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! id="thin" | <p>Images</p>
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! <p>Images</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
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| <p>{{red|b=1|Chapter I begins}}</p>
'''Chapter I begins.'''
+
 
<poem>If you wish to truly know
+
<p>If you wish to truly know<br/>
If fencing is an art or science
+
If fencing is an art or science<br/>
Hark my words, I say.</poem>
+
Hark my words, I say.</p>
  
<poem>Ponder this, my conclusion:
+
<p>Ponder this, my statement:<br/>
It is a true science and not an art  
+
It is a true science and not an art<br/>
As my brief eloquence shall show.</poem>
+
And Geometry, which divides and separates,</p>
  
<poem>Geometry divides and separates
+
<p>By infinite numbers and measures<br/>
By infinite numbers and measures,
+
And fills her papers with science,<br/>
And fills her papers with science.</poem>
+
Shows this with its pithy eloquence.<ref>I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. ''E mostrallo con breve eloquenza./La geometria che divide e parte.'' F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.</ref></p>
  
<poem>The sword is placed in her care,
+
<p>The sword is placed in her care,<br/>
So measure blows and steps together  
+
So measure blows and steps together<br/>
So Science keeps you safe.</poem>
+
So Science keeps you safe.</p>
  
<poem>From Geometry fencing is born,  
+
<p>From Geometry fencing is born,<br/>
And under her it has no end;  
+
And under her it has no end;<br/>
And both of them are infinite.</poem>
+
And both of them are infinite.</p>
  
<poem>And if you heed my doctrines,
+
<p>And if you heed my doctrines,<br/>
You'll know how to answer with reason  
+
You’ll know how to answer with reason<br/>
And pluck the rose from the thorns.</poem>
+
And pluck the rose from the thorns.</p>
  
<poem>Music adorns this subject,
+
<p>To make your opinion clearer,<br/>
Song and sound enshrine the art,
+
And to sharpen your intellect,<br/>
To make it more perfect through science.</poem>
+
So you may be able to answer to everyone:</p>
  
<poem>To make your opinion clearer,  
+
<p>MMusic adorns her and chooses her as its subject,<br/>
And to sharpen your intellect,
+
Song and sound are added to the art,<br/>
So you may be able to answer to everyone:</poem>
+
To make it a more perfect science.</p>
  
<poem>So Geometry and Music combine
+
<p>So Geometry and Music combine<br/>
Their scientific virtues in the sword,
+
Their scientific virtues in the sword,<br/>
To adorn the great light of Mars.</poem>
+
To adorn the great light of Mars. </p>
  
<poem>Now if you like what I have said,  
+
<p>Now if you like what I have said,<br/>
And the explanations I have written
+
And the explanations I have written<br/>
Keep them in mind, so you will not fall.</poem>
+
Keep them in mind, and don’t let it fall out.</p>
  
<poem>So answer true as have told you,
+
<p>So answer true as I have told you,<br/>
In fencing you will find no end,
+
In fencing you will find no end,<br/>
as every backhand finds its fore,
+
As every backhand finds its fore,<br/>
Counter by counter without end.</poem>
+
Counter by counter without end.</p>
| {{section|Page:Cod.1324 03v.jpg|3v.4|p=1}}
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| {{section|Page:Cod.1324 03v.jpg|3v.4}}
  
 
{{paget|Page:Cod.1324|04r|jpg|p=1}}<br/>{{section|Page:Cod.1324 04v.jpg|4v.1|p=1}}
 
{{paget|Page:Cod.1324|04r|jpg|p=1}}<br/>{{section|Page:Cod.1324 04v.jpg|4v.1|p=1}}
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|}
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{{master subsection begin
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| title = Chapter 2
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| width = 90em
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}}
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{| class="floated master"
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|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Chapter II. Measure of the two-handed sword.}}</p>
'''Chapter II Measures of the two handed sword.'''
+
 
<poem>The sword should be of the just measure,
+
<p>The sword should be of the correct size,<br/>
The pommel should come under the arm  
+
The pommel should come under the arm<br/>
As it appears here in my writing.</poem>
+
As it appears here in my writing.</p>
  
<poem>As you wish to avoid any trouble,
+
<p>As you wish to avoid any trouble,<br/>
The pommel should be round to fit the fist
+
The pommel should be round to fit in the closed fist<br/>
Do this to not enter the trap.</poem>
+
Do this not to enter the trap.</p>
  
<poem>And do this as it is always done:
+
<p>And may this be always done:<br/>
The handle should be always a span
+
The handle should be always a span<br/>
If it is not of this measure there is confusion.</poem>
+
Who does not have this measure will be defeated.</p>
  
<poem>So your mind is not deceived,
+
<p>So your mind is not deceived,<br/>
The crossguard should be as long as the handle  
+
The crossguard should be as long as the handle<br/>
And pommel together, and you won't be condemned.</poem>
+
And pommel together, and you won't be doomed.<ref>Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.</ref></p>
  
<poem>You want the crossguard strong and square
+
<p>The crossguard should be strong and square as needed<br/>
With a wide and pointed iron,
+
With a wide and pointed iron,<ref>This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.</ref><br/>
It must cut and thrust to do its duty.</poem>
+
It must cut and thrust to do its duty.</p>
  
<poem>Take note and understand this guide
+
<p>Take note and understand this addendum<br/>
If you wish to test the sword in armour,
+
If you wish to test the sword in armour,<br/>
Make the cutting edges four fingers from the point,
+
Make the cutting edges four fingers from the point,<br/>
With the handle as is said above,</poem>
+
With the handle as is said above,</p>
  
With pointed crossguard, and note well the text.
+
<p>With pointed crossguard, and note well the text.</p>
 
| {{section|Page:Cod.1324 04v.jpg|4v.2}}
 
| {{section|Page:Cod.1324 04v.jpg|4v.2}}
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 +
|}
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{{master subsection end}}
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{{master subsection begin
 +
| title = Chapter 3
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Chapter III. Theory of the sword.}}</p>
'''Chapter III Principles of the sword'''
 
<poem>Grasp the sword manfully,
 
Because the cross is a royal weapon,
 
Together with a bold spirit.</poem>
 
  
<poem>If you have a sharp mind,
+
<p>Grasp the sword manfully,<br/>
You must consider here,
+
Because the cross is a royal weapon,<br/>
The way to climb these stairs.</poem>
+
Harmonise it with your bold spirit.</p>
  
<poem>The art of the sword is just in crossing,
+
<p>If you have a judicious mind,<ref>''si tu averai nel cervel tuo sale'', lit. “if you have salt in your brain”.</ref><br/>
Suiting thrust or cut to their context,
+
You must consider here,<br/>
To make war on he who stands against you.</poem>
+
Which way to take to climb these stairs.</p>
  
<poem>On one side you make defence
+
<p>The art of the sword is only a crossing,<br/>
The forehand blows go on one side,
+
Delivering thrusts and cuts in the fight,<br/>
The backhands attack from the other.</poem>
+
To make war against he who stands against you.</p>
  
<poem>The true edge falls on the forehand side,
+
<p>On one side you make defence<br/>
And note well this truth
+
The forehand blows go from one side,<br/>
The backhand and false edge go together.</poem>
+
The backhands from the other side make offence.</p>
  
<poem>And follow then as the saying goes,
+
<p>The true edge falls on the forehand side,<br/>
Place yourself in guard with the sword in hand,
+
And note well this principle<br/>
If you pass forwards or back remain side-on.</poem>
+
The backhand takes the same road as the false edge.</p>
  
<poem>So that you will not play in vain,
+
<p>And follow then as the saying goes,<br/>
Face the side to which you turn,
+
Place yourself in guard with the sword in hand,<br/>
And enter there, if this is not strange.</poem>
+
If you pass forwards or back<ref>''Passi o torni'', lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing ''accrescere'' and ''discrescere'', ''passare'' and ''torrnare'', it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.</ref> remain side-on.</p>
  
<poem>Letting your sword go hunting
+
<p>So that you will not play in vain,<br/>
Against the companion with your point in his face,
+
Face the side to which you turn,<br/>
Ready to strike immediately.</poem>
+
And enter from there. And don’t let this seem strange to you:</p>
  
<poem>You must be very shrewd,
+
<p>Place your sword towards the target<br/>
Keep an eye on the weapon that can strike you,
+
Against the companion with your point in his face,<br/>
Grabbing the tempo and measure together.</poem>
+
And be quick to strike him.</p>
  
<poem>Make your heart agree with your defence
+
<p>You must be very careful,<br/>
The feet and the arm with good measure,
+
Keep an eye on the weapon that can strike you,<br/>
That you may take all the honour.</poem>
+
Grabbing the tempo and the measure, well collected.</p>
  
<poem>And note well and understand my text
+
<p>Make your heart agree with your feet and arm<br/>
That if the companion strikes with his sword,
+
In defending with good measure,<br/>
With yours acquire the crossing.</poem>
+
That you may take all the honour.</p>
  
<poem>Your guard should not go out of the way,
+
<p>And note well and understand my text<br/>
Go with the cover and with the point raised
+
That if the companion strikes with his sword,<br/>
The blows hammer the head.</poem>
+
And achieves the crossing with yours,</p>
  
<poem>Play of the cross and you will not be conquered,
+
<p>Watch that you do not end up out of the line,<br/>
If the companion crosses wide and you thrust,
+
Go with the cover and with the point to the face,<br/>
You want to not be divided from him.</poem>
+
The blows go hammering the head.</p>
  
<poem>When you are joined with him at the half sword,
+
<p>Play of the cross and you will not be conquered,<br/>
Constrain him as reason desires,
+
If the companion crosses wide and you thrust,<br/>
And leave the wide play and confront him.</poem>
+
You want to not be divided from him.</p>
  
<poem>Also sometimes it is so,
+
<p>When you are joined with him at the half sword,<br/>
That a man doesn’t feel himself very strong,
+
Get closer to him, as reason calls for,<br/>
Then he needs cunning, not words.</poem>
+
And leave the wide play and confront him there.</p>
  
<poem>Pass out of the way with skill,
+
<p>Also it is often so,<br/>
With the cover of the good backhand,
+
That a man doesn’t feel very strong,<br/>
Redoubling swiftly with a forehand.</poem>
+
Then he needs cunning, not words.</p>
  
<poem>If you don’t feel your cunning has been lost
+
<p>Pass out of the way with agility,<br/>
Leave the wide and find the constrained play
+
With the cover of the good backhand,<br/>
Make strength change sides.</poem>
+
Redoubling swiftly with a forehand.</p>
  
<poem>And take note of and understand this saying,
+
<p>If you don’t feel your cunning has been lost<br/>
That when crossing, cross with strength,
+
Leave the wide and find the stretto play<br/>
To lessen the threat from his sword.</poem>
+
This will make strength change sides.</p>
  
<poem>Know that cleverness always overcomes strength,
+
<p>And take note of and understand this saying,<br/>
Make the cover and immediately strike,
+
That when crossing, you will cross with strength,<br/>
In wide and constrained you’ll beat down strength.</poem>
+
Because it dampens the effect of his sword.</p>
  
<poem>And if you want to make him feel your point,
+
<p>Know that cleverness always overcomes strength,<br/>
Go out of the way with a pass across
+
Make the cover and immediately strike,<br/>
Make him feel your point in his chest.</poem>
+
In largo and constrained you’ll beat down strength.</p>
  
<poem>With the point high and the pommel low
+
<p>And if you want to make him feel your point,<br/>
And the arms inside with a good cover,
+
Go out of the way with a pass across,<br/>
Pass to the left side with a good pace.</poem>
+
Make him feel your point in his chest.</p>
  
<poem>And the point will find an open way,
+
<p>With the point high and the pommel low<br/>
Passing to the outside do not fear,
+
And the arms out [of the line] with a good cover,<br/>
In every way you will make your offer.</poem>
+
Pass to the left side with a good pace.</p>
  
<poem>Control him and grasp the grip of his sword,
+
<p>And if the point will find an open way,<br/>
If this cannot be done well,
+
Passing to the outside do not fear,<br/>
Crushing his sword does the duty.</poem>
+
In every way you will make your offer.</p>
  
<poem>Always match your passes
+
<p>Press in and grasp the grip of his sword,<br/>
With the enemy’s, and when you find him
+
If this cannot be done well,<br/>
This I say- do not let go!</poem>
+
Crushing his sword does the duty.</p>
  
<poem>When you see that the sword moves,
+
<p>Always match your passes<br/>
Or if he steps, or strikes,
+
With the enemy’s, and when you find him<br/>
Or you pass back, or make him find a bump.</poem>
+
(And what I say do not forget)</p>
  
<poem>Wisdom, strength and boldness act
+
<p>As you see that he moves the sword,<br/>
With him who desires honour in arms,
+
Or if he passes, or even strikes,<br/>
Lacking these, he must exercise more.</poem>
+
Or you pass back, or you find him near,</p>
  
<poem>You must have a bold heart,
+
<p>Let wisdom, strength and boldness go<br/>
If a big man appears strong
+
With him who desires honour in arms,<br/>
Using cunning will give you favour.</poem>
+
Lacking these, he must exercise more.</p>
  
<poem>Be as certain as death
+
<p>You must have a bold heart,<br/>
That your play is not courteous,
+
If a big man appears strong to you<br/>
When the other tries to shame you</poem>
+
Use cunning, it will give you advantage.</p>
  
<poem>And note well this text of mine,
+
<p>Be as careful as you would be with death<br/>
You know your heart, not the companion’s
+
That your play is not courteous,<br/>
Do not wish ever to use that fantasy.</poem>
+
When the other tries to shame you.</p>
  
<poem>Make yourself great in trickery
+
<p>And note well this statement of mine,<br/>
If you wish for success in this art
+
You know your heart, not the companion’s<br/>
That will bear good fruit.</poem>
+
Do not ever fall into that illusion.</p>
  
<poem>Note well and understand this part
+
<p>Make yourself great in trickery<br/>
Who wishes of the art to act in opposition
+
If you wish for success in this art<br/>
Of a thousand, one will dirty his cards.</poem>
+
That will bear good fruit.</p>
  
<poem>He loses honour for one single failing
+
<p>Note well and understand this part:<br/>
If he believes low things to be high
+
He who wishes to use the art to oppose everyone,<br/>
And from this alone will be often against others.</poem>
+
Out of a thousand, one will best him,<ref>This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.</ref></p>
  
<poem>Often he makes from this other complaints
+
<p>And so he loses his honour for one single mistake.<br/>
Being in opposition he comes to quarrel
+
He who is below may believe to be above,<br/>
Showing that with him who is versed in the art</poem>
+
And this is the kind who is often combative with others,</p>
  
<poem>If the tongue could cut with reasons,
+
<p>Often he will start a disagreement with another,<br/>
And strike as does the sword,
+
And what started as such becomes a quarrel,<br/>
The dead would be infinite.</poem>
+
Here is where he who knows the art will show his mettle.</p>
  
<poem>And make sure your mind does not fall
+
<p>If the tongue could cut by its nature,<br/>
But grasp with reason your defence,
+
And strike as well as the sword can,<br/>
And with justice go justly.</poem>
+
The dead would be countless.</p>
  
<poem>If you go without reason to offend others,
+
<p>And make sure your mind does not fall<br/>
Certainly damns his soul and body
+
But choose your defence with reason,<br/>
And makes his master ashamed.</poem>
+
And with justice go justly.</p>
  
<poem>And you must always keep in mind
+
<p>He who wishes to offend others without reason<br/>
To always honour your teacher,
+
Certainly damns his soul and body<br/>
Because money does not repay such a debt.</poem>
+
And brings shame upon his master.</p>
  
<poem>If you would be dextrous, and master the sword,
+
<p>And you must also keep in mind<br/>
You must be accomplished in teaching and learning,
+
To always honour your teacher,<br/>
Raising to give you the act of the left.</poem>
+
Because money alone does not repay such a debt.</p>
  
<poem>If loyalty for them gives you (their) love,
+
<p>He who wishes to master the sword and be dextrous,<br/>
You can talk to princes and kings,
+
Must be accomplished in teaching and learning,<br/>
Because this art is used by them.</poem>
+
While removing from you any wrong action.</p>
  
<poem>Because they are expected to govern
+
<p>If you never stop prizing loyalty,<br/>
And each to maintain justice,
+
You can talk to princes and kings,<br/>
For widows, orphans and other affairs.</poem>
+
So that this art be used by them.</p>
  
<poem>All sorts of good things come from this art,
+
<p>Because they are expected to govern<br/>
By arms the cities are kept down
+
And for each to maintain justice,<br/>
And the crowds are kept under control.</poem>
+
For widows, orphans and other affairs.</p>
  
<poem>And she maintains in herself such dignity,
+
<p>All sorts of good things come from this art,<br/>
That it always warms your heart,
+
By arms the cities are governed,<br/>
Driving out cowardice.</poem>
+
And the crowds are kept under control.</p>
  
<poem>Acquire both riches and honour
+
<p>And she maintains in herself such dignity,<br/>
And this passes above all other things
+
That it often warms your heart,<br/>
Be always in your lord’s good graces.</poem>
+
Driving out cowardice from you.</p>
  
<poem>If you would have fame in this art,
+
<p>This [art] will make you acquire both riches and honour,<br/>
You will never be poor, anywhere,
+
And this passes above all other things,<br/>
Because this virtue is so glorious.</poem>
+
Be always in your lord’s good graces.</p>
  
<poem>If poverty shows you the cards
+
<p>If you will have such a magnificent art,<br/>
Only once, then you will see,
+
You will never be poor, anywhere,<br/>
By this art, riches will embrace you.</poem>
+
Because this virtue is so glorious.</p>
  
<poem>Sometimes you will find yourself
+
<p>If poverty shows you the cards<br/>
Being like a spent light,
+
Only once, then you will see,<br/>
Do not doubt that you will soon return.</poem>
+
By this art, riches will embrace you.</p>
  
<poem>To find this art I have spared no pains,
+
<p>Sometimes you will find yourself<br/>
I speak not of the old but the new
+
Being like a blown-out candle,<br/>
To make her known I am content.</poem>
+
Do not doubt that you will soon return.</p>
  
<poem>I have kept her firmly imprisoned,
+
<p>To find this art I have spared no pains,<br/>
But as I release her, I truly swear
+
I speak not of the old but the new,<br/>
She gave me wealth, and as it happened to me,
+
I am happy to have put her to paper.</p>
So it will be for those in whom we find this virtue.</poem>
+
 
| <p>{{section|Page:Cod.1324 04v.jpg|4v.3|p=1}}<br/>{{paget|Page:Cod.1324|05r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|05v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|07r|jpg|p=1}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1|p=1}}</p>
+
<p>I have kept her firmly imprisoned,<br/>
 +
But as I release her, I truly swear:<br/>
 +
She gives me wealth, and as it happened to me,<br/>
 +
So it happens to those in whom virtue is found.</p>
 +
|  
 +
{{section|Page:Cod.1324 04v.jpg|4v.3|p=1}}<br/>{{paget|Page:Cod.1324|05r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|05v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|07r|jpg|p=1}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1|p=1}}
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{{master subsection begin
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| title = Chapter 4
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Fourth Chapter}}<ref>This number is written out (''quarto''), and does not have a roman numeral in the ms, so I have written it out here.</ref></p>
'''Chapter Four'''
+
 
<poem>This art is so noble and refined,
+
<p>This art is so noble and refined,<br/>
She makes masters of men who follow her,
+
She teaches man [how] to proceed,<br/>
Makes the eye quick and bold and noble.</poem>
+
Makes the eye quick, bold and noble.</p>
 +
 
 +
<p>This art teaches you to turn well,<br/>
 +
Teaches also to cover and be strong,<br/>
 +
And cuts and thrusts, it teaches [you] to parry well.</p>
  
<poem>This art teaches you to turn well,
+
<p>How many are those, the numberless dead,<br/>
Teaches also to cover and be strong,
+
To whom the art did not appeal,<br/>
And cuts and thrusts, it teaches the good parry.</poem>
+
And so they closed the doors of life.</p>
  
<poem>How many are those, the numberless dead
+
<p>There is no greater treasure than life,<br/>
To whom the art did not appeal,
+
And everyone strives to defend it,<br/>
And so they closed their doors to life.</poem>
+
To hold onto it as hard as they can.</p>
  
<poem>There is no greater treasure than life,
+
<p>Abandon material goods, and all valuable things,<br/>
And everyone strives to defend it,
+
Defend your body with this art,<br/>
To hold onto it as hard as they can.</poem>
+
And you will have honour and glory.</p>
  
<poem>Abandon material goods, and all valuable things,
+
<p>Oh what a laudable and good thing it is<br/>
Defend your body with this art,
+
To learn this art that costs you so little,<br/>
And you will have honour and glory.</poem>
+
And a thousand times gives you life.</p>
  
<poem>Oh what a laudable and good thing it is
+
<p>Oh in how many ways it can serve you,<br/>
To learn this art that costs you so little,
+
Without searching you will find quarrels,<br/>
And a thousand times gives you life.</poem>
+
Blissful is he who can put out another’s fire.</p>
  
<poem>Oh in how many ways it can have a place with you
+
<p>My art, new and made with reason,<br/>
Without searching you will find quarrels
+
I speak not of the old, that I leave<br/>
Blissful is he who can push the other’s fire.</poem>
+
To our ancestors and their beliefs.</p>
  
<poem>My art is new and made with reason
+
<p>If you do not want your honour to be thrown down,<br/>
I speak not of the old, that I leave
+
Measure your tempo and that of the companion.<br/>
To our ancestors and their beliefs.</poem>
+
This is the foundation of the art and its measure.</p>
  
<poem>If you do not want your honour to be thrown down,
+
<p>Open your ears to the great text,<br/>
Measure your tempo and that of the companion.
+
And understand its beautiful principles,<br/>
This is the foundation and base of the art.</poem>
+
To not give your teacher cause for lament.</p>
  
<poem>Open your ears to the great text,
+
<p>Make it so the swords are always sisters<br/>
And understand its beautiful reason,
+
When you come to fence with someone<br/>
To not give your teacher cause for complaint.</poem>
+
And choose between them the one you want.<ref>The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.</ref></p>
  
<poem>Make it so the swords are always sisters
+
<p>Do not give advantage of the sword<ref>Advantage of the sword is presumably length, especially in a duelling context.</ref> to anyone<br/>
When you come to fence with someone
+
You will be in danger of being shamed,<br/>
And choose the one you want from them.</poem>
+
And this is something that everyone must follow.</p>
  
<poem>Do not give advantage of the sword to anyone
+
<p>Good eye, knowledge, speed are needed,<br/>
You will be in danger of being shamed,
+
And if you have strength and heart with you<br/>
And this is something to be followed by anyone.</poem>
+
You will give everyone their due.<ref>Lit. “You will make everyone scratch their own mange”</ref></p>
  
<poem>Good eye, knowledge, speed are needed,
+
<p>Understand my statement well,<br/>
And if you have strength and heart together
+
A big man should have a long sword,<br/>
You will scratch anyone’s mange.</poem>
+
And a little man should have a short one.</p>
  
<poem>Understand my sentence well,
+
<p>A man’s great strength can break the guards,<br/>
A big man should have a long sword,
+
But natural cleverness will keep that in check,<br/>
And a little man should have a short one.</poem>
+
It gives good boldness to a small man.</p>
  
<poem>A man of great strength can break the guards,
+
<p>Who knows many actions carries venom with him.<br/>
But natural cleverness will keep that in check,
+
Who knows few, struggles<br/>
It gives a good chance to a small man.</poem>
+
And in the end [he] remains [with] wind, or less.<ref>This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.</ref></p>
  
<poem>Who makes many blows brings venom
+
<p>And if you follow my thread<br/>
Who makes few does so with great effort,
+
And grasp the principle of this art,<br/>
In the end a black wind can be pleasant.</poem>
+
At need this will extract you from trouble.</p>
  
<poem>And if you come to the edge of my line,
+
<p>And note well the saying which goes:<br/>
And grasp the reason of this art,
+
Do not display the secrets of the art,<br/>
She must extract you from trouble.</poem>
+
So you won’t be injured for this cause.</p>
  
<poem>And note well that of which I speak,
+
<p>Also understand well this other thing:<br/>
Do not display the secrets of the art
+
The sword that is longer is deadly,<br/>
So you won’t be injured for this reason.</poem>
+
You cannot play against it without danger;</p>
  
<poem>Also understand well this other thing,
+
<p>Make sure they are of equal measure,<br/>
The sword that is longer is deadly,
+
As I said to you in the first chapter<br/>
You cannot play with it without danger.</poem>
+
Of our book, that is above.</p>
  
<poem>Make sure they are of equal measure,
+
<p>I only esteem the sword of two hands,<br/>
As I said in the first chapter
+
And this is the only one I use at need,<br/>
Of our book, that is above.</poem>
+
And of which the verse of my book sings.</p>
  
<poem>I only esteem the sword of two hands,
+
<p>If you don’t want to be shamed,<br/>
And this is the only one I use at need,
+
Don’t pick a fight with more than one:<br/>
And of which the verse of my book sings.</poem>
+
You’ll end up sounding worse than a bagpipe.</p>
  
<poem>And so you will not be shamed,
+
<p>If force constrains you to contend<br/>
Avoid fighting more than one
+
With more than one, then keep this in mind,<br/>
Who makes against the other one the reed-pipe.</poem>
+
Take a sword that you can really use.</p>
  
<poem>If force constrains you to contend
+
<p>Choose a weapon that is light, not heavy,<br/>
With more than one, then keep this in mind,
+
So it is easily controlled<br/>
Take a sword that you can really use.</poem>
+
And you do not have to struggle with the weight.</p>
  
<poem>Choose a weapon that is light, not heavy,
+
<p>At need you can take another way,<br/>
So it is easily controlled
+
And you leave the thrust and employ<br/>
And you are not given difficulty by the weight.</poem>
+
Other blows to even things out,</p>
  
<poem>At need you can take another way,
+
<p>As you will hear in my text.</p>
And you leave the thrust and employ
+
| {{section|Page:Cod.1324 07v.jpg|7v.2}}
Other blows to return here,</poem>
 
  
<poem>As you will hear in my text.</poem>
+
{{paget|Page:Cod.1324|08r|jpg}}
| {{section|Page:Cod.1324 07v.jpg|7v.2}}{{paget|Page:Cod.1324|08r|jpg}}
 
  
 
{{paget|Page:Cod.1324|08v|jpg|p=1}}<br/>{{section|Page:Cod.1324 09r.jpg|9r.1|p=1}}
 
{{paget|Page:Cod.1324|08v|jpg|p=1}}<br/>{{section|Page:Cod.1324 09r.jpg|9r.1|p=1}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 5
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
Line 556: Line 615:
 
|  
 
|  
 
'''Chapter V Of Thrusts and Cuts'''
 
'''Chapter V Of Thrusts and Cuts'''
<poem>The sword has a point and two edges,
+
<p>The sword has a point and two edges,
 
But note well and understand this text,
 
But note well and understand this text,
That memory will not fail you.</poem>
+
That memory will not fail you.</p>
  
<poem>One is the false, and the other the true,  
+
<p>One is the false, and the other the true,  
 
And reason commands and desires,
 
And reason commands and desires,
That this is fixed in your brain.</poem>
+
That this is fixed in your brain.</p>
  
<poem>Forehand and true edge go together,
+
<p>Forehand and true edge go together,
 
Backhand and false edge stay together,
 
Backhand and false edge stay together,
Except the fendente which wants the true.</poem>
+
Except the fendente which wants the true.</p>
  
<poem>Understand my text well,
+
<p>Understand my text well,
 
The sword goes with seven blows
 
The sword goes with seven blows
Six cuts with the thrust that strikes.</poem>
+
Six cuts with the thrust that strikes.</p>
  
<poem>So that you will find this seam,
+
<p>So that you will find this seam,
 
Two from above and below and two in the middle,
 
Two from above and below and two in the middle,
 
The thrust up the middle with deceit and suffering,
 
The thrust up the middle with deceit and suffering,
That our Air is often calm.</poem>
+
That our Air is often calm.</p>
 
| {{section|Page:Cod.1324 09r.jpg|9r.2}}
 
| {{section|Page:Cod.1324 09r.jpg|9r.2}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 6
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
Line 582: Line 654:
 
|  
 
|  
 
'''Chapter VI The seven blows of the sword.'''
 
'''Chapter VI The seven blows of the sword.'''
<poem>We are the fendenti and we make quarrels,
+
<p>We are the fendenti and we make quarrels,
 
To strike and cut often with grief,
 
To strike and cut often with grief,
The head and the teeth with the right reason.</poem>
+
The head and the teeth with the right reason.</p>
  
<poem>And all guards that are made low to the ground,
+
<p>And all guards that are made low to the ground,
 
We break often with our cunning,
 
We break often with our cunning,
Passing from one to the other without trouble.</poem>
+
Passing from one to the other without trouble.</p>
  
<poem>The blows make a bloody mark,
+
<p>The blows make a bloody mark,
 
When we mix them with the rota
 
When we mix them with the rota
We support the entire art.</poem>
+
We support the entire art.</p>
  
<poem>Fendente for striking we are well endowed,
+
<p>Fendente for striking we are well endowed,
 
Returning to guard from pass to pass,
 
Returning to guard from pass to pass,
Note we are not slow to strike.</poem>
+
Note we are not slow to strike.</p>
  
<poem>I am the rota and I have in me such a load,
+
<p>I am the rota and I have in me such a load,
 
That you want to mix me with the other blows,
 
That you want to mix me with the other blows,
I place a thrust often at a bow.</poem>
+
I place a thrust often at a bow.</p>
  
<poem>I cannot be courteous or loyal
+
<p>I cannot be courteous or loyal
 
Turning I pass through forehand fendente
 
Turning I pass through forehand fendente
And destroy arms and hands without delay.</poem>
+
And destroy arms and hands without delay.</p>
  
<poem>People call me Rota by name,
+
<p>People call me Rota by name,
 
I seek the false of the sword
 
I seek the false of the sword
I please the mind of he who uses me.</poem>
+
I please the mind of he who uses me.</p>
  
<poem>We are volanti, always crossing
+
<p>We are volanti, always crossing
 
And from the knee up we go,
 
And from the knee up we go,
Fendente and thrusts we often banish.</poem>
+
Fendente and thrusts we often banish.</p>
  
<poem>By crossing us pass without fail,
+
<p>By crossing us pass without fail,
 
The Rota that come up from below,
 
The Rota that come up from below,
And with the fendente warms our cheeks.</poem>
+
And with the fendente warms our cheeks.</p>
| <p>{{section|Page:Cod.1324 09r.jpg|9r.3|p=1}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1|p=1}}</p>
+
|  
 +
{{section|Page:Cod.1324 09r.jpg|9r.3|p=1}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1|p=1}}
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = Chapter 7
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
Line 623: Line 709:
 
|  
 
|  
 
'''Chapter 7 Of the thrust.'''
 
'''Chapter 7 Of the thrust.'''
<poem>I am he that quarrels with
+
<p>I am he that quarrels with
 
All the other blows, and I am called the thrust.
 
All the other blows, and I am called the thrust.
I carry venom like the scorpion.</poem>
+
I carry venom like the scorpion.</p>
  
<poem>I feel so strong, bold and quick,
+
<p>I feel so strong, bold and quick,
 
Often I make the guards plough again
 
Often I make the guards plough again
When I am thrown at others and confront them</poem>
+
When I am thrown at others and confront them</p>
  
 
By my harmful touch, when I join them.
 
By my harmful touch, when I join them.
 
| {{section|Page:Cod.1324 09v.jpg|9v.2}}
 
| {{section|Page:Cod.1324 09v.jpg|9v.2}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 8
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
Line 638: Line 737:
 
|  
 
|  
 
'''Chapter VIII The quarrel of the cuts and thrusts.'''
 
'''Chapter VIII The quarrel of the cuts and thrusts.'''
<poem>The rota with the fendente and the volante
+
<p>The rota with the fendente and the volante
 
Say to the thrusts “we will show
 
Say to the thrusts “we will show
That you are not so dangerous”.</poem>
+
That you are not so dangerous”.</p>
  
<poem>And when they come to us,
+
<p>And when they come to us,
 
All the blows can make them lose their way
 
All the blows can make them lose their way
Losing in this joust the chance to strike.</poem>
+
Losing in this joust the chance to strike.</p>
  
<poem>The blow of the sword does not lose its turn,
+
<p>The blow of the sword does not lose its turn,
 
Little worth the thrust to him the quick turn,
 
Little worth the thrust to him the quick turn,
It makes it go very wide, the blows going that way.</poem>
+
It makes it go very wide, the blows going that way.</p>
  
<poem>If you don’t have a slack memory,
+
<p>If you don’t have a slack memory,
 
If the thrust doesn’t strike it loses the strike
 
If the thrust doesn’t strike it loses the strike
All the others deem it weak.</poem>
+
All the others deem it weak.</p>
  
<poem>Against just one the thrust finds its place,
+
<p>Against just one the thrust finds its place,
 
Against more it doesn’t do its duty,
 
Against more it doesn’t do its duty,
This is found in the text and the act.</poem>
+
This is found in the text and the act.</p>
  
<poem>If the thrust throws a rota do not fear
+
<p>If the thrust throws a rota do not fear
 
If it does not immediately take a good fendente,
 
If it does not immediately take a good fendente,
It remains fruitless against my parry.</poem>
+
It remains fruitless against my parry.</p>
  
<poem>Keep in mind here,
+
<p>Keep in mind here,
 
If the thrust enters but does not swiftly exit,
 
If the thrust enters but does not swiftly exit,
It lets the companion strike back hard.</poem>
+
It lets the companion strike back hard.</p>
  
<poem>Your sword is expert at slicing a blow,
+
<p>Your sword is expert at slicing a blow,
 
The thrust will lose its way to the strike,
 
The thrust will lose its way to the strike,
It is mocked with the help of the low cross.</poem>
+
It is mocked with the help of the low cross.</p>
  
<poem>I make a straight fendente at you with the sword,
+
<p>I make a straight fendente at you with the sword,
 
And break you out of that guard.
 
And break you out of that guard.
So that you are forced into a bad spot.</poem>
+
So that you are forced into a bad spot.</p>
  
<poem>Do not lose a single hour of learning.
+
<p>Do not lose a single hour of learning.
 
The great blows with a serene hand,
 
The great blows with a serene hand,
Will place you above the others and give you honour.</poem>
+
Will place you above the others and give you honour.</p>
  
<poem>Break all low guards
+
<p>Break all low guards
 
Low guards await small loads,
 
Low guards await small loads,
And so heavy ones pass without difficulty.</poem>
+
And so heavy ones pass without difficulty.</p>
  
<poem>Heavy arms do not go quickly to the step,
+
<p>Heavy arms do not go quickly to the step,
Light ones go and come like an arrow in a bow.</poem>
+
Light ones go and come like an arrow in a bow.</p>
 
| <p>{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}</p>
 
| <p>{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}</p>
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 9
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
Line 690: Line 802:
 
|  
 
|  
 
'''Chapter IX Of the Cross.'''
 
'''Chapter IX Of the Cross.'''
<poem>I am the Cross with the name of Jesus
+
<p>I am the Cross with the name of Jesus
 
My sign is made both in front and behind
 
My sign is made both in front and behind
To find many more defences.</poem>
+
To find many more defences.</p>
  
<poem>If I find myself against a different weapon,
+
<p>If I find myself against a different weapon,
 
I do not lose my way, this has been proven
 
I do not lose my way, this has been proven
This I often go looking for.</poem>
+
This I often go looking for.</p>
  
<poem>And when I find a long weapon,
+
<p>And when I find a long weapon,
 
Then with reason I make my defence,
 
Then with reason I make my defence,
To gain the honour in every venture.</poem>
+
To gain the honour in every venture.</p>
 
| {{section|Page:Cod.1324 10v.jpg|10v.2}}
 
| {{section|Page:Cod.1324 10v.jpg|10v.2}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 10
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
Line 707: Line 832:
 
|  
 
|  
 
'''Chapter X Discussion of the half sword.'''
 
'''Chapter X Discussion of the half sword.'''
<poem>Wanting to follow in this great work,
+
<p>Wanting to follow in this great work,
 
It is necessary to explain bit by bit,
 
It is necessary to explain bit by bit,
All the strikes of the art.</poem>
+
All the strikes of the art.</p>
  
<poem>So that you will understand and use
+
<p>So that you will understand and use
 
The system well, I wish to first make clear
 
The system well, I wish to first make clear
The turning principle of the sword.</poem>
+
The turning principle of the sword.</p>
  
<poem>And with arms extended
+
<p>And with arms extended
Bring the edge to the middle of the companion.</poem>
+
Bring the edge to the middle of the companion.</p>
  
<poem>And if you wish to appear great in the art,
+
<p>And if you wish to appear great in the art,
 
You should go from guard to guard,
 
You should go from guard to guard,
 
With a slow and serene hand,
 
With a slow and serene hand,
With steps that are not out of the ordinary.</poem>
+
With steps that are not out of the ordinary.</p>
  
<poem>If you wish to make a stramazone at someone
+
<p>If you wish to make a stramazone at someone
 
Do it with a small turn to the face
 
Do it with a small turn to the face
 
Don’t make a very wide turn
 
Don’t make a very wide turn
Because all long movements are for nothing.</poem>
+
Because all long movements are for nothing.</p>
  
<poem>Making the roverso you will be helped,
+
<p>Making the roverso you will be helped,
 
Passing out of the way with the left foot,
 
Passing out of the way with the left foot,
 
Following with the right foot too,
 
Following with the right foot too,
Keeping an eye out for a good parry.</poem>
+
Keeping an eye out for a good parry.</p>
  
<poem>When you wish to enter in to half sword
+
<p>When you wish to enter in to half sword
 
As the companion lifts his sword,
 
As the companion lifts his sword,
 
Then don’t hold back,
 
Then don’t hold back,
Grab the tempo or it will cost you dear.</poem>
+
Grab the tempo or it will cost you dear.</p>
  
<poem>Place yourself in the guard of the boar,
+
<p>Place yourself in the guard of the boar,
 
When you enter with the thrust at the face
 
When you enter with the thrust at the face
 
Do not leave your point in the face,
 
Do not leave your point in the face,
Turn quickly a roverso fendente.</poem>
+
Turn quickly a roverso fendente.</p>
  
<poem>And draw a mandritto, and keep this in mind.
+
<p>And draw a mandritto, and keep this in mind.
 
So that you understand my intention,
 
So that you understand my intention,
 
With clear reasoning,
 
With clear reasoning,
I hope to show you the way.</poem>
+
I hope to show you the way.</p>
  
<poem>I don’t want your blows to be solely roverso,
+
<p>I don’t want your blows to be solely roverso,
 
Nor just fendente, but between one and the other,
 
Nor just fendente, but between one and the other,
 
If between is the common one.
 
If between is the common one.
Hammering the head on all sides.</poem>
+
Hammering the head on all sides.</p>
  
<poem>Also I advise you when you have entered,
+
<p>Also I advise you when you have entered,
 
Be with the legs paired with his
 
Be with the legs paired with his
 
You will be lord, and clear,
 
You will be lord, and clear,
To constrain and strike valiantly.</poem>
+
To constrain and strike valiantly.</p>
  
<poem>And when you strike a roverso fendente,
+
<p>And when you strike a roverso fendente,
 
Bend the left knee, and note the text,
 
Bend the left knee, and note the text,
 
Extend the right foot,
 
Extend the right foot,
Without changing it, i.e. to the other side.</poem>
+
Without changing it, i.e. to the other side.</p>
  
<poem>Also, if you see you are going to be attacked,
+
<p>Also, if you see you are going to be attacked,
 
The left foot and the head now,
 
The left foot and the head now,
 
Because they are closer together,
 
Because they are closer together,
So don’t use the direct line, but remain on the diagonal.</poem>
+
So don’t use the direct line, but remain on the diagonal.</p>
  
<poem>So you will be safe from every side,
+
<p>So you will be safe from every side,
 
So you want the fendente, strike from the right,
 
So you want the fendente, strike from the right,
 
You need to bend
 
You need to bend
The right knee: and extend well the left.</poem>
+
The right knee: and extend well the left.</p>
  
<poem>Clearly the head will also be attacked,
+
<p>Clearly the head will also be attacked,
 
With the right foot that is closest.
 
With the right foot that is closest.
 
This is the better way.
 
This is the better way.
This is not the footwork of our ancestors.</poem>
+
This is not the footwork of our ancestors.</p>
  
<poem>It is not necessary that anyone contradict this,
+
<p>It is not necessary that anyone contradict this,
 
Because you will be stronger, and more secure,
 
Because you will be stronger, and more secure,
 
Hard in defence,
 
Hard in defence,
 
And make war with shorter movements.
 
And make war with shorter movements.
And neither can anyone throw you to the ground.</poem>
+
And neither can anyone throw you to the ground.</p>
| <p>{{section|Page:Cod.1324 10v.jpg|10v.3|p=1}}<br/>{{paget|Page:Cod.1324|11r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|11v|jpg|p=1}}</p>
+
|  
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 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = Chapter 11
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
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|  
 
|  
 
'''Chapter XI Principles of Swordplay.
 
'''Chapter XI Principles of Swordplay.
<poem>When you are joined at the half sword,
+
<p>When you are joined at the half sword,
 
Make a mandritto or roverso,
 
Make a mandritto or roverso,
 
Be sure to grasp the sense
 
Be sure to grasp the sense
Of what I say, because it is to the point.</poem>
+
Of what I say, because it is to the point.</p>
  
<poem>If you are there, keep a sharp eye out,
+
<p>If you are there, keep a sharp eye out,
 
And look quickly with the cover,
 
And look quickly with the cover,
 
And hold the sword up,
 
And hold the sword up,
So your arms play above your head.</poem>
+
So your arms play above your head.</p>
  
<poem>I cannot say in a few words,
+
<p>I cannot say in a few words,
 
Because the matter is of the half sword,
 
Because the matter is of the half sword,
 
So that you will be better pleased,
 
So that you will be better pleased,
When you parry, parry with a fendente.</poem>
+
When you parry, parry with a fendente.</p>
  
<poem>Brush aside the sword, a little shortened,
+
<p>Brush aside the sword, a little shortened,
 
Treading on that of the companion,
 
Treading on that of the companion,
 
You will make a good deal,
 
You will make a good deal,
Parrying well however many blows.</poem>
+
Parrying well however many blows.</p>
  
<poem>When you parry the roverso, keep in front,
+
<p>When you parry the roverso, keep in front,
 
The right foot, and parry as I have said.
 
The right foot, and parry as I have said.
 
Parrying the mandritto,
 
Parrying the mandritto,
Keep in front your left foot.</poem>
+
Keep in front your left foot.</p>
  
<poem>You should also keep in mind,
+
<p>You should also keep in mind,
 
When you strike a roverso fendente,
 
When you strike a roverso fendente,
 
To keep a careful eye out,
 
To keep a careful eye out,
So that a mandritto doesn’t come from underneath.</poem>
+
So that a mandritto doesn’t come from underneath.</p>
  
<poem>And if the companion strikes and you all of a sudden
+
<p>And if the companion strikes and you all of a sudden
 
Parry, making then to the head
 
Parry, making then to the head
 
A blow with the false edge
 
A blow with the false edge
And as he lifts it, strike a good roverso.</poem>
+
And as he lifts it, strike a good roverso.</p>
  
<poem>From below, through his arms,
+
<p>From below, through his arms,
 
Redoubling then with a quick mandritto,
 
Redoubling then with a quick mandritto,
 
And note also this,
 
And note also this,
That you do not fail the Reason of the Art.</poem>
+
That you do not fail the Reason of the Art.</p>
  
<poem>If you strike a mandritto, then beware,
+
<p>If you strike a mandritto, then beware,
 
His roverso so he doesn’t strike you,
 
His roverso so he doesn’t strike you,
 
Make it that your sword
 
Make it that your sword
Parries with a fendente, so you are not caught.</poem>
+
Parries with a fendente, so you are not caught.</p>
  
<poem>And if it comes to you then to want
+
<p>And if it comes to you then to want
 
To enter underneath and grab his handle.
 
To enter underneath and grab his handle.
 
And then do your duty,
 
And then do your duty,
 
Hammering his moustache with your pommel,
 
Hammering his moustache with your pommel,
Being very wary that hindrance does not grab you.</poem>
+
Being very wary that hindrance does not grab you.</p>
| <p>{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}</p>
+
|  
 +
{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = Chapter 12
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
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|  
 
|  
 
'''Chapter XII Discussion regarding the Feints of the Sword.'''
 
'''Chapter XII Discussion regarding the Feints of the Sword.'''
<poem>Again I advise you, and note my words well,
+
<p>Again I advise you, and note my words well,
That when you have entered into half sword</poem>
+
That when you have entered into half sword</p>
  
<poem>You then well from every side
+
<p>You then well from every side
Following the art with good feinting.</poem>
+
Following the art with good feinting.</p>
  
<poem>Feints call out to obfuscate
+
<p>Feints call out to obfuscate
 
They hide from the other’s defence.
 
They hide from the other’s defence.
 
Do not let him understand,
 
Do not let him understand,
What you want to do from one side or the other.</poem>
+
What you want to do from one side or the other.</p>
  
<poem>I cannot show you so well,
+
<p>I cannot show you so well,
 
With my words how to do it with a sword,
 
With my words how to do it with a sword,
 
Make your mind go
 
Make your mind go
To investigate the art with my sayings.</poem>
+
To investigate the art with my sayings.</p>
  
<poem>And grasp valour with reason
+
<p>And grasp valour with reason
 
As I admonish and as I teach you  
 
As I admonish and as I teach you  
 
And do it with cunning
 
And do it with cunning
 
You follow that which I have written in so many verses,
 
You follow that which I have written in so many verses,
To discover the depths and the banks of the Art.</poem>
+
To discover the depths and the banks of the Art.</p>
| {{section|Page:Cod.1324 12v.jpg|12v.2}}
+
|  
 +
{{section|Page:Cod.1324 12v.jpg|12v.2}}
 +
 
 
{{section|Page:Cod.1324 13r.jpg|13r.1}}
 
{{section|Page:Cod.1324 13r.jpg|13r.1}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 13
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
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|  
 
|  
 
'''Chapter XIII Principles of the half-sword.'''
 
'''Chapter XIII Principles of the half-sword.'''
<poem>Being then joined at the half sword,
+
<p>Being then joined at the half sword,
 
You can well hammer more and more times,
 
You can well hammer more and more times,
 
Striking on only one side,
 
Striking on only one side,
Your feints go on the other side.</poem>
+
Your feints go on the other side.</p>
  
<poem>And when he loses his way with parrying,
+
<p>And when he loses his way with parrying,
 
And you hammer then on the other side,
 
And you hammer then on the other side,
 
Then you should decide
 
Then you should decide
If you need to finish by closing in.</poem>
+
If you need to finish by closing in.</p>
  
<poem>And if you want to throw blows,
+
<p>And if you want to throw blows,
 
Let a fendente roverso go,
 
Let a fendente roverso go,
<sup>Turning it across</sup>And a false edge with the point in his face.</poem>
+
<sup>Turning it across</sup>And a false edge with the point in his face.</p>
  
<poem>Do not be divided from his point,
+
<p>Do not be divided from his point,
 
With roverso or mandritto
 
With roverso or mandritto
 
With whichever you can work.
 
With whichever you can work.
Because the knees bend on every side.</poem>
+
Because the knees bend on every side.</p>
  
<poem>Following that which I showed you above,
+
<p>Following that which I showed you above,
I repeat for you again this addition,</poem>
+
I repeat for you again this addition,</p>
  
<poem>Always enter with the point,
+
<p>Always enter with the point,
 
Forcing upwards from below, finishing in the face
 
Forcing upwards from below, finishing in the face
And you can strike just at the right time.</poem>
+
And you can strike just at the right time.</p>
 
| {{section|Page:Cod.1324 13r.jpg|13r.2}}
 
| {{section|Page:Cod.1324 13r.jpg|13r.2}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 14
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
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|  
 
|  
 
'''Chapter XIIII Theory of the half tempo of the sword'''
 
'''Chapter XIIII Theory of the half tempo of the sword'''
<poem>I cannot show you in writing
+
<p>I cannot show you in writing
 
The theory and method of the half tempo
 
The theory and method of the half tempo
 
Because it remains in a knot
 
Because it remains in a knot
The shortness of the tempo of his strike.</poem>
+
The shortness of the tempo of his strike.</p>
  
<poem>The half time is just one turn
+
<p>The half time is just one turn
 
Of the knot: quick and immediately striking,
 
Of the knot: quick and immediately striking,
 
It can rarely fail
 
It can rarely fail
When it is done in good measure.</poem>
+
When it is done in good measure.</p>
  
<poem>If you note well my writing
+
<p>If you note well my writing
 
One who does not practice will parry badly
 
One who does not practice will parry badly
 
Often the turning
 
Often the turning
Breaks with a good edge the other’s brain.</poem>
+
Breaks with a good edge the other’s brain.</p>
  
<poem>Of all the art this is the jewel,
+
<p>Of all the art this is the jewel,
 
Because it treats as one the strike and the parry,
 
Because it treats as one the strike and the parry,
 
Oh what a valuable thing,
 
Oh what a valuable thing,
 
So practice it with good reason,
 
So practice it with good reason,
And it will let you carry the banner of the art.</poem>
+
And it will let you carry the banner of the art.</p>
 
| {{section|Page:Cod.1324 13v.jpg|13v.1}}
 
| {{section|Page:Cod.1324 13v.jpg|13v.1}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 15
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
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|  
 
|  
 
'''Chapter XV Theory of the sword against the rising blow
 
'''Chapter XV Theory of the sword against the rising blow
<poem>There are many who make their base
+
<p>There are many who make their base
 
In turning strongly from every side
 
In turning strongly from every side
 
So be advised,  
 
So be advised,  
As his sword turns, move</poem>
+
As his sword turns, move</p>
  
<poem>And you turn and you will win the test,
+
<p>And you turn and you will win the test,
 
Harmonise yourself with him and also with the strikes
 
Harmonise yourself with him and also with the strikes
 
And make your going thus
 
And make your going thus
With your sword directly to his.</poem>
+
With your sword directly to his.</p>
  
<poem>To clear your mind of illusions,
+
<p>To clear your mind of illusions,
 
You can also go into boar’s tooth guard,
 
You can also go into boar’s tooth guard,
 
And if he with the turning,
 
And if he with the turning,
And you escaping from below up.</poem>
+
And you escaping from below up.</p>
  
<poem>Listen and understand my reasoning,
+
<p>Listen and understand my reasoning,
 
You who are new to the art, and experts too,
 
You who are new to the art, and experts too,
 
I want you to be sure,
 
I want you to be sure,
That this is the art and the true science.</poem>
+
That this is the art and the true science.</p>
  
<poem>Grasp this, that is a steelyard’s trace,
+
<p>Grasp this, that is a steelyard’s trace,
 
That if the companion is in the iron door guard,
 
That if the companion is in the iron door guard,
 
Lock this into your heart,
 
Lock this into your heart,
You should be in the archer’s guard,</poem>
+
You should be in the archer’s guard,</p>
  
<poem>Watch out that your point does not waver,
+
<p>Watch out that your point does not waver,
 
That of the companion covers his sword;
 
That of the companion covers his sword;
 
Go a little out of the way
 
Go a little out of the way
Straightening the sword and the hand with the point.</poem>
+
Straightening the sword and the hand with the point.</p>
  
<poem>When your sword is joined at the crossing,
+
<p>When your sword is joined at the crossing,
 
Then do the thirteenth constrained action,
 
Then do the thirteenth constrained action,
 
As is you can plainly see
 
As is you can plainly see
Pictured in our book of seven leaves.</poem>
+
Pictured in our book of seven leaves.</p>
  
<poem>You can also use in this art
+
<p>You can also use in this art
 
Striking and closing that are more handy,
 
Striking and closing that are more handy,
 
Leave the more left-handed,
 
Leave the more left-handed,
 
Keep those that favour your hand,
 
Keep those that favour your hand,
So you will often have honour in the art.</poem>
+
So you will often have honour in the art.</p>
 
| {{section|Page:Cod.1324 13v.jpg|13v.2}}
 
| {{section|Page:Cod.1324 13v.jpg|13v.2}}
 +
 
{{section|Page:Cod.1324 14r.jpg|14r.1}}
 
{{section|Page:Cod.1324 14r.jpg|14r.1}}
 +
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Chapter 16
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
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|  
 
|  
 
'''Chapter XVI Mastering the sword'''
 
'''Chapter XVI Mastering the sword'''
<poem>It is necessary that the sword should be
+
<p>It is necessary that the sword should be
 
A great shield that covers all,
 
A great shield that covers all,
 
And grasp this fruit,
 
And grasp this fruit,
That I give you for your mastery.</poem>
+
That I give you for your mastery.</p>
  
<poem>Be sure that your sword does not
+
<p>Be sure that your sword does not
 
Make guards or strike far away,
 
Make guards or strike far away,
 
O how sensible this thing is,
 
O how sensible this thing is,
That your sword makes short movements.</poem>
+
That your sword makes short movements.</p>
  
<poem>Your point should watch the face,
+
<p>Your point should watch the face,
 
Of the companion, in guard or striking,
 
Of the companion, in guard or striking,
 
You will take his courage,
 
You will take his courage,
Seeing always the point staying in front of him.</poem>
+
Seeing always the point staying in front of him.</p>
  
<poem>And you will make your plays always forwards,
+
<p>And you will make your plays always forwards,
 
With your sword and with a small turn,
 
With your sword and with a small turn,
 
With a serene and nimble hand,
 
With a serene and nimble hand,
 
Often breaking the tempo of the companion,
 
Often breaking the tempo of the companion,
You will weave a web different than spider’s.</poem>
+
You will weave a web different than spider’s.</p>
  
 
[END]
 
[END]
| <p>{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}</p>
+
|  
 +
{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}
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 +
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{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = Diagrams
 +
| width = 90em
 +
}}
 +
{| class="floated master"
 +
|-
 +
! <p>Images</p>
 +
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 +
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
 
| [[File:Cod.1324 15r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15r.jpg]]
 
| [[File:Cod.1324 15r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15r.jpg]]
| <poem>I am callipers, that divide into parts,
+
| <p>I am callipers, that divide into parts,
 
O fencer heed my reason,
 
O fencer heed my reason,
Thus measure the tempo similarly.</poem>
+
Thus measure the tempo similarly.</p>
  
<poem>The nature of the bear is to turn,
+
<p>The nature of the bear is to turn,
 
Going here, there, up and around
 
Going here, there, up and around
 
Thus your shoulder should move,
 
Thus your shoulder should move,
Sending your sword out to hunt.</poem>
+
Sending your sword out to hunt.</p>
  
<poem>I am a ram, always on the lookout,
+
<p>I am a ram, always on the lookout,
 
Naturally always looking to butt,
 
Naturally always looking to butt,
 
So your cut should be clever,
 
So your cut should be clever,
Always parry when there is an answer.</poem>
+
Always parry when there is an answer.</p>
  
<poem>The right hand should be prudent,
+
<p>The right hand should be prudent,
Bold and deadly as a serpent.</poem>
+
Bold and deadly as a serpent.</p>
  
<poem>The eye with the heart should be alert,
+
<p>The eye with the heart should be alert,
Bold and full of foresight.</poem>
+
Bold and full of foresight.</p>
  
<poem>With the left hand, the sword is to thrust
+
<p>With the left hand, the sword is to thrust
 
Or to strike when it is joined
 
Or to strike when it is joined
 
And if you want the strike to be complete
 
And if you want the strike to be complete
Make it as quick as a greyhound.</poem>
+
Make it as quick as a greyhound.</p>
  
<poem>And he who does not have these keys with him
+
<p>And he who does not have these keys with him
Will make little war with this play.</poem>
+
Will make little war with this play.</p>
  
<poem>The legs keys it is well said,
+
<p>The legs keys it is well said,
Because you close them and also open them,</poem>
+
Because you close them and also open them,</p>
  
<poem>You see the sun, that makes great turns,
+
<p>You see the sun, that makes great turns,
 
And where it is born it returns.
 
And where it is born it returns.
 
The foot with the sun should return together,
 
The foot with the sun should return together,
If you want the play to adorn your person.</poem>
+
If you want the play to adorn your person.</p>
  
<poem>The left foot firm without fear,
+
<p>The left foot firm without fear,
 
Make it constant like a rock
 
Make it constant like a rock
And then your body will be completely safe.</poem>
+
And then your body will be completely safe.</p>
  
<poem>When one or other foot bothers you
+
<p>When one or other foot bothers you
 
Turn it quickly like a mill wheel,
 
Turn it quickly like a mill wheel,
 
The heart must be foresightful,
 
The heart must be foresightful,
That expects shame and honour.</poem>
+
That expects shame and honour.</p>
 
| {{paget|Page:Cod.1324|15r|jpg}}
 
| {{paget|Page:Cod.1324|15r|jpg}}
  
 
|-  
 
|-  
 
| [[File:Cod.1324 15v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15v.jpg]]
 
| [[File:Cod.1324 15v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15v.jpg]]
| <poem>These are the blows of the two-handed sword,
+
| <p>These are the blows of the two-handed sword,
Not those of the mezo tempo, they remain in a knot.</poem>
+
Not those of the mezo tempo, they remain in a knot.</p>
  
<poem>I am the rota and I often turn,
+
<p>I am the rota and I often turn,
Finding the falseness of the sword.</poem>
+
Finding the falseness of the sword.</p>
  
<poem>We are the volante, always crossing,
+
<p>We are the volante, always crossing,
From the knee up we go destroying.</poem>
+
From the knee up we go destroying.</p>
  
<poem>We are the fendenti and we start the fight,
+
<p>We are the fendenti and we start the fight,
Breaking the teeth in our direct way.</poem>
+
Breaking the teeth in our direct way.</p>
  
<poem>I am the thrust, dangerous and quick,
+
<p>I am the thrust, dangerous and quick,
Mistress of the other blows.</poem>
+
Mistress of the other blows.</p>
 
| {{paget|Page:Cod.1324|15v|jpg}}
 
| {{paget|Page:Cod.1324|15v|jpg}}
  
 
|}
 
|}
 +
{{master subsection end}}
 
{{master end}}
 
{{master end}}
  
Line 1,082: Line 1,305:
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 16r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 16r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16r.jpg]]
| <poem>Here are the guards with their names,
+
| <p>Here are the guards with their names,
Each of your sides is shown.</poem>
+
Each of your sides is shown.</p>
 
| {{section|Page:Cod.1324 16r.jpg|16r-a}}
 
| {{section|Page:Cod.1324 16r.jpg|16r-a}}
  
 
|-  
 
|-  
| <poem>I am the strong middle iron gate
+
| <p>I am the strong middle iron gate
Dealing death with thrust and fendente.</poem>
+
Dealing death with thrust and fendente.</p>
<poem>::I am the guard of the woman, and I am not vain,
+
<p>::I am the guard of the woman, and I am not vain,
::I conceal the length of the sword.</poem>
+
::I conceal the length of the sword.</p>
 
| {{section|Page:Cod.1324 16r.jpg|16r-c}}
 
| {{section|Page:Cod.1324 16r.jpg|16r-c}}
 
{{section|Page:Cod.1324 16r.jpg|16r-d}}
 
{{section|Page:Cod.1324 16r.jpg|16r-d}}
Line 1,096: Line 1,319:
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 16v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 16v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16v.jpg]]
| <poem>I am the flat ground iron door,
+
| <p>I am the flat ground iron door,
Always impeding cuts and thrusts.</poem>
+
Always impeding cuts and thrusts.</p>
<poem>::I am the guard of the falcon, high up above,
+
<p>::I am the guard of the falcon, high up above,
::To make defences in all sorts of ways.</poem>
+
::To make defences in all sorts of ways.</p>
 
| {{section|Page:Cod.1324 16v.jpg|16v-a}}
 
| {{section|Page:Cod.1324 16v.jpg|16v-a}}
 
{{section|Page:Cod.1324 16v.jpg|16v-b}}
 
{{section|Page:Cod.1324 16v.jpg|16v-b}}
  
 
|-  
 
|-  
| <poem>I am the short guard of the extended sword,
+
| <p>I am the short guard of the extended sword,
I often strike with the turn back.</poem>
+
I often strike with the turn back.</p>
<poem>::I am the archer’s guard, to deceive
+
<p>::I am the archer’s guard, to deceive
::I use malice very much in my reign.</poem>
+
::I use malice very much in my reign.</p>
 
| {{section|Page:Cod.1324 16v.jpg|16v-c}}
 
| {{section|Page:Cod.1324 16v.jpg|16v-c}}
 
{{section|Page:Cod.1324 16v.jpg|16v-d}}
 
{{section|Page:Cod.1324 16v.jpg|16v-d}}
Line 1,113: Line 1,336:
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 17r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 17r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17r.jpg]]
| <poem>I am the guard of the true window
+
| <p>I am the guard of the true window
I raise from the art the thing from the left.</poem>
+
I raise from the art the thing from the left.</p>
<poem>::I am the crown and I am made master
+
<p>::I am the crown and I am made master
::Of binds I am found to be adept.</poem>
+
::Of binds I am found to be adept.</p>
 
| {{section|Page:Cod.1324 17r.jpg|17r-a}}
 
| {{section|Page:Cod.1324 17r.jpg|17r-a}}
 
{{section|Page:Cod.1324 17r.jpg|17r-b}}
 
{{section|Page:Cod.1324 17r.jpg|17r-b}}
  
 
|-  
 
|-  
| <poem>With the deadly guard of the boar’s tooth
+
| <p>With the deadly guard of the boar’s tooth
Anyone looking for trouble, I’ll give them plenty.</poem>
+
Anyone looking for trouble, I’ll give them plenty.</p>
<poem>::I am the long guard with the short(ened) sword,
+
<p>::I am the long guard with the short(ened) sword,
::That with my cunning defeats the blows.</poem>
+
::That with my cunning defeats the blows.</p>
 
| {{section|Page:Cod.1324 17r.jpg|17r-c}}
 
| {{section|Page:Cod.1324 17r.jpg|17r-c}}
 
{{section|Page:Cod.1324 17r.jpg|17r-d}}
 
{{section|Page:Cod.1324 17r.jpg|17r-d}}
Line 1,130: Line 1,353:
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 17v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 17v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17v.jpg]]
| <poem>I am the frontal guard, so secure
+
| <p>I am the frontal guard, so secure
Of cuts and thrusts I have the solution.</poem>
+
Of cuts and thrusts I have the solution.</p>
<poem>::I am the guard of the boar and I am outside,
+
<p>::I am the guard of the boar and I am outside,
::That of strikes I do not make a home.</poem>
+
::That of strikes I do not make a home.</p>
 
| {{section|Page:Cod.1324 17v.jpg|17v-a}}
 
| {{section|Page:Cod.1324 17v.jpg|17v-a}}
 
{{section|Page:Cod.1324 17v.jpg|17v-b}}
 
{{section|Page:Cod.1324 17v.jpg|17v-b}}
  
 
|-  
 
|-  
| <poem>I have made a roverso fendente on the left foot,
+
| <p>I have made a roverso fendente on the left foot,
 
Without changing the foot turning the hips
 
Without changing the foot turning the hips
I strike a dritto without further movement.</poem>
+
I strike a dritto without further movement.</p>
 
| {{section|Page:Cod.1324 17v.jpg|17v-c}}
 
| {{section|Page:Cod.1324 17v.jpg|17v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 18r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 18r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18r.jpg]]
| <poem>By this grip of your arm that I have made,
+
| <p>By this grip of your arm that I have made,
I can hit you with a cut or pommel strike.</poem>
+
I can hit you with a cut or pommel strike.</p>
 
| {{section|Page:Cod.1324 18r.jpg|18r-a}}
 
| {{section|Page:Cod.1324 18r.jpg|18r-a}}
  
 
|-  
 
|-  
| <poem>By this turn that I quickly make to my sword
+
| <p>By this turn that I quickly make to my sword
I will not pause with this strike.</poem>
+
I will not pause with this strike.</p>
 
| {{section|Page:Cod.1324 18r.jpg|18r-c}}
 
| {{section|Page:Cod.1324 18r.jpg|18r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 18v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 18v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18v.jpg]]
| <poem>I have bound you from the roverso side,
+
| <p>I have bound you from the roverso side,
You’ll be thrown to the ground by a blow of the sword.</poem>
+
You’ll be thrown to the ground by a blow of the sword.</p>
 
| {{section|Page:Cod.1324 18v.jpg|18v-a}}
 
| {{section|Page:Cod.1324 18v.jpg|18v-a}}
  
 
|-  
 
|-  
| <poem>In this way I have you with the left hand,
+
| <p>In this way I have you with the left hand,
I will not hold back striking with cuts and thrusts.</poem>
+
I will not hold back striking with cuts and thrusts.</p>
 
| {{section|Page:Cod.1324 18v.jpg|18v-c}}
 
| {{section|Page:Cod.1324 18v.jpg|18v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 19r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 19r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19r.jpg]]
| <poem>By this turn that I have given to my sword
+
| <p>By this turn that I have given to my sword
I think I will have cut the middle of your throat.</poem>
+
I think I will have cut the middle of your throat.</p>
 
| {{section|Page:Cod.1324 19r.jpg|19r-a}}
 
| {{section|Page:Cod.1324 19r.jpg|19r-a}}
  
 
|-  
 
|-  
| <poem>You will go to the ground with this technique
+
| <p>You will go to the ground with this technique
And your play has completely failed.</poem>
+
And your play has completely failed.</p>
 
| {{section|Page:Cod.1324 19r.jpg|19r-c}}
 
| {{section|Page:Cod.1324 19r.jpg|19r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 19v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 19v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19v.jpg]]
| <poem>I do not wish to make war with my sword,
+
| <p>I do not wish to make war with my sword,
But with yours I’ll throw you to the ground.</poem>
+
But with yours I’ll throw you to the ground.</p>
 
| {{section|Page:Cod.1324 19v.jpg|19v-a}}
 
| {{section|Page:Cod.1324 19v.jpg|19v-a}}
  
 
|-  
 
|-  
| <poem>I have turned you with force and without difficulty
+
| <p>I have turned you with force and without difficulty
With my skill I will break your arm.</poem>
+
With my skill I will break your arm.</p>
 
| {{section|Page:Cod.1324 19v.jpg|19v-c}}
 
| {{section|Page:Cod.1324 19v.jpg|19v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 20r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 20r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20r.jpg]]
| <poem>With skill I have placed you in a similar position,
+
| <p>With skill I have placed you in a similar position,
I’ll make you go to the ground at the first blow.</poem>
+
I’ll make you go to the ground at the first blow.</p>
 
| {{section|Page:Cod.1324 20r.jpg|20r-a}}
 
| {{section|Page:Cod.1324 20r.jpg|20r-a}}
  
 
|-  
 
|-  
| <poem>In this way I’ll put you in a lock
+
| <p>In this way I’ll put you in a lock
And break your arm (in the time it takes to) say “hello”.</poem>
+
And break your arm (in the time it takes to) say “hello”.</p>
 
| {{section|Page:Cod.1324 20r.jpg|20r-c}}
 
| {{section|Page:Cod.1324 20r.jpg|20r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 20v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 20v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20v.jpg]]
| <poem>By this turn of the pommel I have bound you,
+
| <p>By this turn of the pommel I have bound you,
Immediately If I want to I’ll throw you to the ground.</poem>
+
Immediately If I want to I’ll throw you to the ground.</p>
 
| {{section|Page:Cod.1324 20v.jpg|20v-a}}
 
| {{section|Page:Cod.1324 20v.jpg|20v-a}}
  
 
|-  
 
|-  
| <poem>By this turn of the blade that you have done,
+
| <p>By this turn of the blade that you have done,
I will break your arm at the first attempt.</poem>
+
I will break your arm at the first attempt.</p>
 
| {{section|Page:Cod.1324 20v.jpg|20v-c}}
 
| {{section|Page:Cod.1324 20v.jpg|20v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 21r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 21r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21r.jpg]]
| <poem>By the turn quick I have given my sword,
+
| <p>By the turn quick I have given my sword,
I’ll strike your arm or your head.</poem>
+
I’ll strike your arm or your head.</p>
 
| {{section|Page:Cod.1324 21r.jpg|21r-a}}
 
| {{section|Page:Cod.1324 21r.jpg|21r-a}}
  
 
|-  
 
|-  
| <poem>If I put my hilt to your sword
+
| <p>If I put my hilt to your sword
I’ll make it fall with this action.</poem>
+
I’ll make it fall with this action.</p>
 
| {{section|Page:Cod.1324 21r.jpg|21r-c}}
 
| {{section|Page:Cod.1324 21r.jpg|21r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 21v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 21v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21v.jpg]]
| <poem>This is a grip that I do from below,
+
| <p>This is a grip that I do from below,
I will make it fall at the first go.</poem>
+
I will make it fall at the first go.</p>
 
| {{section|Page:Cod.1324 21v.jpg|21v-a}}
 
| {{section|Page:Cod.1324 21v.jpg|21v-a}}
  
 
|-  
 
|-  
| <poem>You believed I would strike with a backhand blow,
+
| <p>You believed I would strike with a backhand blow,
With the elbow I push your sword across.</poem>
+
With the elbow I push your sword across.</p>
 
| {{section|Page:Cod.1324 21v.jpg|21v-c}}
 
| {{section|Page:Cod.1324 21v.jpg|21v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 22r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 22r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22r.jpg]]
| <poem>Making the turn that my handle has given,
+
| <p>Making the turn that my handle has given,
I make you fall to the ground backwards.</poem>
+
I make you fall to the ground backwards.</p>
 
| {{section|Page:Cod.1324 22r.jpg|22r-a}}
 
| {{section|Page:Cod.1324 22r.jpg|22r-a}}
  
 
|-  
 
|-  
| <poem>This is a disarm that is above,
+
| <p>This is a disarm that is above,
And if I want to I’ll lay you flat.</poem>
+
And if I want to I’ll lay you flat.</p>
 
| {{section|Page:Cod.1324 22r.jpg|22r-c}}
 
| {{section|Page:Cod.1324 22r.jpg|22r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 22v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 22v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22v.jpg]]
| <poem>The feint that I made to strike a fendente,
+
| <p>The feint that I made to strike a fendente,
Cuts the jaw and teeth together.</poem>
+
Cuts the jaw and teeth together.</p>
 
| {{section|Page:Cod.1324 22v.jpg|22v-a}}
 
| {{section|Page:Cod.1324 22v.jpg|22v-a}}
  
 
|-  
 
|-  
| <poem>From the backhand strike that I have done,
+
| <p>From the backhand strike that I have done,
I’ll give you a good strike with my pommel.</poem>
+
I’ll give you a good strike with my pommel.</p>
 
| {{section|Page:Cod.1324 22v.jpg|22v-c}}
 
| {{section|Page:Cod.1324 22v.jpg|22v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 23r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 23r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23r.jpg]]
| <poem>This is a grip that I do on the inside,
+
| <p>This is a grip that I do on the inside,
I feel that you’re going to the ground.</poem>
+
I feel that you’re going to the ground.</p>
 
| {{section|Page:Cod.1324 23r.jpg|23r-a}}
 
| {{section|Page:Cod.1324 23r.jpg|23r-a}}
  
 
|-  
 
|-  
| <poem>I have given you my sword in the head,
+
| <p>I have given you my sword in the head,
Yours I’ll take with my quick cunning.</poem>
+
Yours I’ll take with my quick cunning.</p>
 
| {{section|Page:Cod.1324 23r.jpg|23r-c}}
 
| {{section|Page:Cod.1324 23r.jpg|23r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 23v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 23v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23v.jpg]]
| <poem>I beat your sword aside with the middle of the blade,
+
| <p>I beat your sword aside with the middle of the blade,
You’ll get a good deal from my pommel.</poem>
+
You’ll get a good deal from my pommel.</p>
 
| {{section|Page:Cod.1324 23v.jpg|23v-a}}
 
| {{section|Page:Cod.1324 23v.jpg|23v-a}}
  
 
|-  
 
|-  
| <poem>Turning a roverso you parried badly,
+
| <p>Turning a roverso you parried badly,
Entering into a bind at the middle of the blade</poem>
+
Entering into a bind at the middle of the blade</p>
 
| {{section|Page:Cod.1324 23v.jpg|23v-c}}
 
| {{section|Page:Cod.1324 23v.jpg|23v-c}}
  
Line 1,293: Line 1,516:
 
'''Guards of the Axe in Armour.'''
 
'''Guards of the Axe in Armour.'''
  
<poem>I am the guard of the woman, of great offence,
+
<p>I am the guard of the woman, of great offence,
To respond to any situation.</poem>
+
To respond to any situation.</p>
  
<poem>::I am in the guard of the boar, with its saying,
+
<p>::I am in the guard of the boar, with its saying,
::I’ll destroy your body for sure.</poem>
+
::I’ll destroy your body for sure.</p>
 
| {{section|Page:Cod.1324 24r.jpg|24r-t|lbl=24r}}
 
| {{section|Page:Cod.1324 24r.jpg|24r-t|lbl=24r}}
 
{{section|Page:Cod.1324 24r.jpg|24r-a}}
 
{{section|Page:Cod.1324 24r.jpg|24r-a}}
Line 1,303: Line 1,526:
  
 
|-  
 
|-  
| <poem>I am called the Archer’s guard,
+
| <p>I am called the Archer’s guard,
I always make blows deviate.</poem>
+
I always make blows deviate.</p>
<poem>::I am the guard of the cross, so called,
+
<p>::I am the guard of the cross, so called,
::No cuts or thrusts can bother me.</poem>
+
::No cuts or thrusts can bother me.</p>
 
| {{section|Page:Cod.1324 24r.jpg|24r-c}}
 
| {{section|Page:Cod.1324 24r.jpg|24r-c}}
 
{{section|Page:Cod.1324 24r.jpg|24r-d}}
 
{{section|Page:Cod.1324 24r.jpg|24r-d}}
Line 1,312: Line 1,535:
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 24v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 24v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24v.jpg]]
| <poem>I was in boar’s tooth with the axe,
+
| <p>I was in boar’s tooth with the axe,
In this way I have struck you in theface.</poem>
+
In this way I have struck you in theface.</p>
 
| {{section|Page:Cod.1324 24v.jpg|24v-a}}
 
| {{section|Page:Cod.1324 24v.jpg|24v-a}}
  
 
|-  
 
|-  
| <poem>Lifting the visor I strike your face,
+
| <p>Lifting the visor I strike your face,
I struck you: all defences are gone.</poem>
+
I struck you: all defences are gone.</p>
 
| {{section|Page:Cod.1324 24v.jpg|24v-c}}
 
| {{section|Page:Cod.1324 24v.jpg|24v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 25r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_25r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 25r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_25r.jpg]]
| <poem>I place my hand under the right arm
+
| <p>I place my hand under the right arm
I’ll place you in the lock as is written.</poem>
+
I’ll place you in the lock as is written.</p>
 
| {{section|Page:Cod.1324 25r.jpg|25r-a}}
 
| {{section|Page:Cod.1324 25r.jpg|25r-a}}
  
 
|-  
 
|-  
| <poem>This is the grip that I do to you,
+
| <p>This is the grip that I do to you,
You’ll lose your axe and I’ll strike your head.</poem>
+
You’ll lose your axe and I’ll strike your head.</p>
 
| {{section|Page:Cod.1324 25r.jpg|25r-c}}
 
| {{section|Page:Cod.1324 25r.jpg|25r-c}}
  
Line 1,350: Line 1,573:
 
'''Guards of the Sword in Armour.'''
 
'''Guards of the Sword in Armour.'''
  
<poem>I am the lower snake guard,
+
<p>I am the lower snake guard,
That is good for striking with thrusts.</poem>
+
That is good for striking with thrusts.</p>
  
<poem>::I am the guard of the serene leopard,
+
<p>::I am the guard of the serene leopard,
::That with the tail will give you poison.</poem>
+
::That with the tail will give you poison.</p>
 
| {{section|Page:Cod.1324 26r.jpg|26r-t|lbl=26r}}
 
| {{section|Page:Cod.1324 26r.jpg|26r-t|lbl=26r}}
 
{{section|Page:Cod.1324 26r.jpg|26r-a}}
 
{{section|Page:Cod.1324 26r.jpg|26r-a}}
Line 1,360: Line 1,583:
  
 
|-  
 
|-  
| <poem>I am the snake, held high,
+
| <p>I am the snake, held high,
Above and below I do my work.</poem>
+
Above and below I do my work.</p>
<poem>::I am the leopard’s tail over the arm,
+
<p>::I am the leopard’s tail over the arm,
::I will chase away any sword from me.</poem>
+
::I will chase away any sword from me.</p>
 
| {{section|Page:Cod.1324 26r.jpg|26r-c}}
 
| {{section|Page:Cod.1324 26r.jpg|26r-c}}
 
{{section|Page:Cod.1324 26r.jpg|26r-d}}
 
{{section|Page:Cod.1324 26r.jpg|26r-d}}
Line 1,369: Line 1,592:
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 26v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 26v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26v.jpg]]
| <poem>I am the first wounder of the art,
+
| <p>I am the first wounder of the art,
To make defence on any side.</poem>
+
To make defence on any side.</p>
 
| {{section|Page:Cod.1324 26v.jpg|26v-a}}
 
| {{section|Page:Cod.1324 26v.jpg|26v-a}}
  
 
|-  
 
|-  
| <poem>I push my point into your face,
+
| <p>I push my point into your face,
You see my sword rising upand up.</poem>
+
You see my sword rising upand up.</p>
 
| {{section|Page:Cod.1324 26v.jpg|26v-c}}
 
| {{section|Page:Cod.1324 26v.jpg|26v-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 27r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 27r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27r.jpg]]
| <poem>You will let go of your sword in spite of your wishes,
+
| <p>You will let go of your sword in spite of your wishes,
I will do even worse to you too.</poem>
+
I will do even worse to you too.</p>
 
| {{section|Page:Cod.1324 27r.jpg|27r-a}}
 
| {{section|Page:Cod.1324 27r.jpg|27r-a}}
  
 
|-  
 
|-  
| <poem>If I can’t stick a point in your face,
+
| <p>If I can’t stick a point in your face,
I’ll stick a pommel instead, as it is there.</poem>
+
I’ll stick a pommel instead, as it is there.</p>
 
| {{section|Page:Cod.1324 27r.jpg|27r-c}}
 
| {{section|Page:Cod.1324 27r.jpg|27r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 27v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 27v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27v.jpg]]
| <poem>By the pass I have made out of the way,
+
| <p>By the pass I have made out of the way,
I’ll throw you to the ground with your sword.</poem>
+
I’ll throw you to the ground with your sword.</p>
 
| {{section|Page:Cod.1324 27v.jpg|27v-a}}
 
| {{section|Page:Cod.1324 27v.jpg|27v-a}}
  
Line 1,420: Line 1,643:
 
'''Play of the Long Lance'''
 
'''Play of the Long Lance'''
  
<poem>With a short lance I’ll wait in this way,
+
<p>With a short lance I’ll wait in this way,
I invite you to come with long and short.</poem>
+
I invite you to come with long and short.</p>
 
| {{section|Page:Cod.1324 28r.jpg|28r-t|lbl=28r}}
 
| {{section|Page:Cod.1324 28r.jpg|28r-t|lbl=28r}}
 
{{section|Page:Cod.1324 28r.jpg|28r-a}}
 
{{section|Page:Cod.1324 28r.jpg|28r-a}}
  
 
|-  
 
|-  
| <poem>From the way I wait for you with a spear
+
| <p>From the way I wait for you with a spear
I can strike you in the chest with a half turn.</poem>
+
I can strike you in the chest with a half turn.</p>
 
| {{section|Page:Cod.1324 28r.jpg|28r-c}}
 
| {{section|Page:Cod.1324 28r.jpg|28r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 28v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 28v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28v.jpg]]
| <poem>By the half turn that I have made to my spear,
+
| <p>By the half turn that I have made to my spear,
I’ll strike you in the chest or side.</poem>
+
I’ll strike you in the chest or side.</p>
 
| {{section|Page:Cod.1324 28v.jpg|28v-a}}
 
| {{section|Page:Cod.1324 28v.jpg|28v-a}}
  
 
|-  
 
|-  
| <poem>Here end the blows of the spear,
+
| <p>Here end the blows of the spear,
They usually go to this technique.</poem>
+
They usually go to this technique.</p>
 
| {{section|Page:Cod.1324 28v.jpg|28v-c}}
 
| {{section|Page:Cod.1324 28v.jpg|28v-c}}
  
Line 1,634: Line 1,857:
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 38r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38r.jpg]]
 
| rowspan="2" | [[File:Cod.1324 38r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38r.jpg]]
| <poem>I defend myself just as well as I can,
+
| <p>I defend myself just as well as I can,
As you strike I will overcome you.</poem>
+
As you strike I will overcome you.</p>
 
| {{section|Page:Cod.1324 38r.jpg|38r-a}}
 
| {{section|Page:Cod.1324 38r.jpg|38r-a}}
  
 
|-  
 
|-  
| <poem>As you throw, your blow will be lost;
+
| <p>As you throw, your blow will be lost;
I’ll beat away your weapon with a backhand blow.</poem>
+
I’ll beat away your weapon with a backhand blow.</p>
 
| {{section|Page:Cod.1324 38r.jpg|38r-c}}
 
| {{section|Page:Cod.1324 38r.jpg|38r-c}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.1324 38v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38v.jpg]]
 
| rowspan="2" | [[File:Cod.1324 38v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38v.jpg]]
| <poem>I am in guard with a good forehand blow,
+
| <p>I am in guard with a good forehand blow,
As you throw at me you’ll understand the text.</poem>
+
As you throw at me you’ll understand the text.</p>
 
| {{section|Page:Cod.1324 38v.jpg|38v-a}}
 
| {{section|Page:Cod.1324 38v.jpg|38v-a}}
  

Revision as of 17:17, 3 February 2020

Philippo di Vadi Pisano
Born 1425
Pisa, Italy
Died 1501
Urbino, Italy (?)
Occupation Fencing master
Nationality Pisa, Italy
Ethnicity Ligurian
Citizenship Pisan
Patron Guidobaldo da Montefeltro
Influences Fiore de'i Liberi
Genres Fencing manual
Language
Notable work(s) De Arte Gladiatoria Dimicandi
Manuscript(s)
First printed
english edition
Porzio and Mele, 2002
Concordance by Michael Chidester
Translations Alternate English translation

Philippo di Vadi Pisano was a 15th century Italian fencing master. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.[1] Some time after this, Vadi composed a treatise on fencing entitled De Arte Gladiatoria Dimicandi ("On the Art of Swordsmanship"); it was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,[2] and gifted to him between 1482 and 1487,[3] but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.

Vadi was probably an initiate of the tradition of Fiore de’i Liberi, as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise Fior di Battaglia, Vadi would have had ample opportunity to study his writings.

Treatise

Additional Resources

References

  1. For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "Interesting information on the Vadi family (Philippo Vadi)". HEMA Alliance Forum. 06 June 2012. Retrieved 09 October 2012.
  2. Vadi, Philippo di. De Arte Gladiatoria Dimicandi [manuscript]. MS Vitt. Em. 1324. Rome, Italy: Biblioteca Nazionale Centrale di Roma, 1480s.
  3. Rubboli, Marco and Cesari, Luca. The Knightly Art of Combat of Filippo Vadi. Document circulated online.
  4. The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.
  5. The title that the manuscript is known by comes from this line of the book: de arte gladiatoria dimicandi. Dimicare means to fight in earnest against your enemies; l’arte gladiatoria is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.
  6. I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.
  7. The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.
  8. I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. E mostrallo con breve eloquenza./La geometria che divide e parte. F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.
  9. Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.
  10. This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.
  11. si tu averai nel cervel tuo sale, lit. “if you have salt in your brain”.
  12. Passi o torni, lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing accrescere and discrescere, passare and torrnare, it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.
  13. This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.
  14. This number is written out (quarto), and does not have a roman numeral in the ms, so I have written it out here.
  15. The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.
  16. Advantage of the sword is presumably length, especially in a duelling context.
  17. Lit. “You will make everyone scratch their own mange”
  18. This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.
  19. Erased.