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Difference between revisions of "Salvator Fabris"

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| <p>[1] '''''Second part''.'''</p>
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<p>'''Discourse on the principles of the sword and dagger.'''</p>
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<p>As we consider that we have treated at sufficient length of the practice and times of the sword alone, it has seemed to us suitable, in order to give full satisfaction to the reader, to introduce here the instructions and rules of the sword and dagger. We do not mean to prefer this method of arms to that of the sword alone, nor to multiply different precepts, nor to throw over the instructions given by us elsewhere. It is rather our purpose to show the wealth and abundance of the practice of this art, which by uniting several arms together becomes more admirable and perfect. Therefore without neglecting the subtleties of the ''times'' of the sword alone, or denying them in any way, for they are beyond comparison the more artful, we shall now leave them, having put them forward and analysed them in their place, and shall proceed to describe, as far as is necessary, the perfect use of the sword and dagger, and to impart the true knowledge of the stratagems useful in the attack and the defence, and dangerous to those inexperienced in the art. One who is well acquainted with the ''times'', will easily find great benefit. These two arms are allies of one another, and by their union give great strength in need; also they divide and share the functions, the one defending and the other attacking. We hope those who practise with these arms, following the present instructions, will reach the perfection they desire.</p>
 
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| <p>[2] '''''The positions of the sword and dagger.'''''</p>
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<p>The positions of the sword and dagger are formed with the body bent and the feet close together, and with the weight of the body on the foot which is to remain steady. The arm holding the dagger should be extended as high as the point of the shoulder, with the point of the dagger inclined upwards and directed towards the adversary. The sword should be so far advanced as to extend beyond the dagger by at least one fifth of the sword's length, so as not to be impeded by the movements and feints of the adversary. With this guard you can make better use of the ''forte'' of the sword in any event. The sword and the dagger should be in conjunction so as to close the path between them against the adversary. If you wish to use the sword in an advanced position, the dagger should be held in conjunction with the hilt of the sword, so as to close the path to the adversary. Similarly the right side should be kept forward and the left back, as the latter is more exposed and in greater danger.</p>
 
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| <p>[3] '''''The counter-positions.'''''</p>
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<p>The counter-positions are more difficult to form, since you must attend to your own two weapons and the two of your adversary and their positions. You must be careful not to advance so far in the desire to acquire some advantage, that your adversary can engage your sword with his dagger and hit. Therefore you must keep the sword so far distant that you know you can save and move it before it is engaged by his dagger. For the rest you should observe the same conditions and principles which we explained in describing the counter-positions of the sword alone, taking care that your body is clear of the adversary's sword without movement of the body or weapons, and that your weapons are in conjunction to give greater strength and surer defence.
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</p>
 
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| <p>[4] '''''On engaging the sword.'''''</p>
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<p>Engaging the sword with the sword and dagger is very different from engaging with the sword alone, for it is done at one time with the dagger, at another with the sword, and more often with both sword and dagger. You engage with the sword when your adversary keeps his sword so far withdrawn that you cannot reach it with the dagger; sometimes your sword cannot penetrate because of the danger of his dagger. In this case you should hold your sword in such a way as to close the path in which the adversary's point is directed and with the forte in such a position that his point cannot approach your body without his ''faible'' meeting your ''forte'', which generally prevents him and drives his point out of line. You can also, as he approaches, raise the sword from that defence and make a hit, putting the dagger where the sword was before, which will be a good defence and will delude your adversary, who will probably think that you are going to parry with the sword; thus his plan will be foiled. This is a good method to follow, when your adversary's sword is withdrawn, since you should not advance too far with the sword, lest you lose it, nor should you advance the dagger, for there are some who, seeing the dagger advance, beat it with their dagger and hit. Therefore to advance too far is very dangerous. Besides when you push on so far, the dagger is easily deceived by the feints and movements of the adversary's sword, which throw it into disorder. But if your adversary's sword la advanced, there will be no such danger. You can then readily try to engage with the dagger, if you understand the correct method. For you must not carry the dagger so high that on reaching his sword you have to lower it, or so low that you have to raise it; nor on reaching his point must you make any movement for, however slight, it would give him an opportunity to hit, or at least to disturb the dagger; thus you would not be free from danger. You must hold the dagger with the point in the same line as your adversary’s sword, so that on reaching his point the dagger engages without other movement. If the line of his sword is rather low you must begin with the dagger equally low. To make safe, the body should be lowered in proportion and in such a manner that you know that if your adversary disengages, you can easily parry without raising the arm, for if you raise it, he might deceive you with a feint of disengaging and return, when you would be hit without a defence. But holding the dagger arm steady, you would easily defend, on either side. Thus, if you know how to apply the exact rule, you can engage your adversary's sword, wherever it is, provided it is far enough advanced beyond his dagger. But if it is withdrawn behind the dagger, it would be an error to engage; for besides the reasons given you would be in danger of getting within too close distance before finding his point, when you would be hit, as you would also if his point were too low towards the ground. In that case it would be better to cover it with your sword, so that your adversary could not disengage on the side of the dagger, or if he wished to disengage would be forced to disengage on the side of the sword in order to free his point.</p>
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<p>But if you wished to hit, it would be necessary in forming this defence, to hold the dagger steady; thus you could turn the sword from ''tierce'' to ''seconde'' and close the path be-tween the two weapons in such a manner that, if your adversary advanced, his sword would always encounter your dagger, which had made no other movement. But if his sword were low and on the outside on the side of the dagger, you could not cover the path, and it would be ill-judged to advance the point of your sword because of the danger, lest in that time he should disengage above the sword and hit between the two hands where the path was open; although you might parry with the dagger, yet the movement would be so large, that, if your adversary had made a feint of hitting in that part he could hit in the new opening and attack. Also he could disengage the point of the sword, thrust between the two hands, gliding along your blade, and thus hit on the side of the dagger, so that you would be in the same danger. Therefore in such a case it would be better to push his sword out with the hand as low as the right knee and turn to ''quarte'', in order to be on the inside and cover that part more; at the same time you should incline your point upwards towards the dagger, which would defend all that part of the body up to the head, and all the more if dagger and sword were in conjunction. In this manner you would not only push away his sword, but would form a good counter-position. You would have left the adversary only one path of attack, that is over the sword, and your sword being at an angle with the left arm forward, you could easily parry this attack with one of the two weapons or both together and with little movement, since there would be no room to hit between the two weapons. Whether your adversary's sword were in ''seconde'' or in ''prime'', and if his point was in that same line but separated from the dagger, which would mean danger below and between the weapons, it would still be better to use this method, and to put the point of your sword against his, which would lead to the same result. But if his point were in another line and high, in that case it would be well to adopt a guard in ''tierce'' at an angle, and put your point on your adversary's, holding the dagger extended near the sword; in order to prevent his hitting anywhere but above the dagger. For if he were on the outside of the sword and should thrust over the dagger, he would make such a large circle that he would give you a good chance to parry, if you remembered to keep the lower part of the body so far withdrawn that your adversary could not reach it. In any case you must when parrying hit where there is a part uncovered according to the movement and position of your adversary's body and weapons in making his hit. As he[!] have many times said in this way the parry is always safer and cannot be deceived.</p>
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<p>You must know that the principle of using the dagger alone in engaging the adversary's sword applies more against the guards in ''tierce'' and ''quarte'', than against those of ''prime'' and ''seconde'', where it is not so strong. For if when you move with the dagger against your adversary, he should make a feint in the upper lines, which are the feints most to be feared, he would force you to parry and then would hit by a rush in the parts uncovered by your movement of parrying. Besides the fact that they are more successful with the sword and dagger than with the sword alone, the guards in ''prime'' and ''seconde'' naturally lend themselves to the rush. For being in ''tierce'' or ''quarte'', in order that the rush may have force, you must change the hand to ''seconde''. Therefore when your adversary is already in a position to rush without further change of the hand, he is much more to be feared.</p>
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<p>If then you wish to guard against your adversary's attack, it is better on his advance to use the sword and dagger together and for greater precaution to exclude his point on the outside, if possible. This method is good against a guard of ''prime'' or ''seconde'', though you must take care if you wish to advance with safety, that you have excluded his point entirely in such a way, that you are certain he cannot hit there, but without touching his sword. If you have done this, you may close the distance as much as you wish. You must also be careful not to approach the point of your sword so near to his dagger, that he can engage it and hit before you have freed it. You must always keep your point at such distance and position that are assured of its freedom to hit in ''time''. Nor by freedom do we mean keeping it far out of line for in that case it would be pushed away before you could return it. But holding it in the proper manner you will keep it in line or very little out of it, and always free, so that your adversary cannot prevent your returning.</p>
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<p>We must add that you can engage your adversary's point in any position with the sword alone, provided that you hold the dagger in such a manner that it has little movement to make in order to defend the part where the adversary might hit. This is an excellent method though some deny it. They will not allow that you should ever engage with both the weapons at one time, but they say that one at least should be free, in order to be able to parry and hit if the need arises, that one weapon should be reserved for defence, and one for attack and that there being two pieces they should serve two purposes, whereas if both are used for the defence they are serving one only. We admit this, but say that this united defence is not only stronger, but also better protects the other line, where the adversary might approach. He finds little exposed there, it is harder for him to hit and easier for you to parry. Further if you defend with one weapon only, there is more danger not only of being disordered, but also of being overcome. Thus it often happens, that where you are defending with one weapon and your adversary changes his line in hitting, you are so disunited and weak that both your weapons are forced into subjection, so that what you would not do willingly, you are forced to do, when your adversary has moved. Thus you are so disordered and confused that you have been unable to hit because of the trouble you were in in the defence. On the other hand when you defend with both weapons and your adversary changes his line in order to hit or do anything else, you can on that change sep-arate the two weapons, the one to parry and the other to hit because they were in union. Sometimes also you can defend with both weapons and hit in the same ''time'' because of the strength of your first defence due to the union of the weapons. You have more completely covered the body and work of your own accord and not driven by necessity. Therefore you may well understand, that he who engages with both his weapons will dispose of them with greater judgment and security and in such a manner that he will not be prevented from hitting in ''time'', when the occasion offers; but he who is compelled to engage will usually be prevented from making anything but the simple defence, and however good that is it can easily be deceived.</p>
 
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| <p>[5] '''How to proceed against an adversary on guard on the left foot.'''</p>
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<p>In dealing with an adversary who is supported on his left foot, you must consider that his sword is so far withdrawn, that it is difficult to engage it, and that he holds his dagger well advanced with the idea of engaging your sword and then making a hit in ''time'', generally with a pass; for he realises that his line is short and that he cannot reach without a pass, and he is well aware that he cannot pass without first engaging your sword. You must consider too that by passing he will come with a great impact owing to the great distance from the spot where he lifts his foot to the spot where he brings it to the ground, and owing to the fact that his sword is carried on not only by the arm and foot, but by the whole body. He advances his body with great vigour in order to make his hit quickly, and therefore he strikes violently, especially if he comes in the ''time'' of your advance, when you cannot break ground, and thus the encounter is all the more impetuous. Further, since your adversary recognises that he can do nothing whilst he is within wide distance, he will always seek to approach in order to gain your sword and the required distance.</p>
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<p>From all these considerations you should be able to discern your advantage and avail yourself of it, that is to say the distance, in which you may arrive, more quickly than he who is supported on the left foot even with his right foot in front. While he is seeking to engage your sword is the time to hit and to break ground so as to keep away and prevent his passing, or, if you cannot hit, at least to make a feint in order to disorder him and then hit, or play him and in that ''time'' withdraw so far, that he will remain at the original distance. Then you may choose a more convenient ''time'', when he moves again, for since he is on the left foot, his side below the dagger is in great danger, and if he tries to cover it, he uncovers himself above, since the dagger cannot cover both places at once. Therefore choosing the ''time'' you can always hit in one of these two places. Everytime that your sword provokes his dagger to move you will certainly hit in one part or the other, and all the better if the provocation is in the ''time'' of his advance, when he cannot break ground. Also you must not advance so far that you are in danger of receiving a riposte stronger than your thrust, as often happens. When you see the adversary advancing in order to engage your sword with his dagger, then you should hold your point in line with his fist; if his dagger is extended with the point forward so as to hide his fist, then you should hold the sword straight under the blade neither inside nor outside, and therefore you must hold it in a straight line in ''tierce''. As your adversary approaches, you must bring the arm back to the body keeping the point in the straight line and not letting it drop, and draw him on until his hand penetrates the point of your sword; at the moment when his foot arrives within distance, then hit in the straight line under the blade of his dagger, the nearer the arm the better. If that part is not uncovered then you must hit over the dagger, making a slight turn of the hand towards ''seconde'', but close to the dagger, above all taking care to arrive quickly. If the part uncovered is on the inside, you could turn the hand to ''quarte'' so as to hit that part, but still close to the blade of the dagger. These thrusts will certainly succeed, if you take the ''time'' of your adversary's advance. If his dagger is held so exactly that you cannot hit, you should move the point a little inwards or outwards in order to make him waver and then hit. To protect yourself better against the ''riposte'' or ''counter-time'' which your adversary might make, you should hold your dagger in such a position towards the point of his sword, that, wherever it comes, the dagger can parry with little movement. In this position you may be certain of having greater ease in defence; but you should not be already so far advanced that your adversary's sword can harass you, before you are at the proper distance.</p>
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<p>If your position is not so subtlely formed, and the adversary's dagger begins to penetrate your point on the one side or the other, you should not therefore disengage with the idea of freeing it, bat should gradually bring it out  of line as far as his dagger can follow it. For if he tries to engage it, his dagger will go so far out of line that he can be hit, or if you make a feint he will be so disordered by the large part uncovered, that he will then certainly be hit.</p>
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<p>If you do not wish to follow this method, you should remain within wide distance, with your sword free and somewhat drawn back, so that it may not easily be engaged by your adversary; you should incite him by various ''times'' and ''appels'', being always ready to break ground, so that when he decides to hit and seizes a ''time'' to make a determined pass, you can protect yourself according to the quality of the guard. For if you go to meet him although you may protect yourself from the first effect, still the parry will be so violent, that your power to hit will be taken away. Moreover if your adversary changes his line, you will certainly be hit. On the other hand if you break ground your adversary’s thrust will lose its force and may easily be parried; even if your adversary changes his line, you may still parry in the new line before he arrives. Therefore one who stands on guard on his right foot should not try to get in this close distance against an adversary who stands on the left foot but should keep at a distance; he should advance in order to strike when the adversary approaches, making use of the advantage of his longer reach.</p>
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<p>There is still another method, when you intend to defend and break ground, that is to place your sword on the adversary's dagger, so that when he thinks he has engaged your sword in the ''time'' of his advancing you may free it by breaking ground and hit. This is a subtle method and deceptive when used with the necessary circumspection, so that you are not deceived in thinking to free your sword and hit. You must take care too that your adversary is not aware of your intention, and may not make a mock of it.</p>
 
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| <p>[6] '''When on guard on the left foot how to proceed against an adversary on the right foot.'''
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If you wish to advance with the left foot first in assaulting an adversary on the right foot you must realise your disadvantage, that is to say, your sword in hitting and recovering does not reach so far as your adversary’s, who is on his right foot and may hit and easily recover with little movement of the body. Therefore you must bring the right foot forward and when you have passed, owing to the great movement of the foot and the distance you have advanced, it is impossible to recover and break distance in one ''time''. Therefore it will be necessary if you wish to recover after hitting to weigh on your adversary's sword and hold it in subjection towards the ground until you have recovered, in order to prevent his hitting while you are withdrawing. Even so, if your adversary were skilful[!] in freeing his sword, you would be in danger of being hit before you had come to rest owing to the great distance the foot has to recover, even longer than its advance.
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Therefore when you have advanced the right foot it is better to follow with the left also, and pass entirely, or having advanced the right foot and hit, at once to recover your weapons to the line of your adversary's sword and close its path entirely, remaining steady on the feet. If your adversary withdraws in order to free himself you can hit again in the ''time'' of his movement for within such close distance he cannot get back in time. All these rules apply after you have made a hit. In order to approach within striking distance, you should, for greater security, hold your dagger in such a manner, that as you advance the foot it reaches the point of the adversary's sword near to the blade without any other movement, s0 that you are sure that the dagger in that position defends the straight line from the point to your body. This is the true method of acquiring distance, so that the adversary cannot easily hit; if he moves his sword, it will be a change made to avoid the danger, which will give you a chance to hit as he moves. If you are not within this distance, you must approach with little movement of the point of the dagger and cover his new line in the same way. In order to find a chance to hit and pass, you should glide along the blade of your adversary's sword with your dagger, without beating it, that is to say when you are on the inside. If on the outside you should neither beat nor glide along his blade but leave the dagger in its place, or little in advance, since you must never penetrate the fourth part of his sword. In hitting you must turn the hand into the guard of ''quarte'' in order to unite it with the dagger, thus defending the upper and lower part at the same time.
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It is true that sometimes this method with the dagger is impossible, because the adversary holds his weapons so close together or because of the angle of his sword. The dagger is not sufficient to defend from the knee to the head, for it cannot defend more than one place at once, and in advancing within distance it might be harassed and disordered so much that the adversary by observing the ''time'' and taking advantage of the movement might forthwith hit. Therefore, as you have your left side forward and no other defence is possible, you must add the union of the sword, that it may defend one part, while the dagger defends the other. In this way there will be great benefit to your body, for the dagger will be more secure in its defence, and you will have greater advantage in hitting, since the point of your sword will be always nearer to the adversary and no less safe from his weapons than before. Now we will show the position in which the sword should be held.
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You must be in a guard of ''tierce'' with the point directed towards the point of your dagger, with the hand so far advanced that you know the ''forte'' can defend the side under the dagger and with the dagger arm so far extended to the outside that you know too that there is nothing uncovered over that arm. The dagger must be accompanied by the sword, so that the part below is defeated when on guard, and your adversary can hit only over the sword on the outside. The points must be so close together that the sword cannot be separated from the dagger and you become in danger of a hit in that weak place. In brief the point of the sword must be fortified by the dagger, so that the adversary's sword cannot  thrust  it away and hit. This is the position of the guard with which you must advance within distance in order to hit when an opportunity offers. In approaching you must protect the part uncovered over the sword by keeping the feet always outside the adversary's sword and the body sideways with the left side forward but bent, with the head over the hilt of the sword so that if the adversary approaches you can more easily defend that uncovered part. If you bend the body in the natural way and hold the sword so as to defend the left side, the head will be so far out of the line that it would be hit before it could be defended. But if you bend it over the hilt and the left knee in the manner described, with the shoulder turned to the inside, you will so place your body that none of it will be outside your sword; therefore if your adversary wished to hit, he would necessarily have to hit close to the blade of your sword, and thus the defence would be easy. In this position you can advance against all guards of the right foot, high or low, with the sword straight or at an angle. The only change necessary is to hold the points higher or lower, more to the inside or the outside, according to the position of the adversary's sword; but his sword is on the outside and very high, you must change your hand from ''tierce'' to ''quarte'' still observing the conjunction of weapons in order to defend the angle of the guard in ''seconde'', so that he may not have an opening to place his point under the dagger. If his sword is on the inside you must observe the same union, but it would be better to have the hand turned rather more to ''quarte'' than to ''tierce'' in order to be stronger in that line. If your adversary disengages, you must hit without any other movement of defence by merely extending the sword far enough to reach.</p>
 
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Revision as of 05:11, 1 May 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. 12.0 12.1 12.2 There's no conclusion of this word on the next page, just a new sentence.
  13. Originally "occcsione", but corrected in the errata.
  14. Originally "albassare", but corrected in the errata.
  15. Originally "& migliore", but corrected in the errata.
  16. Originally "temerariemente", but corrected in the errata.
  17. Originally "bisogna", but corrected in the errata.
  18. The letter 'F' was omitted in the print and hand-corrected in all copies.
  19. Originally "guardia", but corrected in the errata.
  20. Originally "equali", but corrected in the errata.
  21. Originally "poco", but corrected in the errata.
  22. Originally "poco", but corrected in the errata.
  23. Originally "non buoni", but corrected in the errata.
  24. Originally "queui", but corrected in the errata.
  25. Originally "che spada", but corrected in the errata.
  26. Originally "accorgendosi", but corrected in the errata.
  27. Originally "con pugnale", but corrected in the errata.
  28. Originally "mouendolo", but corrected in the errata.
  29. Originally "diuersi", but corrected in the errata.
  30. Originally "dentro la spada", but corrected in the errata.
  31. Originally "andere", but corrected in the errata.
  32. Originally "richede", but corrected in the errata.
  33. Originally "in suoi", but corrected in the errata.
  34. Originally "della", but corrected in the errata.
  35. Originally "la dette", but corrected in the errata.
  36. Originally "è passare", but corrected in the errata.
  37. The errata adds "l’".
  38. 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.
  39. 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.
  40. Should be 183.
  41. Originally "ineguale", but corrected in the errata.