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Difference between revisions of "Salvator Fabris"

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| subject              =  
 
| subject              =  
 
| movement            =  
 
| movement            =  
| notableworks        = ''[[Scienza d’Arme (Salvator Fabris)|Scienza d’Arme]]'' (1606)
+
| notableworks        = ''[[Scienza d’Arme (Salvator Fabris)|Scienza d’Arme]]'' (1601-06)
| manuscript(s)        = {{plainlist
+
| manuscript(s)        = {{collapsible list
 
  | [[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868.4040]] (1601)
 
  | [[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868.4040]] (1601)
  | [[La Scientia della Spada (MS KB.73.J.38)|MS KB.73.J.38]] (1600-1609)
+
  | [[La Scientia della Spada (MS KB.73.J.38)|MS KB.73.J.38]] (1600-09)
 +
| [[Figures nues, positions d'escrime à l'épée (MS 17)|MS 17]] (1600-20)
 
  | [[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|MS Dresd.C.94a]] (ca. 1635)
 
  | [[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|MS Dresd.C.94a]] (ca. 1635)
 
}}
 
}}
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{{master begin
 
{{master begin
 
  | title = Preface and Dedication
 
  | title = Preface and Dedication
  | width = 240em
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  | width = 300em
 
}}
 
}}
 
{| class="master"
 
{| class="master"
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[translator::A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
+
! class="double" | <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[translator::A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
+
! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p>
+
! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p>
 
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
 
  
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|2|lbl=I}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|2|lbl=I}}
| [http://www.bruchius.com/docs/La%20Scien%20della%20Spada%20-%20Transcription%20by%20RvN.pdf Text to copy over]
 
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| {{pagetb|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf|6|lbl=I}}
 
| {{pagetb|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf|6|lbl=I}}
  
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{{master begin
 
{{master begin
 
  | title = Book 1
 
  | title = Book 1
  | width = 240em
+
  | width = 300em
 
}}
 
}}
 
{{master subsection begin
 
{{master subsection begin
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
+
! class="double" | <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[translator::A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
+
! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p>
+
! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Alex Kiermayer]]</p>
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p>
 
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Alex Kiermayer]]</p>
 
  
 
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<p>The four guards arise from the four faces of the hand and the sword, that is to say of the two edges and the two surfaces; and these produce four different positions. ''prime'' is that position which the hand takes in drawing the sword from the scabbard, when the point is turned towards the adversary - all the guards especially with the sword alone must be formed with the point so directed. When the hand is turned slightly upward we have ''seconde'', and ''tierce'' when the hand is in its natural position turned neither up nor down. When the inside of the hand is turned upwards we have ''quarte''. The hand in turning can take these four positions only, and being in ''prime'' cannot go to ''quarte'' without passing through ''seconde'' and ''tierce''; so the name ''quarte'' is given to the last position. ''prime'' is the most suitable position for grasping the sword, although it can be done in ''seconde'' or ''tierce'': but with the hand in ''quarte'' the sword cannot be drawn from the scabbard. You must know that nothing can be done which does not arise from one of these four positions approximately; we say approximately, because, if you consider, you will find that there is a great distance between one guard and another owing to the width of the surface of the sword and of the hand, so that between ''prime'' and ''seconde'' there is a mean, where the hand might stop, and similarly between ''seconde'' and ''tierce'', and between ''tierce'' and ''quarte''. Therefore one might say that there were four legitimate guards and three bastard, since each bastard resembles the two, between which it is formed. But to avoid the confusion of so many terms we shall speak only of the four legitimate guards, which will serve very well for the three bastards also; for the quality of the guard is considered not only from the position of the hand, but also from the direction of the point, wherein lies the force of the guard. Therefore we shall divide the guards into these four only, especially as with the sword there are only four methods of hitting, that is on the inside, on the outside, below and above. The great differences between one guard and another will be explained when we treat of their natures, when we shall consider the various methods of defence, and the changes made in hitting, according to whether they are formed with the sword extended or withdrawn, high or low; we shall then treat of the nature of each one separately.</p>
 
<p>The four guards arise from the four faces of the hand and the sword, that is to say of the two edges and the two surfaces; and these produce four different positions. ''prime'' is that position which the hand takes in drawing the sword from the scabbard, when the point is turned towards the adversary - all the guards especially with the sword alone must be formed with the point so directed. When the hand is turned slightly upward we have ''seconde'', and ''tierce'' when the hand is in its natural position turned neither up nor down. When the inside of the hand is turned upwards we have ''quarte''. The hand in turning can take these four positions only, and being in ''prime'' cannot go to ''quarte'' without passing through ''seconde'' and ''tierce''; so the name ''quarte'' is given to the last position. ''prime'' is the most suitable position for grasping the sword, although it can be done in ''seconde'' or ''tierce'': but with the hand in ''quarte'' the sword cannot be drawn from the scabbard. You must know that nothing can be done which does not arise from one of these four positions approximately; we say approximately, because, if you consider, you will find that there is a great distance between one guard and another owing to the width of the surface of the sword and of the hand, so that between ''prime'' and ''seconde'' there is a mean, where the hand might stop, and similarly between ''seconde'' and ''tierce'', and between ''tierce'' and ''quarte''. Therefore one might say that there were four legitimate guards and three bastard, since each bastard resembles the two, between which it is formed. But to avoid the confusion of so many terms we shall speak only of the four legitimate guards, which will serve very well for the three bastards also; for the quality of the guard is considered not only from the position of the hand, but also from the direction of the point, wherein lies the force of the guard. Therefore we shall divide the guards into these four only, especially as with the sword there are only four methods of hitting, that is on the inside, on the outside, below and above. The great differences between one guard and another will be explained when we treat of their natures, when we shall consider the various methods of defence, and the changes made in hitting, according to whether they are formed with the sword extended or withdrawn, high or low; we shall then treat of the nature of each one separately.</p>
 
 
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<p>When your adversary attempts to engage your sword or to beat it, and you change from one line to another, before he can beat or engage, you are said to make a disengagement in ''time''. If, while your adversary is disengaging, you follow his movement, which he has begun in order to get the superiority, and let your sword go after his, so that you engage him in the same line as before, that is called a counter-disengagement. If you have disengaged and your adversary has also disengaged and you then deceive his engagement, that is a double disengagement. If, without completing the change from one line to another, you leave your sword under the adversary's, you make a half disengagement. If you disengage and, when your adversary moves to engage or to make a hit, you engage again where you were before, you are said to re-engage - - -.To make a successful disengagement you must bend forward — so that, when the disengagement is completed, the lunge is completed, if you wish to hit, otherwise you will not be in time. If you follow this principle, your adversary will not be able to parry, if you have taken the ''time'', though he may counter-disengage, if that was his intention in seeking to engage. If he had meant simply to get the superiority or to beat he would certainly be hit. If in seeking to engage your sword, the adversary remains steady, then you must disengage in order to free your sword. This gives him an opportunity for a counter-disengagement, for he has moved at the same time as you disengaged. Then to protect yourself you must make a double disengagement and thrust in the same ''time'', in which he has meant to hit you with a counter-disengagement. Some remain steady in seeking to engage in order to make the adversary disengage and so hit him in the straight line, before he has completed the disengagement. In such a case if the adversary, who has begun to disengage, returns to the same line as before, carrying his ''forte'' to your ''faible'' and thrusting on to the body, he will save himself and certainly hit at the moment you meant to hit. The half disengagement is used when you are in doubt that the adversary may pass to your body, before you have completed,[!] the disengagement, since your point would be out of presence and could not hit. Therefore you make a half disengagement to save time, and remain below the adversary's sword in order to hit, removing your body out of presence, as we shall explain in its place. Such a half disengagement is not always used in the first passes, but more often in the second and third movements, as the distance is shortened. The effects produced by these disengagements will be seen in the plates.</p>
 
<p>When your adversary attempts to engage your sword or to beat it, and you change from one line to another, before he can beat or engage, you are said to make a disengagement in ''time''. If, while your adversary is disengaging, you follow his movement, which he has begun in order to get the superiority, and let your sword go after his, so that you engage him in the same line as before, that is called a counter-disengagement. If you have disengaged and your adversary has also disengaged and you then deceive his engagement, that is a double disengagement. If, without completing the change from one line to another, you leave your sword under the adversary's, you make a half disengagement. If you disengage and, when your adversary moves to engage or to make a hit, you engage again where you were before, you are said to re-engage - - -.To make a successful disengagement you must bend forward — so that, when the disengagement is completed, the lunge is completed, if you wish to hit, otherwise you will not be in time. If you follow this principle, your adversary will not be able to parry, if you have taken the ''time'', though he may counter-disengage, if that was his intention in seeking to engage. If he had meant simply to get the superiority or to beat he would certainly be hit. If in seeking to engage your sword, the adversary remains steady, then you must disengage in order to free your sword. This gives him an opportunity for a counter-disengagement, for he has moved at the same time as you disengaged. Then to protect yourself you must make a double disengagement and thrust in the same ''time'', in which he has meant to hit you with a counter-disengagement. Some remain steady in seeking to engage in order to make the adversary disengage and so hit him in the straight line, before he has completed the disengagement. In such a case if the adversary, who has begun to disengage, returns to the same line as before, carrying his ''forte'' to your ''faible'' and thrusting on to the body, he will save himself and certainly hit at the moment you meant to hit. The half disengagement is used when you are in doubt that the adversary may pass to your body, before you have completed,[!] the disengagement, since your point would be out of presence and could not hit. Therefore you make a half disengagement to save time, and remain below the adversary's sword in order to hit, removing your body out of presence, as we shall explain in its place. Such a half disengagement is not always used in the first passes, but more often in the second and third movements, as the distance is shortened. The effects produced by these disengagements will be seen in the plates.</p>
 
 
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<p>If when within distance you uncover some part in order to give your adversary a chance to hit, you are said to make an ''appel''. You must consider the distance and be careful that his sword is not so near that it might arrive before you had finished the movement of the ''appel''. You must decide whether it is better to advance while he is moving, or to retire in order to have time to parry and hit. Therefore in making the ''appel'' it is not good to move the feet, because you could bring them neither forward nor backword[!] in time; besides the danger of being hit through the slowness of the movement. But the ''appel'' can very well be made in withdrawing or approaching the body according to the nature of the distance, because the movement of the body is very quick, and if properly made does not prevent your raising the feet in time. An ''appel'' should be made when you see that your adversary is about to lunge in order to encourage him to stick to his purpose. Such an ''appel'' is made to deceive him; but if he perceived it he might deceive you, as we noted in treating of the deception of ''time'' and ''counter-time''. An ''appel'' is simply giving time in order to invite the adversary to hit, with the object of hitting him. When your adversary desires to do something, it is better to encourage his desire rather than prevent it, so that his action will be more hurried. It is much better to know what he means to do and to let him do it, than to wait for him to do something unforeseen. It often happens that you are hit without knowing how or why. Therefore you must know your adversary's intentions in order to resist him better. Attack him in ''time'' and protect yourself.</p>
 
<p>If when within distance you uncover some part in order to give your adversary a chance to hit, you are said to make an ''appel''. You must consider the distance and be careful that his sword is not so near that it might arrive before you had finished the movement of the ''appel''. You must decide whether it is better to advance while he is moving, or to retire in order to have time to parry and hit. Therefore in making the ''appel'' it is not good to move the feet, because you could bring them neither forward nor backword[!] in time; besides the danger of being hit through the slowness of the movement. But the ''appel'' can very well be made in withdrawing or approaching the body according to the nature of the distance, because the movement of the body is very quick, and if properly made does not prevent your raising the feet in time. An ''appel'' should be made when you see that your adversary is about to lunge in order to encourage him to stick to his purpose. Such an ''appel'' is made to deceive him; but if he perceived it he might deceive you, as we noted in treating of the deception of ''time'' and ''counter-time''. An ''appel'' is simply giving time in order to invite the adversary to hit, with the object of hitting him. When your adversary desires to do something, it is better to encourage his desire rather than prevent it, so that his action will be more hurried. It is much better to know what he means to do and to let him do it, than to wait for him to do something unforeseen. It often happens that you are hit without knowing how or why. Therefore you must know your adversary's intentions in order to resist him better. Attack him in ''time'' and protect yourself.</p>
 
 
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<p>To understand the lunge is one thing, to understand the pass another. With the knowledge of the two you can adopt whichever seems best according to your opponent and the circumstances. For sometimes you can lunge and cannot pass owing to the shortness of the ''time''. This applies when you are in presence. For there is another kind of passing, which may be made in the least possible ''time''. Its principles are different and will be treated of in another place.</p>
 
<p>To understand the lunge is one thing, to understand the pass another. With the knowledge of the two you can adopt whichever seems best according to your opponent and the circumstances. For sometimes you can lunge and cannot pass owing to the shortness of the ''time''. This applies when you are in presence. For there is another kind of passing, which may be made in the least possible ''time''. Its principles are different and will be treated of in another place.</p>
 
 
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<p>To adopt the safest position for the body and the best for the sword you must hold the arm not quite extended, but still rather extended than withdrawn, and the sword in a straight line, or inclined slightly outwards according to the position of your adversary. In this manner your guard will be the best and your body safe with respect to the ''forte'' of the sword, which can defend with little movement, as it is already advanced. Your sword will be stronger than with the arm fully extended, and in every case you are more master of it and can use it with more variety. It is less restricted and less fatiguing, nor is it so easy to pass under the guard as with the arm extended. You can change your position according to the occasion, and keeping the ''forte'' always in its place you will defend with ease, if you use it in the proper manner. This guard is better than the other when remaining steady against your adversary, though our opinion is that you should remain steady in no position for long. Though you may be more secure than your adversary, yet all have defects. Therefore the judicious man, seeing his adversary steady in any position, will not only realise the fact, but know how to proceed against him and hit him. Also he will understand what such an adversary can do in attack and defence. But if he finds his adversary is not steady, he cannot so easily estimate the position, although from the first putting of hands to the sword and the manner in which the sword is carried, he will come to understand where to take advantage. Of this we shall treat in the second book, when we shall explain whether it is better to remain steady in presence and await a ''time''.[!] or to attack without a pause.</p>
 
<p>To adopt the safest position for the body and the best for the sword you must hold the arm not quite extended, but still rather extended than withdrawn, and the sword in a straight line, or inclined slightly outwards according to the position of your adversary. In this manner your guard will be the best and your body safe with respect to the ''forte'' of the sword, which can defend with little movement, as it is already advanced. Your sword will be stronger than with the arm fully extended, and in every case you are more master of it and can use it with more variety. It is less restricted and less fatiguing, nor is it so easy to pass under the guard as with the arm extended. You can change your position according to the occasion, and keeping the ''forte'' always in its place you will defend with ease, if you use it in the proper manner. This guard is better than the other when remaining steady against your adversary, though our opinion is that you should remain steady in no position for long. Though you may be more secure than your adversary, yet all have defects. Therefore the judicious man, seeing his adversary steady in any position, will not only realise the fact, but know how to proceed against him and hit him. Also he will understand what such an adversary can do in attack and defence. But if he finds his adversary is not steady, he cannot so easily estimate the position, although from the first putting of hands to the sword and the manner in which the sword is carried, he will come to understand where to take advantage. Of this we shall treat in the second book, when we shall explain whether it is better to remain steady in presence and await a ''time''.[!] or to attack without a pause.</p>
 
 
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<p>Our discourse so far has been to show the principles on which the science and practise of the sword are founded. We have omitted many things which we might have said, and have had regard only for what seemed to us more useful and necessary, and more in accordance with the use of the present time. Now we shall treat of the nature of the guards and movements, illustrated by the plates. In each guard the illustration will be double to show the position of the right and the left side of the body.</p>
 
<p>Our discourse so far has been to show the principles on which the science and practise of the sword are founded. We have omitted many things which we might have said, and have had regard only for what seemed to us more useful and necessary, and more in accordance with the use of the present time. Now we shall treat of the nature of the guards and movements, illustrated by the plates. In each guard the illustration will be double to show the position of the right and the left side of the body.</p>
 
 
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| <p>[27] <br/><br/><br/></p>
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<p>This plate illustrates the guard in ''tierce'', which arises from the guard in ''prime'', as does the guard in ''quarte'', as will be seen. The guard in ''tierce'' is less fatiguing than the other two, because the arm is in a natural position. But the hand is too low and the point inclined upwards at an angle, so that there are many exposed parts. If you draw a straight line from the point to the body you will see how great is the angle, and all the space between that straight line and the hand is exposed, where you may be hit on the outside and on the inside. On some sides it is not strong; further you may be hit before your hily is reached. If you wish to defend the upper parts you make so large a movement with the hand, that you cannot reach the defence in time, and your adversary can easily deceive you. Again, as your sword is at such an angle, in parrying you often go out of line, offering a great advantage to your adversary. Again, by bringing the sword into the straight line you weaken it, for the sword is always weakened by being extended, with great danger that your adversary's sword, if already extended, will remain the stronger, since the sword is always stronger after coming to rest than in its passage. Further, one who stands in this manner with his sword at an angle, can make little use of the disengagement, since his point has to make too great a circle and too large a movement. Nevertheless this guard may be used, because its nature is not always known. Though the sword is at a great angle and the body much uncovered, still you can sufficiently deceive your adversary by avoiding and freeing your sword by a half disengagement. Therefore he who can use these devices in time will defend and easily protect himself. The desire of the adversary to hit is increased by the sight of so much exposure, with the result that you may readily save yourself and hit your adversary. But we shall form a safer guard in ''tierce''.</p>
 
<p>This plate illustrates the guard in ''tierce'', which arises from the guard in ''prime'', as does the guard in ''quarte'', as will be seen. The guard in ''tierce'' is less fatiguing than the other two, because the arm is in a natural position. But the hand is too low and the point inclined upwards at an angle, so that there are many exposed parts. If you draw a straight line from the point to the body you will see how great is the angle, and all the space between that straight line and the hand is exposed, where you may be hit on the outside and on the inside. On some sides it is not strong; further you may be hit before your hily is reached. If you wish to defend the upper parts you make so large a movement with the hand, that you cannot reach the defence in time, and your adversary can easily deceive you. Again, as your sword is at such an angle, in parrying you often go out of line, offering a great advantage to your adversary. Again, by bringing the sword into the straight line you weaken it, for the sword is always weakened by being extended, with great danger that your adversary's sword, if already extended, will remain the stronger, since the sword is always stronger after coming to rest than in its passage. Further, one who stands in this manner with his sword at an angle, can make little use of the disengagement, since his point has to make too great a circle and too large a movement. Nevertheless this guard may be used, because its nature is not always known. Though the sword is at a great angle and the body much uncovered, still you can sufficiently deceive your adversary by avoiding and freeing your sword by a half disengagement. Therefore he who can use these devices in time will defend and easily protect himself. The desire of the adversary to hit is increased by the sight of so much exposure, with the result that you may readily save yourself and hit your adversary. But we shall form a safer guard in ''tierce''.</p>
 
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| <p>[29] <br/><br/></p>
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<p>We have wished to include this guard in ''tierce'', since it has some advantageous principles, as we shall explain. It may be derived from the extended ''tierce'' if in that ''tierce'' the sword is in danger of being engaged, or for any other reason. You will free yourself by disengaging from that ''tierce'' to this, for the inclination of the body is now backwards, as may be seen; without moving the feet, but by merely bending the body and the knees the body is carried so far back, that the adversary cannot hit. At the same time the sword is freed. If your adversary attempts to engage it or to hit by carrying himself forward, with this guard you may very well hit him simply by again advancing your body forward at the same moment as he advances. Further it is a sufficiently good guard to practice, because it forms an oblique line towards the ground in such a manner, that your adversary cannot easily seize it. If he tries to engage your sword so low down without using the same advantageous position of the body, he will certainly be hit, since the distances are very deceptive. When within distance you appear to be far out of distance, and when the part which is bent backwards is bent forwards, without moving the feet, you extend more than half a sword's length by the mere inclination of the body, so that you reach further than your adversary estimates, if he has not understood the nature of the position. Thus as this guard may serve for this long reach, it may also serve for a withdrawal, since the distance is enlarged more than half a sword's length, with the result that your adversary cannot reach in ''time'', and you have the advantage in defence and attack. But you cannot engage his sword before coming within close distance, unless you are careful to bring your feet together and bend the body as far forward as possible; then indeed you may reach his point though within wide distance. With this guard you should remember that the exposed part above is so far back that it cannot be hit if you know how to keep your sword free. Thus this position is very much to the purpose and good against various guards at an angle, and even extended guards. A body in such a position could easily and swiftly get out of line of the adversary's point, and with equal celerity pass on the one side or the other, except against the guard in ''prime'', which could engage your sword down to the ground.</p>
 
<p>We have wished to include this guard in ''tierce'', since it has some advantageous principles, as we shall explain. It may be derived from the extended ''tierce'' if in that ''tierce'' the sword is in danger of being engaged, or for any other reason. You will free yourself by disengaging from that ''tierce'' to this, for the inclination of the body is now backwards, as may be seen; without moving the feet, but by merely bending the body and the knees the body is carried so far back, that the adversary cannot hit. At the same time the sword is freed. If your adversary attempts to engage it or to hit by carrying himself forward, with this guard you may very well hit him simply by again advancing your body forward at the same moment as he advances. Further it is a sufficiently good guard to practice, because it forms an oblique line towards the ground in such a manner, that your adversary cannot easily seize it. If he tries to engage your sword so low down without using the same advantageous position of the body, he will certainly be hit, since the distances are very deceptive. When within distance you appear to be far out of distance, and when the part which is bent backwards is bent forwards, without moving the feet, you extend more than half a sword's length by the mere inclination of the body, so that you reach further than your adversary estimates, if he has not understood the nature of the position. Thus as this guard may serve for this long reach, it may also serve for a withdrawal, since the distance is enlarged more than half a sword's length, with the result that your adversary cannot reach in ''time'', and you have the advantage in defence and attack. But you cannot engage his sword before coming within close distance, unless you are careful to bring your feet together and bend the body as far forward as possible; then indeed you may reach his point though within wide distance. With this guard you should remember that the exposed part above is so far back that it cannot be hit if you know how to keep your sword free. Thus this position is very much to the purpose and good against various guards at an angle, and even extended guards. A body in such a position could easily and swiftly get out of line of the adversary's point, and with equal celerity pass on the one side or the other, except against the guard in ''prime'', which could engage your sword down to the ground.</p>
 
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<p>This is a guard in ''quarte'', the last of the four guards. It is formed simply with the arm at an angle, for which reason you are strengthened, and sufficiently covered on the inside. But you cannot disengage with much promptness, and on the outside are much exposed because of the angle formed by the arm and the hand. Although your position is strong, still if the adversary attempts to hit, it would not be so good to parry or to attempt to hit under the sword on the right side of the guard, letting his point pass without parrying. In this manner you would be most successful; for your arm being at such am[!] angle, if your adversary wishes to reach the body, his point must pass inside that arm. If the arm is extended towards the inside, it will cover all the part, which was seen exposed before, and will hit without touching the adversary's sword. With this guard, if you have an opportunity to change from ''quarte'' to ''seconde'', the result will be effective, and still more so if the arm is fully extended from its present angle. The hand will be so far on the inside, that the adversary's sword cannot cover much in that line. When you change to ''seconde'', an angle opposite to the first will be formed, so that your adversary cannot be in as strong a position. It will be all the better if in changing you continue on to the body. For if you measure the path taken by your point in hitting and the path taken by the adversary's point in defending, you will find that the path of the defending point is the greater. Although your hand has moved from one angle to another, a large movement, still the point will have gone to the body without shifting. Thus that large movement will have done damage to the adversary and not to yourself, if you have changed the front of your body by moving it out of the line of his point.</p>
 
<p>This is a guard in ''quarte'', the last of the four guards. It is formed simply with the arm at an angle, for which reason you are strengthened, and sufficiently covered on the inside. But you cannot disengage with much promptness, and on the outside are much exposed because of the angle formed by the arm and the hand. Although your position is strong, still if the adversary attempts to hit, it would not be so good to parry or to attempt to hit under the sword on the right side of the guard, letting his point pass without parrying. In this manner you would be most successful; for your arm being at such am[!] angle, if your adversary wishes to reach the body, his point must pass inside that arm. If the arm is extended towards the inside, it will cover all the part, which was seen exposed before, and will hit without touching the adversary's sword. With this guard, if you have an opportunity to change from ''quarte'' to ''seconde'', the result will be effective, and still more so if the arm is fully extended from its present angle. The hand will be so far on the inside, that the adversary's sword cannot cover much in that line. When you change to ''seconde'', an angle opposite to the first will be formed, so that your adversary cannot be in as strong a position. It will be all the better if in changing you continue on to the body. For if you measure the path taken by your point in hitting and the path taken by the adversary's point in defending, you will find that the path of the defending point is the greater. Although your hand has moved from one angle to another, a large movement, still the point will have gone to the body without shifting. Thus that large movement will have done damage to the adversary and not to yourself, if you have changed the front of your body by moving it out of the line of his point.</p>
 
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<p>The plate represents an extended guard in ''quarte''. It is much better than the preceeding[!] one, and beyond comparison more cautious than all the others, because it keeps the adversary at a distance. He cannot be sure of engaging your sword, because with this guard you can disengage easily and subtly and with greater promptness than with the other on one side or the other. Its greatest strength is on the outside, where you cannot be hit, and the inside is assured by the effect of the hand being turned in that direction in such a way, that no path is left for the adversary to take, except by pushing your sword out of the line, a dangerous plan, as with this guard the disengage and double disengage are swift. His only resource is to try to disorder your sword by a feint or a movement, in order to hit below, carrying his body suddenly forward; for he could not reach with a lunge without putting himself in greater danger of an attack. Thus this is the most secure of the four extended guards, as we have said. There is no other which can be maintained with greater ease, with the sword more ready and free.</p>
 
<p>The plate represents an extended guard in ''quarte''. It is much better than the preceeding[!] one, and beyond comparison more cautious than all the others, because it keeps the adversary at a distance. He cannot be sure of engaging your sword, because with this guard you can disengage easily and subtly and with greater promptness than with the other on one side or the other. Its greatest strength is on the outside, where you cannot be hit, and the inside is assured by the effect of the hand being turned in that direction in such a way, that no path is left for the adversary to take, except by pushing your sword out of the line, a dangerous plan, as with this guard the disengage and double disengage are swift. His only resource is to try to disorder your sword by a feint or a movement, in order to hit below, carrying his body suddenly forward; for he could not reach with a lunge without putting himself in greater danger of an attack. Thus this is the most secure of the four extended guards, as we have said. There is no other which can be maintained with greater ease, with the sword more ready and free.</p>
 
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<p>This is also a guard in ''quarte'' and very different from the two last. As you may see in the plate, the chest is exposed to the adversary and the feet in an oblique line. The intention is to move to either side according to the opportunity. The adversary cannot proceed to hit either your chest or head, for your feet are on either side of his sword, so that by lifting one of them your body will be out of line, so that you can hit in ''quarte'', in ''tierce'' or in ''seconde'', as the ''time'' and the occasion demand. With this guard you are uncovered on the outside. You invite your adversary to attempt a hit there, knowing that it is the strongest part, and that the angle is naturally of such a kind, that if he tries to hit in that place, by carrying the left foot in a straight line, extending the arm and leaving the hand in the same position, you will hit your adversary below on the right, or above by making the angle still larger and carrying the hand as high as the shoulder. In this way your lunge will be so strong that, however much your adversary tries to parry, he will still be hit. If he approaches too close without resolution, you should turn your hand from ''quarte'' to ''seconde'', covering the head and carrying the left foot forward, and pass on with body and sword you will make a hit in the chest in seconde. With this guard you must take care to be so far advanced that as you change to ''seconde'' the head may penetrate the adversary's point with the bending of the body, and you may then proceed to hit and carry your left hand to his hilt, if adversary disengaged in order to hit in the lower lines, he would effect nothing, because your sword, which would have already begun to change into that line, would prevent him, and would hit on the outside, for you would have brought both sides of your body equally forward; this excellent result would be due to the length of your reach and the strength of your sword. In this way the only difference would be that your body would pass on the outside instead of the inside. With this guard you may easily use the left hand.</p>
 
<p>This is also a guard in ''quarte'' and very different from the two last. As you may see in the plate, the chest is exposed to the adversary and the feet in an oblique line. The intention is to move to either side according to the opportunity. The adversary cannot proceed to hit either your chest or head, for your feet are on either side of his sword, so that by lifting one of them your body will be out of line, so that you can hit in ''quarte'', in ''tierce'' or in ''seconde'', as the ''time'' and the occasion demand. With this guard you are uncovered on the outside. You invite your adversary to attempt a hit there, knowing that it is the strongest part, and that the angle is naturally of such a kind, that if he tries to hit in that place, by carrying the left foot in a straight line, extending the arm and leaving the hand in the same position, you will hit your adversary below on the right, or above by making the angle still larger and carrying the hand as high as the shoulder. In this way your lunge will be so strong that, however much your adversary tries to parry, he will still be hit. If he approaches too close without resolution, you should turn your hand from ''quarte'' to ''seconde'', covering the head and carrying the left foot forward, and pass on with body and sword you will make a hit in the chest in seconde. With this guard you must take care to be so far advanced that as you change to ''seconde'' the head may penetrate the adversary's point with the bending of the body, and you may then proceed to hit and carry your left hand to his hilt, if adversary disengaged in order to hit in the lower lines, he would effect nothing, because your sword, which would have already begun to change into that line, would prevent him, and would hit on the outside, for you would have brought both sides of your body equally forward; this excellent result would be due to the length of your reach and the strength of your sword. In this way the only difference would be that your body would pass on the outside instead of the inside. With this guard you may easily use the left hand.</p>
 
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<p>Although this guard resembles the last, nevertheless it has considerable differences, for in this guard the sword is held in such a manner, that the hand does not form an angle on the outside, but the wrist is inclined inwards, and bends the sword so that it appears foreshortened. Whereas the other ''quartes'' are stronger on the outside, this ''quarte'' has more power on the inside owing to this foreshortening of the sword, and also to the position of the body with the left side so far forward, as is seen. We have included this guard in order to show how you may advance on the inside to subject the adversary's sword, which is in ''seconde'' at an angle. You must know that the greater the angle your sword forms, the greater is your force in that line. If the adversary tried to hit your exposed part, he might himself be hit through the angle of the guard in ''seconde'', if he did not hit with the advantage of the line for the straight line always reaches farther, or did not avoid with his body, or wait until his opponent came within distance in order to be able to hit and withdraw. But for passing at the fitting opportunity without being hit there is no sounder or better position than the one seen here. For, whatever the angle of the adversary's sword, this foreshortened sword will push his way and will be stronger than the ''seconde'', so that he will be forced to change his guard, or retreat; otherwise you will at the slightest move-<ref name="hyphen"/> proceed to hit and pass to the body.</p>
 
<p>Although this guard resembles the last, nevertheless it has considerable differences, for in this guard the sword is held in such a manner, that the hand does not form an angle on the outside, but the wrist is inclined inwards, and bends the sword so that it appears foreshortened. Whereas the other ''quartes'' are stronger on the outside, this ''quarte'' has more power on the inside owing to this foreshortening of the sword, and also to the position of the body with the left side so far forward, as is seen. We have included this guard in order to show how you may advance on the inside to subject the adversary's sword, which is in ''seconde'' at an angle. You must know that the greater the angle your sword forms, the greater is your force in that line. If the adversary tried to hit your exposed part, he might himself be hit through the angle of the guard in ''seconde'', if he did not hit with the advantage of the line for the straight line always reaches farther, or did not avoid with his body, or wait until his opponent came within distance in order to be able to hit and withdraw. But for passing at the fitting opportunity without being hit there is no sounder or better position than the one seen here. For, whatever the angle of the adversary's sword, this foreshortened sword will push his way and will be stronger than the ''seconde'', so that he will be forced to change his guard, or retreat; otherwise you will at the slightest move-<ref name="hyphen"/> proceed to hit and pass to the body.</p>
 
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</p>Here we have placed an extention[!] in ''quarte'' to be used in lunging in order that you may understand the working of the foot, body and hand together. With this extension you hit with the head covered and without turning it, as some do. It would be better to turn and raise the hand a little, and if you had first extended in ''quarte'', the hand would have moved little; nevertheless however great or small its movement, it would certainly be better than turning the head and losing light of your adversary's movements. Holding the head back with the idea of its being safer, is an obvious error, since the further your head is from your ''forte'', the greater the danger it runs. Moreover, if you hold the head back, you cannot lunge far enough to reach the adversary's body. Also you must keep your eyes on your adversary's sword hand, not only when steady, but in passing and turning the body, on whichever foot. As to recovering with the body bent so far forward and the feet so far apart you must observe the rule described when we spoke of the lunge in ''tierce''.</p>
 
</p>Here we have placed an extention[!] in ''quarte'' to be used in lunging in order that you may understand the working of the foot, body and hand together. With this extension you hit with the head covered and without turning it, as some do. It would be better to turn and raise the hand a little, and if you had first extended in ''quarte'', the hand would have moved little; nevertheless however great or small its movement, it would certainly be better than turning the head and losing light of your adversary's movements. Holding the head back with the idea of its being safer, is an obvious error, since the further your head is from your ''forte'', the greater the danger it runs. Moreover, if you hold the head back, you cannot lunge far enough to reach the adversary's body. Also you must keep your eyes on your adversary's sword hand, not only when steady, but in passing and turning the body, on whichever foot. As to recovering with the body bent so far forward and the feet so far apart you must observe the rule described when we spoke of the lunge in ''tierce''.</p>
 
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<p>Here follows another extension in ''quarte'', in which the right foot has been turned. The lunge is made by advancing the right foot only, turning it in the air in such a manner that the turn is complete as it reaches the ground, as you may see. The plate shows that the turning of the foot most[!] begin with the lifting of the body, so that as you advance all the part which was visible when on guard is taken out of presence and the adversary's sword passes in empty air. It shows that you must hit the adversary at the same moment, recover the right foot at once and return on guard in case he has not passed or had not meant to pass. After completing this stroke you could follow with the left foot turning it backwards and continuing to the adversary's body, if he had not passed, as we said; for if he had passed the first stroke would have sufficed.</p>
 
<p>Here follows another extension in ''quarte'', in which the right foot has been turned. The lunge is made by advancing the right foot only, turning it in the air in such a manner that the turn is complete as it reaches the ground, as you may see. The plate shows that the turning of the foot most[!] begin with the lifting of the body, so that as you advance all the part which was visible when on guard is taken out of presence and the adversary's sword passes in empty air. It shows that you must hit the adversary at the same moment, recover the right foot at once and return on guard in case he has not passed or had not meant to pass. After completing this stroke you could follow with the left foot turning it backwards and continuing to the adversary's body, if he had not passed, as we said; for if he had passed the first stroke would have sufficed.</p>
 
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| <p>[37] <br/><br/></p>
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| <p>[37]</p>
  
 
<p>This is another extension in ''quarte'', made with a turn of the left foot. It may be used in the ''time'' when your adversary tries to hit on the inside in ''tierce'' or ''seconde'', or to pass below. You can similarly make use of it if he offers a ''time'' when on guard. But it must be accompanied by a movement of the feet, so that he cannot break ground, while you are trying to hit. Otherwise you would be hit, as you would also if you gave your adversary time to change line. For in turning in this manner, if your first plan fails, you can form no other. Therefore you should not turn unless you are certain that you are so far advanced, that with the first movement of the feet the body can pass the adversary's point, for otherwise you would be easily hit in the back. After turning the left foot it is well to follow right on to his body in order to get entirely out of presence and in order that he may not withdraw his sword and return to hit you. If your adversary passes it will be unnecessary to do anything but the turn in order to get out of line and escape the impact of his sword. In this case you would be more successful, as you could not be deceived.</p>
 
<p>This is another extension in ''quarte'', made with a turn of the left foot. It may be used in the ''time'' when your adversary tries to hit on the inside in ''tierce'' or ''seconde'', or to pass below. You can similarly make use of it if he offers a ''time'' when on guard. But it must be accompanied by a movement of the feet, so that he cannot break ground, while you are trying to hit. Otherwise you would be hit, as you would also if you gave your adversary time to change line. For in turning in this manner, if your first plan fails, you can form no other. Therefore you should not turn unless you are certain that you are so far advanced, that with the first movement of the feet the body can pass the adversary's point, for otherwise you would be easily hit in the back. After turning the left foot it is well to follow right on to his body in order to get entirely out of presence and in order that he may not withdraw his sword and return to hit you. If your adversary passes it will be unnecessary to do anything but the turn in order to get out of line and escape the impact of his sword. In this case you would be more successful, as you could not be deceived.</p>
 
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| [[file:GKS 1868 1 detail 21.jpg|400px|center]]
 
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| <p>[39] <br/><br/></p>
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<p>This plate illustrates the first hit in ''quarte''. It is a lunge against a guard in ''tierce''. It may arise as follows. The adversary, who is in ''tierce'' has made a feint of hitting on the inside, whilst you also were in ''tierce''. He has come forward in order to make you parry. But you have taken the ''time'', carried your hilt up to his point and driven on your point to make a hit. By advancing the right foot, bending the body and turning your hand into ''quarte'', you have encountered and hit your adversary, as may be seen, at the moment of his coming forward. He has not been able to parry, while his foot was in the air and he was advancing. Similarly it may happen that you both are in ''tierce'' on the outside, and the adversary has tried to disengage to the inside line, advancing his sword and body to force you to parry, with the intention of hitting you in that ''time'' by changing from ''tierce'' to ''seconde'', and lowering his body; or he intended to return to the outside in ''tierce'' in order to hit over the sword. Both these methods would have been effective, if you had done what he desired. But you, being steady on your guard, with your sword free, within wide distance, were awaiting the ''time'' in order to hit or seize some advantage. As soon as you saw the movement of his sword and body bringing him forward, you realised that although he had not moved his feet, he still could not break ground, since it is impossible to advance and retire at one moment. Hence you may realise the great danger of moving without a ''time'', in order to advance, when you are already within wide distance, especially when the adversary's sword is free. If you are forced to move in order to free yourself from some danger it is better to retire than to advance, especially if your adversary is steady on his guard, and thus free yourself in such a manner, that if your adversary attempts to hit in that ''time'', you can defend yourself and attack at the same instant. Even if you have moved your sword and body, provided that your feet are steady, you can always save yourself when within wide distance. But within close distance the smallest movement involves great danger, as we showed in treating of distances and ''times''. Further you must consider that, while your adversary's sword is free and steady, to make a feint, in our judgment, is merely to hurry fruitlessly. If your adversary makes a feint, he can never hit, even though you parry, as long as you are steady on your feet,[!] If after a feint he tries to hit, you can break ground, so that he will not reach, and will be thrown into disorder with danger of being hit before he recovers. Therefore to make a feint you must await some movement of your adversary, or not his sword free, but engage it first, so that he cannot hit in that line. Afterwards you can feint, without abandoning your advantage. In making this feint you must go forward, so that if he does not parry, the feint will hit, and if he parries, you can by a change of line reach his body, before he can save himself by breaking ground. For the one who has moved with the feint will arrive more quickly than the one who has awaited the second ''time'' in order to break ground. If when you make the feint, your adversary breaks ground, you must not advance, for you are too far away. You must stop and return to the engagement. If the one who has been hit in the present case, had observed that principle sooner, he would have been the hitter rather than the hit, or would at least have saved himself. We have made a long discourse on this present hit with respect to its advantages and dangers, and not only that, but the manner of its arising, and how else it might arise, and how he who was hit might have found safety. For before the attack many remedies were possible, though they were of no avail after the thing was done. But in the following hits we shall state only the cause and the effect, leaving the rest, lest the reader should be wearied.</p>
 
<p>This plate illustrates the first hit in ''quarte''. It is a lunge against a guard in ''tierce''. It may arise as follows. The adversary, who is in ''tierce'' has made a feint of hitting on the inside, whilst you also were in ''tierce''. He has come forward in order to make you parry. But you have taken the ''time'', carried your hilt up to his point and driven on your point to make a hit. By advancing the right foot, bending the body and turning your hand into ''quarte'', you have encountered and hit your adversary, as may be seen, at the moment of his coming forward. He has not been able to parry, while his foot was in the air and he was advancing. Similarly it may happen that you both are in ''tierce'' on the outside, and the adversary has tried to disengage to the inside line, advancing his sword and body to force you to parry, with the intention of hitting you in that ''time'' by changing from ''tierce'' to ''seconde'', and lowering his body; or he intended to return to the outside in ''tierce'' in order to hit over the sword. Both these methods would have been effective, if you had done what he desired. But you, being steady on your guard, with your sword free, within wide distance, were awaiting the ''time'' in order to hit or seize some advantage. As soon as you saw the movement of his sword and body bringing him forward, you realised that although he had not moved his feet, he still could not break ground, since it is impossible to advance and retire at one moment. Hence you may realise the great danger of moving without a ''time'', in order to advance, when you are already within wide distance, especially when the adversary's sword is free. If you are forced to move in order to free yourself from some danger it is better to retire than to advance, especially if your adversary is steady on his guard, and thus free yourself in such a manner, that if your adversary attempts to hit in that ''time'', you can defend yourself and attack at the same instant. Even if you have moved your sword and body, provided that your feet are steady, you can always save yourself when within wide distance. But within close distance the smallest movement involves great danger, as we showed in treating of distances and ''times''. Further you must consider that, while your adversary's sword is free and steady, to make a feint, in our judgment, is merely to hurry fruitlessly. If your adversary makes a feint, he can never hit, even though you parry, as long as you are steady on your feet,[!] If after a feint he tries to hit, you can break ground, so that he will not reach, and will be thrown into disorder with danger of being hit before he recovers. Therefore to make a feint you must await some movement of your adversary, or not his sword free, but engage it first, so that he cannot hit in that line. Afterwards you can feint, without abandoning your advantage. In making this feint you must go forward, so that if he does not parry, the feint will hit, and if he parries, you can by a change of line reach his body, before he can save himself by breaking ground. For the one who has moved with the feint will arrive more quickly than the one who has awaited the second ''time'' in order to break ground. If when you make the feint, your adversary breaks ground, you must not advance, for you are too far away. You must stop and return to the engagement. If the one who has been hit in the present case, had observed that principle sooner, he would have been the hitter rather than the hit, or would at least have saved himself. We have made a long discourse on this present hit with respect to its advantages and dangers, and not only that, but the manner of its arising, and how else it might arise, and how he who was hit might have found safety. For before the attack many remedies were possible, though they were of no avail after the thing was done. But in the following hits we shall state only the cause and the effect, leaving the rest, lest the reader should be wearied.</p>
 
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| [[file:GKS 1868 1 detail 22.jpg|400px|center]]
 
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| [[file:Scienza d’Arme (Fabris) 022.jpg|400px|center]]
| <p>[40] <br/><br/></p>
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| <p>[40]</p>
  
 
<p>The second hit is in ''tierce'' against a guard in ''tierce''. It may arise when you finding yourself on the inside, have made a feint in the straight line and your adversary in parrying has dropped his sword through not meeting yours, for you have disengaged in the ''time'' of his parrying. You have gone on to hit on the outside through the angle naturally formed by the hand in ''tierce'', and the adversary has been unable to push your sword away as his ''forte'' was already so far advanced that his sword remained locked. Or it might arise in this way both being in ''tierce'' on the inside, you have advanced to engage his sword. He has tried to disengage, advancing his right foot. In that ''time'' you have pushed on and made a hit before the disengage and the movement of the foot were completed, in such a manner that his point has been pushed outwards, before he could return it into line. It is obvious that the ''time'' offered by the disengage from one line to the other, being a larger movement, is longer than the ''time'' offered by one who remains in the centre line and goes straight on. Therefore, you may say that you have arrived before he has finished the disengage, and in this manner have pushed him out of the line as the plate shows.</p>
 
<p>The second hit is in ''tierce'' against a guard in ''tierce''. It may arise when you finding yourself on the inside, have made a feint in the straight line and your adversary in parrying has dropped his sword through not meeting yours, for you have disengaged in the ''time'' of his parrying. You have gone on to hit on the outside through the angle naturally formed by the hand in ''tierce'', and the adversary has been unable to push your sword away as his ''forte'' was already so far advanced that his sword remained locked. Or it might arise in this way both being in ''tierce'' on the inside, you have advanced to engage his sword. He has tried to disengage, advancing his right foot. In that ''time'' you have pushed on and made a hit before the disengage and the movement of the foot were completed, in such a manner that his point has been pushed outwards, before he could return it into line. It is obvious that the ''time'' offered by the disengage from one line to the other, being a larger movement, is longer than the ''time'' offered by one who remains in the centre line and goes straight on. Therefore, you may say that you have arrived before he has finished the disengage, and in this manner have pushed him out of the line as the plate shows.</p>
 
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| [[file:GKS 1868 1 detail 24.jpg|400px|center]]
 
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| [[file:Scienza d’Arme (Fabris) 024.jpg|400px|center]]
| <p>[42] <br/><br/></p>
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| <p>[42] </p>
  
 
<p>This is a hit in ''tierce'' against another ''tierce''. Both were on the outside, and you have moved to engage your adversary's sword. He, seeing the time, without considering the width of the distance, and that you have moved the point only, has advanced his foot in order to disengage on the inside and hit in ''quarte'', or in order to engage your sword, and has advanced within close distance. You had moved with the intention merely of making him move. Seeing that he was beginning to drop his point to disengage it and that he was advancing his foot, you also have let your point drop; lowered the body and have met his ''faible'' with the hilt and prevented his disengage. At the same moment you have pushed on with the right foot and hit under his sword on the outside. Therefore it should be held as a true principle, that when your adversary's sword is free and he is steady on his feet and has tried to engage, you should not allow this danger to arise, but should form a plan to acquire some advantage without advancing, but rather retiring. For the movement of the foot is longer than the movement of the sword. But in the case when you have engaged your adversary's sword and he has tried to free it, even without moving his feet, then you can advance a foot and engage on the other side, in order to hit when he moves again. Therefore the principle of advancing when your adversary moves rests on the advantage of having first engaged his sword. If it is free, it puts you in danger, as the plate shows.</p>
 
<p>This is a hit in ''tierce'' against another ''tierce''. Both were on the outside, and you have moved to engage your adversary's sword. He, seeing the time, without considering the width of the distance, and that you have moved the point only, has advanced his foot in order to disengage on the inside and hit in ''quarte'', or in order to engage your sword, and has advanced within close distance. You had moved with the intention merely of making him move. Seeing that he was beginning to drop his point to disengage it and that he was advancing his foot, you also have let your point drop; lowered the body and have met his ''faible'' with the hilt and prevented his disengage. At the same moment you have pushed on with the right foot and hit under his sword on the outside. Therefore it should be held as a true principle, that when your adversary's sword is free and he is steady on his feet and has tried to engage, you should not allow this danger to arise, but should form a plan to acquire some advantage without advancing, but rather retiring. For the movement of the foot is longer than the movement of the sword. But in the case when you have engaged your adversary's sword and he has tried to free it, even without moving his feet, then you can advance a foot and engage on the other side, in order to hit when he moves again. Therefore the principle of advancing when your adversary moves rests on the advantage of having first engaged his sword. If it is free, it puts you in danger, as the plate shows.</p>
 
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| [[file:GKS 1868 1 detail 26.jpg|400px|center]]
 
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| [[file:Scienza d’Arme (Fabris) 026.jpg|400px|center]]
| <p>[44] <br/><br/></p>
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| <p>[44] </p>
  
 
<p>This is a hit in ''quarte'' against a sword in the air. Both were on the outside and you have tried to engage your adversary's sword, which may have been in ''tierce'' or in ''seconde''. He has raised his sword to make a cut of ''mandiritto'' at the head. You were already moving in ''quarte'' in order to engage his sword and have merely lunged forward, advancing the right foot in such a way as to arrive before his sword fell. Even if his sword had fallen, it would have effected[!] nothing, because in lunging you have raised your hand far enough to protect the head from the cut. As the cut is made from the elbow, it has left much uncovered, is slow in hitting and has led to this hit. If the cut had been made from the wrist, in the ''time'' of your hitting the sword would have fallen on yours, so that both the attack and the defence would have been illustrated together. But as that did not happen, the attack only is shown here.</p>
 
<p>This is a hit in ''quarte'' against a sword in the air. Both were on the outside and you have tried to engage your adversary's sword, which may have been in ''tierce'' or in ''seconde''. He has raised his sword to make a cut of ''mandiritto'' at the head. You were already moving in ''quarte'' in order to engage his sword and have merely lunged forward, advancing the right foot in such a way as to arrive before his sword fell. Even if his sword had fallen, it would have effected[!] nothing, because in lunging you have raised your hand far enough to protect the head from the cut. As the cut is made from the elbow, it has left much uncovered, is slow in hitting and has led to this hit. If the cut had been made from the wrist, in the ''time'' of your hitting the sword would have fallen on yours, so that both the attack and the defence would have been illustrated together. But as that did not happen, the attack only is shown here.</p>
 
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/118|3|lbl=101}}
  
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| [[file:GKS 1868 1 detail 27.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 27.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 027.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 027.jpg|400px|center]]
| <p>[45] <br/><br/></p>
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| <p>[45] </p>
  
 
<p>This is a hit in ''seconde'' against a sword in ''tierce'', whose point is out of line; it has arisen in this manner: both were in ''tierce'' on the inside and you have tried to engage the adversary's sword. At that moment he has turned his sword to make a cut of ''riverso'' through the uncovered part seen outside the sword towards the head and shoulder. Seeing his sword making a circle you have changed from ''tierce'' to ''seconde'', covered the threatened part, and in the same ''time'' driven on your point, arriving before his circle was finished. Even had his sword fallen first, he would have met the parry. All this arises from the slowness of the cut, which you cannot make without getting out of line, and the ''time'' before you return in to line, is so long, that one who uses the point may easily arrive first.</p>
 
<p>This is a hit in ''seconde'' against a sword in ''tierce'', whose point is out of line; it has arisen in this manner: both were in ''tierce'' on the inside and you have tried to engage the adversary's sword. At that moment he has turned his sword to make a cut of ''riverso'' through the uncovered part seen outside the sword towards the head and shoulder. Seeing his sword making a circle you have changed from ''tierce'' to ''seconde'', covered the threatened part, and in the same ''time'' driven on your point, arriving before his circle was finished. Even had his sword fallen first, he would have met the parry. All this arises from the slowness of the cut, which you cannot make without getting out of line, and the ''time'' before you return in to line, is so long, that one who uses the point may easily arrive first.</p>
 
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| [[file:GKS 1868 1 detail 28.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 28.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 028.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 028.jpg|400px|center]]
| <p>[46] <br/><br/></p>
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| <p>[46] </p>
  
 
<p>This is a hit in ''tierce'' on a straight line against a ''tierce'' which has fallen. Both were in ''tierce'' on the outside. You have tried to engage the adversary's sword, being within wide distance, and he has taken that ''time'' and made a cut of ''mandiritto'' at the head. You have withdrawn your body slightly, have let his sword pass in the air, and merely lowering the point a little when his sword has passed, have suddenly thrust in ''tierce'', reaching his body at the moment when his sword has competely[!] fallen, so that he has been unable to raise his sword in order to parry or to retreat, or save himself, because his movement was not yet finished, when he was hit. From this you may deduce the principle that, when possible, it is always better to let cuts pass without parrying them, so that you may not be put into subjection and the danger of being deceived while parrying. Further this method is less fatiguing.</p>
 
<p>This is a hit in ''tierce'' on a straight line against a ''tierce'' which has fallen. Both were in ''tierce'' on the outside. You have tried to engage the adversary's sword, being within wide distance, and he has taken that ''time'' and made a cut of ''mandiritto'' at the head. You have withdrawn your body slightly, have let his sword pass in the air, and merely lowering the point a little when his sword has passed, have suddenly thrust in ''tierce'', reaching his body at the moment when his sword has competely[!] fallen, so that he has been unable to raise his sword in order to parry or to retreat, or save himself, because his movement was not yet finished, when he was hit. From this you may deduce the principle that, when possible, it is always better to let cuts pass without parrying them, so that you may not be put into subjection and the danger of being deceived while parrying. Further this method is less fatiguing.</p>
 
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|  
| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|63|lbl=55}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|63|lbl=55}}
|
 
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{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/120|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/121|4|lbl=104|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/120|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/121|4|lbl=104|p=1}}
Line 1,006: Line 896:
 
| [[file:GKS 1868 1 detail 29.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 29.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 029.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 029.jpg|400px|center]]
| <p>[47] <br/><br/></p>
+
| <p>[47] </p>
  
 
<p>This hit in ''quarte'' against a ''tierce'' which has fallen has arisen as follows: you have tried to engage whilst both were in ''tierce'' on the inside, and your adversary has taken the ''time'' and made a cut in ''riverso'' at the head, but being too far distant he has failed to reach. You realised that his cut could not reach and allowed his sword to pass without parrying, and by lowering your point a little so that his sword might not touch it, as soon as his sword had passed you have hit in ''quarte'', being defended in that place where the cut of ''riverso'', after falling, generally hits, especially if it has fallen without effect. Your point has reached his body at the moment when the ''riverso'' has finished its fall, in such a way that he who has made the cut has been unable to save himself, because he has been carried forward by his own blow, and therefore has given you a chance to hit him. If his arm had been straighter and in better alignment, he could have defended better. This is the result of the sword missing its object, which, as we have said elsewhere, always brings more or less disorder. The cut made from the wrist gives more protection.</p>
 
<p>This hit in ''quarte'' against a ''tierce'' which has fallen has arisen as follows: you have tried to engage whilst both were in ''tierce'' on the inside, and your adversary has taken the ''time'' and made a cut in ''riverso'' at the head, but being too far distant he has failed to reach. You realised that his cut could not reach and allowed his sword to pass without parrying, and by lowering your point a little so that his sword might not touch it, as soon as his sword had passed you have hit in ''quarte'', being defended in that place where the cut of ''riverso'', after falling, generally hits, especially if it has fallen without effect. Your point has reached his body at the moment when the ''riverso'' has finished its fall, in such a way that he who has made the cut has been unable to save himself, because he has been carried forward by his own blow, and therefore has given you a chance to hit him. If his arm had been straighter and in better alignment, he could have defended better. This is the result of the sword missing its object, which, as we have said elsewhere, always brings more or less disorder. The cut made from the wrist gives more protection.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|64|lbl=56}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|64|lbl=56}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/121|6|lbl=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/121|6|lbl=-}}
  
Line 1,024: Line 912:
 
| [[file:GKS 1868 1 detail 30.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 30.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 030.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 030.jpg|400px|center]]
| <p>[48] <br/><br/></p>
+
| <p>[48] </p>
  
 
<p>This cut of ''mandiritto'' at the head, which is here shown, against a ''tierce'' may arise in this manner: you have engaged your adversary's sword, and he has not moved. The swords being engaged on the outside, he has tried to force your sword, and you, feeling the pressure, have yielded, and by bending the wrist, and keeping your hilt close to his sword, have made the cut shown. He has been unable to parry, because, owing to your yielding, his sword has fallen a little, in such a manner that your ''forte'', has weighed upon his blade and prevented him from raising it. It may arise also in this way: both being in ''tierce'' on the inside, you have tried to engage and your adversary has disengaged in ''tierce'', carrying himself forward in order to hit on the outside. But you have let his point drop, bent your wrist, bringing the hilt over his blade, and thus have made the cut of mandiritto. As may be seen your hand has fallen into ''tierce''.</p>
 
<p>This cut of ''mandiritto'' at the head, which is here shown, against a ''tierce'' may arise in this manner: you have engaged your adversary's sword, and he has not moved. The swords being engaged on the outside, he has tried to force your sword, and you, feeling the pressure, have yielded, and by bending the wrist, and keeping your hilt close to his sword, have made the cut shown. He has been unable to parry, because, owing to your yielding, his sword has fallen a little, in such a manner that your ''forte'', has weighed upon his blade and prevented him from raising it. It may arise also in this way: both being in ''tierce'' on the inside, you have tried to engage and your adversary has disengaged in ''tierce'', carrying himself forward in order to hit on the outside. But you have let his point drop, bent your wrist, bringing the hilt over his blade, and thus have made the cut of mandiritto. As may be seen your hand has fallen into ''tierce''.</p>
 
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| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|65|lbl=57}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|65|lbl=57}}
 
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+
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/122|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/123|4|lbl=106|p=1}}
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/122|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/123|4|lbl=106|p=1}}
 
  
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/123|5|lbl=-}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/123|5|lbl=-}}
Line 1,042: Line 929:
 
| [[file:GKS 1868 1 detail 36.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 36.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 031.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 031.jpg|400px|center]]
| <p>[49] <br/><br/></p>
+
| <p>[49] </p>
  
 
<p>This hit in ''quarte'' against a ''seconde'' has arisen as follows:- both were in ''tierce'' on the outside, and you have lowered your point and uncovered the outside in order to give your adversary an opportunity to attempt a hit. He, thinking you have moved in order to change position, has come in to the part uncovered, thinking that he could hit by changing from ''tierce'' to ''seconde'' so as to exclude your sword on the outside, and carrying his right foot forward. You, seeing him coming, have not parried, but turned the body with the left foot; at the same time disengaging on the inside and changing the hand to ''quarte'' you have made the hit. The hit might also have arisen in this way: both being in tierce on the inside, you have tried to engage; he has disengaged before you could find his sword, and changed his hand into ''seconde'' in order to cover himself and hit you on the outside in the ''time'' when you were seeking his blade. This would have succeeded, if you had tried to parry. But thinking that you could not defend by a parry of the sword, which was moving in order to engage his sword, you have continued the movement followed his disengage, and by making a counter-disengage, turning your body out of presence and letting his sword pass, you have hit at the moment of his advance.</p>
 
<p>This hit in ''quarte'' against a ''seconde'' has arisen as follows:- both were in ''tierce'' on the outside, and you have lowered your point and uncovered the outside in order to give your adversary an opportunity to attempt a hit. He, thinking you have moved in order to change position, has come in to the part uncovered, thinking that he could hit by changing from ''tierce'' to ''seconde'' so as to exclude your sword on the outside, and carrying his right foot forward. You, seeing him coming, have not parried, but turned the body with the left foot; at the same time disengaging on the inside and changing the hand to ''quarte'' you have made the hit. The hit might also have arisen in this way: both being in tierce on the inside, you have tried to engage; he has disengaged before you could find his sword, and changed his hand into ''seconde'' in order to cover himself and hit you on the outside in the ''time'' when you were seeking his blade. This would have succeeded, if you had tried to parry. But thinking that you could not defend by a parry of the sword, which was moving in order to engage his sword, you have continued the movement followed his disengage, and by making a counter-disengage, turning your body out of presence and letting his sword pass, you have hit at the moment of his advance.</p>
 
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| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|66|lbl=58}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|66|lbl=58}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/124|3|lbl=107}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/124|3|lbl=107}}
  
Line 1,068: Line 953:
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|67|lbl=59}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|67|lbl=59}}
 
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+
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/125|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/126|5|lbl=109|p=1}}
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{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/125|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/126|5|lbl=109|p=1}}
 
  
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/126|6|lbl=-}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/126|6|lbl=-}}
Line 1,079: Line 962:
 
| [[file:GKS 1868 1 detail 33.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 33.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 033.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 033.jpg|400px|center]]
| <p>[51] <br/><br/></p>
+
| <p>[51] </p>
  
 
<p>This hit under the sword on the outside may be made in ''tierce'' or in ''quarte'' against a ''quarte'', according as the arm is parried outwards more or less, and may arise in this way: your adversary has tried to engage your sword on the inside. You have disengaged and he has tried to hit in ''quarte'' under the sword. After disengaging you have withdrawn the body, in order to have time to return your sword to the lower lines before he could reach. You have succeeded, and dropping the hand and figure at the same moment have again found his ''faible'' with your ''forte'', and hit him in the right side, as he turned. Or you may suppose the position has arisen, when you tried to engage your adversary's sword on the outside, he being in ''seconde'' .[!] In that ''time'' he has changed from ''seconde'' to ''quarte'', turning his left foot, in order to hit under the sword and let your sword pass. At the same moment you have carried your body on to the left foot, returned your sword to the lower lines on the outside, and thus made the hit shown.</p>
 
<p>This hit under the sword on the outside may be made in ''tierce'' or in ''quarte'' against a ''quarte'', according as the arm is parried outwards more or less, and may arise in this way: your adversary has tried to engage your sword on the inside. You have disengaged and he has tried to hit in ''quarte'' under the sword. After disengaging you have withdrawn the body, in order to have time to return your sword to the lower lines before he could reach. You have succeeded, and dropping the hand and figure at the same moment have again found his ''faible'' with your ''forte'', and hit him in the right side, as he turned. Or you may suppose the position has arisen, when you tried to engage your adversary's sword on the outside, he being in ''seconde'' .[!] In that ''time'' he has changed from ''seconde'' to ''quarte'', turning his left foot, in order to hit under the sword and let your sword pass. At the same moment you have carried your body on to the left foot, returned your sword to the lower lines on the outside, and thus made the hit shown.</p>
 
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| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|68|lbl=60}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|68|lbl=60}}
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{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/126|8|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/127|4|lbl=110|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/126|8|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/127|4|lbl=110|p=1}}
Line 1,098: Line 979:
 
| [[file:GKS 1868 1 detail 34.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 34.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 034.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 034.jpg|400px|center]]
| <p>[52] <br/><br/></p>
+
| <p>[52] </p>
  
 
<p>This ''seconde'' against a ''quarte'' has arisen as follows: your adversary being in ''quarte'' has tried to engage your sword in ''tierce'' on the outside and you have disengaged on the inside, still in ''tierce''. The adversary, taking the ''time'' of the disengage, has tried to hit in ''quarte'' in the line uncovered, turning his body. You have changed from ''tierce'' to ''seconde'', dropping your body and sword under his sword and letting it pass in the air above. Or it might happen that you have moved and tried to engage his sword on the outside, with the hand in ''quarte'', in order to have greater strength in the line where his sword was, and in order to be more covered on the inside. Your adversary has disengaged on the inside and made a ''quarte'' in order to hit above the hilt in the line seen to be uncovered. Then you have changed from ''quarte'' to ''seconde'', and, lowering your whole body below the position where the hilt was, have carried forward the right foot in such a manner, that his sword has passed in the air and you have made the hit shown.</p>
 
<p>This ''seconde'' against a ''quarte'' has arisen as follows: your adversary being in ''quarte'' has tried to engage your sword in ''tierce'' on the outside and you have disengaged on the inside, still in ''tierce''. The adversary, taking the ''time'' of the disengage, has tried to hit in ''quarte'' in the line uncovered, turning his body. You have changed from ''tierce'' to ''seconde'', dropping your body and sword under his sword and letting it pass in the air above. Or it might happen that you have moved and tried to engage his sword on the outside, with the hand in ''quarte'', in order to have greater strength in the line where his sword was, and in order to be more covered on the inside. Your adversary has disengaged on the inside and made a ''quarte'' in order to hit above the hilt in the line seen to be uncovered. Then you have changed from ''quarte'' to ''seconde'', and, lowering your whole body below the position where the hilt was, have carried forward the right foot in such a manner, that his sword has passed in the air and you have made the hit shown.</p>
 
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| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|69|lbl=61}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|69|lbl=61}}
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|
 
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/128|3|lbl=111}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/128|3|lbl=111}}
  
Line 1,114: Line 993:
 
| [[file:GKS 1868 1 detail 35.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 35.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 035.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 035.jpg|400px|center]]
| <p>[53] <br/><br/></p>
+
| <p>[53] </p>
  
 
<p>Now follows a hit in ''prime'' against a ''seconde''. Both being in ''tierce'' on the inside, you have tried to engage your adversary's sword; he has taken the ''time'' when you were trying to subject his sword, and has disengaged on the outside, changing his hand to ''seconde'' and advancing to hit over the sword in the line you have uncovered in trying to subject his sword. But you, seeing the disengage and the blow intended, have taken that ''time'', changed from ''tierce'' to ''prime'', lowering the whole body, so that the head is entirely covered and defended by the hilt and right arm, and have pushed out the ''seconde'', for in the change to ''prime'' your hilt has gone so high as to cover the point aimed at by the adversary with his ''seconde''; with the result that his point, which was to hit ''above'', has remained ''below'' and excluded by your ''forte''. Or you may have tried to engage the adversary's sword, and he has tried cut of ''riverso'' at the arm in the part seen uncovered; you by a change from ''tierce'' to ''prime'' have defended yourself and covered your arm with the ''forte''. Therefore the adversary has failed to effect[!] anything and has been hit in the same ''time''.</p>
 
<p>Now follows a hit in ''prime'' against a ''seconde''. Both being in ''tierce'' on the inside, you have tried to engage your adversary's sword; he has taken the ''time'' when you were trying to subject his sword, and has disengaged on the outside, changing his hand to ''seconde'' and advancing to hit over the sword in the line you have uncovered in trying to subject his sword. But you, seeing the disengage and the blow intended, have taken that ''time'', changed from ''tierce'' to ''prime'', lowering the whole body, so that the head is entirely covered and defended by the hilt and right arm, and have pushed out the ''seconde'', for in the change to ''prime'' your hilt has gone so high as to cover the point aimed at by the adversary with his ''seconde''; with the result that his point, which was to hit ''above'', has remained ''below'' and excluded by your ''forte''. Or you may have tried to engage the adversary's sword, and he has tried cut of ''riverso'' at the arm in the part seen uncovered; you by a change from ''tierce'' to ''prime'' have defended yourself and covered your arm with the ''forte''. Therefore the adversary has failed to effect[!] anything and has been hit in the same ''time''.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|70|lbl=62}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|70|lbl=62}}
 
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+
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/129|4|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/130|4|lbl=113|p=1}}
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/129|4|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/130|4|lbl=113|p=1}}
 
  
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/130|5|lbl=-}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/130|5|lbl=-}}
Line 1,130: Line 1,008:
 
| [[file:GKS 1868 1 detail 31.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 31.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 036.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 036.jpg|400px|center]]
| <p>[54] <br/><br/></p>
+
| <p>[54] </p>
  
 
<p>This hit in ''quarte'' against ''seconde'' has arisen in this manner. Both being in ''tierce'' on the inside, you have tried to engage your adversary's sword, and he has meant to change from ''tierce'' to ''seconde'' and drop under your sword in the time, when your point was out of line. Therefore you, seeing his plan, have not completed the engagement, but have directed your point to his body, carrying the hilt where you had planned to put the point; you have turned the body and the right foot, carrying it forward and leaving your hand against the adversary's ''faible''. In this manner you are defended and have reached him whilst he was lowering his body and advancing. Equally it might occur that he was in ''seconde'' on the inside, and that you have tried to engage his sword. He has intended to disengage in ''seconde'' in order to hit on the outside above the sword. You have disengaged, carried the hilt where you meant to put the point, and by the turn of the body, foot and hand, have hit at the moment your adversary thought to hit.</p>
 
<p>This hit in ''quarte'' against ''seconde'' has arisen in this manner. Both being in ''tierce'' on the inside, you have tried to engage your adversary's sword, and he has meant to change from ''tierce'' to ''seconde'' and drop under your sword in the time, when your point was out of line. Therefore you, seeing his plan, have not completed the engagement, but have directed your point to his body, carrying the hilt where you had planned to put the point; you have turned the body and the right foot, carrying it forward and leaving your hand against the adversary's ''faible''. In this manner you are defended and have reached him whilst he was lowering his body and advancing. Equally it might occur that he was in ''seconde'' on the inside, and that you have tried to engage his sword. He has intended to disengage in ''seconde'' in order to hit on the outside above the sword. You have disengaged, carried the hilt where you meant to put the point, and by the turn of the body, foot and hand, have hit at the moment your adversary thought to hit.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|71|lbl=63}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|71|lbl=63}}
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{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/130|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/131|3|lbl=114|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/130|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/131|3|lbl=114|p=1}}
Line 1,147: Line 1,023:
 
| [[file:GKS 1868 1 detail 37.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 37.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 037.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 037.jpg|400px|center]]
| <p>[55] <br/><br/></p>
+
| <p>[55] </p>
  
 
<p>This hit in ''quarte'' against a ''seconde'' may arise in two ways: in the first place both combatants might be in ''tierce'' on the inside; you have tried to engage, and your adversary has disengaged in ''seconde'' over your sword, passing on with his left foot. You, lowering your point without disengaging and letting your arm make an angle to the inside, as is seen, with the hand in a guard of ''quarte'', have turned the body with the left foot, met the adversary as he advanced and hit him in the side under the right arm. Thus his sword has passed idly in the air. In the second place it may be that you have disengaged on the outside, and your adversary has sought to take the ''time'' in order to hit above in ''seconde''. Then you have simply lowered your point, which had gone to the outside, under his sword, leaving the hand in the same place, but turning it into ''quarte''; without extending the arm you have turned the body and brought all the part which was uncovered when on guard, out of presence.</p>
 
<p>This hit in ''quarte'' against a ''seconde'' may arise in two ways: in the first place both combatants might be in ''tierce'' on the inside; you have tried to engage, and your adversary has disengaged in ''seconde'' over your sword, passing on with his left foot. You, lowering your point without disengaging and letting your arm make an angle to the inside, as is seen, with the hand in a guard of ''quarte'', have turned the body with the left foot, met the adversary as he advanced and hit him in the side under the right arm. Thus his sword has passed idly in the air. In the second place it may be that you have disengaged on the outside, and your adversary has sought to take the ''time'' in order to hit above in ''seconde''. Then you have simply lowered your point, which had gone to the outside, under his sword, leaving the hand in the same place, but turning it into ''quarte''; without extending the arm you have turned the body and brought all the part which was uncovered when on guard, out of presence.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|72|lbl=64}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|72|lbl=64}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/132|4|lbl=115}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/132|4|lbl=115}}
  
Line 1,165: Line 1,039:
 
| [[file:GKS 1868 1 detail 38.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 38.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 038.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 038.jpg|400px|center]]
| <p>[56] <br/><br/></p>
+
| <p>[56] </p>
  
 
<p>Now follows another hit in ''quarte'', this time against a ''quarte'', arising in this manner: you have tried to engage your adversary, who was in ''tierce'' on the outside. He has planned a cut of ''mandiritto in sgalembro'' at the face, keeping his arm in line and working from the wrist only. You have suddenly brought the left foot forward with the point of the foot turned outwards; at the same time you have turned your hand into ''quarte''; extending the arm and bending the body as far as possible, you have met your adversary's sword in its descent, before it was in line, excluded it and hit him in the throat. This is the true method of parrying a cut of ''mandiritto'' at the head, when you are forced to parry, for by bringing forward the left foot in this manner, not only does the sword reach further, but it is stronger and can better resist the shock of the cut; with the right foot it is weaker.</p>
 
<p>Now follows another hit in ''quarte'', this time against a ''quarte'', arising in this manner: you have tried to engage your adversary, who was in ''tierce'' on the outside. He has planned a cut of ''mandiritto in sgalembro'' at the face, keeping his arm in line and working from the wrist only. You have suddenly brought the left foot forward with the point of the foot turned outwards; at the same time you have turned your hand into ''quarte''; extending the arm and bending the body as far as possible, you have met your adversary's sword in its descent, before it was in line, excluded it and hit him in the throat. This is the true method of parrying a cut of ''mandiritto'' at the head, when you are forced to parry, for by bringing forward the left foot in this manner, not only does the sword reach further, but it is stronger and can better resist the shock of the cut; with the right foot it is weaker.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|73|lbl=65}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|73|lbl=65}}
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{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/133|4|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/134|4|lbl=117|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/133|4|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/134|4|lbl=117|p=1}}
Line 1,182: Line 1,054:
 
| [[file:GKS 1868 1 detail 39.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 39.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 039.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 039.jpg|400px|center]]
| <p>[57] <br/><br/></p>
+
| <p>[57] </p>
  
 
<p>In this case both were in a guard of ''tierce'', on the outside. You have tried to engage by turning the hand into ''seconde''. The adversary has disengaged, turning his body and his hand into ''quarte'', in order to hit in that ''time'' on the inside under your hilt. But you have turned at the same moment from ''seconde'' to ''quarte'' and have brought the left foot forward putting the point of your sword under his hilt, carrying the arm inwards, and the ''forte'' towards his ''faible'', in such a way that your side is completely defended. It is safer in this case to follow with the right foot, rather than to retire. Such a hit cannot be prevented, even though the swords are of equal strength, because the position of the one who is turning is much weaker than that of the one who is advancing in the manner described; the latter's sword with equal skill will always overcome the sword of the one who is turning.</p>
 
<p>In this case both were in a guard of ''tierce'', on the outside. You have tried to engage by turning the hand into ''seconde''. The adversary has disengaged, turning his body and his hand into ''quarte'', in order to hit in that ''time'' on the inside under your hilt. But you have turned at the same moment from ''seconde'' to ''quarte'' and have brought the left foot forward putting the point of your sword under his hilt, carrying the arm inwards, and the ''forte'' towards his ''faible'', in such a way that your side is completely defended. It is safer in this case to follow with the right foot, rather than to retire. Such a hit cannot be prevented, even though the swords are of equal strength, because the position of the one who is turning is much weaker than that of the one who is advancing in the manner described; the latter's sword with equal skill will always overcome the sword of the one who is turning.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|74|lbl=66}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|74|lbl=66}}
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+
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/134|6|lbl=-}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/134|6|lbl=-}}
 
  
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/135|6|lbl=118}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/135|6|lbl=118}}
Line 1,204: Line 1,074:
 
| [[file:GKS 1868 1 detail 40.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 40.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 040.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 040.jpg|400px|center]]
| <p>[58] <br/><br/></p>
+
| <p>[58] </p>
  
 
<p>This hit in ''seconde'' against an opponent in ''quarte'' who has advanced the left foot may easily arise in the following manner: the adversary, being in ''quarte'', has tried to engage your sword, which is in ''tierce'', on the outside. You have disengaged, still in ''tierce''. He has attempted a hit in ''quarte'' through your ''faible'', advancing the left foot. But in the same ''time'' as you disengaged you have dropped your point under his hilt, also advancing the left foot. By bringing the whole weight of the body on to the left foot and turning the hand into ''seconde'', you have got far out of the line of you adversary's point and made the hit. It might arise in another manner: both being in ''tierce'' on the inside, you have moved your point, making a slight turn of the hand towards ''quarte''. The adversary, seeing the opening, has tried to engage your ''faible'' and hit in the same ''time'' by advancing the left foot. But before he has reached your ''faible'' you have dropped your point under his hilt, so that he has failed to find your point, and in the same ''time'' carried your body out of line, bringing the weight on to the left foot, which has advanced. In this low position you have been able to penetrate to his body, as you were already advanced. Or again, both being in ''tierce'' on the outside, the adversary has tried to engage your sword; in the same ''time'' you have threatened a cut of ''mandiritto'' at the head, using the wrist and keeping the arm steady. He has changed from ''tierce'' to ''quarte'' in order to defend the head, and advanced the left foot in order to hit in the same ''time''. At that moment you have checked your sword near the adversary's, without touching it, and immediately changed your hand to ''seconde'', lowering the point under his hilt, advancing the left foot, with the body so bent, that his point, which would have hit in the chest, has passed over. Therefore you may see how dangerous it is to parry, even with a thrust in the same ''time''. Therefore, unless forced, it is always best not to parry.</p>
 
<p>This hit in ''seconde'' against an opponent in ''quarte'' who has advanced the left foot may easily arise in the following manner: the adversary, being in ''quarte'', has tried to engage your sword, which is in ''tierce'', on the outside. You have disengaged, still in ''tierce''. He has attempted a hit in ''quarte'' through your ''faible'', advancing the left foot. But in the same ''time'' as you disengaged you have dropped your point under his hilt, also advancing the left foot. By bringing the whole weight of the body on to the left foot and turning the hand into ''seconde'', you have got far out of the line of you adversary's point and made the hit. It might arise in another manner: both being in ''tierce'' on the inside, you have moved your point, making a slight turn of the hand towards ''quarte''. The adversary, seeing the opening, has tried to engage your ''faible'' and hit in the same ''time'' by advancing the left foot. But before he has reached your ''faible'' you have dropped your point under his hilt, so that he has failed to find your point, and in the same ''time'' carried your body out of line, bringing the weight on to the left foot, which has advanced. In this low position you have been able to penetrate to his body, as you were already advanced. Or again, both being in ''tierce'' on the outside, the adversary has tried to engage your sword; in the same ''time'' you have threatened a cut of ''mandiritto'' at the head, using the wrist and keeping the arm steady. He has changed from ''tierce'' to ''quarte'' in order to defend the head, and advanced the left foot in order to hit in the same ''time''. At that moment you have checked your sword near the adversary's, without touching it, and immediately changed your hand to ''seconde'', lowering the point under his hilt, advancing the left foot, with the body so bent, that his point, which would have hit in the chest, has passed over. Therefore you may see how dangerous it is to parry, even with a thrust in the same ''time''. Therefore, unless forced, it is always best not to parry.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|75|lbl=67|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/76|1|lbl=68|p=1}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|75|lbl=67|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/76|1|lbl=68|p=1}}
|
 
|
 
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/135|10|lbl=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/135|10|lbl=-}}
  
Line 1,226: Line 1,094:
 
| [[file:GKS 1868 1 detail 41.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 41.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 041.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 041.jpg|400px|center]]
| <p>[59] <br/><br/><br/></p>
+
| <p>[59] <br/><br/></p>
  
 
<p>Here is another hit in ''seconde'' also against a ''quarte''. Both were in ''tierce'' on the inside. You were in a stronger position than your adversary and have made a feint of hitting in ''quarte'' through his ''faible''. He, thinking the thrust was coming, has made a turn of his body with his right foot and a thrust in ''quarte'' through your ''faible'', in order to meet you in the ''time'' of your approach. Seeing his plan, you have suddenly changed to ''seconde''. lowering your point and body and bringing the left foot forward; thus you have made the hit by continuing on to his body, before he could recover, for he has not passed, but turned, and his left foot has remained steady. Or it may be that you have tried to engage your adversary's sword on the outside. He has disengaged in ''tierce'' on the inside, but in that ''time'' you have made a feint in ''quarte''. He has tried a counter ''quarte'' through your ''faible'' turning his body out of line, in order to meet your approach. Seeing the danger you have changed from ''quarte'' to ''seconde'' and made the hit shown, while his sword has passed over in vain.</p>
 
<p>Here is another hit in ''seconde'' also against a ''quarte''. Both were in ''tierce'' on the inside. You were in a stronger position than your adversary and have made a feint of hitting in ''quarte'' through his ''faible''. He, thinking the thrust was coming, has made a turn of his body with his right foot and a thrust in ''quarte'' through your ''faible'', in order to meet you in the ''time'' of your approach. Seeing his plan, you have suddenly changed to ''seconde''. lowering your point and body and bringing the left foot forward; thus you have made the hit by continuing on to his body, before he could recover, for he has not passed, but turned, and his left foot has remained steady. Or it may be that you have tried to engage your adversary's sword on the outside. He has disengaged in ''tierce'' on the inside, but in that ''time'' you have made a feint in ''quarte''. He has tried a counter ''quarte'' through your ''faible'' turning his body out of line, in order to meet your approach. Seeing the danger you have changed from ''quarte'' to ''seconde'' and made the hit shown, while his sword has passed over in vain.</p>
 
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| <p><br/><br/><br/></p>
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| <p><br/><br/></p>
  
 
{{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/76|2|lbl=-}}
 
{{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/76|2|lbl=-}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/137|7|lbl=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/137|7|lbl=-}}
  
Line 1,246: Line 1,112:
 
| [[file:GKS 1868 1 detail 42.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 42.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 042.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 042.jpg|400px|center]]
| <p>[60] <br/><br/></p>
+
| <p>[60] </p>
  
 
<p>Another hit in ''quarte'' against a ''tierce''. You were in ''tierce'' on the outside, as was your adversary. You have made a feint of hitting in this tierce on the outside, and he has moved to parry and hit by pushing on his right foot, enticed by seeing you move without a ''time''. Seeing your adversary moving to parry and hit, you have placed your left hand on the inside of his sword, disengaged in ''quarte'', advanced the left foot and so hit him at the base of the right side. Or you may have been on the inside and may have disengaged with a feint of hitting on the outside. Your adversary has tried to parry and you have placed your left hand on his sword and made the hit. These defences with the left hand are here shown in order to demonstrate how in case of necessity only, they may sometimes be used. The effect is seen, and you may realise how easily such defences may be deceived. Towards the end of the book we shall describe a method against which the left hand will not prevail nor parry.</p>
 
<p>Another hit in ''quarte'' against a ''tierce''. You were in ''tierce'' on the outside, as was your adversary. You have made a feint of hitting in this tierce on the outside, and he has moved to parry and hit by pushing on his right foot, enticed by seeing you move without a ''time''. Seeing your adversary moving to parry and hit, you have placed your left hand on the inside of his sword, disengaged in ''quarte'', advanced the left foot and so hit him at the base of the right side. Or you may have been on the inside and may have disengaged with a feint of hitting on the outside. Your adversary has tried to parry and you have placed your left hand on his sword and made the hit. These defences with the left hand are here shown in order to demonstrate how in case of necessity only, they may sometimes be used. The effect is seen, and you may realise how easily such defences may be deceived. Towards the end of the book we shall describe a method against which the left hand will not prevail nor parry.</p>
 
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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|77|lbl=69}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|77|lbl=69}}
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|
 
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/139|3|lbl=122}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/139|3|lbl=122}}
  
Line 1,264: Line 1,128:
 
| [[file:GKS 1868 1 detail 43.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 43.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 043.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 043.jpg|400px|center]]
| <p>[61] <br/><br/></p>
+
| <p>[61] </p>
  
 
<p>This next ''tierce'' against a ''quarte'' has followed when both were in ''tierce'' on the inside. You have made a feint of hitting in ''quarte'' on the inside. Your adversary has tried to hit in counter ''quarte'' through your ''faible''. In the same ''time'' you have lowered your sword hand to tierce, carried your left hand to his approaching sword, lowering and turning the body with the left side forward, so that your hand has carried his sword away and you have hit him in the chest. It might arise in another way: you being on the outside have pushed the adversary's sword away. He has tried to disengage and hit in ''quarte'' on the inside. You have parried with the hand and hit him below as shown. Or it might very well be that both were on the outside,[!] The adversary has tried to engage; you have changed your hand to ''quarte'' in order to avoid the engagement; he has tried to hit with another quarte in the line seen to be uncovered, and in that ''time'' you have parried and made the hit.</p>
 
<p>This next ''tierce'' against a ''quarte'' has followed when both were in ''tierce'' on the inside. You have made a feint of hitting in ''quarte'' on the inside. Your adversary has tried to hit in counter ''quarte'' through your ''faible''. In the same ''time'' you have lowered your sword hand to tierce, carried your left hand to his approaching sword, lowering and turning the body with the left side forward, so that your hand has carried his sword away and you have hit him in the chest. It might arise in another way: you being on the outside have pushed the adversary's sword away. He has tried to disengage and hit in ''quarte'' on the inside. You have parried with the hand and hit him below as shown. Or it might very well be that both were on the outside,[!] The adversary has tried to engage; you have changed your hand to ''quarte'' in order to avoid the engagement; he has tried to hit with another quarte in the line seen to be uncovered, and in that ''time'' you have parried and made the hit.</p>
 
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{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|80|lbl=70}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|80|lbl=70}}
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{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/140|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/141|5|lbl=124|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/140|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/141|5|lbl=124|p=1}}
Line 1,283: Line 1,145:
 
| [[file:GKS 1868 1 detail 45.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 45.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 044.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 044.jpg|400px|center]]
| <p>[62] <br/><br/></p>
+
| <p>[62] </p>
  
 
<p>The next is a hit in ''seconde'' against a tierce. Both being in ''tierce'' on the outside you have made an ''appel'' by turning the sword from tierce to second[!] and carrying the point inwards out of line. You have brought your left side so far forward as to uncover the whole chest to the adversary, but with the sword so low that he could only hit above, and holding the left hand before the face. While your adversary has seized the ''time'' to hit in the part uncovered, with the left hand you have pushed his sword outside your left flank, in the same ''time'' advancing the left foot, and with the body low have disengaged in ''seconde''. Thus you have made a hit in the chest by extending the right arm as far as possible and bringing forward the right side also, but with the point of the left foot turned outwards in order to carry the body away from his sword. The result is here seen.</p>
 
<p>The next is a hit in ''seconde'' against a tierce. Both being in ''tierce'' on the outside you have made an ''appel'' by turning the sword from tierce to second[!] and carrying the point inwards out of line. You have brought your left side so far forward as to uncover the whole chest to the adversary, but with the sword so low that he could only hit above, and holding the left hand before the face. While your adversary has seized the ''time'' to hit in the part uncovered, with the left hand you have pushed his sword outside your left flank, in the same ''time'' advancing the left foot, and with the body low have disengaged in ''seconde''. Thus you have made a hit in the chest by extending the right arm as far as possible and bringing forward the right side also, but with the point of the left foot turned outwards in order to carry the body away from his sword. The result is here seen.</p>
 
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{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|81|lbl=71}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|81|lbl=71}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/141|8|lbl=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/141|8|lbl=-}}
  
Line 1,301: Line 1,161:
 
| [[file:GKS 1868 1 detail 44.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 44.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 045.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 045.jpg|400px|center]]
| <p>[63] <br/><br/></p>
+
| <p>[63] </p>
  
 
<p>This is another ''seconde'', but against a ''quarte'', with the right foot advanced. Both combatants being in tierce on the outside, you have disengaged without waiting for a ''time'' or provocation of your adversary. He has seized the opportunity and tried to hit in ''quarte''. You have at once turned your hand into ''seconde'', brought the left side of the body forward, turned the heel of the right foot, placed the edge of your left hand over his sword, and hit in ''seconde'' in the chest. It might have arisen from both being in tierce on the inside; you have lowered your sword, leaving yourself uncovered, and he has thrust in ''quarte''. Then you have raised your hand into ''seconde'', changing the front of your body and keeping the right side back, as being in the most danger. In this manner you have parried with your hand, for this low ''quarte'' is forced down by the parrying hand whereas the point would naturally make a hit in the chest.</p>
 
<p>This is another ''seconde'', but against a ''quarte'', with the right foot advanced. Both combatants being in tierce on the outside, you have disengaged without waiting for a ''time'' or provocation of your adversary. He has seized the opportunity and tried to hit in ''quarte''. You have at once turned your hand into ''seconde'', brought the left side of the body forward, turned the heel of the right foot, placed the edge of your left hand over his sword, and hit in ''seconde'' in the chest. It might have arisen from both being in tierce on the inside; you have lowered your sword, leaving yourself uncovered, and he has thrust in ''quarte''. Then you have raised your hand into ''seconde'', changing the front of your body and keeping the right side back, as being in the most danger. In this manner you have parried with your hand, for this low ''quarte'' is forced down by the parrying hand whereas the point would naturally make a hit in the chest.</p>
 
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| <p><br/><br/></p>
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{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|82|lbl=72}}
 
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| [[file:GKS 1868 1 detail 46.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 46.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 046.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 046.jpg|400px|center]]
| <p>[64] <br/><br/></p>
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| <p>[64] </p>
  
 
<p>This is a ''quarte'' with a turn, which has hit against another ''quarte'' with the left foot advanced. The one who has passed has made a feint of hitting on the outside over the sword, and you have moved to parry. The adversary has placed his left hand on your sword in order to parry, and in the same ''time'' has disengaged in ''quarte'' on the inside, advancing the left foot, so as to hit in this ''quarte''. But you, who have moved to parry the feint on the outside, seeing that your adversary was going to defend with the left hand, have disengaged your sword, which was above, on the outside of his hand, and thrust at his advancing body, bringing yourself out of line with a turn of the left foot. You would not have hit so low with the point, had you not found his ''faible'' with your ''forte'', so that you were more defended. In this manner the attempt of the hand to parry has been deceived, as shown.</p>
 
<p>This is a ''quarte'' with a turn, which has hit against another ''quarte'' with the left foot advanced. The one who has passed has made a feint of hitting on the outside over the sword, and you have moved to parry. The adversary has placed his left hand on your sword in order to parry, and in the same ''time'' has disengaged in ''quarte'' on the inside, advancing the left foot, so as to hit in this ''quarte''. But you, who have moved to parry the feint on the outside, seeing that your adversary was going to defend with the left hand, have disengaged your sword, which was above, on the outside of his hand, and thrust at his advancing body, bringing yourself out of line with a turn of the left foot. You would not have hit so low with the point, had you not found his ''faible'' with your ''forte'', so that you were more defended. In this manner the attempt of the hand to parry has been deceived, as shown.</p>
 
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| <p><br/><br/></p>
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/144|4|lbl=127}}
  
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| [[file:GKS 1868 1 detail 47.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 47.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 047.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 047.jpg|400px|center]]
| <p>[65] <br/><br/></p>
+
| <p>[65] </p>
  
 
<p>This is another ''quarte'' hitting against a ''tierce'' designed to hit under the sword. You have made a feint of hitting towards the right side of your adversary's face. He has tried to parry with the left hand, lowering his body so as to hit under the sword on the inside. But you, who have made a feint, have seized the ''time'' of his raising his hand to defend the head, lowered your point to the space between his two arms in the ''time'' of his making the opening, and, changing your hand into ''quarte'' and turning the body with the left foot, have made the hit. The adversary has been unable to parry, because your sword was shut in between his two arms and could not be pushed aside without a change of plan.</p>
 
<p>This is another ''quarte'' hitting against a ''tierce'' designed to hit under the sword. You have made a feint of hitting towards the right side of your adversary's face. He has tried to parry with the left hand, lowering his body so as to hit under the sword on the inside. But you, who have made a feint, have seized the ''time'' of his raising his hand to defend the head, lowered your point to the space between his two arms in the ''time'' of his making the opening, and, changing your hand into ''quarte'' and turning the body with the left foot, have made the hit. The adversary has been unable to parry, because your sword was shut in between his two arms and could not be pushed aside without a change of plan.</p>
 
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| <p><br/><br/></p>
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/145|7|lbl=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/145|7|lbl=-}}
  
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/145|8|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/146|4|lbl=129|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/145|8|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/146|4|lbl=129|p=1}}
  
|-  
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| [[file:GKS 1868 1 detail 48.jpg|400px|center]]
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| [[file:GKS 1868 1 detail 48.jpg|400px|center]]
| [[file:Scienza d’Arme (Fabris) 048.jpg|400px|center]]
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| [[file:Scienza d’Arme (Fabris) 048.jpg|400px|center]]
| <p>[66] <br/><br/></p>
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| <p>[66] </p>
 
+
 
<p>This is the last hit, in ''quarte'', against a ''seconde''. The adversary meant to parry with the left hand but has failed. Both were in ''tierce'' on the inside, and he, who has tried to parry, has so far, withdrawn his guard that his ''forte'' could not defend him and he has trusted to the defence of the hand only, which was too high for the face. You have made a feint of hitting in the angle of the right side. Your adversary has turned his body in order to withdraw that part, carried his hand to the defence and changed to a guard of ''seconde'', in order to make a hit in the chest. Seeing his purpose you have disengaged your sword from the line of the fingers of his hand and hit him in the chest in ''quarte'' in the ''time'' of his advance. Turning the body out of line you have also covered yourself with the hilt, so that his sword has passed in vain, although the angle of his ''seconde'' was directed towards the line into which you were turning the body.</p>
+
<p>This is the last hit, in ''quarte'', against a ''seconde''. The adversary meant to parry with the left hand but has failed. Both were in ''tierce'' on the inside, and he, who has tried to parry, has so far, withdrawn his guard that his ''forte'' could not defend him and he has trusted to the defence of the hand only, which was too high for the face. You have made a feint of hitting in the angle of the right side. Your adversary has turned his body in order to withdraw that part, carried his hand to the defence and changed to a guard of ''seconde'', in order to make a hit in the chest. Seeing his purpose you have disengaged your sword from the line of the fingers of his hand and hit him in the chest in ''quarte'' in the ''time'' of his advance. Turning the body out of line you have also covered yourself with the hilt, so that his sword has passed in vain, although the angle of his ''seconde'' was directed towards the line into which you were turning the body.</p>
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
+
! class="double" | <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[translator::A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
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! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p>
+
! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p>
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p>
 
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p>
 
  
 
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| <p>[56] </p>
 
| <p>[56] </p>
 
| <p><small>[113r]</small> {{gold|b=1|V}}edeßi qui una ferita di seconda sopra il pugniale qual’è contra una mano voltata verso la quarta, & è avenuta, per’che quello che á ferito era nella terza sopra il piece manco & á finto di ferire sotto il braccio del’pugniale inemico, & questo abbaßato la mano di eßo per’parare, & si è cacciato nel’mezo delle arme á ferire di meza quarta, & quello che á fatto la finta appreßo quel’tempo cavando sopra detto pugniale voltando la mano in seconda, appoggiando il pugniale alla nemica ponta schorrendo il filo di eßa è paßato con il piede dritto tanto innanzi, Come si vede, per’che la detta quardia porta con se tal’ragione; potrebbe anchor’eßer’stato che questo, che era nel’piede manco sia andato á ritrovare, la nemica di dentro, la qual’doveva eßere in terza & quello averà cavato per’non lasciarsi occupare mà ferire in quel’tempo, & questo in quel’medesimo punta á cavato anchora lui di seconda, & posto il pugniale alla nemica che veniva á ferire & è paßato di piedi dritto dove è arrivato innanzi che quello, che aveva pri= <small>[114v]</small> ma fatto la distesa di terza abbi potuto fenire di voltare la mano in quarta.</p>
 
| <p><small>[113r]</small> {{gold|b=1|V}}edeßi qui una ferita di seconda sopra il pugniale qual’è contra una mano voltata verso la quarta, & è avenuta, per’che quello che á ferito era nella terza sopra il piece manco & á finto di ferire sotto il braccio del’pugniale inemico, & questo abbaßato la mano di eßo per’parare, & si è cacciato nel’mezo delle arme á ferire di meza quarta, & quello che á fatto la finta appreßo quel’tempo cavando sopra detto pugniale voltando la mano in seconda, appoggiando il pugniale alla nemica ponta schorrendo il filo di eßa è paßato con il piede dritto tanto innanzi, Come si vede, per’che la detta quardia porta con se tal’ragione; potrebbe anchor’eßer’stato che questo, che era nel’piede manco sia andato á ritrovare, la nemica di dentro, la qual’doveva eßere in terza & quello averà cavato per’non lasciarsi occupare mà ferire in quel’tempo, & questo in quel’medesimo punta á cavato anchora lui di seconda, & posto il pugniale alla nemica che veniva á ferire & è paßato di piedi dritto dove è arrivato innanzi che quello, che aveva pri= <small>[114v]</small> ma fatto la distesa di terza abbi potuto fenire di voltare la mano in quarta.</p>
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
+
! class="double" | <p>{{rating|C|Draft Translation (from the archetype)}} (ca. 1900)<br/>by [[translator::A. F. Johnson]] (transcribed by [[Michael Chidester]])</p>
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
+
! class="double" | <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p>
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
+
! class="double" | <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p>
+
! class="double" | <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p>
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p>
 
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p>
 
  
 
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| <p>[14] '''''End of first book.'''''</p>
 
| <p>[14] '''''End of first book.'''''</p>
 
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Revision as of 14:44, 7 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 (1601-06)
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. 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. This large blank space was probably meant to be filled in later with a suitable translation for brezza, which means "breeze" though that's obviously not the intended meaning here. It might be a spelling of brecca, meaning "breach". Tom Leoni translates it "rampart". ~ Michael Chidester
  42. 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.
  43. Should be 183.
  44. Originally "ineguale", but corrected in the errata.