Wiktenauer logo.png

Difference between revisions of "Ridolfo Capo Ferro da Cagli"

From Wiktenauer
Jump to navigation Jump to search
Line 59: Line 59:
  
 
|-  
 
|-  
| [[File:Capo Ferro Title.jpg|300x300px|center]]
+
| [[File:Capo Ferro Title.jpg|400x400px|center]]
 
| '''GREAT REPRESENTATION OF THE ART AND USE OF FENCING by Ridolfo Capo Ferro of Cagli'''
 
| '''GREAT REPRESENTATION OF THE ART AND USE OF FENCING by Ridolfo Capo Ferro of Cagli'''
 
Maestro of the Most High German Nation, in the Famous City of Siena
 
Maestro of the Most High German Nation, in the Famous City of Siena
Line 80: Line 80:
  
 
|-  
 
|-  
| rowspan=2 | [[File:Capo Ferro Coat of Arms.jpg|300x300px|center]]
+
| rowspan=2 | [[File:Capo Ferro Coat of Arms.jpg|400x400px|center]]
 
| '''To the Most Serene Signore Don Francesco Maria Feltrio della Rovere, sixth Duke of Urbino.'''
 
| '''To the Most Serene Signore Don Francesco Maria Feltrio della Rovere, sixth Duke of Urbino.'''
 
Every father (Most Serene Signor Duke), in order that his children should acquire reputation, procures for them some place in some noble court, and of some protection, to provide for them the best that he can. Thus do I, which, finding the present book on the instruction of fencing born of the better part of me, attempt to place in court, and because more dear to me than any other are the progeny of my intellect, I plead with Your Highness to grant them some place in your court, which, being a perfect compendium of the world, considered perfect, shown in and of itself of so much beauty and goodness as is found in the world, the same is dedicated to the Most Serene Don Federigo, your son, recommending it to his protection, although a lad in child’s gowns, and in jests, and gay dances, it appears nonetheless that there are enfolded in his hands triumphs and spoils, and as young Alcide2 with infantile hand, not yet equal to the purpose, menaces the Hydra, slays the serpents, then in the generous shining of his aspect is seen the greatness of his ancestors, the magnanimity, the valor, and the innumerable other virtues, which have exhausted the greatest and most famous historians, and which will render him above every Prince, and named and illustrious; would they not prove sufficient to confer such eminence, in truth only the virtues of Your Excellency being in number and quality so great, that it rightly could come to be called a diligent imitator of the perfection of GOD? It is not to be marveled at, therefore, by Your Highness, if I long to introduce into your Most Serene House, and place under the protection of the Most Serene Prince, your son, this book of mine; but considering the singular graciousness, very characteristic of Your Highness and of his Most Serene Blood, I cannot but strongly hope that Your Highnesses, without regarding the baseness of the subject, will favor it fully with your most powerful favor. But whereas indeed it may not be proper for Your Highnesses to receive such baseness with such grace, consent at least (as I humbly beseech you) that it can stand alone in the public hall of your Royal Palace, and in the other public places of your ample Dominion, as much glory moreover will arise merely from the authority of having a place among those who are humbly dedicated to serving and revering Your Highnesses, for whom I pray to the Lord God for complete and perpetual happiness.
 
Every father (Most Serene Signor Duke), in order that his children should acquire reputation, procures for them some place in some noble court, and of some protection, to provide for them the best that he can. Thus do I, which, finding the present book on the instruction of fencing born of the better part of me, attempt to place in court, and because more dear to me than any other are the progeny of my intellect, I plead with Your Highness to grant them some place in your court, which, being a perfect compendium of the world, considered perfect, shown in and of itself of so much beauty and goodness as is found in the world, the same is dedicated to the Most Serene Don Federigo, your son, recommending it to his protection, although a lad in child’s gowns, and in jests, and gay dances, it appears nonetheless that there are enfolded in his hands triumphs and spoils, and as young Alcide2 with infantile hand, not yet equal to the purpose, menaces the Hydra, slays the serpents, then in the generous shining of his aspect is seen the greatness of his ancestors, the magnanimity, the valor, and the innumerable other virtues, which have exhausted the greatest and most famous historians, and which will render him above every Prince, and named and illustrious; would they not prove sufficient to confer such eminence, in truth only the virtues of Your Excellency being in number and quality so great, that it rightly could come to be called a diligent imitator of the perfection of GOD? It is not to be marveled at, therefore, by Your Highness, if I long to introduce into your Most Serene House, and place under the protection of the Most Serene Prince, your son, this book of mine; but considering the singular graciousness, very characteristic of Your Highness and of his Most Serene Blood, I cannot but strongly hope that Your Highnesses, without regarding the baseness of the subject, will favor it fully with your most powerful favor. But whereas indeed it may not be proper for Your Highnesses to receive such baseness with such grace, consent at least (as I humbly beseech you) that it can stand alone in the public hall of your Royal Palace, and in the other public places of your ample Dominion, as much glory moreover will arise merely from the authority of having a place among those who are humbly dedicated to serving and revering Your Highnesses, for whom I pray to the Lord God for complete and perpetual happiness.
Line 91: Line 91:
  
 
|-  
 
|-  
| [[File:Capo Ferro Portrait.jpg|300x300px|center]]
+
| [[File:Capo Ferro Portrait.jpg|400x400px|center]]
 
| '''TO THE GRACIOUS READER RIDOLFO CAPO F. DA CAGLI.'''
 
| '''TO THE GRACIOUS READER RIDOLFO CAPO F. DA CAGLI.'''
 
It is not my intention to hold you at bay with pompous and splendid words, in the recommending to you of the profession of arms that I practice. It is extolled in the due order of its merit, for which it is greatly prized and honored, and always praised, and the greatness and valor are commended of those who worthily carry the sword at their side; among whom today shines gloriously the Most Illustrious Signor SILVIO Piccolomini, Grand Prior of the Religion of the Knights of Saint Stephen in Pisa, and General of the Artillery and Master of Chamber of S.A.S. because not only is he endowed with full and marvelous advantage of that of the sword, but also of every other chivalric art, as his heroic actions by the same, to the wonder of all, clearly make manifest. But to turn to the sword, I say it is the noblest weapon above all others, in whose handling the majority of the industry of the art of fencing is honorably employed; therefore according to my judgment, the carrying of arms does not alone constitute the entire work, and that is not what makes the essential difference between a completely valorous man, and a vile and cowardly one, but as well the profession that someone practices to know how to employ them valorously in legitimate defense of himself and of his homeland, which no one truly can do with honor, if he has not first humbled himself, and placed himself under the law and rules of the discipline of fencing. Which, in the manner of sharpened flint, and honing valor, reduces him to the apex of his true perfection. The reason being that this science is laudable and so overly precious, that rather it would be a hopeless work to want to undertake the task of recounting all of its excellence; I do not believe that any rebuke must fall upon me, because I have set myself to press it into terms of undoubtedly brief, infallible, and well ordered precepts, avoiding as much as possible the blind and dark confusions, the deceitful and fallacious uncertainties, and burdensome and ambitious long-windedness. Now, even as through recognition of my weak faculties, I do not presume to have the joy of success of the full response to the fervor of my most ardent desire, so am I assured that my sincere and cordial labor has not turned out to be accomplished in vain, deferring such to comparison to those who dealt with the same topic before me. Considering that such thing relied upon the virtue of that by whose favor all graces descend unto us, I hope fervently, by these more faithful instructions of mine that may serve no less useful and delightful to you than showy ones, for a small particle of that sweet display of the true glory, that it pleases the graceful spirits always to courteously offer to one who with sincerity of heart goes perpetually laboring in their honored services.
 
It is not my intention to hold you at bay with pompous and splendid words, in the recommending to you of the profession of arms that I practice. It is extolled in the due order of its merit, for which it is greatly prized and honored, and always praised, and the greatness and valor are commended of those who worthily carry the sword at their side; among whom today shines gloriously the Most Illustrious Signor SILVIO Piccolomini, Grand Prior of the Religion of the Knights of Saint Stephen in Pisa, and General of the Artillery and Master of Chamber of S.A.S. because not only is he endowed with full and marvelous advantage of that of the sword, but also of every other chivalric art, as his heroic actions by the same, to the wonder of all, clearly make manifest. But to turn to the sword, I say it is the noblest weapon above all others, in whose handling the majority of the industry of the art of fencing is honorably employed; therefore according to my judgment, the carrying of arms does not alone constitute the entire work, and that is not what makes the essential difference between a completely valorous man, and a vile and cowardly one, but as well the profession that someone practices to know how to employ them valorously in legitimate defense of himself and of his homeland, which no one truly can do with honor, if he has not first humbled himself, and placed himself under the law and rules of the discipline of fencing. Which, in the manner of sharpened flint, and honing valor, reduces him to the apex of his true perfection. The reason being that this science is laudable and so overly precious, that rather it would be a hopeless work to want to undertake the task of recounting all of its excellence; I do not believe that any rebuke must fall upon me, because I have set myself to press it into terms of undoubtedly brief, infallible, and well ordered precepts, avoiding as much as possible the blind and dark confusions, the deceitful and fallacious uncertainties, and burdensome and ambitious long-windedness. Now, even as through recognition of my weak faculties, I do not presume to have the joy of success of the full response to the fervor of my most ardent desire, so am I assured that my sincere and cordial labor has not turned out to be accomplished in vain, deferring such to comparison to those who dealt with the same topic before me. Considering that such thing relied upon the virtue of that by whose favor all graces descend unto us, I hope fervently, by these more faithful instructions of mine that may serve no less useful and delightful to you than showy ones, for a small particle of that sweet display of the true glory, that it pleases the graceful spirits always to courteously offer to one who with sincerity of heart goes perpetually laboring in their honored services.
Line 995: Line 995:
  
 
|-  
 
|-  
| [[File:Capo Ferro 1.jpg|300x300px|center]]
+
| [[File:Capo Ferro 1.jpg|400x400px|center]]
 
| '''WAY OF LAYING THE HAND ON THE SWORD.'''
 
| '''WAY OF LAYING THE HAND ON THE SWORD.'''
 
Because in all the lands there are not the same customs, and often times enmities are expressed with little sincerity, in order to be provided against all occasions, it will not, perhaps, be out of place to teach the way of laying the hand on the sword, before we come to deal with its handling. If by chance you will have your right leg forward when laying your hand on the sword, as is shown in this figure, you will draw back the said leg, extending your right arm at the same time into high first; and if perchance you find yourself with the left leg forward, as the other figure shows, it will not happen if you do not draw your sword in the aforesaid manner, without changing of your pace; and if you would like to avail yourself of the sword and cape, or sword and dagger, as well as the single sword, the true way is, that first you will take a step with your right foot forward in order to present yourself in fourth, or alternately being near the adversary you will draw your left foot back presenting yourself as above, and then at your ease you will be able to wind your cape, or extend your hand to your dagger with more safety, being that the point of your sword will make it such that your adversary remains distant wile you accommodate yourself to your weapons; and this is as much as it occurs to me to say about this particular topic.
 
Because in all the lands there are not the same customs, and often times enmities are expressed with little sincerity, in order to be provided against all occasions, it will not, perhaps, be out of place to teach the way of laying the hand on the sword, before we come to deal with its handling. If by chance you will have your right leg forward when laying your hand on the sword, as is shown in this figure, you will draw back the said leg, extending your right arm at the same time into high first; and if perchance you find yourself with the left leg forward, as the other figure shows, it will not happen if you do not draw your sword in the aforesaid manner, without changing of your pace; and if you would like to avail yourself of the sword and cape, or sword and dagger, as well as the single sword, the true way is, that first you will take a step with your right foot forward in order to present yourself in fourth, or alternately being near the adversary you will draw your left foot back presenting yourself as above, and then at your ease you will be able to wind your cape, or extend your hand to your dagger with more safety, being that the point of your sword will make it such that your adversary remains distant wile you accommodate yourself to your weapons; and this is as much as it occurs to me to say about this particular topic.
Line 1,002: Line 1,002:
  
 
|-  
 
|-  
| [[File:Capo Ferro 2.jpg|300x300px|center]]
+
| [[File:Capo Ferro 2.jpg|400x400px|center]]
 
| rowspan=3 | '''OF THE GUARDS.'''
 
| rowspan=3 | '''OF THE GUARDS.'''
 
As one cannot make some composition of beautiful and judicious writings without employing the letters of the alphabet, so does it occur in this our art of fencing, that without the following guards, and some voids and slips of the body which come to be the foundation of this exercise, one could not in any way show this use of ours; therefore the following six figures are designated alphabetically. “A” demonstrates the first to you, and the second is presented to you as “B”, and the third as “C”. The fourth is named as “D”, the fifth as “E”, and the sixth as “F”.
 
As one cannot make some composition of beautiful and judicious writings without employing the letters of the alphabet, so does it occur in this our art of fencing, that without the following guards, and some voids and slips of the body which come to be the foundation of this exercise, one could not in any way show this use of ours; therefore the following six figures are designated alphabetically. “A” demonstrates the first to you, and the second is presented to you as “B”, and the third as “C”. The fourth is named as “D”, the fifth as “E”, and the sixth as “F”.
Line 1,009: Line 1,009:
  
 
|-  
 
|-  
| [[File:Capo Ferro 3.jpg|300x300px|center]]
+
| [[File:Capo Ferro 3.jpg|400x400px|center]]
  
 
|-  
 
|-  
| [[File:Capo Ferro 4.jpg|300x300px|center]]
+
| [[File:Capo Ferro 4.jpg|400x400px|center]]
  
 
|-  
 
|-  
| [[File:Capo Ferro 5.jpg|300x300px|center]]
+
| [[File:Capo Ferro 5.jpg|400x400px|center]]
 
| '''FIGURE EXPLAINED BY WAY OF THE ALPHABET.'''
 
| '''FIGURE EXPLAINED BY WAY OF THE ALPHABET.'''
 
Figure that demonstrates resting in guard, as is shown in our art, and the incredible increase of the long blow, in regard of the members which are all moved to strike.
 
Figure that demonstrates resting in guard, as is shown in our art, and the incredible increase of the long blow, in regard of the members which are all moved to strike.
Line 1,048: Line 1,048:
  
 
|-  
 
|-  
| [[File:Capo Ferro 6.jpg|300x300px|center]]
+
| [[File:Capo Ferro 6.jpg|400x400px|center]]
 
| '''WAY OF GAINING THE SWORD ON THE INSIDE IN THE STRAIGHT LINE AND STRIKING ACCORDING TO THE POINT THAT THE ENEMY WILL GIVE.'''
 
| '''WAY OF GAINING THE SWORD ON THE INSIDE IN THE STRAIGHT LINE AND STRIKING ACCORDING TO THE POINT THAT THE ENEMY WILL GIVE.'''
 
There are two causes (it seems to me) for which it is necessary to stringer the adversary: the first is to stringer the sword in order to seek the measure and the tempo; the other is to stringer the body of the adversary in order to seek only the measure; which excellent stringerings are considered in the straight line; and because there are two causes of stringering there must also be two occasions: the first occasion of stringering the sword, in order to seek the measure and tempo, is when the said adversary lies in an oblique line, because the adversary lying with the sword in fourth which is aimed on an oblique line at your left side, you will lie with the sword on the outside, and disengage with an increase of pace in order to stringer it on the inside with the said straight line, as the figures show you; from this he can cause you a good deal of difficulty, seeing as how only the said straight line suffices to stringer the sword, the adversary's sword lying in an oblique line; the second occasion, that of stringering the body in order to find only the measure, is when the adversary lies in the straight line, or with his body uncovered, then without stringering the sword in order to seek the tempo, it will suffice to only stringer the body with the straight line in order to find the measure, and then to strike according to the point; although the use of the art requires that one stringer the sword in all the lines without some utility. Striking according to the point, one must understand that every time that the point of the opposing sword be in your line then you will be able to strike in the straight line where the height of the point of the enemy's sword will give its direction, taking a palmo from the point of your enemy's sword, however, with the forte of your sword, and you will strike safely, taking heed that if it is as high as the middle of your head you will strike him in the face, and were it to the middle of your body you will be able to strike him in the face and in the breast; this is called "to strike according to the point that the enemy's sword will give"; moreover in this way you will be able to safely disengage the sword from all sides in order to attack; however, when disengaging you will carry the forte of your sword in primo tempo to the point of the adversary's sword, and do not do as some masters do, who disengage, and do so in order to strike in primo tempo, arriving with the point of their sword on the forte of the enemy's sword, not perceiving that they give the point to the enemy, and most of the time they are offended, as is seen in our figures.
 
There are two causes (it seems to me) for which it is necessary to stringer the adversary: the first is to stringer the sword in order to seek the measure and the tempo; the other is to stringer the body of the adversary in order to seek only the measure; which excellent stringerings are considered in the straight line; and because there are two causes of stringering there must also be two occasions: the first occasion of stringering the sword, in order to seek the measure and tempo, is when the said adversary lies in an oblique line, because the adversary lying with the sword in fourth which is aimed on an oblique line at your left side, you will lie with the sword on the outside, and disengage with an increase of pace in order to stringer it on the inside with the said straight line, as the figures show you; from this he can cause you a good deal of difficulty, seeing as how only the said straight line suffices to stringer the sword, the adversary's sword lying in an oblique line; the second occasion, that of stringering the body in order to find only the measure, is when the adversary lies in the straight line, or with his body uncovered, then without stringering the sword in order to seek the tempo, it will suffice to only stringer the body with the straight line in order to find the measure, and then to strike according to the point; although the use of the art requires that one stringer the sword in all the lines without some utility. Striking according to the point, one must understand that every time that the point of the opposing sword be in your line then you will be able to strike in the straight line where the height of the point of the enemy's sword will give its direction, taking a palmo from the point of your enemy's sword, however, with the forte of your sword, and you will strike safely, taking heed that if it is as high as the middle of your head you will strike him in the face, and were it to the middle of your body you will be able to strike him in the face and in the breast; this is called "to strike according to the point that the enemy's sword will give"; moreover in this way you will be able to safely disengage the sword from all sides in order to attack; however, when disengaging you will carry the forte of your sword in primo tempo to the point of the adversary's sword, and do not do as some masters do, who disengage, and do so in order to strike in primo tempo, arriving with the point of their sword on the forte of the enemy's sword, not perceiving that they give the point to the enemy, and most of the time they are offended, as is seen in our figures.
Line 1,055: Line 1,055:
  
 
|-  
 
|-  
| [[File:Capo Ferro 7.jpg|300x300px|center]]
+
| [[File:Capo Ferro 7.jpg|400x400px|center]]
 
| '''The present and subsequent figures demonstrate diverse manners of wounding on the outside, always presupposing a stringering on the inside and a disengage by the adversary in a thrust for the attack.'''
 
| '''The present and subsequent figures demonstrate diverse manners of wounding on the outside, always presupposing a stringering on the inside and a disengage by the adversary in a thrust for the attack.'''
 
For an explanation of the following figure I say that D being narrow to the inside of the figure marked C, the same C disengages to attack with a thrust to the chest of D. D then attacks with a thrust to the left eye with a firm foot or an increase of a step as seen in the figure. But still I say that if C had been clever, when disengaging he would have disengaged by way of a feint, with his body held back, and D, in approaching, would have been confident in attacking C. Then C would have parried the enemy's sword with the false or the true edge to the outside, giving him a mandritto to the face or an imbroccata to the chest and then he would return to a low fourth.
 
For an explanation of the following figure I say that D being narrow to the inside of the figure marked C, the same C disengages to attack with a thrust to the chest of D. D then attacks with a thrust to the left eye with a firm foot or an increase of a step as seen in the figure. But still I say that if C had been clever, when disengaging he would have disengaged by way of a feint, with his body held back, and D, in approaching, would have been confident in attacking C. Then C would have parried the enemy's sword with the false or the true edge to the outside, giving him a mandritto to the face or an imbroccata to the chest and then he would return to a low fourth.
Line 1,062: Line 1,062:
  
 
|-  
 
|-  
| [[File:Capo Ferro 8.jpg|300x300px|center]]
+
| [[File:Capo Ferro 8.jpg|400x400px|center]]
 
| '''Figures that demonstrate how much measure is lost by attacking the leg.'''
 
| '''Figures that demonstrate how much measure is lost by attacking the leg.'''
 
C having gained the sword of D, this same C turns a riverso to the leg of the figure noted as D. During the attack of the riverso, D is able to make a stramazzone to the arm or a thrust to the face as a result of it being tipped too far forward. As seen in the figure, D throws the right leg back in the attack. Always, I say, that when D was stringering C, had C been clever, he would have given a riverso to the face followed by a mandritto fendente to the head and thus he would have been safer.
 
C having gained the sword of D, this same C turns a riverso to the leg of the figure noted as D. During the attack of the riverso, D is able to make a stramazzone to the arm or a thrust to the face as a result of it being tipped too far forward. As seen in the figure, D throws the right leg back in the attack. Always, I say, that when D was stringering C, had C been clever, he would have given a riverso to the face followed by a mandritto fendente to the head and thus he would have been safer.
Line 1,069: Line 1,069:
  
 
|-  
 
|-  
| [[File:Capo Ferro 9.jpg|300x300px|center]]
+
| [[File:Capo Ferro 9.jpg|400x400px|center]]
 
| '''A figure that attacks in a passata while the adversary disengages in order to wound.'''
 
| '''A figure that attacks in a passata while the adversary disengages in order to wound.'''
 
Figure D having gained the sword on the inside of the figure noted as C, the same C disengages to give a stocatta to the face of D. D attacks him to the face in second with a passing step making a grip with the left hand at the same time of the hilt of the enemy's sword. I will never fail to say that had the one called C been a clever person, he would have disengaged as a feint with his body held back to the rear. D advancing confidently to pass, C falsing underneath his sword and turning an inquartata with a void of the body, passing his leg crossed behind, would wound him in the chest.
 
Figure D having gained the sword on the inside of the figure noted as C, the same C disengages to give a stocatta to the face of D. D attacks him to the face in second with a passing step making a grip with the left hand at the same time of the hilt of the enemy's sword. I will never fail to say that had the one called C been a clever person, he would have disengaged as a feint with his body held back to the rear. D advancing confidently to pass, C falsing underneath his sword and turning an inquartata with a void of the body, passing his leg crossed behind, would wound him in the chest.
Line 1,076: Line 1,076:
  
 
|-  
 
|-  
| [[File:Capo Ferro 10.jpg|300x300px|center]]
+
| [[File:Capo Ferro 10.jpg|400x400px|center]]
 
| '''A figure that wounds in fourth to the right armpit while the adversary disengages to strike.'''
 
| '''A figure that wounds in fourth to the right armpit while the adversary disengages to strike.'''
 
<br/>C having gained the sword of D, the same C will turn a riverso to the face of the figure noted as D. D will then attack into the riverso in quarta, raising his arm and hilt of his sword and at the same time stepping forward well as the sword goes to the chest under the sword arm as you can see. However, instead of turning the riverso, C should have drawn back his sword while retiring back somewhat and lifted his sword in an oblique line (so that its tip was directed at the opponent's left side); [in this manner], if D had entered in fourth, C could have parried with a half mandritto and delivered a riverso to D's face or a thrust to his chest.
 
<br/>C having gained the sword of D, the same C will turn a riverso to the face of the figure noted as D. D will then attack into the riverso in quarta, raising his arm and hilt of his sword and at the same time stepping forward well as the sword goes to the chest under the sword arm as you can see. However, instead of turning the riverso, C should have drawn back his sword while retiring back somewhat and lifted his sword in an oblique line (so that its tip was directed at the opponent's left side); [in this manner], if D had entered in fourth, C could have parried with a half mandritto and delivered a riverso to D's face or a thrust to his chest.
Line 1,083: Line 1,083:
  
 
|-  
 
|-  
| [[File:Capo Ferro 11.jpg|300x300px|center]]
+
| [[File:Capo Ferro 11.jpg|400x400px|center]]
 
| '''The manner of wounding in diverse ways under the enemy's sword.'''
 
| '''The manner of wounding in diverse ways under the enemy's sword.'''
 
Beginning in third, you will put yourself in a high transverse quarta such that the point of your sword is aimed at the left shoulder of your adversary, and he coming to cover yours in an oblique line, you during his coming turning your hand into second with a bending and lowering of the body will wound him in contra tempo to the body under his sword as shown in the figure. Second, if your adversary had you narrow on the outside, disengage a feinted thrust in fourth to the face and when he parries, turning your hand with the same bending, you will strike him under the sword, as above. Third, if he has you narrow on the inside, you will be able to disengage with a feinted thrust in third to the face and as he raises his sword to parry you will wound him under the sword turning your hand to second in the manner previously mentioned. Fourth, if you are narrow on the inside of your adversary and he disengages to thrust you in the face, you will be able to wound him in two ways: first, you will be able to attack in contra tempo as he approaches, lowering your body and your sword in third; and also you will be able to wound him by parrying in third with the point high and turning the hand to second while striking as previously mentioned. Fifth and last, if you are narrow on the outside of your adversary and he disengages to stringer your sword on the inside, at the same time you will turn the hand, and with a lowering and bending of the body you will attack in third under the sword in the same manner as above.
 
Beginning in third, you will put yourself in a high transverse quarta such that the point of your sword is aimed at the left shoulder of your adversary, and he coming to cover yours in an oblique line, you during his coming turning your hand into second with a bending and lowering of the body will wound him in contra tempo to the body under his sword as shown in the figure. Second, if your adversary had you narrow on the outside, disengage a feinted thrust in fourth to the face and when he parries, turning your hand with the same bending, you will strike him under the sword, as above. Third, if he has you narrow on the inside, you will be able to disengage with a feinted thrust in third to the face and as he raises his sword to parry you will wound him under the sword turning your hand to second in the manner previously mentioned. Fourth, if you are narrow on the inside of your adversary and he disengages to thrust you in the face, you will be able to wound him in two ways: first, you will be able to attack in contra tempo as he approaches, lowering your body and your sword in third; and also you will be able to wound him by parrying in third with the point high and turning the hand to second while striking as previously mentioned. Fifth and last, if you are narrow on the outside of your adversary and he disengages to stringer your sword on the inside, at the same time you will turn the hand, and with a lowering and bending of the body you will attack in third under the sword in the same manner as above.
Line 1,090: Line 1,090:
  
 
|-  
 
|-  
| [[File:Capo Ferro 12.jpg|300x300px|center]]
+
| [[File:Capo Ferro 12.jpg|400x400px|center]]
 
| '''Figure that parries with the sword with both hands and wounds with a thrust to the throat with a passata while the adversary disengages the sword.'''
 
| '''Figure that parries with the sword with both hands and wounds with a thrust to the throat with a passata while the adversary disengages the sword.'''
 
Figure D having gained the sword of the figure noted as C on the inside in low guard, and C disengaging to give a stoccata to the chest of D, D passes with the left foot and at the same time presses the enemy’s sword down with both hands and attacks the chest in third. But without any doubt, if C had been an intelligent person, when disengaging the point to attack he would have disengaged somewhat retired, and D, parrying and passing with both hands to wound C, C only with a lowering of the point of the sword toward the earth and turning the hand to second with a voiding of the body to the left side of the adversary and a disengagement of the edge above the enemy's sword will wound on the inside with a riverso to the face, returning to third; or having parried, he will pass to the inside with the left leg; turning the body to the right, and holding his sword with both hands, while turning he will give a thrust to the chest going to D so that he cannot be saved.
 
Figure D having gained the sword of the figure noted as C on the inside in low guard, and C disengaging to give a stoccata to the chest of D, D passes with the left foot and at the same time presses the enemy’s sword down with both hands and attacks the chest in third. But without any doubt, if C had been an intelligent person, when disengaging the point to attack he would have disengaged somewhat retired, and D, parrying and passing with both hands to wound C, C only with a lowering of the point of the sword toward the earth and turning the hand to second with a voiding of the body to the left side of the adversary and a disengagement of the edge above the enemy's sword will wound on the inside with a riverso to the face, returning to third; or having parried, he will pass to the inside with the left leg; turning the body to the right, and holding his sword with both hands, while turning he will give a thrust to the chest going to D so that he cannot be saved.
Line 1,097: Line 1,097:
  
 
|-  
 
|-  
| [[File:Capo Ferro 13.jpg|300x300px|center]]
+
| [[File:Capo Ferro 13.jpg|400x400px|center]]
 
| '''Figure that wounds with a scannatura of the point to the right flank with a step while the adversary disengages to attack.'''
 
| '''Figure that wounds with a scannatura of the point to the right flank with a step while the adversary disengages to attack.'''
 
This manner of attack is called the scannatura, which is made in the following manner with C being narrow on the outside of the sword of the figure noted as D. The same figure D disengages a thrust to the face of C and the same C, meeting the sword of the enemy on the outside, lowering the point to second and passing with the left leg at the same time wounds him in the flank, lowering his hilt with his body and seizing his hand as you see.
 
This manner of attack is called the scannatura, which is made in the following manner with C being narrow on the outside of the sword of the figure noted as D. The same figure D disengages a thrust to the face of C and the same C, meeting the sword of the enemy on the outside, lowering the point to second and passing with the left leg at the same time wounds him in the flank, lowering his hilt with his body and seizing his hand as you see.
Line 1,104: Line 1,104:
  
 
|-  
 
|-  
| [[File:Capo Ferro 15.jpg|300x300px|center]]
+
| [[File:Capo Ferro 15.jpg|400x400px|center]]
 
| '''Figure that wounds under the sword of the enemy in contra tempo without parrying, only with a lowering of the body as demonstrated in the picture.'''
 
| '''Figure that wounds under the sword of the enemy in contra tempo without parrying, only with a lowering of the body as demonstrated in the picture.'''
 
D having gained the sword of C on the inside, the same C disengages to give a stoccata to the face of D. D lowers the body and steps forward with the right leg at the same time wounding in contra tempo without parrying, in second, below the enemy's sword as in the picture. And he would be more able to succeed in the said thrust if he would have done it differently, that is when C disengages to give a stoccata to the face of D, D would parry in third with the point high and in the same tempo lowering the point and turning the sword to second he could attack to the chest with a passing step while grabbing the sword hand. But if C was a practiced person he would have thrown the right foot to the rear and in his approach he would confront the enemy's sword on the outside and in the same tempo lower the point and turn the hand to second to attack with a scannatura below the enemy's sword. Or in his drawing back, he could parry with the left hand from above to below his arm and wound D in a high second to the chest or to the face.
 
D having gained the sword of C on the inside, the same C disengages to give a stoccata to the face of D. D lowers the body and steps forward with the right leg at the same time wounding in contra tempo without parrying, in second, below the enemy's sword as in the picture. And he would be more able to succeed in the said thrust if he would have done it differently, that is when C disengages to give a stoccata to the face of D, D would parry in third with the point high and in the same tempo lowering the point and turning the sword to second he could attack to the chest with a passing step while grabbing the sword hand. But if C was a practiced person he would have thrown the right foot to the rear and in his approach he would confront the enemy's sword on the outside and in the same tempo lower the point and turn the hand to second to attack with a scannatura below the enemy's sword. Or in his drawing back, he could parry with the left hand from above to below his arm and wound D in a high second to the chest or to the face.
Line 1,111: Line 1,111:
  
 
|-  
 
|-  
| [[File:Capo Ferro 14.jpg|300x300px|center]]
+
| [[File:Capo Ferro 14.jpg|400x400px|center]]
 
| '''The present and subsequent figures demonstrate diverse ways to attack to the inside always presupposing a stringering on the outside and a disengagement by the enemy of the point in order to attack.'''
 
| '''The present and subsequent figures demonstrate diverse ways to attack to the inside always presupposing a stringering on the outside and a disengagement by the enemy of the point in order to attack.'''
 
The following figures demonstrate diverse ways to attack on the inside presupposing always a stringering on the outside on your side, and on that of your adversary, a disengage in order to attack you. D disengages as aforementioned and C will attack in fourth with a firm foot, or with a step, to the throat or face. But if D had been an intelligent person, when he disengaged he would have done so with a beating of his enemy's sword with his edge, followed with a thrust to the face or a riverso to the arm of figure C, then retiring into terza in ordinary pace.
 
The following figures demonstrate diverse ways to attack on the inside presupposing always a stringering on the outside on your side, and on that of your adversary, a disengage in order to attack you. D disengages as aforementioned and C will attack in fourth with a firm foot, or with a step, to the throat or face. But if D had been an intelligent person, when he disengaged he would have done so with a beating of his enemy's sword with his edge, followed with a thrust to the face or a riverso to the arm of figure C, then retiring into terza in ordinary pace.
Line 1,118: Line 1,118:
  
 
|-  
 
|-  
| [[File:Capo Ferro 16.jpg|300x300px|center]]
+
| [[File:Capo Ferro 16.jpg|400x400px|center]]
 
| '''Double mode of gaining the enemy's sword on the inside and the outside.'''
 
| '''Double mode of gaining the enemy's sword on the inside and the outside.'''
 
Knowing through experience how useful it is to know how to gain the enemy's sword, I have not wanted to fail to say the manner which one must adopt, going to stringer and gain the same. First, in wanting to go to stringer the adversary's sword, on the inside as on the outside, according to the occasion, one must stringer the same at a distance of about one palmo from the point. If it occurs that one has to stringer on the inside, the point of the sword will look to the right shoulder of the enemy; and if to the outside it will look to the left shoulder. Having done so, one will go walking towards the sword of the enemy; if it occurs that he disengages, in that instant one will counterdisengage with a return of the sword to its place, or with the same counterdisengage one will wound him in the tempo of his disengage. Moreover, if it occurs that the adversary comes to stringer the sword, on the inside or the outside, which is found lying level in the straight line with the arm extended, in that instant one will disengage and stringer, walking forward. And if it occurs that you must disengage in order to stringer on the inside, you will, in this disengage, carry your right foot forward, bending your body toward your right side, carrying your left hand near to your right, and passing then with your left foot, you will strike him with a thrust in the breast in fourth; and having to disengage in order to stringer on the outside, one will in a similar manner carry the right foot forward with a bending of the body to your left side, and passing with the left foot, wound in second to the chest. Moreover, be aware that the following figures demonstrate stringering the sword on the outside in third; however you must follow the rule of gaining the sword of the adversary as stated above.
 
Knowing through experience how useful it is to know how to gain the enemy's sword, I have not wanted to fail to say the manner which one must adopt, going to stringer and gain the same. First, in wanting to go to stringer the adversary's sword, on the inside as on the outside, according to the occasion, one must stringer the same at a distance of about one palmo from the point. If it occurs that one has to stringer on the inside, the point of the sword will look to the right shoulder of the enemy; and if to the outside it will look to the left shoulder. Having done so, one will go walking towards the sword of the enemy; if it occurs that he disengages, in that instant one will counterdisengage with a return of the sword to its place, or with the same counterdisengage one will wound him in the tempo of his disengage. Moreover, if it occurs that the adversary comes to stringer the sword, on the inside or the outside, which is found lying level in the straight line with the arm extended, in that instant one will disengage and stringer, walking forward. And if it occurs that you must disengage in order to stringer on the inside, you will, in this disengage, carry your right foot forward, bending your body toward your right side, carrying your left hand near to your right, and passing then with your left foot, you will strike him with a thrust in the breast in fourth; and having to disengage in order to stringer on the outside, one will in a similar manner carry the right foot forward with a bending of the body to your left side, and passing with the left foot, wound in second to the chest. Moreover, be aware that the following figures demonstrate stringering the sword on the outside in third; however you must follow the rule of gaining the sword of the adversary as stated above.
Line 1,125: Line 1,125:
  
 
|-  
 
|-  
| [[File:Capo Ferro 17.jpg|300x300px|center]]
+
| [[File:Capo Ferro 17.jpg|400x400px|center]]
 
| '''Figure that strikes near the ear with a void of the right foot.'''
 
| '''Figure that strikes near the ear with a void of the right foot.'''
 
The figure noted as C being narrow on the outside of figure noted B and this figure disengaging to attack in 4th the figure called C, the same figure noted as C attacks with a void of the right foot in a traverse to the outside of his sword and attacks into the face near the ear. I will never fail to say that if B had been an experienced person he would have disengaged the sword in order to feint, and with the body held back rather a little to the rear, and C coming confidently toward B in order to strike B with the void of the crossed right foot, B, meeting his enemy's sword on the outside, lowering his point in second and passing with the left leg in the same tempo, would wound him in the flank, seizing his sword hand.
 
The figure noted as C being narrow on the outside of figure noted B and this figure disengaging to attack in 4th the figure called C, the same figure noted as C attacks with a void of the right foot in a traverse to the outside of his sword and attacks into the face near the ear. I will never fail to say that if B had been an experienced person he would have disengaged the sword in order to feint, and with the body held back rather a little to the rear, and C coming confidently toward B in order to strike B with the void of the crossed right foot, B, meeting his enemy's sword on the outside, lowering his point in second and passing with the left leg in the same tempo, would wound him in the flank, seizing his sword hand.
Line 1,132: Line 1,132:
  
 
|-  
 
|-  
| [[File:Capo Ferro 18.jpg|300x300px|center]]
+
| [[File:Capo Ferro 18.jpg|400x400px|center]]
 
| '''Figure that wounds to the throat in fourth on a pass with the left foot.'''
 
| '''Figure that wounds to the throat in fourth on a pass with the left foot.'''
 
The figure designated as C being narrow to the outside of the sword of the figure B, and the same figure B disengaging to give a stoccata to the face of C, C wounds him during the disengage in the throat or the face in fourth on a pass as the picture shows. But if B had been an experienced person he would have disengaged his sword to feint, with his body held back somewhat to the rear, and C coming securely to pass forward in fourth, B turning then with a void of his body, passing with his left leg behind his right, would wound him in the chest.
 
The figure designated as C being narrow to the outside of the sword of the figure B, and the same figure B disengaging to give a stoccata to the face of C, C wounds him during the disengage in the throat or the face in fourth on a pass as the picture shows. But if B had been an experienced person he would have disengaged his sword to feint, with his body held back somewhat to the rear, and C coming securely to pass forward in fourth, B turning then with a void of his body, passing with his left leg behind his right, would wound him in the chest.
Line 1,139: Line 1,139:
  
 
|-  
 
|-  
| [[File:Capo Ferro 19.jpg|300x300px|center]]
+
| [[File:Capo Ferro 19.jpg|400x400px|center]]
 
| '''Figure that wounds in fourth with a void of the body carrying the left leg crossed behind the right.'''
 
| '''Figure that wounds in fourth with a void of the body carrying the left leg crossed behind the right.'''
 
<br/>Figure D having gained the sword against figure C on the outside, and D disengaging to give a thrust to the face of C, C wounds in fourth with a void of the body by stepping with the left leg crossing behind the right as the figure demonstrates. If D had been an experienced person he would have disengaged to gain the sword on the inside of C with a bending of the body toward his right side, and having gained it, would have passed forward immediately with the left foot, giving him a thrust in fourth to the chest, or he would have disengaged with a mezzo mandritto, beating the enemy's sword, giving C a riverso to the face, returning to third and thus he would have been secure.
 
<br/>Figure D having gained the sword against figure C on the outside, and D disengaging to give a thrust to the face of C, C wounds in fourth with a void of the body by stepping with the left leg crossing behind the right as the figure demonstrates. If D had been an experienced person he would have disengaged to gain the sword on the inside of C with a bending of the body toward his right side, and having gained it, would have passed forward immediately with the left foot, giving him a thrust in fourth to the chest, or he would have disengaged with a mezzo mandritto, beating the enemy's sword, giving C a riverso to the face, returning to third and thus he would have been secure.
Line 1,146: Line 1,146:
  
 
|-  
 
|-  
| [[File:Capo Ferro 20.jpg|300x300px|center]]
+
| [[File:Capo Ferro 20.jpg|400x400px|center]]
 
| '''Figure that strikes the face in second on a passata while seizing the sword arm of the enemy with the left hand.'''
 
| '''Figure that strikes the face in second on a passata while seizing the sword arm of the enemy with the left hand.'''
 
By clarification of the following figures, C, having his adversary, that is, the figure D, narrow to the outside, and the same D disengaging to give a stoccata to C, the same C parries the enemy’s sword in fourth with a beat of the right foot, and all in one tempo, passing and turning the body, he will strike him in second in the face, although this can also be done without passing, striking him in fourth in dui tempi. But if D had been a person practiced at swordplay, when C disengaged to parry in fourth with a beating of his right foot, D would have counter-disengaged his sword to the outside and would have struck him in the face in second, retiring to the rear into third, following the enemy’s sword with his sword in said retiring, and thus would C be wounded.
 
By clarification of the following figures, C, having his adversary, that is, the figure D, narrow to the outside, and the same D disengaging to give a stoccata to C, the same C parries the enemy’s sword in fourth with a beat of the right foot, and all in one tempo, passing and turning the body, he will strike him in second in the face, although this can also be done without passing, striking him in fourth in dui tempi. But if D had been a person practiced at swordplay, when C disengaged to parry in fourth with a beating of his right foot, D would have counter-disengaged his sword to the outside and would have struck him in the face in second, retiring to the rear into third, following the enemy’s sword with his sword in said retiring, and thus would C be wounded.
Line 1,153: Line 1,153:
  
 
|-  
 
|-  
| [[File:Capo Ferro 21.jpg|300x300px|center]]
+
| [[File:Capo Ferro 21.jpg|400x400px|center]]
 
| '''Figures of the sword and dagger which demonstrate the manner of stringering the adversary's sword finding oneself in a high prima on the inside,'''
 
| '''Figures of the sword and dagger which demonstrate the manner of stringering the adversary's sword finding oneself in a high prima on the inside,'''
 
<br/>noting that if the point of the enemy's sword is aimed at your right shoulder then it must be found on the outside; and you will adopt the same manner in gaining the low guards. The following figures demonstrate the play of sword and dagger, and principally is taught the manner of stringering the sword of the adversary, finding oneself in a high prima, noting that it is not possible in a figure to demonstrate all of the manners of stringering on the outside and on the inside, from low and from high, deferring the description to the reader of such, noting only that if the point of the enemy's sword is aimed towards your right side you will find him on the outside, and moreover that if it occurs to you to stringer the low guards, one stringers with the sword in the sloping line, with the third as with the fourth.
 
<br/>noting that if the point of the enemy's sword is aimed at your right shoulder then it must be found on the outside; and you will adopt the same manner in gaining the low guards. The following figures demonstrate the play of sword and dagger, and principally is taught the manner of stringering the sword of the adversary, finding oneself in a high prima, noting that it is not possible in a figure to demonstrate all of the manners of stringering on the outside and on the inside, from low and from high, deferring the description to the reader of such, noting only that if the point of the enemy's sword is aimed towards your right side you will find him on the outside, and moreover that if it occurs to you to stringer the low guards, one stringers with the sword in the sloping line, with the third as with the fourth.
Line 1,160: Line 1,160:
  
 
|-  
 
|-  
| [[File:Capo Ferro 22.jpg|300x300px|center]]
+
| [[File:Capo Ferro 22.jpg|400x400px|center]]
 
| '''Figures that demonstrate how with a single parry with the dagger it is possible to wound in three places with the point, that is in the face, to the chest, and to the thigh.'''
 
| '''Figures that demonstrate how with a single parry with the dagger it is possible to wound in three places with the point, that is in the face, to the chest, and to the thigh.'''
 
These following figures demonstrate an artful manner of wounding in three diverse ways with the thrust and with a single parry of the dagger, which are done thus: you being in fourth, having the adversary narrow on the inside in whatsoever guard apt for stringering on the inside, he can disengage to give you a thrust in two ways: to the face or chest. However, he having disengaged to attack you, you will parry his sword to the inside with your dagger over your right arm, and in the first occasion you will be able to attack him high or low, that is, to the face, or under the arm to the chest or in the thigh; and in the second only to the face or thigh.
 
These following figures demonstrate an artful manner of wounding in three diverse ways with the thrust and with a single parry of the dagger, which are done thus: you being in fourth, having the adversary narrow on the inside in whatsoever guard apt for stringering on the inside, he can disengage to give you a thrust in two ways: to the face or chest. However, he having disengaged to attack you, you will parry his sword to the inside with your dagger over your right arm, and in the first occasion you will be able to attack him high or low, that is, to the face, or under the arm to the chest or in the thigh; and in the second only to the face or thigh.
Line 1,167: Line 1,167:
  
 
|-  
 
|-  
| [[File:Capo Ferro 23.jpg|300x300px|center]]
+
| [[File:Capo Ferro 23.jpg|400x400px|center]]
 
| '''A figure that wounds in second to the chest between the weapons by a pretense, disengaging over the dagger, and also in the same manner could have wounded in fourth.'''
 
| '''A figure that wounds in second to the chest between the weapons by a pretense, disengaging over the dagger, and also in the same manner could have wounded in fourth.'''
 
The adversary lying in a low third with the arm withdrawn, and with the dagger forward and united with the sword, you will place yourself opposite him in a high third, making a feint in a high fourth or a similar third outside of the dagger to the face, and while he raises his dagger to parry and attack you in fourth, you will disengage over his dagger and in the same tempo parrying to the inside you will wound him in second to the chest.
 
The adversary lying in a low third with the arm withdrawn, and with the dagger forward and united with the sword, you will place yourself opposite him in a high third, making a feint in a high fourth or a similar third outside of the dagger to the face, and while he raises his dagger to parry and attack you in fourth, you will disengage over his dagger and in the same tempo parrying to the inside you will wound him in second to the chest.
Line 1,174: Line 1,174:
  
 
|-  
 
|-  
| [[File:Capo Ferro 24.jpg|300x300px|center]]
+
| [[File:Capo Ferro 24.jpg|400x400px|center]]
 
| '''A figure that strikes above the right arm to the chest and makes the sword fall with the schiodatura (unfastening) of the sword and the dagger.'''
 
| '''A figure that strikes above the right arm to the chest and makes the sword fall with the schiodatura (unfastening) of the sword and the dagger.'''
 
With this figure you will easily comprehend and learn the manner of casting down the sword from the hand and giving as well in the same tempo a thrust to the chest. That is to say finding yourself in third with the arm withdrawn and uniting the dagger with the sword, the adversary being in the same guard, or in fourth, you will commence to stringer his sword on the inside in fourth and you will lower your dagger to the middle of your right arm in an oblique line; and your adversary disengaging in fourth to thrust you in the chest you will wound him to the outside with a punta riversa to the body, raising the hilt of your sword somewhat and in the same tempo parrying down with the flat of your dagger to the outside you will cause him to abandon his weapon through force.
 
With this figure you will easily comprehend and learn the manner of casting down the sword from the hand and giving as well in the same tempo a thrust to the chest. That is to say finding yourself in third with the arm withdrawn and uniting the dagger with the sword, the adversary being in the same guard, or in fourth, you will commence to stringer his sword on the inside in fourth and you will lower your dagger to the middle of your right arm in an oblique line; and your adversary disengaging in fourth to thrust you in the chest you will wound him to the outside with a punta riversa to the body, raising the hilt of your sword somewhat and in the same tempo parrying down with the flat of your dagger to the outside you will cause him to abandon his weapon through force.
Line 1,181: Line 1,181:
  
 
|-  
 
|-  
| [[File:Capo Ferro 25.jpg|300x300px|center]]
+
| [[File:Capo Ferro 25.jpg|400x400px|center]]
 
| '''A figure that parries with the dagger high to the inside and wounds with a roverso to the thigh, and in fourth to the chest as demonstrated in the picture.'''
 
| '''A figure that parries with the dagger high to the inside and wounds with a roverso to the thigh, and in fourth to the chest as demonstrated in the picture.'''
 
Finding yourself in fourth with the dagger high and your adversary in whatsoever guard apt for stringering on the inside, with the right leg forward, you will commence to stringer him on the inside in fourth, and he disengaging to wound you in fourth to the face, you will parry to the inside with the dagger above your right arm, and you will be able to wound him either with a riverso to the thigh or with a quarta below the arm.
 
Finding yourself in fourth with the dagger high and your adversary in whatsoever guard apt for stringering on the inside, with the right leg forward, you will commence to stringer him on the inside in fourth, and he disengaging to wound you in fourth to the face, you will parry to the inside with the dagger above your right arm, and you will be able to wound him either with a riverso to the thigh or with a quarta below the arm.
Line 1,188: Line 1,188:
  
 
|-  
 
|-  
| [[File:Capo Ferro 26.jpg|300x300px|center]]
+
| [[File:Capo Ferro 26.jpg|400x400px|center]]
 
| '''A figure that parries with the sword in fourth accompanied with the dagger and wounding in fourth to the face or with a riverso to the arm as shown in the picture.'''
 
| '''A figure that parries with the sword in fourth accompanied with the dagger and wounding in fourth to the face or with a riverso to the arm as shown in the picture.'''
 
If it so happens that you find yourself in an extended third with the dagger at your wrist and your adversary in whatever guard he wants apt for stringering on the outside, you will commence to stringer him in the same third, now high, now low, and according to the occasion without moving the dagger from its place, and your adversary disengaging to wound you in fourth or second, parrying in fourth with the sword accompanied with the dagger you will be able to wound him, as you can see, either by a riverso to the arm or a quarta to the face.
 
If it so happens that you find yourself in an extended third with the dagger at your wrist and your adversary in whatever guard he wants apt for stringering on the outside, you will commence to stringer him in the same third, now high, now low, and according to the occasion without moving the dagger from its place, and your adversary disengaging to wound you in fourth or second, parrying in fourth with the sword accompanied with the dagger you will be able to wound him, as you can see, either by a riverso to the arm or a quarta to the face.
Line 1,195: Line 1,195:
  
 
|-  
 
|-  
| [[File:Capo Ferro 27.jpg|300x300px|center]]
+
| [[File:Capo Ferro 27.jpg|400x400px|center]]
 
| '''A figure that makes a feint above the dagger, and the enemy, raising to parry the same, strikes him in the chest, disengaging the sword under in fourth.'''
 
| '''A figure that makes a feint above the dagger, and the enemy, raising to parry the same, strikes him in the chest, disengaging the sword under in fourth.'''
 
<br/>Finding yourself in an extended third with the dagger at the wrist and the adversary in a low fourth with the sword withdrawn and his dagger high and extended, you will commence to make a feint above his dagger in third. Maintaining your dagger in its place, he parrying up with his dagger, wanting to strike you in the same tempo in fourth or second, you will disengage under, and parrying his attack therewith you will wound him in fourth in the chest.
 
<br/>Finding yourself in an extended third with the dagger at the wrist and the adversary in a low fourth with the sword withdrawn and his dagger high and extended, you will commence to make a feint above his dagger in third. Maintaining your dagger in its place, he parrying up with his dagger, wanting to strike you in the same tempo in fourth or second, you will disengage under, and parrying his attack therewith you will wound him in fourth in the chest.
Line 1,202: Line 1,202:
  
 
|-  
 
|-  
| [[File:Capo Ferro 28.jpg|300x300px|center]]
+
| [[File:Capo Ferro 28.jpg|400x400px|center]]
 
| '''Figure that parries under his right arm with the dagger, and strikes in second into the face or with a stramazzone riverso in the sword arm.'''
 
| '''Figure that parries under his right arm with the dagger, and strikes in second into the face or with a stramazzone riverso in the sword arm.'''
 
<br/>Lying in a low or high third, with your dagger at your wrist, your adversary being in whatsoever guard accommodated to stringer on the outside you will begin to stringer on the outside in high or low third, according to the occasion, elevating your dagger, and he wanting to disengage through to the inside, and throw from fourth or second, you parrying down with the dagger under your sword arm, will throw at him a stramazzone to his arm or you will strike him in second in the face, as is shown:
 
<br/>Lying in a low or high third, with your dagger at your wrist, your adversary being in whatsoever guard accommodated to stringer on the outside you will begin to stringer on the outside in high or low third, according to the occasion, elevating your dagger, and he wanting to disengage through to the inside, and throw from fourth or second, you parrying down with the dagger under your sword arm, will throw at him a stramazzone to his arm or you will strike him in second in the face, as is shown:
Line 1,209: Line 1,209:
  
 
|-  
 
|-  
| [[File:Capo Ferro 29.jpg|300x300px|center]]
+
| [[File:Capo Ferro 29.jpg|400x400px|center]]
 
| '''Figure that strikes over the dagger in second into the left shoulder while the adversary seeks to gain the sword against him from the outside.'''
 
| '''Figure that strikes over the dagger in second into the left shoulder while the adversary seeks to gain the sword against him from the outside.'''
 
If you lie in extended third with your dagger in an oblique line over the beginning of the forte of your sword, your adversary being in the same guard, he coming to stringer on the outside also in third, you will disengage and beat his sword with yours in fourth all in one tempo, and immediately parrying his already pressed sword with your dagger, you will strike him at the same time over his dagger in the left shoulder.
 
If you lie in extended third with your dagger in an oblique line over the beginning of the forte of your sword, your adversary being in the same guard, he coming to stringer on the outside also in third, you will disengage and beat his sword with yours in fourth all in one tempo, and immediately parrying his already pressed sword with your dagger, you will strike him at the same time over his dagger in the left shoulder.
Line 1,216: Line 1,216:
  
 
|-  
 
|-  
| [[File:Capo Ferro 30.jpg|300x300px|center]]
+
| [[File:Capo Ferro 30.jpg|400x400px|center]]
 
| '''Figure that strikes in second over the dagger into the left shoulder from a feint, parrying with his dagger from above to below under his right arm.'''
 
| '''Figure that strikes in second over the dagger into the left shoulder from a feint, parrying with his dagger from above to below under his right arm.'''
 
<br/>You being in third or fourth with your arm back, with your dagger at your wrist, your adversary being in fourth with his sword back and dagger high and extended, you will make a feint at him from under his dagger, elevating yours, and parrying him down with your dagger toward his left side you will disengage in the same tempo over his dagger, parrying the enemy’s sword to the inside under your right arm, and you will strike him in second over his dagger.
 
<br/>You being in third or fourth with your arm back, with your dagger at your wrist, your adversary being in fourth with his sword back and dagger high and extended, you will make a feint at him from under his dagger, elevating yours, and parrying him down with your dagger toward his left side you will disengage in the same tempo over his dagger, parrying the enemy’s sword to the inside under your right arm, and you will strike him in second over his dagger.
Line 1,223: Line 1,223:
  
 
|-  
 
|-  
| [[File:Capo Ferro 31.jpg|300x300px|center]]
+
| [[File:Capo Ferro 31.jpg|400x400px|center]]
 
| '''Figure that strikes on a passata with a thrust in falso from beneath, up between the weapons into the breast, parrying with his dagger over his right arm, stringering well the weapons together.'''
 
| '''Figure that strikes on a passata with a thrust in falso from beneath, up between the weapons into the breast, parrying with his dagger over his right arm, stringering well the weapons together.'''
 
The adversary lying in third with both weapons extended in an oblique line, so that the point of his sword is aimed at your right shoulder and that of his dagger is aimed at your left, you will put yourself opposite him in third with the point of your sword low and with the dagger high, with your body bent as much as possible toward your left side; and he wanting to approach in order to stringer you, or for some other aim of his, you will pass with your left foot in the same tempo toward his right side, and parrying with your dagger toward the inside over your right arm you will extend to him a thrust in falso from beneath up between his weapons, or alternately with both weapons disengaging with the sword above you will press his sword striking him in third in the very same tempo.
 
The adversary lying in third with both weapons extended in an oblique line, so that the point of his sword is aimed at your right shoulder and that of his dagger is aimed at your left, you will put yourself opposite him in third with the point of your sword low and with the dagger high, with your body bent as much as possible toward your left side; and he wanting to approach in order to stringer you, or for some other aim of his, you will pass with your left foot in the same tempo toward his right side, and parrying with your dagger toward the inside over your right arm you will extend to him a thrust in falso from beneath up between his weapons, or alternately with both weapons disengaging with the sword above you will press his sword striking him in third in the very same tempo.
Line 1,230: Line 1,230:
  
 
|-  
 
|-  
| [[File:Capo Ferro 32.jpg|300x300px|center]]
+
| [[File:Capo Ferro 32.jpg|400x400px|center]]
 
| '''Figure that strikes in fourth into the throat only with falsing the sword and lowering the dagger in order to parry while the adversary disengages from the sword and seeks to parry with the dagger.'''
 
| '''Figure that strikes in fourth into the throat only with falsing the sword and lowering the dagger in order to parry while the adversary disengages from the sword and seeks to parry with the dagger.'''
 
The adversary lying in high third with his dagger crossed and joined at the beginning of the forte of his sword, somewhat oblique, you will stringer it in third on the outside, with the dagger high, and he disengaging under, assisting himself by parrying with his dagger in order to strike you in fourth, you will parry with your dagger from up to down, toward your left side, and in one tempo disengaging under his dagger, you will strike him in fourth in the face, or wherever it happens to be more convenient.
 
The adversary lying in high third with his dagger crossed and joined at the beginning of the forte of his sword, somewhat oblique, you will stringer it in third on the outside, with the dagger high, and he disengaging under, assisting himself by parrying with his dagger in order to strike you in fourth, you will parry with your dagger from up to down, toward your left side, and in one tempo disengaging under his dagger, you will strike him in fourth in the face, or wherever it happens to be more convenient.
Line 1,237: Line 1,237:
  
 
|-  
 
|-  
| [[File:Capo Ferro 33.jpg|300x300px|center]]
+
| [[File:Capo Ferro 33.jpg|400x400px|center]]
 
| '''Figure that strikes in fourth under the dagger into the breast, carrying the right leg back and parrying highwith the dagger, while the adversary passes forward with his leg in order to strike in second over his dagger.'''
 
| '''Figure that strikes in fourth under the dagger into the breast, carrying the right leg back and parrying highwith the dagger, while the adversary passes forward with his leg in order to strike in second over his dagger.'''
 
The adversary lying in low third, you will oppose him in high third with your dagger joined across over your forte, and he coming on a passata to strike you in second over your dagger, and parrying wide with his, only pulling back your right leg, he raising his dagger to parry, you will disengage under his, carrying your body well forward, as the figure shows, and you will strike him in fourth.
 
The adversary lying in low third, you will oppose him in high third with your dagger joined across over your forte, and he coming on a passata to strike you in second over your dagger, and parrying wide with his, only pulling back your right leg, he raising his dagger to parry, you will disengage under his, carrying your body well forward, as the figure shows, and you will strike him in fourth.
Line 1,244: Line 1,244:
  
 
|-  
 
|-  
| [[File:Capo Ferro 34.jpg|300x300px|center]]
+
| [[File:Capo Ferro 34.jpg|400x400px|center]]
 
| '''Figure that strikes in second over the dagger into the breast while the adversary passes with his left foot in order to strike, only with pulling back the right leg during his approach, and parrying with the dagger under his right arm.'''
 
| '''Figure that strikes in second over the dagger into the breast while the adversary passes with his left foot in order to strike, only with pulling back the right leg during his approach, and parrying with the dagger under his right arm.'''
 
Although the adversary lies in fourth with his sword back and low, and with his dagger extended high and wide, you will oppose him in fourth with your arm extended and dagger high, and he moving on a passata to parry your sword down from high in order to strike you in second, pulling back your right leg, you will parry him down with your dagger toward your right side, and you will disengage your sword over his dagger, and will strike him in second.
 
Although the adversary lies in fourth with his sword back and low, and with his dagger extended high and wide, you will oppose him in fourth with your arm extended and dagger high, and he moving on a passata to parry your sword down from high in order to strike you in second, pulling back your right leg, you will parry him down with your dagger toward your right side, and you will disengage your sword over his dagger, and will strike him in second.
Line 1,251: Line 1,251:
  
 
|-  
 
|-  
| [[File:Capo Ferro 35.jpg|300x300px|center]]
+
| [[File:Capo Ferro 35.jpg|400x400px|center]]
 
| '''Figure that strikes with a thrust between the weapons into the chest disengaging it over the dagger while the adversary was being in wide guard, and lets the enemy arrive to measure.'''
 
| '''Figure that strikes with a thrust between the weapons into the chest disengaging it over the dagger while the adversary was being in wide guard, and lets the enemy arrive to measure.'''
 
The adversary lying in fourth with his arm back, and with his dagger straight high and wide and with his arm extended, you will oppose him in extended third with your dagger crossed forward of your breast, and you will approach his dagger from the outside, he staying yet in his guard; once arrived, you will make the point of your sword even with his dagger, then you will disengage over in fourth, delivering to him a long stoccata into the breast.
 
The adversary lying in fourth with his arm back, and with his dagger straight high and wide and with his arm extended, you will oppose him in extended third with your dagger crossed forward of your breast, and you will approach his dagger from the outside, he staying yet in his guard; once arrived, you will make the point of your sword even with his dagger, then you will disengage over in fourth, delivering to him a long stoccata into the breast.
Line 1,258: Line 1,258:
  
 
|-  
 
|-  
| [[File:Capo Ferro 36.jpg|300x300px|center]]
+
| [[File:Capo Ferro 36.jpg|400x400px|center]]
 
| '''Method of employing the sword and cape.'''
 
| '''Method of employing the sword and cape.'''
 
To the end that this matter of the cape be better understood, it will perhaps not be out of place to explain some terms that must be used therewith. I tell you therefore that having the cape thereabout, it will be allowed to fall down off the right shoulder, to as far as the middle of the left arm, and then wrapping the left hand through outside, enveloping the arm in the said cape, putting oneself with it into third, or in some other guard as you like. Then, when stepping, that order will be obtained as is held with the sword and dagger, in order to be an identical progress, except that in parrying there is a difference. In that then, the cape can be cut, and punctured, which cannot occur to the dagger. And finding yourself in third, as above, at the encounter with your adversary, and he throws a mandritto at your head, you at the same time will step forward with your left foot, parrying against the forte of the enemy’s sword with your cape, giving him a thrust in his breast; one can also parry the said previous blow with the sword in guardia di testa accompanied by the cape, gathering in that tempo your left foot near to your right, and immediately advance with the right, and turn a mandritto to his head or leg; but when he throws either a mandritto or riverso to your leg, you will draw back your right foot somewhat, and if it be a mandritto, then give him a riverso to his sword arm; and if it be a riverso, then give him a dritto just in the said arm; but the true parry will be to parry with the sword and then in the striking to go to accompany the sword with the cape, with bumping into the enemy’s sword, and thus one will strike safely. Moreover I say that the following figures show the manner that one must hold to reach the sword to the adversary, in sword and cape from the inside.
 
To the end that this matter of the cape be better understood, it will perhaps not be out of place to explain some terms that must be used therewith. I tell you therefore that having the cape thereabout, it will be allowed to fall down off the right shoulder, to as far as the middle of the left arm, and then wrapping the left hand through outside, enveloping the arm in the said cape, putting oneself with it into third, or in some other guard as you like. Then, when stepping, that order will be obtained as is held with the sword and dagger, in order to be an identical progress, except that in parrying there is a difference. In that then, the cape can be cut, and punctured, which cannot occur to the dagger. And finding yourself in third, as above, at the encounter with your adversary, and he throws a mandritto at your head, you at the same time will step forward with your left foot, parrying against the forte of the enemy’s sword with your cape, giving him a thrust in his breast; one can also parry the said previous blow with the sword in guardia di testa accompanied by the cape, gathering in that tempo your left foot near to your right, and immediately advance with the right, and turn a mandritto to his head or leg; but when he throws either a mandritto or riverso to your leg, you will draw back your right foot somewhat, and if it be a mandritto, then give him a riverso to his sword arm; and if it be a riverso, then give him a dritto just in the said arm; but the true parry will be to parry with the sword and then in the striking to go to accompany the sword with the cape, with bumping into the enemy’s sword, and thus one will strike safely. Moreover I say that the following figures show the manner that one must hold to reach the sword to the adversary, in sword and cape from the inside.
Line 1,265: Line 1,265:
  
 
|-  
 
|-  
| [[File:Capo Ferro 37.jpg|300x300px|center]]
+
| [[File:Capo Ferro 37.jpg|400x400px|center]]
 
| '''Figure that strikes from a counter-disengage from fourth into the face, parrying the enemy’s sword to the outside with the cape arm, as the adversary would disengage his sword in order to strike with a thrust.'''
 
| '''Figure that strikes from a counter-disengage from fourth into the face, parrying the enemy’s sword to the outside with the cape arm, as the adversary would disengage his sword in order to strike with a thrust.'''
 
Your adversary being in fourth with his sword extended and high, you will give yourself to stringer it in fourth on the inside, with your cape arm under your forte; he wanting to disengage in order to strike you with a thrust in whatever manner he wills, parrying up with the cape, to the outside from your left side, and counterdisengaging from fourth, you will strike him in the face or wherever it will happen to be more convenient for you.
 
Your adversary being in fourth with his sword extended and high, you will give yourself to stringer it in fourth on the inside, with your cape arm under your forte; he wanting to disengage in order to strike you with a thrust in whatever manner he wills, parrying up with the cape, to the outside from your left side, and counterdisengaging from fourth, you will strike him in the face or wherever it will happen to be more convenient for you.
Line 1,272: Line 1,272:
  
 
|-  
 
|-  
| [[File:Capo Ferro 38.jpg|300x300px|center]]
+
| [[File:Capo Ferro 38.jpg|400x400px|center]]
 
| '''Figure that strikes with a strammazone riverso in the face of a left-hander and will also be able to strike in second into the breast, or alternately in fourth from the outside of the enemy’s sword during the disengage that his point makes in order to strike.'''
 
| '''Figure that strikes with a strammazone riverso in the face of a left-hander and will also be able to strike in second into the breast, or alternately in fourth from the outside of the enemy’s sword during the disengage that his point makes in order to strike.'''
 
The adversary, who will be left handed, lying in fourth with his arm extended, you will begin to stringer his sword on the inside in third, with your dagger high, and he disengaging in order to strike you in second in the face, you will be able to strike him in three manners: first, only lowering your dagger and parrying his sword you will strike him with a strammazone riverso in the face; alternately, in second in the chest; taking note, nonetheless, that during his disengage it will be better to strike him in fourth with your sword alone on the outside.
 
The adversary, who will be left handed, lying in fourth with his arm extended, you will begin to stringer his sword on the inside in third, with your dagger high, and he disengaging in order to strike you in second in the face, you will be able to strike him in three manners: first, only lowering your dagger and parrying his sword you will strike him with a strammazone riverso in the face; alternately, in second in the chest; taking note, nonetheless, that during his disengage it will be better to strike him in fourth with your sword alone on the outside.
Line 1,279: Line 1,279:
  
 
|-  
 
|-  
| [[File:Capo Ferro 39.jpg|300x300px|center]]
+
| [[File:Capo Ferro 39.jpg|400x400px|center]]
 
| '''Figure that parries <a blow to> the head with the point of the sword high and with the dagger crossed in the inside of his sword at the forte, so that the same will be able to strike in two manners, first with a thrust to the face, or alternately with a riverso to the leg.'''
 
| '''Figure that parries <a blow to> the head with the point of the sword high and with the dagger crossed in the inside of his sword at the forte, so that the same will be able to strike in two manners, first with a thrust to the face, or alternately with a riverso to the leg.'''
 
I would certainly have wronged myself, if this noble parry, or defense, I had not revealed to you, which defends, and saves such a noble part of the body; accordingly in this occasion I put forth to you the present figures, of whom one lies in first, and the other in fifth; and from fifth, only by raising his arm and turning his hand into fourth, advancing a step, he will have come to gain the sword on the inside against the adversary, and his enemy disengaging by turning under his enemy’s sword, he will have thrown a dritto fendente at the same, but the same only with turning his hand into second with the point high, putting the dagger to the rear on the forte of his sword, will be able to strike the adversary safely in two places, with a thrust in the face, and a cut in the leg, as the two lines descending from the point of the sword demonstrate well, the one falling to the head, and the other to the thigh.
 
I would certainly have wronged myself, if this noble parry, or defense, I had not revealed to you, which defends, and saves such a noble part of the body; accordingly in this occasion I put forth to you the present figures, of whom one lies in first, and the other in fifth; and from fifth, only by raising his arm and turning his hand into fourth, advancing a step, he will have come to gain the sword on the inside against the adversary, and his enemy disengaging by turning under his enemy’s sword, he will have thrown a dritto fendente at the same, but the same only with turning his hand into second with the point high, putting the dagger to the rear on the forte of his sword, will be able to strike the adversary safely in two places, with a thrust in the face, and a cut in the leg, as the two lines descending from the point of the sword demonstrate well, the one falling to the head, and the other to the thigh.
Line 1,286: Line 1,286:
  
 
|-  
 
|-  
| [[File:Capo Ferro 40.jpg|300x300px|center]]
+
| [[File:Capo Ferro 40.jpg|400x400px|center]]
 
| '''Figure that strikes with a thrust in third into the thigh and with the dagger into the body while the adversary disengages a riverso to the leg in order to strike.'''
 
| '''Figure that strikes with a thrust in third into the thigh and with the dagger into the body while the adversary disengages a riverso to the leg in order to strike.'''
 
Because to some, seeing this following figure struck with the sword and also with the dagger, it will perhaps appear difficult, nevertheless putting the same technique to the test, it will turn out to be easy considering the representation; hence I say, that the adversaries, both lying in fourth, had the true edges of their swords touching each other and the points thereof each aimed at their adversary’s face; the same was forced, pressing the enemy’s sword with his sword, so that feeling the adversary press, he resolves to turn a riverso to the leg, but the same in an instant lowered his sword, and turning his hand into third, passing with his left leg forward, strikes him, parrying with his sword, and likewise with his dagger, as this figure shows.
 
Because to some, seeing this following figure struck with the sword and also with the dagger, it will perhaps appear difficult, nevertheless putting the same technique to the test, it will turn out to be easy considering the representation; hence I say, that the adversaries, both lying in fourth, had the true edges of their swords touching each other and the points thereof each aimed at their adversary’s face; the same was forced, pressing the enemy’s sword with his sword, so that feeling the adversary press, he resolves to turn a riverso to the leg, but the same in an instant lowered his sword, and turning his hand into third, passing with his left leg forward, strikes him, parrying with his sword, and likewise with his dagger, as this figure shows.
Line 1,293: Line 1,293:
  
 
|-  
 
|-  
| [[File:Capo Ferro 41.jpg|300x300px|center]]
+
| [[File:Capo Ferro 41.jpg|400x400px|center]]
 
| '''Figure that parries the stramazzone riverso with the sword and passes forward in an instant with the left foot, giving a stab under the right arm into the armpit.'''
 
| '''Figure that parries the stramazzone riverso with the sword and passes forward in an instant with the left foot, giving a stab under the right arm into the armpit.'''
 
<br/>Because it is of great account when the adversary throws a thrust to parry it with the dagger, to the inside as to the outside, and turn a stramazzone riverso to the enemy’s sword arm, therefore when you have thrown a thrust at your adversary, and he has parried it inside, toward your left side, and throws at you the said stramazzone, you will parry with your sword in third to the outside, and passing forward with your left leg instantly, putting your dagger over the enemy’s sword you will strike him in second with a thrust in the chest. But by of the following figures, I say that the adversary lying in third with his dagger upon the forte of his sword, and the other in the sixth guard, with the dagger arm extended forward, and the sword somewhat low and retired to himself, the same being at measure will throw a thrust at him over his dagger, and the enemy parrying to the outside, toward his left side, responds with a stramazzone riverso, but the same in that instant parrying in fourth and passing forward with the left foot, strikes him with the dagger, as the figure shows, and wanting to return toward the rear, will retire his left leg, turning in the same tempo a riverso to the sword arm of the adversary, returning into the same guard.
 
<br/>Because it is of great account when the adversary throws a thrust to parry it with the dagger, to the inside as to the outside, and turn a stramazzone riverso to the enemy’s sword arm, therefore when you have thrown a thrust at your adversary, and he has parried it inside, toward your left side, and throws at you the said stramazzone, you will parry with your sword in third to the outside, and passing forward with your left leg instantly, putting your dagger over the enemy’s sword you will strike him in second with a thrust in the chest. But by of the following figures, I say that the adversary lying in third with his dagger upon the forte of his sword, and the other in the sixth guard, with the dagger arm extended forward, and the sword somewhat low and retired to himself, the same being at measure will throw a thrust at him over his dagger, and the enemy parrying to the outside, toward his left side, responds with a stramazzone riverso, but the same in that instant parrying in fourth and passing forward with the left foot, strikes him with the dagger, as the figure shows, and wanting to return toward the rear, will retire his left leg, turning in the same tempo a riverso to the sword arm of the adversary, returning into the same guard.
Line 1,300: Line 1,300:
  
 
|-  
 
|-  
| [[File:Capo Ferro 42.jpg|300x300px|center]]
+
| [[File:Capo Ferro 42.jpg|400x400px|center]]
 
| '''Way of knowing how to avail oneself of the rotella, finding oneself confronted with another rotella.'''
 
| '''Way of knowing how to avail oneself of the rotella, finding oneself confronted with another rotella.'''
 
Being that it often happens that one’s own weapons wage war against him, who does not know how to avail himself well thereof, accordingly I have judged it to not be out of place to give an inkling of some details of the rotella, as a weapon most dangerous to those who have not had some practice with the same; and in consideration of such, one is to be advised that one must hold the rotella embraced with the left arm somewhat curved, in a way such that it faces somewhat toward the left side, but not so curved that it impedes the vision so that one could not discern any part of the enemy whatsoever; and having done thus, wanting to go to strike, the enemy lying with his sword extended in guardia stretta, it will be necessary first to stringer the enemy’s sword on the inside or the outside according to the occasion, and then advancing with the left foot, hit his already gained sword with your rotella, and strike him vigorously in third with a rising thrust. But if it occurred that the enemy lay in guardia larga, and that he threw a dritto or riverso to your leg, you would have to parry it with a falso, the dritto as well as the riverso, and then respond with a cut to the adversary in the leg; but if perchance he threw a thrust or a cut toward your face or head you could parry with the rotella when the cut or the thrust came not as a feint. But in order to protect yourself from the feint, being that the rotella is heavy so that it could not be of such quickness to parry, as could be done with a targa or brochieri, accordingly you will be careful not to parry in such a case with the rotella; the same figure wanting to parry a thrust which the adversary has thrown to the outside of his rotella, the same wishing to parry it will of course necessarily block his vision, and thus impeded, in that instant the enemy will have convenient opportunity to pass forward with his left foot and strike, without the motion of his sword being seen, into the breast or to the base of the body, as the figures show. But the same is to be parried in second or fourth with the sword, according to the occasion, and then advancing with the left foot, hitting the enemy’s sword with the rotella, one will strike with a rising thrust in third, and thus will be safer.
 
Being that it often happens that one’s own weapons wage war against him, who does not know how to avail himself well thereof, accordingly I have judged it to not be out of place to give an inkling of some details of the rotella, as a weapon most dangerous to those who have not had some practice with the same; and in consideration of such, one is to be advised that one must hold the rotella embraced with the left arm somewhat curved, in a way such that it faces somewhat toward the left side, but not so curved that it impedes the vision so that one could not discern any part of the enemy whatsoever; and having done thus, wanting to go to strike, the enemy lying with his sword extended in guardia stretta, it will be necessary first to stringer the enemy’s sword on the inside or the outside according to the occasion, and then advancing with the left foot, hit his already gained sword with your rotella, and strike him vigorously in third with a rising thrust. But if it occurred that the enemy lay in guardia larga, and that he threw a dritto or riverso to your leg, you would have to parry it with a falso, the dritto as well as the riverso, and then respond with a cut to the adversary in the leg; but if perchance he threw a thrust or a cut toward your face or head you could parry with the rotella when the cut or the thrust came not as a feint. But in order to protect yourself from the feint, being that the rotella is heavy so that it could not be of such quickness to parry, as could be done with a targa or brochieri, accordingly you will be careful not to parry in such a case with the rotella; the same figure wanting to parry a thrust which the adversary has thrown to the outside of his rotella, the same wishing to parry it will of course necessarily block his vision, and thus impeded, in that instant the enemy will have convenient opportunity to pass forward with his left foot and strike, without the motion of his sword being seen, into the breast or to the base of the body, as the figures show. But the same is to be parried in second or fourth with the sword, according to the occasion, and then advancing with the left foot, hitting the enemy’s sword with the rotella, one will strike with a rising thrust in third, and thus will be safer.
Line 1,307: Line 1,307:
  
 
|-  
 
|-  
| [[File:Capo Ferro 43.jpg|300x300px|center]]
+
| [[File:Capo Ferro 43.jpg|400x400px|center]]
 
| '''Figure that strikes under the rotella, while the adversary seeks to parry with the same rotella, in order to strike with a thrust in the chest.'''
 
| '''Figure that strikes under the rotella, while the adversary seeks to parry with the same rotella, in order to strike with a thrust in the chest.'''
 
Considering the deceptions and feints that are found in arms, it is necessary to pay much attention when one comes to blows with his enemy, so through presentation of the following figures I show to you how parrying is most often harmful when one parries and does not respond in the same tempo; so I will demonstrate it to you in this action of the rotella, being that one of them lies in fifth with his arm perpendicular and with the point of his sword low, with the rotella forward of his breast, and the enemy lies in sixth with his rotella arm extended forward, and with his sword somewhat back, so that the same, if he will be accosted at measure, will throw a thrust outside the rotella to the face; and he raising his rotella to parry, the view will be obscured, and the same, falsing his sword under the rotella, strikes in fourth in the way that the figure shows. But if he had been a practiced person, when the adversary was throwing a thrust at his face, he would have parried, stretching out his rotella arm, and passing forward with his left foot, instantly with a bending of his body and head toward his right side, giving him a thrust in the breast; alternately, when the adversary was throwing the thrust, he could have parried with the sword in fourth, and in an instant passing forward with his left foot, and hitting the enemy’s sword with his rotella, he would strike him in third with a rising thrust in the body, and thus he would have been safe.
 
Considering the deceptions and feints that are found in arms, it is necessary to pay much attention when one comes to blows with his enemy, so through presentation of the following figures I show to you how parrying is most often harmful when one parries and does not respond in the same tempo; so I will demonstrate it to you in this action of the rotella, being that one of them lies in fifth with his arm perpendicular and with the point of his sword low, with the rotella forward of his breast, and the enemy lies in sixth with his rotella arm extended forward, and with his sword somewhat back, so that the same, if he will be accosted at measure, will throw a thrust outside the rotella to the face; and he raising his rotella to parry, the view will be obscured, and the same, falsing his sword under the rotella, strikes in fourth in the way that the figure shows. But if he had been a practiced person, when the adversary was throwing a thrust at his face, he would have parried, stretching out his rotella arm, and passing forward with his left foot, instantly with a bending of his body and head toward his right side, giving him a thrust in the breast; alternately, when the adversary was throwing the thrust, he could have parried with the sword in fourth, and in an instant passing forward with his left foot, and hitting the enemy’s sword with his rotella, he would strike him in third with a rising thrust in the body, and thus he would have been safe.

Revision as of 18:58, 24 August 2017

Ridolfo Capo Ferro da Cagli
200px
Born 16th century
Died 17th century
Occupation Fencing master
Patron Federico Ubaldo della Roevere
Influences Camillo Aggrippa
Influenced Sebastian Heußler
Genres Fencing manual
Language Italian
Notable work(s) Gran Simulacro dell'Arte e dell'Uso della Scherma (1610)
Concordance by Michael Chidester

Ridolfo Capo Ferro da Cagli (Ridolfo Capoferro, Rodulphus Capoferrus) was a 17th century Italian fencing master. He seems to have been born in the town of Cagli in Urbino and was a resident of Siena, Tuscany. Little is known about the life of this master, though the dedication to Federico Ubaldo della Roevere, the young son of Duke Francesco Maria Feltrio della Roevere, may indicate that he was associated with the court at Urbino in some capacity. The statement at the beginning of Capo Ferro's treatise describing him as a "master of the great German nation"[1] likely signifies that he was faculty at the University of Siena, either holding a position analogous to dean of all German students, or perhaps merely the fencing master who taught the German students.

Capo Ferro authored a fencing manual on the rapier entitled Gran Simulacro dell'Arte e dell'Uso della Scherma ("Great Representation of the Art and Use of Fencing"); it was published in Siena in 1610 and refers to Federico by the ducal title. Though this treatise is highly praised by modern fencing historians, it is neither comprehensive nor particularly innovative and does not seem to have been terribly influential in its own time.

Treatise

Additional Resources

  • Capo Ferro, Ridolfo. Italian Rapier Combat: Ridolfo Capo Ferro's 'Gran Simulacro'. Ed. Jared Kirby. London: Greenhill Books, 2004. ISBN 978-1853675805
  • Capo Ferro, Ridolfo. Rapier: The Art and Use of Fencing by Ridolfo Capo Ferro. Trans. Nick S. Thomas. SwordWorks, 2007. ISBN 978-1906512279
  • Leoni, Tom. Ridolfo Capoferro's The Art and Practice of Fencing: A Practical Translation for the Modern Swordsman. Wheaton, IL: Freelance Academy Press, 2011. ISBN 978-0-9825911-9-2
  • Garcia-Salmones, Eugenio. Ridolfo Capoferro, "Gran simulacro del arte y del uso de la esgrima", Traduccion al castellano. Editorial Sacauntos, 2009. ISBN 978-84-937207-0-4

References