempo also is a tempo. If the enemy stays still in guard and waits and you advance to bind him and throw where he is uncovered when you are in measure, it is a tempo, because in every motion of the dagger, sword, foot, and vita such as changing guard, is a tempo in such a way that all these things are tempi: because they contain different intervals, and while the enemy makes one of these motions, he will certainly be wounded 10 because while a person moves they cannot wound. It is necessary to understand this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.</p>
+
| <p>[8] If he disengages, in the disengagement one can wound him, and this is a tempo. If he changes guard, while he changes is a tempo. If he turns, it is a tempo. If he binds to come to measure, while he walks before arriving at measure is a tempo to wound him. If he throws, parrying and wounding in a tempo also is a tempo. If the enemy stays still in guard and waits and you advance to bind him and throw where he is uncovered when you are at measure, it is a tempo, because in every motion of the dagger, sword, foot, and vita such as changing guard, is a tempo in such a way that all these things are tempi: because they contain different intervals, and while the enemy makes one of these motions, he will certainly be wounded because while a person moves they cannot wound. It is necessary to understand this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/25|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/25|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|3|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|3|lbl=-}}
Line 415: Line 415:
 
|-  
 
|-  
 
|  
 
|  
| <p>[11] Therefore, to learn this art well one must first practice throwing this stoccata. Knowing it one will learn the rest easily, and not knowing it the contrary. Be advised, Lord readers, that I will place this method of throwing the stoccata many times in my lessons at appropriate times. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
+
| <p>[11] Therefore, to learn this art well one must first practise throwing this stoccata. Knowing it one will learn the rest easily, and not knowing it the contrary. Be advised, Lord Readers, that I will place this method of throwing the stoccata many times in my lessons at appropriate times. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/27|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/27|3|lbl=-}}
 
|  
 
|  
Line 426: Line 426:
 
| <p>[12] '''Why begin with the single sword'''</p>
 
| <p>[12] '''Why begin with the single sword'''</p>
  
<p>In my first book of arms I proposed to discuss only two kinds of weapons, that is, the single sword and sword and dagger, setting aside discussion of certain others. If it pleases my Lord, I will illuminate all sorts of weapons as soon as possible. Because the sword is the most common and most used weapon of all I wanted to begin with it, since one who understands playing with the sword well will also understand the handling of almost every other kind of weapon. Since it is not usual in every part of the world to carry the dagger, targa, or rotella, and as fighting with single sword occurs many times, I urge everyone to first learn to play with the single sword, despite everything one might have in frays, such as the dagger, the targa, or the rotella, since occurring as it many times does that the dagger, targa, or rotella falls from his hand, a man would have to defend himself and wound the enemy with the single sword, and because one who practices playing with the single sword will understand just as well how to parry and wound as one who has sword and dagger.</p>
+
<p>In my first book of arms I proposed to discuss only two kinds of weapons, that is, the single sword and sword and dagger, setting aside discussion of certain others. If it pleases my Lord, I will illuminate all sorts of weapons as soon as possible. Because the sword is the most common and most used weapon of all I wanted to begin with it, since one who understands playing with the sword well will also understand the handling of almost every other kind of weapon. Since it is not usual in every part of the world to carry the dagger, targa, or rotella, and as fighting with single sword occurs many times, I urge everyone to first learn to play with the single sword, despite everything one might have in frays, such as the dagger, the targa, or the rotella, since occurring as it many times does that the dagger, targa, or rotella falls from his hand, a man would have to defend himself and wound the enemy with the single sword, and because one who practises playing with the single sword will understand just as well how to parry and wound as one who has sword and dagger.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/27|4|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/27|4|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/16|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/16|2|lbl=-}}
Line 456: Line 456:
 
| <p>[15] '''Explanation of Wounding in Tempo'''</p>
 
| <p>[15] '''Explanation of Wounding in Tempo'''</p>
  
<p>This figure teaches you to wound your enemy in the tempo he disengages his sword. You do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard<ref>Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.</ref> shows you so that he will not be able to wound you if he does not disengage the sword. Then, in the same tempo that he disengages to wound you, push forward your sword, turning your wrist in the same tempo so that you wound him in the face as is seen in the figure. In the case that you were to parry and then wound it would not be successful, since the enemy would have tempo to parry and you would be in danger, but if you enter immediately forward with your sword in the tempo he disengages his, turning your wrist and parrying, the enemy will have difficulty parrying.</p>
+
<p>This figure teaches you to wound your enemy in the tempo he disengages his sword. You do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard shows you<ref>Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.</ref> so that he will not be able to wound you if he does not disengage the sword. Then, in the same tempo that he disengages to wound you, push forward your sword, turning your wrist in the same tempo so that you wound him in the face as is seen in the figure. In the case that you were to parry and then wound it would not be successful, since the enemy would have tempo to parry and you would be in danger, but if you enter immediately forward with your sword in the tempo he disengages his, turning your wrist and parrying, the enemy will have difficulty parrying.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/33|1|lbl=13}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/33|1|lbl=13}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/21|1|lbl=09}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/21|1|lbl=09}}
Line 478: Line 478:
 
| <p>[18] '''The Proper Method of Going to Bind''' the Enemy and Strike Him while he disengages the sword</p>
 
| <p>[18] '''The Proper Method of Going to Bind''' the Enemy and Strike Him while he disengages the sword</p>
  
<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him outside of his sword outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, with lively eyes, as you see in the second figure of the guards and counterguards. <ref>Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.</ref> You being accommodated in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same tempo throw a stoccata at him as the fourth figure teaches you. Having thrown this stoccata, immediately in the same tempo return backward outside of measure, resting your sword over his so that if he wants to disengage anew, you will return to throw to him the same stoccata, turning your wrist as above, returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the stoccata at him.</p>
+
<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him outside of his sword outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, with an alert eye, as you see in the second figure of the guards and counterguards.<ref>Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.</ref> You being accommodated in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same tempo throw a stoccata at him as the fourth figure teaches you. Having thrown this stoccata, immediately in the same tempo return backward outside of measure, resting your sword over his so that if he wants to disengage anew, you will return to throw to him the same stoccata, turning your wrist as above, returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the stoccata at him.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/35|1|lbl=15}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/35|1|lbl=15}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/23|1|lbl=10}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/23|1|lbl=10}}
Line 497: Line 497:
 
| <p>[20] '''The Proper Method of Disengaging the Sword'''</p>
 
| <p>[20] '''The Proper Method of Disengaging the Sword'''</p>
  
<p>The two figures that were placed here above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. But note that your enemy being settled in whichever sort of guard he wants, you having gone to bind him, throw a stoccata at him where he is uncovered and if he knows as much as you, you will always be with your swords equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust in the same tempo where you find him uncovered. This is the proper and safe method to disengage the sword and wound in one tempo. If you were to disengage your sword without turning your wrist you would give a tempo and place to the enemy to wound you, as you will see quite well in exercising and trying it yourself. If the enemy were to parry return to disengage in the aforesaid way, always turning your wrist. As many times as he parries, disengage as many other times in the above way, which is safest, then throw the stoccata at him in the tempo that you disengage. This method of disengaging is no less necessary than what we taught in the explanation of the previous figure of the method of parrying, since this is the main thing that one seeks in knowing how to manage the single sword. Therefore I exhort everyone to practice well in these two things, since being in measure against the enemy, as soon as it is the tempo to disengage the sword, one would know how to disengage quickly and well, and as soon as it is the tempo of parrying, to understand parrying similarly well.</p>
+
<p>The two figures that were placed here above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. But note that your enemy being settled in whichever sort of guard he wants, you having gone to bind him, throw a stoccata at him where he is uncovered and if he knows as much as you, you will always be with your swords equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust in the same tempo where you find him uncovered. This is the proper and safe method to disengage the sword and wound in one tempo. If you were to disengage your sword without turning your wrist you would give a tempo and place to the enemy to wound you, as you will see quite well in exercising and trying it yourself. If the enemy were to parry return to disengage in the aforesaid way, always turning your wrist. As many times as he parries, disengage as many other times in the above way, which is safest, then throw the stoccata at him in the tempo that you disengage. This method of disengaging is no less necessary than what we taught in the explanation of the previous figure of the method of parrying, since this is the main thing that one seeks in knowing how to manage the single sword. Therefore I exhort everyone to practise well in these two things, since being at measure against the enemy, as soon as it is the tempo to disengage the sword one would know how to disengage quickly and well, and as soon as it is the tempo of parrying to understand parrying similarly well.</p>
 
|  
 
|  
 
{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/36|2|lbl=-|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|37|lbl=17|p=1}}
 
{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/36|2|lbl=-|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|37|lbl=17|p=1}}
Line 525: Line 525:
 
|-  
 
|-  
 
|  
 
|  
| <p>[23] 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>
+
| <p>[23] 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/41|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/41|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/28|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/28|2|lbl=-}}
Line 534: Line 534:
 
| <p>[24] '''Explanation of the Feint,''' ''Making a show of disengaging the sword with your wrist''</p>
 
| <p>[24] '''Explanation of the Feint,''' ''Making a show of disengaging the sword with your wrist''</p>
  
<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. </p>
+
<p>The ways of wounding are various and consequently my lessons are also various. But do not 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. </p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/43|1|lbl=23}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/43|1|lbl=23}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/30|1|lbl=14}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/30|1|lbl=14}}
Line 541: Line 541:
 
|-  
 
|-  
 
|  
 
|  
| <p>[25] 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.</p>
+
| <p>[25] 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 to 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.</p>
 
|  
 
|  
 
{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/43|2|lbl=-|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/44|1|lbl=24|p=1}}
 
{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/43|2|lbl=-|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/44|1|lbl=24|p=1}}
Line 572: Line 572:
 
|-  
 
|-  
 
| [[File:Giganti 09.png|400x400px|center|Figure 9]]
 
| [[File:Giganti 09.png|400x400px|center|Figure 9]]
| <p>[29] '''Method of Wounding in the Chest with the Single Sword When They<ref>The two fencers.</ref> Are In''' measure with the swords equal</p>
+
| <p>[29] '''Method of Wounding in the Chest with the Single Sword When They<ref>The two fencers.</ref> Are At''' measure with the swords equal</p>
  
<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.</p>
+
<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 at measure with you. When he is at 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,</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/47|1|lbl=27}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/47|1|lbl=27}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/33|1|lbl=16}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/33|1|lbl=16}}
Line 581: Line 581:
 
|-  
 
|-  
 
|  
 
|  
| <p>[30] Take 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>
+
| <p>[30] 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/47|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/47|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/33|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/33|2|lbl=-}}
Line 590: Line 590:
 
| <p>[31] '''The Pass With Feint at a Distance'''</p>
 
| <p>[31] '''The Pass With Feint at a Distance'''</p>
  
<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 [7].<ref>The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.</ref> shows and if he does not parry strongly you make the effect of figure number [8].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.</ref> 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<ref>Your hand.</ref> 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>
+
<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 at measure, if you see that he stays waiting and doesn’t move, throw a thrust at his face strongly as figure number [7].<ref>The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.</ref> shows and if he does not parry strongly you make the effect of figure number [8].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.</ref> 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 at 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<ref>Your hand.</ref> 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/49|1|lbl=29}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/49|1|lbl=29}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/35|1|lbl=17|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/37|1|lbl=18|p=1}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/35|1|lbl=17|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/37|1|lbl=18|p=1}}
Line 599: Line 599:
 
| <p>[32] '''The pass with feint over the point of the sword'''</p>
 
| <p>[32] '''The pass with feint over the point of the sword'''</p>
  
<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>
+
<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 at 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/49|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/49|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/37|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/37|2|lbl=-}}
Line 617: Line 617:
 
| <p>[34] '''The Proper Method to Give a Thrust with the Single Sword while the Enemy Throws''' a cut</p>
 
| <p>[34] '''The Proper Method to Give a Thrust with the Single Sword while the Enemy Throws''' a cut</p>
  
<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.</p>
+
<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 at 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.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/53|1|lbl=33}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/53|1|lbl=33}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/40|1|lbl=20}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/40|1|lbl=20}}
Line 678: Line 678:
  
 
|-  
 
|-  
| <p>[42] 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,<ref>[[Camillo Agrippa]] (1553), for example, recommends turning the face away.</ref> 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>
+
| <p>[42] 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 at 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,<ref>[[Camillo Agrippa]] (1553), for example, recommends turning the face away.</ref> because you would find yourself in danger and not see your action. After this immediately return back out of measure with your sword over his, securing yourself as above.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/59|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/59|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/46|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/46|2|lbl=-}}
Line 687: Line 687:
 
| <p>[43] '''The inquartata, or slip of the vita'''</p>
 
| <p>[43] '''The inquartata, or slip of the vita'''</p>
  
<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>
+
<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 judiciously.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/59|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/59|3|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/48|1|lbl=24}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/48|1|lbl=24}}
Line 696: Line 696:
 
| <p>[44] '''The Third Inquartata,''' or slip of the vita</p>
 
| <p>[44] '''The Third Inquartata,''' or slip of the vita</p>
  
<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>
+
<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 at 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/60|1|lbl=40}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/60|1|lbl=40}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/48|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/48|2|lbl=-}}
Line 724: Line 724:
 
|-  
 
|-  
 
|  
 
|  
| <p>[47] 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>
+
| <p>[47] It is necessary that you place yourself to the guard of the enemy sword with yours ready to defend, outside the measure, in a pace that is 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/61|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/61|3|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/50|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/50|2|lbl=-}}
Line 740: Line 740:
 
| <p>[49] '''Parrying Stoccate''' that Come at the Chest with the Single Sword</p>
 
| <p>[49] '''Parrying Stoccate''' that Come at the Chest with the Single Sword</p>
  
<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>
+
<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 at 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|63|lbl=43}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|63|lbl=43}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/51|1|lbl=27}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/51|1|lbl=27}}
Line 760: Line 760:
 
| <p>[51] '''The Counterdisengage at a Distance'''</p>
 
| <p>[51] '''The Counterdisengage at a Distance'''</p>
  
<p>This<ref>The two preceding figures.</ref> 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>
+
<p>This<ref>The two preceding figures.</ref> 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>
 
|  
 
|  
 
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|68|lbl=48|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|69|lbl=49|p=1}}
 
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|68|lbl=48|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|69|lbl=49|p=1}}
Line 770: Line 770:
 
| <p>[52] '''Method of Playing with the Single Sword,''' while the enemy has sword and dagger</p>
 
| <p>[52] '''Method of Playing with the Single Sword,''' while the enemy has sword and dagger</p>
  
<p>With this figure I will demonstrate parrying and wounding to you, 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 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 safely. That given, immediately return backward 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 safe, 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 stand in guard with judgement you can parry safely and strongly and wound your enemy, always in the face, returning safely 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.</p>
+
<p>With this figure I will demonstrate parrying and wounding to you, 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 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 safely. That given, immediately return backward 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 safe, 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 stand in guard judiciously you can parry safely and strongly and wound your enemy, always in the face, returning safely 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.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|1|lbl=51}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/71|1|lbl=51}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/58|1|lbl=30}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/58|1|lbl=30}}
Line 808: Line 808:
 
| <p>[55] '''Method of Parrying the Stoccata that Comes''' at the face from the right side with sword and dagger</p>
 
| <p>[55] '''Method of Parrying the Stoccata that Comes''' at the face from the right side with sword and dagger</p>
  
<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.</p>
+
<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 an alert 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.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/73|1|lbl=53}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/73|1|lbl=53}}
 
|  
 
|  
Line 849: Line 849:
 
|-  
 
|-  
 
|  
 
|  
| <p>[60] 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>
+
| <p>[60] 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, keeping the left foot strongly on the ground. Be advised that keeping the left foot on the ground will appear difficult to you at first, but with practise you will succeed easily.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/77|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/77|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/66|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/66|2|lbl=-}}
Line 867: Line 867:
 
| <p>[62] '''Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
 
| <p>[62] '''Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
  
<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,<ref>First lesson of sword and dagger – Figure 21.</ref> 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>
+
<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,<ref>First lesson of sword and dagger – Figure 21.</ref> 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|81|lbl=61}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|81|lbl=61}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/70|1|lbl=37}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/70|1|lbl=37}}
Line 882: Line 882:
  
 
|-  
 
|-  
| <p>[64] Be aware that all six of these figures<ref name="f21-6">Figures 21-26.</ref> 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>
+
| <p>[64] Be aware that all six of these figures<ref name="f21-6">Figures 21-26.</ref> 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 practise, and the stoccata given, to immediately return backward outside of measure.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/83|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/83|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/72|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/72|2|lbl=-}}
Line 898: Line 898:
 
| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
 
| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
  
<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. <ref name="f21-6"/> 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>
+
<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 at 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. <ref name="f21-6"/> 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|85|lbl=65}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|85|lbl=65}}
 
|  
 
|  
Line 909: Line 909:
 
| <p>[67] '''Throwing the Stoccata While the Enemy''' Moves<br/><br/></p>
 
| <p>[67] '''Throwing the Stoccata While the Enemy''' Moves<br/><br/></p>
  
<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>
+
<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 an alert 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 at 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 at 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|87|lbl=67}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|87|lbl=67}}
 
|  
 
|  
Line 920: Line 920:
 
| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
 
| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
  
<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 ……<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.</ref></p>
+
<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 at 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 ……<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.</ref></p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/89|1|lbl=69}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/89|1|lbl=69}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/80|1|lbl=43}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/80|1|lbl=43}}
Line 926: Line 926:
  
 
|-  
 
|-  
| <p>[69] 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 [27],<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.</ref> 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<ref name="the enemy"/> 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>
+
| <p>[69] It is very difficult to defend oneself from one who is practised at first throwing the sword, then the vita, and after this quickly returning backward in the way described in lesson [27],<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.</ref> who understands approaching to bind with tempo, and when he is at measure throwing where the enemy is uncovered, since it is necessary that he<ref name="the enemy"/> 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/89|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/89|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/80|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/80|2|lbl=-}}
Line 959: Line 959:
 
|-  
 
|-  
 
|  
 
|  
| <p>[73] 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>
+
| <p>[73] These artificial guards are for studious men that understand tempo and measure and have practised 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 at 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 practised. 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/91|4|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/91|4|lbl=-}}
 
|  
 
|  
Line 985: Line 985:
 
| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
 
| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
  
<p>In this other guard, where the chest is uncovered, it is<ref>The chest is uncovered.</ref> 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>
+
<p>In this other guard, where the chest is uncovered, it is<ref>The chest is uncovered.</ref> 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 rib cage, 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|95|lbl=75}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|95|lbl=75}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/87|1|lbl=47}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/87|1|lbl=47}}
Line 1,007: Line 1,007:
 
|-  
 
|-  
 
|  
 
|  
| <p>[79] 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>
+
| <p>[79] 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 at 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 at 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>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/97|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/97|3|lbl=-}}
 
|  
 
|  
Line 1,018: Line 1,018:
 
| <p>[80] '''Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
 
| <p>[80] '''Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
  
<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”.<ref>''“Scannare”'' – to slaughter or cut the throat of.</ref> 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>
+
<p>This feint is no 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”.<ref>''“Scannare”'' – to slaughter or cut the throat of.</ref> 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|99|lbl=79}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|99|lbl=79}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/91|2|lbl=-}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/91|2|lbl=-}}
Line 1,045: Line 1,045:
 
| <p>[83] '''Parrying With The Dagger,''' Bringing The Vita Back<br/><br/></p>
 
| <p>[83] '''Parrying With The Dagger,''' Bringing The Vita Back<br/><br/></p>
  
<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>
+
<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 at 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|105|lbl=85}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|105|lbl=85}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/97|1|lbl=52}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/97|1|lbl=52}}
Line 1,054: Line 1,054:
 
| <p>[84] '''Parrying with the Dagger, Carrying the Vita Back,''' and wounding with the sword in the same tempo</p>
 
| <p>[84] '''Parrying with the Dagger, Carrying the Vita Back,''' and wounding with the sword in the same tempo</p>
  
<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>
+
<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 at 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|107|lbl=87}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|107|lbl=87}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/99|1|lbl=53}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/99|1|lbl=53}}
Line 1,063: Line 1,063:
 
| <p>[85] '''The Thrust at the Face Parrying with the Sword'''<br/><br/></p>
 
| <p>[85] '''The Thrust at the Face Parrying with the Sword'''<br/><br/></p>
  
<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.</p>
+
<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 practise 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.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|1|lbl=89}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|1|lbl=89}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/101|1|lbl=54}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/101|1|lbl=54}}
Line 1,079: Line 1,079:
 
| <p>[87] '''The Pass with Sword and Dagger in Order to Come to Grips''' and wound with the dagger in the face</p>
 
| <p>[87] '''The Pass with Sword and Dagger in Order to Come to Grips''' and wound with the dagger in the face</p>
  
<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>
+
<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 practised.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|111|lbl=91}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|111|lbl=91}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/103|1|lbl=55}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/103|1|lbl=55}}
Line 1,088: Line 1,088:
 
| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
 
| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
  
<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<ref>Of the enemy.</ref> is uncovered, taking care to approach to bind him from the side of the sword. If he<ref>Our fencer.</ref> sees that he<ref name="the enemy"/> 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>
+
<p>Someone in this profession who wishes 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 at measure will throw according to the method of the present figure, in which the right shoulder<ref>Of the enemy.</ref> is uncovered, taking care to approach to bind him from the side of the sword. If he<ref>Our fencer.</ref> sees that he<ref name="the enemy"/> 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>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|113|lbl=93}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|113|lbl=93}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/105|1|lbl=56}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/105|1|lbl=56}}

Revision as of 17:48, 17 July 2020

Nicoletto Giganti
Born 1550s-60s
Fossombrone, Italy
Died date of death unknown
Occupation
Nationality Italian
Citizenship Republic of Venice
Patron
  • Cosimo II de' Medici
  • Christofano Chigi
Influenced Bondì di Mazo (?)
Genres Fencing manual
Language Italian
Notable work(s)
First printed
english edition
Leoni, 2010
Concordance by Michael Chidester

Nicoletto Giganti (Niccoletto, Nicolat) was an Italian soldier and fencing master around the turn of the 17th century. He was likely born to a noble family in Fossombrone in central Italy,[1] and only later became a citizen of Venice.[2] Little is known of Giganti’s life, but in the dedication to his 1606 treatise he claims 27 years of professional experience, meaning that his career began in 1579 (possibly referring to service in the Venetian military, a long tradition of the Giganti family).[1] Additionally, the preface to his 1608 treatise describes him as a Master of Arms to the Order of Santo Stefano in Pisa, a powerful military order founded by Cosimo I de' Medici, giving some further clues to his career.

In 1606, Giganti published a treatise on the use of the rapier (both single and with the dagger) titled Scola, overo teatro ("School or Theater"). It is dedicated to Cosimo II de' Medici. 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.[3] It is also the first treatise to fully articulate the principle of the lunge.

In 1608, Giganti made good on the promise in his first book that he would publish a second volume.[4] Titled Libro secondo di Niccoletto Giganti ("Second Book of Niccoletto Giganti"), it is dedicated to Christofano Chigi, a Knight of Malta, and 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 additional writings on the dagger and on cutting with the rapier, but there is no record of further books by Giganti 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.[5]

Treatise

Giganti, like many 17th century authors, had a tendency to write incredibly long, multi-page paragraphs which quickly become hard to follow. Jacob de Zeter's 1619 dual-language edition often breaks these up into more manageable chunks, and so his version is used as the template for these concordances. Neither scans nor transcription of Giganti's second book are yet available, so it cannot yet be included in the tables below.

A copy of the 1628 printing that was extensively annotated by a contemporary reader now resides in the Österreichische Nationalbibliothek. Its annotations are beyond the scope of this concordance, but they have been transcribed by Julian Schrattenecker and Florian Fortner, and incorporated into Jeff Vansteenkiste's translation in a separate document.

Additional Resources

  • 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
  • Terminiello, Piermarco and Pendragon, Joshua. The 'Lost' Second Book of Nicoletto Giganti (1608): A Rapier Fencing Treatise. Vulpes, 2013. ISBN 978-1909348318

References

  1. 1.0 1.1 Terminiello et al. 2013, p 9.
  2. That he eventually became a Venetian citizen is indicated on the title page of his 1606 treatise.
  3. Leoni, p xi.
  4. 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.
  5. This accusation was first made by Johann Joachim Hynitzsch, who attributed the edition to Giganti rather than Zeter and was incensed that he gave no credit to Fabris.
  6. 6.0 6.1 6.2 In a counterguard.
  7. 7.0 7.1 7.2 The enemy.
  8. Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.
  9. Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.
  10. Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.
  11. This lesson’s text refers to Figure 6.
  12. The two fencers.
  13. The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.
  14. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.
  15. Your hand.
  16. This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.
  17. Camillo Agrippa (1553), for example, recommends turning the face away.
  18. The two preceding figures.
  19. The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text
  20. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.
  21. 21.0 21.1 Figure 21.
  22. The guard Giganti refers to here is unclear.
  23. First lesson of sword and dagger – Figure 21.
  24. 24.0 24.1 Figures 21-26.
  25. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.
  26. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.
  27. The chest is uncovered.
  28. “Scannare” – to slaughter or cut the throat of.
  29. Of the enemy.
  30. Our fencer.