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| <p>[29] </p>
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| <p>[29] '''The fourth method of attacking the adversary without a pause.'''</p>
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<p>The fourth method, which we are now about to explain, also has no fixed position for the sword in approaching the adversary. Whereas in the preceeding[!] method you advanced against his ''faible'' and tried to be on the outside on arriving within distance, with this method you proceed in the opposite way and with greater subtlety so that the adversary cannot know your intention. In that method you tried to get to the outside, if possible, in this you advance with your chest facing his point, so that it appears that you intend to rush in; thus the adversary can only remain in the straight line in order to hit your body, which is advancing uncovered. But your intention is, when your foot is about to enter within distance, to carry it outwards on either side according to the occasion; if you enter within distance with the right foot, you carry it out to the right, if with the left to the left; thus one of your feet remains in the straight line and the other outside; the body is always bent over the foot on the outside, which brings the body also out of line, and uncovers the adversary's body. If he tries to hit at that time, your sword is not far from his and will easily defend. But if he does not move, you should then advance in that line to which the foot has crossed, excluding his sword, in order to hit with the next step, which should be short and the advance continued for greater swiftness. If it happens that the adversary directs his point towards your body which is being bent over the foot to the outside, you should carry the other foot forward, for it will be already raised, and bring the weight of the body on to it and thus out of line on the other side; this will exclude his sword, and you may proceed to hit.</p>
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<p>This is a method to be followed when the adversary holds his sword higher than the middle of his trunk, more or less; but if his point is directed towards the knee or lower, then you should advance against his point and, on the instant of your foot coming within distance, cover his sword so that he cannot raise it; but you must take care in covering his sword not to let your point fall below his blade, since he would hit without your being able to parry, and you would be forced to counter-disengage. But if you hold your sword in the proper manner, you would hit in the ''time'' of his disengaging, without making any movement to defend, if the adversary were on the outside; if he were on the inside you should make a slight turn towards ''quarte'' without changing the hand entirely and taking care not to bring your hilt too low, so that he could hit in the angle formed from the hand to the point, as shown in the plate; for in that case you could parry only with difficulty, and even if you parried would be in danger of a hit in another part owing to the large movement you would make. But if you advance with your sword in the exact position and accompanied by the foot and body, your success will be complete. Therefore this method is better than those already described. Afterwards we shall treat of another method, similar, but involving more subtle principles and requiring greater judgment, because you are brought into greater danger; on the other hand you make your hit more easily, and if you thoroughly understand it's principles, you will advance with safety and hit without impediment; for the method is very deceptive, more so than the others of which we have spoken.</p>
 
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| <p>[30] </p>
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| <p>[30] With the ''quarte'' here shown the right foot has been carried away and the weight of the body brought on to it; the sword has remained in the straight line below the adversary's in ''tierce''. You have begun at a distance and approached with your chest facing the adversary's point, until your left foot was almost within distance, when you have carried the right foot away and brought the weight of the body on to it with the object of bringing the body out of the line of his sword and of being able to put your sword in the position you judge to be best. In your sword is exactly below his, the adversary has been unable to engage it with ease, and has been left in doubt. If he has not moved on your carrying your right foot out, you could place your sword in the line uncovered close to his sword, exclude his sword, and go on to hit without touching by advancing the foot on the inside. If the adversary has followed with his point the line of your body now inclined on the right foot, you would have brought your body on to the left foot and out of line on the other side; on hit sword moving you would  have put your sword into the line uncovered, for since your sword was just under his line, and since he has followed your body with his point, your sword would be left in that line, so that by merely thrusting it forward in the line where his sword was you would exclude his sword, and with all the greater ease because of the movement of your body, now on the left foot, a movement quicker than that of the hand. By following on with the foot you would have passed with great swiftness, leaving his sword on one side or the other according to the circumstances.</p>
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<p>These movements must all be made continuously, without stopping although in the plate you appear to be awaiting a ''time'' with your feet apart, that is done to show the position of the foot, body, arm and sword; but actually the movement must be executed swiftly and without interval. For if the adversary does not follow the line of your body, you will at once advance, close the path of his sword and continue. But if he follows your first movement with his point, your body goes to the other side and leaves his sword out of line, so that it cannot return into presence. Whether you make the side step to the right or left, you must still leave your sword and hand in the line of the adversary's point in order to make your defence easier, if he tries to hit during your movement. You will succeed well with this method, if you proceed in the correct manner, remembering that you must know how to reach the petition shown without moving the arm or sword; the sword must be carried forward by the body, or the method will be dangerous.</p>
 
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| <p>[31] </p>
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| <p>[31] By carrying the right foot outwards as shown, this ''tierce'' has acquired an advantage against another ''tierce''. On your carrying your right foot outwards, the adversary has not moved; your body is out of line and has uncovered his; you have immediately lifted your left foot, excluded his sword out of line so that it can return only by a disengage, and you would have hit before that movement was completed; and carried the left foot towards the line of his point. If the adversary had disengaged, you would have carried your right foot to the line of the left and hit in ''tierce'' without any other movement than that of extending the arm, rendering his disengage useless. If he had not disengaged then without carrying the right foot into the line of the left, you would have hit in ''quarte'' and followed on to his body without touching his sword. If he had rushed in in order to defend himself you would have to rest satisfied with covering yourself against his attack.</p>
 
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| [[file:Scienza d’Arme (Fabris) 132.jpg|400px|center]]
| <p>[32] </p>
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| <p>[32] This hit in ''quarte'' has followed from the advantage of having excluded the adversary's sword on the inside, as shown in the preceding plate, and from the fact that his sword, which was then in ''tierce'' in a straight line, is now in ''tierce'' at an angle. As soon as you were out of presence, you had placed your sword in the line uncovered, thrust past the ''faible'' of his sword without touching it and brought your hilt to his sword; your hand in its advance has driven his sword into an angle, and the further the advance the greater the angle, so that he has been unable to do anything but parry. All this is because with this method, when you are ready to hit, you have penetrated at that moment so far forward that the adversary is unable to form any plan except that of retiring and parrying. And also, even if you change your line you still hit without the adversary’s having any defence. Of such importance is the advantage of the line, the position of the feet and the distance.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/194|2|lbl=-|p=1}}
 
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| <p>[33] </p>
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| <p>[33] This plate represents a ''tierce'' below another ''tierce''. As explained you have advanced from a distance, and when nearly within distance, your right foot being in front, you have carried off the left foot and brought the weight of the body onto it in order to bring it out of the line of the adversary’s sword. You are holding your sword slightly below his in a straight line in order to be ready for the defence and to be able to place it where needed with little movement. Since the adversary has not moved his point, with this ''tierce'' you will carry the right foot to the line of the left, thus bringing yourself entirely out of line while his body will be exposed on the outside; in the same time you will place your sword in the line uncovered and hit close to his sword without touching it. But if the adversary follows your body with his point, when you move the foot away, the body which is on the left foot will be carried onto the right foot and thus out of line on the other side; by advanceing[!] the left foot and putting your sword in ''quarte'' inside his, you will hit without touching his sword. The result will be excellent, for in this position you will always have one foot out of the line of the adversary's sword and can advance on that side, if he has not followed you with his point; if he has followed you, you can bring the body onto the other foot, put your sword in that line, preventing his sword from returning, and hit in the part he has uncovered.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|195|lbl=185}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|195|lbl=185}}
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| <p>[34] </p>
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| <p>[34] The advantage acquired by the ''tierce'' here represented against another ''tierce'' has followed from your carrying your left foot outwards. After advancing with your chest facing the adversary's point in the manner explained and after carrying your left foot outwards, you have immediately lifted the right foot, so that your body has come out of line, and at the same moment have placed your sword close to the adversary’s to prevent his attacking; your intention is to go on to his body with that ''tierce'' without touching his sword; if he should try to find your sword in order to thrust it away, you would be confident of resisting his sword and making the hit, if you had not touched his sword in the first place. Also if he should parry and break ground, you would attack below in ''seconde'', before he touched your sword. If he should disengage on your approach in ''tierce'', you would change from ''tierce'' to ''quarte'' and hit by carrying the left foot straight forward from its present position, since his sword would be weaker and your arm would make a smaller movement.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|196|lbl=186}}
 
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| <p>[35] </p>
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| <p>[35] From the advantage explained in the preceeding[!] discourse has followed the hit in ''tierce'' now shown. You have carried your body out of line and placed your sword in the line you saw exposed near the adversary's sword; keeping yourself covered you have hit by advancing the right foot and following with the left, since the adversary has formed no plan when you carried the body away and therefore has not and could not have parried except by breaking ground; in that case you could have attacked in ''seconde'' below by bending the body and at the same ''time'' penetrating his point with your head before he could bring his point into line. If he had tried to defend himself against the ''tierce'' and to hit by disengaging you would still have hit by turning from ''tierce'' to ''quarte'' before his disengage was completed; he would have been unable to do anything else because of your advanced position, as we have said elsewhere. When you decide to hit the adversary has only one resource, that is to break ground whereas you have many.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|197|lbl=187}}
 
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| <p>[36] </p>
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| <p>[36] From your passing out of presence with the left foot has followed this next hit. When your foot came to the ground, and the adversary followed your body with his point, you placed your sword in the part exposed on the inside near his sword and thus prevented his sword from returning into line; you then continued with the left foot right to his body. If he had tried to parry he could have done so only by retiring and carrying his point out of line; further he could not have succeeded since he was facing your point, so that you could easily have changed from ''quarte'' to ''seconde'', bending the body, which is now inclined to the right, over to the left to the position of the ''seconde'' on the inside, but somewhat further out and low.</p>
 
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| <p>[37] </p>
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| <p>[37] The next plate represents a hit in ''tierce'' against a ''seconde'' intended to hit below the sword. You have carried your left foot away, and advanced the right, putting your sword close to the adversary's in order to exclude it. He has taken that ''time'' turned his hand from ''tierce'' to ''seconde'', lowering his body and point in order to hit below. You have not touched his sword, but simply covered yourself; you have dropped your point at the same time, still in ''tierce'' and carried your left foot forward bending the body; you have checked your hand in order to remain at his ''faible'' and inclined your point upwards, in order to give it more strength above; in this way you have stopped his sword and hit in ''tierce''; this ''tierce'' has penetrated all the more because it has been met by the adversary's, whose point has been lowered in his efforts to defend himself against the approaching danger but he has been deceived and encountered your forte.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|199|lbl=189}}
 
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| <p>[38] </p>
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| <p>[38] Now follows a ''quarte'' which is below a ''seconde'' and with the left shoulder more advanced than the right. You have carried the left foot, lifted the other and brought it into the same line in order to expose the adversary on the outside. Although the adversary's hand is so high, yet the whole of his head is exposed above in the line from the middle of his blade to the point, and thus the line in which this ''quarte'' will hit is seen. If when you carried away the left foot, the adversary had followed with his point in order to remain in line, you would have brought your point to the inside in ''quarte'' and hit in that ''time'', without taking your sword away from the defence and without touching his sword. If he had not moved, with that ''quarte'' you would have attacked on the outside and hit above, as will be more clearly shown in the next plate.</p>
 
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| <p>[39] </p>
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| <p>[39] This hit has followed from the position of advantage of the preceeding[!] ''quarte'' below a ''seconde''. You had brought your body out of presence, and seeing the part uncovered towards the adversary’s head on the outside, have at once placed your sword in that line, extended your foot and arm, and by running along his blade forced it down, as shown, for the ''quarte'' is very strong in that line and the ''seconde'' on the other hand very weak. Even if he had tried to change to ''quarte'' he would have done no good, for by simply lowering your point towards his right side you would have hit at the moment of his advancing, before he had finished turning his body and hand. If, when you had gone out of presence, he had followed in order to maintain his point in line, you would have taken that ''time'', your hand being already in ''quarte'', and hit in ''quarte'' on the inside.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|201|lbl=191}}
 
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| <p>[40] </p>
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| <p>[40] In this plate you are seen to have acquired an advantage in ''tierce'' over another low ''tierce''. Coming from a distance without forming any guard, you have carried your body and sword in such a manner, that on arriving within distance they were in the position shown. If your adversary had tried to hit on one side or the other, as you came within distance, he would have effected nothing, but you with your advantage would have been better able to hit, since in approaching within distance you have kept your feet, body and sword in control, in order to be ready for any opportunity. If your adversary does not move you will go on to hit close to his sword and the line of his arm in order to preserve your defence. If he disengages in order to hit on the outside, you will hit in ''tierce''; if he does not move, you will hit in ''quarte'' in order to defend the inside line.</p>
 
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| <p>[41] </p>
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| <p>[41] This hit in ''quarte'' has followed from the advantage acquired by the preceeding[!] ''tierce'' on the left foot against a low ''tierce''. It has followed because you have seized the advantage and continued close to the adversary's sword; you have so defended yourself, that if he had disengaged on the outside, you would still have hit without making any movement of defence in tierce or any other change; he could have saved himself only by breaking distance and raising his sword to the defence on the one side or the other; this would necessarily have brought his point out of line and given you a good opportunity to hit in ''seconde'' on the inside or below, according to the direction in which he had moved to parry. Your body would have been so far on the outside, that you could have kept your right shoulder exactly opposite his right shoulder.</p>
 
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Revision as of 20:16, 4 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

Temp

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. This word can't be read on the photos I have. It's a 6-letter word that seems to end in "s?ed". The Italian word means to move or advance, and Tom Leoni translates it as "fling".
  36. Originally "della", but corrected in the errata.
  37. Originally "la dette", but corrected in the errata.
  38. Originally "è passare", but corrected in the errata.
  39. The errata adds "l’".
  40. 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.
  41. 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.
  42. Should be 183.
  43. Originally "ineguale", but corrected in the errata.