Wiktenauer logo.png

Difference between revisions of "Salvator Fabris"

From Wiktenauer
Jump to navigation Jump to search
Line 1,857: Line 1,857:
 
| [[file:GKS 1868 2 detail 38.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 38.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 081.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 081.jpg|400px|center]]
| <p>[40] </p>
+
| <p>[40] This plate illustrates a hit in ''seconde'' over the dagger. Both were in ''tierce''; you have turned your sword downwards and the adversary has changed his hand to a low ''quarte'' in order to hit between the weapons, and remain close to your ''faible'', keeping his dagger low In order to be more covered below, although he would have been better defended with the point of his dagger[!] You have recognized his error, seen the opening above, changed your hand from ''tierce'' to ''seconde'', disengaging your sword over his dagger and hit in the part uncovered. By placing your dagger on his sword you have easily defended, aided by the altered position of your body which has been carried out of time. Or it may be that you have directed your sword at the adversary's dagger hand, and he has tried to engage it and hit in ''quarte'' with the idea of closing the path between the weapons; you have then disengaged and made the hit. The adversary has been unable to parry, though he raised the point of his dagger, because your sword was shut in between his arm and dagger.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|127|lbl=117}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|127|lbl=117}}
Line 1,867: Line 1,867:
 
| [[file:GKS 1868 2 detail 32.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 32.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 082.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 082.jpg|400px|center]]
| <p>[41] </p>
+
| <p>[41] Now follows a hit in ''tierce'' against an opponent who has attempted or hit in ''quarte''. You were in ''tierce'' with the right foot in front, the feet close together, and the weapons in union; you have deliberately moved aside the point of your sword and left an opening between your weapons, your adversary seeing this has thrust in ''quarte'' close to your sword in order to cover himself while hitting, you have made a ''counter-time'', and by lowering your sword hand and body and carrying your dagger, which had not so far been moved, to his sword and engaging it, you have hit in ''tierce''. This result might have arisen in another way; you have made a feint of hitting in the straight line over your adversary's dagger; he has tried to parry with the dagger and hit the right side of your chest in ''quarte''. Then you have dropped and parried; by putting the point of your sword under his dagger you have made the hit shown.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|128|lbl=118}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|128|lbl=118}}
Line 1,877: Line 1,877:
 
| [[file:GKS 1868 2 detail 37.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 37.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 083.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 083.jpg|400px|center]]
| <p>[42] </p>
+
| <p>[42] This is another ''quarte'', which has parried a ''seconde'' with the hilt of the sword. Your adversary was in ''tierce'' with the point high and the hand low; on your advance he has disengaged in order to hit in ''seconde'' the part exposed under the dagger, and has tried to place his dagger against your sword in order to defend himself. In that ''time'' you have changed your hand from ''tierce'' to ''quarte'', and keeping it close to the dagger hand have carried it past the point of his dagger and reached the body, hitting his right side. By raising your hilt during the stroke you have defended the part, which was exposed, and where your adversary intended to hit; your dagger has been left to guard the lower parts in case of a hit there. Or it may be that your adversary has made a feint of hitting in ''seconde'' over the dagger with the intention of hitting below; you have parried and thrust, changing your hand to ''quarte'' and accompanying it with the dagger, which has defended above, whilst the sword has defended below, so that your adversary has been deceived; he has been able neither to hit nor parry; since your sword hand was raised, your sword has escaped his dagger, which has fallen after missing your sword owing to the angle it made, which has brought it away from the dagger. This hit also shows the importance of the union of the weapons.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|129|lbl=119}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|129|lbl=119}}
Line 1,887: Line 1,887:
 
| [[file:GKS 1868 2 detail 36.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 36.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 084.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 084.jpg|400px|center]]
| <p>[43] </p>
+
| <p>[43] This plate presents a hit in ''seconde'' against a ''quarte''. Both combatants were in ''tierce''; you have made an opening between your weapons by carrying the point of your sword away, keeping the sword hand steady and the dagger also. In that time your adversary has thrust between your weapons, forgetting that he was within wide distance, and that you had not moved your feet, and that therefore he could not reach before you had finished your movement. Thus he has been hit. You have offered the opening and, seeing him coming, have turned from ''tierce'' to ''seconde'', changing the front of your body; placing your dagger against his sword you have parried, advanced the right foot and thus hit in the part uncovered by his lungs[!]. Or it might arise in this way; your adversary was in ''tierce'' and you in ''seconde'' you have made a feint over your adversary's dagger; he has been deceived by the feint, tried to parry and hit in ''quarte'' at your chest while your[!] were approaching. You have parried with your dagger, which was steady, disengaged the point of your sword underneath his dagger arm on the outside, and by this path have made a hit in the left side. Whether the hit has arisen in the one way or the other, it is certainly due to the separation of the adversary's weapons; if he had moved with his weapons in union, although he might not have hit, he would still have been defended on both sides.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|130|lbl=120}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|130|lbl=120}}
Line 1,897: Line 1,897:
 
| [[file:GKS 1868 2 detail 39.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 39.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 085.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 085.jpg|400px|center]]
| <p>[44] </p>
+
| <p>[44] Now follows another hit in ''seconde'' between the weapons against a ''quarte''. Perhaps you were in ''seconde'' and your adversary in ''tierce'', his sword advanced and dagger close to the hilt of his sword, with his left side kept back in order to offer you an opening to hit, with the intention of parrying and hitting in the same ''time'', you have feigned to accept the opening and hit where he desired; thus he has been deceived by your trick, raised his dagger, and advanced his right side still farther in order to hit, and to defend at the same time below by changing his hand to ''quarte''. You have disengaged over the point of your adversary's dagger and hit between the weapons in the part exposed by his attempt to parry and hit. You have left your dagger in its original position, which has given you a defence, and excluded his sword in ''quarte'' on the outside. If your dagger had met his sword further forward, it could not have thrust it away, since the ''quarte'' is very strong in that part, with the result that both would have been hit. If you had tried to attack under the dagger, your adversary would easily have parried by merely making a somewhat larger angle with his sword hand, for his body was already sufficiently turned.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|131|lbl=121}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|131|lbl=121}}
Line 1,907: Line 1,907:
 
| [[file:GKS 1868 2 detail 34.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 34.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 086.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 086.jpg|400px|center]]
| <p>[45] </p>
+
| <p>[45] Now follows another hit in ''seconde'' over the dagger against a ''tierce'' to hit below the sword. It has arisen from your making a feint of hitting in ''quarte'' between the weapons; your adversary has tried to parry with the dagger and hit in ''tierce''; you have changed from ''quarte'' to ''seconde'' raising your sword past the point of his dagger, and have hit in the ''time'' of his attempted parry and thrust; moreover you have defended below by placing your dagger on his sword and pushing it outside your right side, at the same time bending your body. Or it may be that you were in ''tierce'' above the adversary's dagger and have made a feint of hitting between his weapons, which were also in ''tierce''; he has tried to parry and hit together; by bending the body and advancing the right foot you have met his sword with a ''counter-time'', since you have returned your sword above to the same line as before, changing from ''tierce'' to ''seconde'', which has facilitated the defence of the dagger.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|132|lbl=122}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|132|lbl=122}}
Line 1,917: Line 1,917:
 
| [[file:GKS 1868 2 detail 40.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 40.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 087.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 087.jpg|400px|center]]
| <p>[46] </p>
+
| <p>[46] This is also a ''seconde'' hitting over the dagger against an  opponent in ''quarte'', who has tried to parry with his dagger and turn his body with the left foot. The adversary was in a low ''tierce'' somewhat advanced with his dagger close to the hilt of his sword; you have entered over his sword with your hand towards ''quarte'' and the dagger also in the same line, so that your adversary, with his sword advanced in the manner described, could not thrust on the outside or below, but was forced to approach on the inside only. You have closed the distance and your adversary has tried to carry himself outwards in order to save the part uncovered, when he has in the end been hit; he has expected that you would disengage below his dagger hand and hit above and therefore he has turned in order to hit in ''quarte''. His move might have succeeded, if you had not deceived him. After getting within distance, you have waited for him to move, and seizing that ''time'' have disengaged from the point of his dagger, changing your hand to ''seconde'', and thus have hit in the weak part. Although the adversary has turned his body and tried to parry with his dagger, he has done no good, because he has been too weak; nor has he hit you, since you have carried your dagger to his sword and turned the body in hitting; by carrying your right foot somewhat towards the inside you have easily defended yourself.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|133|lbl=123}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|133|lbl=123}}
Line 1,927: Line 1,927:
 
| [[file:GKS 1868 2 detail 42.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 42.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 088.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 088.jpg|400px|center]]
| <p>[47] </p>
+
| <p>[47] This ''quarte'' with a turn on the left foot has parried a stroke over the dagger in ''seconde'' and at the same time hit the adversary between his weapons. The adversary had his dagger somewhat advanced and has tried to parry, but had been anticipated by your sword which has reached his body first; he has encountered the ''forte'' of your sword with the point of his dagger and therefore has been unable to defend himself. You had moved to engage the point of his sword with the point of your dagger, and he, who was in ''tierce'', had disengaged in order to hit in ''seconde'' the part uncovered above; but you had made little movement and have defended before the ''forte'' of his sword penetrated. You have succeeded because your dagger induced his sword to move; if on the other hand his sword had caused your dagger to move, his thrust would have arrived while your dagger was falling, so that you could not have parried. In the actual case his sword has moved, your dagger has been raised and parried, as shown, with the help of the turn of the body.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|134|lbl=124}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|134|lbl=124}}
Line 1,937: Line 1,937:
 
| [[file:GKS 1868 2 detail 43.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 43.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 089.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 089.jpg|400px|center]]
| <p>[48] </p>
+
| <p>[48] This plate shows a ''tierce'' which has hit under the dagger against an opponent in ''tierce'' with his left foot forward. You were in ''tierce'' in a straight line with the point of your sword opposite your adversary's dagger hand. He has tried to get within distance with his left foot, and you, who had your point near his left hand, with a very short movement have thrust under the line of his arm and so close to it, that in hitting your sword has passed out of his view; he has been able to see only that part from his dagger hand to the hilt of your sword, you have held your dagger steady with the point towards his sword, and your dagger has approached just so much as his foot has advanced, and thus has been ready to parry in case of need; but the adversary has made no movement of defence owing to his being surprised whilst moving his foot. The same hit might have arisen in this manner: you had the point of your sword against the adversary's dagger hand and have moved the point towards the inside; he has tried to approach with the left foot in order to engage your point and to close that line somewhat; you have seized that ''time'' and made the hit shown. Also if you had withdrawn so far that your adversary could not reach you except by passing in this manner you could have retreated without danger.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|135|lbl=125}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|135|lbl=125}}
Line 1,947: Line 1,947:
 
| [[file:GKS 1868 2 detail 47.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 47.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 090.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 090.jpg|400px|center]]
| <p>[49] </p>
+
| <p>[49] The next is a hit in ''quarte'' against a guard of ''tierce''. It has arisen in this way: you were in ''tierce'' with your left foot forward and your weapons together; the adversary has attacked with the point of his sword outside your dagger; in advancing he has penetrated your dagger with the point of his sword intending to subject it and separate your weapons, in order to hit between them or under them at your side. You have taken that ''time'', partly turned your dagger in order to parry with the edge, turned your sword hand to ''quarte'' at the same time and thrust so close to his sword that he has not been able to put it where he intended, nor to free it. Or it may be that your adversary has been pressing you on the inside when you were in ''tierce'' on the left foot and with your weapons together; you have turned the points of your weapons against his sword to exclude it on the outside; then he has disengaged for fear of his sword being engaged. You have moved simply to make him disengage; you have taken the ''time'', lunged with your weapons in union and penetrated as shown a distance equal to the length of your step. Here you may realise the force and great impetus of a stroke made with the left foot forward, and followed by the right foot.</p>
 
|  
 
|  
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|136|lbl=126}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|136|lbl=126}}
Line 1,957: Line 1,957:
 
| [[file:GKS 1868 2 detail 25.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 25.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 091.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 091.jpg|400px|center]]
| <p>[50] </p>
+
| <p>[50] Now follows a hit in ''prime'' over the dagger of an opponent in ''tierce''. You also were in ''tierce'' with your point so low as to form a straight line, your feet close together and your dagger in the line of the adversary's sword. He has advanced the point of his dagger low down in order to find your sword; taking the ''time'' you have disengaged over the point of his dagger, turning your hand from ''tierce'' to ''prime'', and by carrying yourself forward at the same time have hit in the chest. If you had disengaged your sword under his dagger hand, you would not have hit, because his dagger arm being so high would have covered all that part of his body. Your dagger being in the line of his sword has also advanced, as you carried your body forward, and arrived close to the blade of his sword ready to parry, if he had tried to hit. You have not beaten his sword in order to avoid the risk of his disengaging and in order to keep the dagger steady. Or it may be that you were in ''tierce'' with your point close to the adversary's dagger and have gradually moved it to the inside and somewhat low in order to induce him to follow it and engage. This has happened, so that with this trick you have drawn his dagger out of the line and caused him to expose himself over the dagger; thus you have suddenly made the hit shown. Often it is better to proceed in this manner, when your adversary tries to engage your sword, rather than to disengage. For by disengaging generally you do what your adversary desires; by not disengaging and adopting this method of saving your sword, you cause your adversary, if he follows it, to uncover himself; he is disconcerted and can no longer defend himself. If he does not follow it, your sword is free and the danger past.</p>
 
|  
 
|  
 
|  
 
|  
Line 1,968: Line 1,968:
 
| [[file:GKS 1868 2 detail 45.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 45.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 092.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 092.jpg|400px|center]]
| <p>[51] </p>
+
| <p>[51] Here is a hit in ''seconde'' over the dagger against a ''tierce'' formed with the left foot forward. You were in ''tierce'' with the feet close together and the point of your sword in line with your adversary's dagger hand. He has pushed forward with his left foot in order to engage your sword on the inside with his dagger. In that moment you have turned your hand from ''tierce'' to ''seconde'', advanced the right foot and made the hit over his dagger. You have kept your dagger extended and close to the point of his sword, so that you could have parried with little trouble, if he had tried to hit. Or it may be that you had your point in line with your adversary's dagger hand, and had dropped the point somewhat; he has followed with his dagger and advanced his feet in order to engage it; in that instant you have disengaged, turned to seconde and hit in the ''time'' of his following your sword; therefore he has been unable to parry.</p>
 
|  
 
|  
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/138|2|lbl=-|p=1}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/138|2|lbl=-|p=1}}
Line 1,978: Line 1,978:
 
| [[file:GKS 1868 2 detail 41.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 41.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 093.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 093.jpg|400px|center]]
| <p>[52] </p>
+
| <p>[52] The next hit in ''seconde'' against a ''seconde'' may have arisen in several ways. In the first place both were in ''tierce'' on the outside; the adversary has tried to force your sword by turning his hand from ''tierce'' to ''seconde'' in order to strike the sword on top, and to parry below with his dagger. Aware of the force of his sword you have eluded it, and by turning your hand to ''seconde'' have hit on the inside over the point of his dagger. In the same time by a turn you have carried your body away and by bending the right side, which was in danger, and bringing the left side forward, have brought your body well away from the adversary's sword. By carrying your dagger to his sword at the same moment you have parried, as shown. Or it may have happened that you were on the outside and have made a feint of hitting in ''tierce'' over the adversary's sword; he has turned his hand to seconde in order to parry and hit in the same ''time'', protecting himself below with his dagger. In that ''time'' you also have disengaged, changed your line and hit as explained, parrying with the dagger. By bending your body you have let his sword pass wide, for the hit in ''seconde'' falls naturally of itself when it meets no resistance. Or again you may have been on the inside and found an opening between your adversary's weapons; you have made a feint in ''quarte'' in that line close to his sword, and your adversary, raising his hand from ''tierce'' to ''seconde'' and putting his dagger on your sword in order to defend that line, where it had entered, has pushed on in order to hit in the same ''time''. Your hit in ''quarte'' was a feint; you have carried back the right side which was in front and raised your hand from ''quarte'' to ''seconde''; thus your body has been brought out of line and your dagger has easily defended. Your sword arm has yielded and eluded his dagger; he has failed to find your sword with his dagger, since it has been raised and has hit without impediment over the point of his dagger.</p>
 
|  
 
|  
 
|  
 
|  
Line 1,989: Line 1,989:
 
| [[file:GKS 1868 2 detail 44.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 44.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 094.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 094.jpg|400px|center]]
| <p>[53] </p>
+
| <p>[53] Next follows a ''quarte'' hitting on the inside through the ''faible'' of the adversary's dagger, who is in ''tierce'' on the left foot. You also were in ''tierce'' in the straight line with the point of your sword opposite his dagger. Whilst closing distance you have kept your sword hand in the straight line, until your adversary was within distance. Your feet were close to-gether and your point in line with his dagger hand. When he had advanced within wide distance with his left foot, seeing that his point was somewhat divided from his dagger, perhaps in order to prevent a possible attack above, you have changed your hand from ''tierce'' to ''quarte'' and thrust through the ''faible'' of his dagger. He has failed to parry, since this guard of ''quarte'' is particularly strong in that line; further in lunging your sword has come so near the edge and ''faible'' of his dagger, that you have not only made his parry fail, but pushed it away by main force and almost knocked it out of his hand. The angle which the hand forms in this guard if[!] ''quarte'' has carried the point to the adversary's left shoulder. Or it may be that you had your point against his dagger hand, and on your moving it towards the outside, he has carried his dagger in that direction, raising it in order to cover himself; on that small movement of his dagger you have disengaged over the point and made the hit.</p>
 
|  
 
|  
 
|  
 
|  
Line 2,000: Line 2,000:
 
| [[file:GKS 1868 2 detail 48.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 48.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 095.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 095.jpg|400px|center]]
| <p>[54] </p>
+
| <p>[54] This plate represents a hit in ''tierce'' under the sword. You were in ''tierce'' with the left foot forward, and your adversary in ''quarte'' with his point inside your dagger, and within such close distance that his point has penetrated your dagger. In the same ''time'' you have placed your dagger on his sword and gliding along his blade have advanced the right foot; by dropping your body you have hit between his weapons, but so low, that he has found no defence, and has been caught unawares by the movement of your foot. Or it might be that you, when on guard, had moved the point of your sword outwards, your sword being inclined upwards. Your adversary has tried to exclude your sword with a ''quarte'', advancing his foot. Then you, being steady on your guard, have taken that ''time'', dropped your point, so that he has failed to find it, and have passed with your body bent as low as before, reaching your adversary's body by advancing the other foot. The same hit may have occurred in another way: you were in ''seconde'' and your adversary in ''tierce''; you have made a feint in ''seconde'' over the dagger, he has raised his dagger to parry and changed his hand to quarte in order to hit also; at the beginning of his movement you have dropped your point, turning from ''seconde'' to ''tierce'' and engaging his sword at the same time; you have passed and made the hit at  the moment of his trying to defend. In addition to the other reasons this hit has followed because the adversary has moved his foot and sword, when you have moved your point only, so that your dagger has engaged his sword and he has been unable to save it. From this you may learn, that on moving your foot you should not advance the point of your sword so far that the adversary's dagger can get control of it.</p>
 
|  
 
|  
 
|  
 
|  
Line 2,011: Line 2,011:
 
| [[file:GKS 1868 2 detail 46.jpg|400px|center]]
 
| [[file:GKS 1868 2 detail 46.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 096.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 096.jpg|400px|center]]
| <p>[55] </p>
+
| <p>[55] The last plate with the sword and dagger represents a hit and pass in ''seconde'' against an opponent in ''tierce'' who has tried to parry with his dagger and failed, because the ''forte'' of your sword has penetrated too far; in that part your sword is stronger than in any other. This hit may have arisen in several ways; in the first place you were in ''seconde'', on the outside and your adversary in ''tierce''; you have moved to engage his sword with your sword in ''seconde'' and accompanied by the dagger; he has tried to disengage to prevent his sword being subjected, with the intention of advancing and hitting; with your weapons in union you have changed the line of your sword and dagger and the front of your body advanced the left foot and defended yourself; by bending the body as far as possible you have hit between his weapons. Or it may have arisen in this manner: you were on the inside and have engaged your adversary's sword which was in ''tierce''; he has left an opening between his weapons and on his making some movement with his foot you have taken that ''time'' and hit. Or it may be that after engaging your adversary's sword you have made a feint of passing and hitting over the point of his dagger; you have forced him to raise his dagger or move it, and taking that ''time'' you have returned between his weapons and hit in ''quarte'', passing as shown. Or it might well be that your adversary had engaged your sword; you made a feint of disengaging over the sword and have returned to the inside in the time of his attempted parry; putting your dagger under his sword as he raised it, you have thrust and hit. The stroke might have happened in yet another way: you were in ''tierce'' with your sword free on the inside and by making a feint of hitting over your adversary's dagger have separated his weapons, and in that instant by passing with your sword over the point of his dagger have hit between his weapons, excluding his sword on the outside with your sword and dagger in conjunction; by the extent of your advance his sword from being straight has been forced into an angle.</p>
 
|  
 
|  
 
|  
 
|  
Line 2,017: Line 2,017:
 
|  
 
|  
 
|  
 
|  
|  
+
|
  
 
|-  
 
|-  

Revision as of 16:10, 2 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. This seems like a mistranslation of rompere di misura at first blush, but according to Kevin Murakoshi, this is an archaic piece of fencing jargon that was still current in the early 20th century. It means to withdraw/"break measure". ~Michael Chidester
  8. Originally "richeide", but corrected in the errata.
  9. Originally "dirarsi", but corrected in the errata.
  10. Originally "longuezza", but corrected in the errata.
  11. Originally "mettre", but corrected in the errata.
  12. Originally "volto", but corrected in the errata.
  13. 13.0 13.1 13.2 There's no conclusion of this word on the next page, just a new sentence.
  14. Originally "occcsione", but corrected in the errata.
  15. Originally "albassare", but corrected in the errata.
  16. Originally "& migliore", but corrected in the errata.
  17. Originally "temerariemente", but corrected in the errata.
  18. Originally "bisogna", but corrected in the errata.
  19. The letter 'F' was omitted in the print and hand-corrected in all copies.
  20. Originally "guardia", but corrected in the errata.
  21. Originally "equali", but corrected in the errata.
  22. Originally "poco", but corrected in the errata.
  23. Originally "poco", but corrected in the errata.
  24. Originally "non buoni", but corrected in the errata.
  25. Originally "queui", but corrected in the errata.
  26. Originally "che spada", but corrected in the errata.
  27. Originally "accorgendosi", but corrected in the errata.
  28. Originally "con pugnale", but corrected in the errata.
  29. Originally "mouendolo", but corrected in the errata.
  30. Originally "diuersi", but corrected in the errata.
  31. Originally "dentro la spada", but corrected in the errata.
  32. Originally "andere", but corrected in the errata.
  33. Originally "richede", but corrected in the errata.
  34. Originally "in suoi", but corrected in the errata.
  35. Originally "della", but corrected in the errata.
  36. Originally "la dette", but corrected in the errata.
  37. Originally "è passare", but corrected in the errata.
  38. The errata adds "l’".
  39. 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.
  40. 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.
  41. Should be 183.
  42. Originally "ineguale", but corrected in the errata.