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Difference between revisions of "Salvator Fabris"

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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating}}<br/></p>
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! <p>{{rating|C}}<br/>by [[A. F. Johnson]]</p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
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| <p>[1] '''''General discourse of the first book. The principles of the sword alone.'''''</p>
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<p>In opening our promised work we shall begin with the sword alone, for on the knowledge of the sword depend the principles of all other arms. Many rules will be given which may serve excellently for the sword accompanied by the dagger or any other arm. He who can use the sword alone well will easily learn to use it in conjunction with other arms. You must know then that the rules of the sword are founded on four guards in which are formed all the posi-tions and counter positions. From them arise the ''times'', ''counter-times'', disengagements, counter-disengagements, double disengagements, half disengagements, and re-engagements; nor in short can anything be done in attack or defence which does not partake of the nature of one of these four guards. They are differently formed, as will be seen in the accompanying plates. These we have introduced in order that you may recognise with what variations of position of the sword, feet and body, they are made. We shall describe the nature of each guard in its place and the plates will show the results which may arise from them. The discourses will be such that you will easily see when to apply the various rules, and how to the best advantage you must approach your adversary in order to come within presence. Though one who understands the art may approach as he pleases, since in whatever position he is he will succeed by his knowledge of distances, weak and strong positions, exposed and unexposed parts. Nevertheless it is certain that one position is better than another, and a man may approach with more security when he parries his arms in the proper manner. When within distance he must proceed in various ways, according to the changes made and the opportunities offered by his adversary, and according to the distance in which he finds himself. The distances are two, and what is good in the one is not so in the other. These distances control the whole attack and defence, as we shall explain. First we shall describe the four principal guards, why they are called, ''prime'', ''seconde'', ''tierce'' and ''quarte'', and the origin of these names. Then we shall treat of the divisions of the sword, then of counterpositions, distances, and some other matters which we consider necessary and useful to the good student of this art.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/9|1|lbl=1}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/9|1|lbl=1}}
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| <p>[2] '''Description of the four principal guards and the origin of their names.'''</p>
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<p>The four guards arise from the four faces of the hand and the sword, that is to say of the two edges and the two surfaces; and these produce four different positions. ''prime'' is that position which the hand takes in drawing the sword from the scabbard, when the point is turned towards the adversary - all the guards especially with the sword alone must be formed with the point so directed. When the hand is turned slightly upward we have ''seconde'', and ''tierce'' when the hand is in its natural position turned neither up nor down. When the inside of the hand is turned upwards we have ''quarte''. The hand in turning can take these four positions only, and being in ''prime'' cannot go to ''quarte'' without passing through ''seconde'' and ''tierce''; so the name ''quarte'' is given to the last position. ''prime'' is the most suitable position for grasping the sword, although it can be done in ''seconde'' or ''tierce'': but with the hand in ''quarte'' the sword cannot be drawn from the scabbard. You must know that nothing can be done which does not arise from one of these four positions approximately; we say approximately, because, if you consider, you will find that there is a great distance between one guard and another owing to the width of the surface of the sword and of the hand, so that between ''prime'' and ''seconde'' there is a mean, where the hand might stop, and similarly between ''seconde'' and ''tierce'', and between ''tierce'' and ''quarte''. Therefore one might say that there were four legitimate guards and three bastard, since each bastard resembles the two, between which it is formed. But to avoid the confusion of so many terms we shall speak only of the four legitimate guards, which will serve very well for the three bastards also; for the quality of the guard is considered not only from the position of the hand, but also from the direction of the point, wherein lies the force of the guard. Therefore we shall divide the guards into these four only, especially as with the sword there are only four methods of hitting, that is on the inside, on the outside, below and above. The great differences between one guard and another will be explained when we treat of their natures, when we shall consider the various methods of defence, and the changes made in hitting, according to whether they are formed with the sword extended or withdrawn, high or low; we shall then treat of the nature of each one separately.</p>
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| <p>[3] '''The divisions of the sword: the ''faible''[!] and the ''forte''.'''</p>
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<p>The blade of the sword is divided into four parts; the first is the part nearest the hand, the second quarter extends to the middle of the blade, the other two extend to the point. The first part near the hand is the strongest for parrying, and there is no thrust or cut, delivered by the strongest arm, which, if parried in this part, the sword cannot defend and resist without disorder, if the rule and the time is observed, as will be explained. The second part is somewhat weaker, but still it will defend well enough, if you parry where your adversary's sword has less strength. The third part is not good, especially against cuts, unless strengthened with the adversary's body at the moment of parrying; this will be explained in considering the defence. The fourth part is entirely bad and must not be thought of in the defence, although in the attack it is the strongest and most deadly. It is also true that a cut made with half the third part and half the fourth is a strong attacking stroke, whereas a cut made with the third part only would not be one half so effective as a cut made with the fourth part as well. The first and second parts then are only to be used in the defence, and the third and fourth in the attack; so that the sword is divided, one half into the defensive part, and the other the offensive.</p>
 
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| <p>[4] '''Method of forming the counter-positions,''' showing '''The position of the arms and the body, and when they are to be formed.'''</p>
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<p>If you wish to form a sound counter-position, the position of the body and arms must be such that without touching the adversary's sword you are defended in the straight line from the point of his sword to your body, so that without making any movement of the body or the sword you are sure that your adversary cannot hit you in that line, but that if he wishes to attack he must move his sword elsewhere, with the result that his ''time'' is so long, that there is every opportunity to parry. But in forming this position care must be taken that your sword is held in such a way as to be stronger than your adversary's, so that it may offer resistance in defence. This rule can be observed against all positions and changes of your adversary, whether accompanied by the dagger or any other defensive weapon, or when you use the sword alone. He who can most subtly maintain this guard will have a great advantage over his adversary.</p>
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<p>But it often happens that when you form this guard, your adversary forms another against it. Often also this guard is formed so far out of distance that your adversary can wait until you begin to move your foot against him, and at the moment of year advance change his line, so that you are disconcerted another counter-position. Therefore you must be full of devices and be able in a moment to take up another position of advantage against that of your adversary and make a fresh guard, unless you are so far within distance that you can hit him daring this change, and if in changing he has not retired, since if he had retired you could not hit him even if you had been within distance. You must then take up another counter-position and approach at the same time, to regain the same distance as before. In forming this counter-position you must bear in mind the rule, that the body must be so far distant that the adversary cannot hit, or, if you have approached within distance so that he could hit by advancing his foot, you must form the counter-position without moving the feet. In this way, if the adversary should attempt to hit during the movement, you could parry and hit him, or break ground; in the latter case his sword, would not reach. But if in moving your weapons to take up this advantage, you have moved slowly, you could then abandon your object and hit at the very moment in which your adversary advanced to attack, parrying at the same time. So that if the first movement is made without violence, you can abandon your attempt and make another, as opportunity offers. In short, if you wish to get within distance with some safety, you must first form the counter-position, and if disconcerted by your adversary's counter-position, it will be better to break ground than to approach, until there is an opportunity to get an advantage.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/11|2|lbl=-}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/11|2|lbl=-}}
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating}}<br/></p>
+
! <p>{{rating|C}}<br/>by [[A. F. Johnson]]</p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating}}<br/></p>
+
! <p>{{rating|C}}<br/>by [[A. F. Johnson]]</p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating}}<br/></p>
+
! <p>{{rating|C}}<br/>by [[A. F. Johnson]]</p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating}}<br/></p>
+
! <p>{{rating|C}}<br/>by [[A. F. Johnson]]</p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating}}<br/></p>
+
! <p>{{rating|C}}<br/>by [[A. F. Johnson]]</p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
 
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>

Revision as of 18:24, 29 April 2022

Salvator Fabris
200px
Born 1544
Padua, Italy
Died 11 Nov 1618 (aged 74)
Padua, Italy
Occupation
Nationality Italian
Alma mater University of Padua (?)
Patron
  • Christianus IV of Denmark
  • Johan Frederik of Schleswig-
    Holstein-Gottorp
Influenced
Genres Fencing manual
Language Italian
Notable work(s) Scienza d’Arme (1606)
Manuscript(s)
Translations

Salvator Fabris (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – 17th century Italian knight and fencing master. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.[citation needed] The French master Henry de Sainct Didier recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s.[1] In the 1580s, Fabris corresponded with Christian Barnekow, a Danish nobleman with ties to the royal court as well as an alumnus of the university.[2] It seems likely that Fabris traveled a great deal during the 1570s and 80s, spending time in France, Germany, Spain, and possibly other regions before returning to teach at his alma mater.[citation needed]

It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as Supremus Eques ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.[3] It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership.

Fabris' whereabouts in the 1590s are uncertain, but there are rumors. In 1594, he may have been hired by King Sigismund of Poland to assassinate his uncle Karl, a Swedish duke and competitor for the Swedish crown. According to the story, Fabris participated in a sword dance (or possibly a dramatic play) with a sharp sword and was to slay Karl during the performance when the audience was distracted. (The duke was warned and avoided the event, saving his life.)[4] In ca. 1599, Fabris may have been invited to England by noted playwright William Shakespeare to choreograph the fight scenes in his premier of Hamlet.[5][2] He also presumably spent considerable time in the 1590s developing the fencing manual that would guarantee his lasting fame.

What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled Scientia e Prattica dell'Arme (GI.kgl.Saml.1868 4040).[2]

In 1601, Fabris was hired as chief rapier instructor to the court of Christianus IV, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title Sienza e Pratica d’Arme ("Science and Practice of Arms") or De lo Schermo, overo Scienza d’Arme ("On Defense, or the Science of Arms"). Christianus funded this first edition and placed his court artist, Jan van Halbeeck, at Fabris' disposal to illustrate it; it was ultimately published in Copenhagen on 25 September 1606.[2]

Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo.

The importance of Fabris' work can hardly be overstated. Versions of his treatise were reprinted for over a hundred years, and translated into German at least four times as well as French and Latin. He is almost universally praised by later masters and fencing historians, and through the influence of his students and their students (most notably Hans Wilhelm Schöffer), he became the dominant figure in German fencing throughout the 17th century and into the 18th.

Treatise

Additional Resources

References

  1. Didier, Henry de Sainct. Les secrets du premier livre sur l'espée seule. Paris, 1573. pp 5-8.
  2. 2.0 2.1 2.2 2.3 Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. pp XVIII-XIX.
  3. Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. p XXIX.
  4. Andersson, Henrik. Salvator Fabris as a Hired Assassin in Sweden. Association for Renaissance Martial Arts. Retrieved 2011-12-18.
  5. Barbasetti, Luigi. Fencing Through the Ages.[Full citation needed]
  6. Originally "asseruatore", but corrected in the errata.
  7. Originally "richeide", but corrected in the errata.
  8. Originally "dirarsi", but corrected in the errata.
  9. Originally "longuezza", but corrected in the errata.
  10. Originally "mettre", but corrected in the errata.
  11. Originally "volto", but corrected in the errata.
  12. Originally "occcsione", but corrected in the errata.
  13. Originally "albassare", but corrected in the errata.
  14. Originally "& migliore", but corrected in the errata.
  15. Originally "temerariemente", but corrected in the errata.
  16. Originally "bisogna", but corrected in the errata.
  17. The letter 'F' was omitted in the print and hand-corrected in all copies.
  18. Originally "guardia", but corrected in the errata.
  19. Originally "equali", but corrected in the errata.
  20. Originally "poco", but corrected in the errata.
  21. Originally "poco", but corrected in the errata.
  22. Originally "non buoni", but corrected in the errata.
  23. Originally "queui", but corrected in the errata.
  24. Originally "che spada", but corrected in the errata.
  25. Originally "accorgendosi", but corrected in the errata.
  26. Originally "con pugnale", but corrected in the errata.
  27. Originally "mouendolo", but corrected in the errata.
  28. Originally "diuersi", but corrected in the errata.
  29. Originally "dentro la spada", but corrected in the errata.
  30. Originally "andere", but corrected in the errata.
  31. Originally "richede", but corrected in the errata.
  32. Originally "in suoi", but corrected in the errata.
  33. Originally "della", but corrected in the errata.
  34. Originally "la dette", but corrected in the errata.
  35. Originally "è passare", but corrected in the errata.
  36. The errata adds "l’".
  37. Originally "farmarsi", but corrected in the errata. The errata says it should be on page 232, but this is the only instance of the word in the book.
  38. Originally "sforza", but corrected in the errata. The errata says it should be on page 241, but this is the only instance of the word on the correct line.
  39. Should be 183.
  40. Originally "ineguale", but corrected in the errata.