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Difference between revisions of "Salvator Fabris"

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{{under construction}}
 
 
{{Infobox writer
 
{{Infobox writer
 
| name                = [[name::Salvator Fabris]]
 
| name                = [[name::Salvator Fabris]]
| image                = File:Saltavor Fabris.jpg
+
| image                = File:Salvator Fabris.png
 
| imagesize            = 200px
 
| imagesize            = 200px
 
| caption              =  
 
| caption              =  
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| alma_mater          = University of Padua (?)
 
| alma_mater          = University of Padua (?)
 
| patron              = {{plainlist
 
| patron              = {{plainlist
  | Christianus IV of Denmark
+
  | Christianus of Denmark
 
  | Johan Frederik of Schleswig-<br/>Holstein-Gottorp
 
  | Johan Frederik of Schleswig-<br/>Holstein-Gottorp
 
}}
 
}}
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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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| relatives            =  
 
| relatives            =  
 
| influences          =  
 
| influences          =  
| influenced          = {{plainlist
+
| influenced          = {{collapsible list
 
  | [[Sebastian Heußler]]
 
  | [[Sebastian Heußler]]
 +
| [[Johann Joachim Hynitzsch]]
 
  | [[Hans Wilhelm Schöffer von Dietz]]
 
  | [[Hans Wilhelm Schöffer von Dietz]]
 +
| [[Heinrich von und zum Velde]]
 
}}
 
}}
 
| awards              = ''Supremus Eques'' of the Order of the Seven Hearts
 
| awards              = ''Supremus Eques'' of the Order of the Seven Hearts
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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'' ([[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868 4040]]).<ref name="Leoni"/>
 
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'' ([[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868 4040]]).<ref name="Leoni"/>
  
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.<ref name="Leoni"/>
+
In 1601, Fabris was hired as chief [[rapier]] instructor to the court of Christianus , 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.<ref name="Leoni"/>
  
 
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.
 
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.
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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 [[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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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|3|lbl=III}}
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|7|lbl=VII}}
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|8|lbl=VIII}}
 
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{{master begin
 
{{master begin
 
  | title = Book 1
 
  | title = Book 1
  | width = 240em
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  | 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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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/9|1|lbl=1}}
 
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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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{{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/9|2|lbl=-|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/10|1|lbl=2|p=1}}
 
{{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/9|2|lbl=-|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/10|1|lbl=2|p=1}}
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{{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/10|2|lbl=-|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/11|1|lbl=3|p=1}}
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<p>If you wish to form a sound counter-position, the position of the body and arms must be such that without touching the adversary's sword you are defended in the straight line from the point of his sword to your body, so that without making any movement of the body or the sword you are sure that your adversary cannot hit you in that line, but that if he wishes to attack he must move his sword elsewhere, with the result that his ''time'' is so long, that there is every opportunity to parry. But in forming this position care must be taken that your sword is held in such a way as to be stronger than your adversary's, so that it may offer resistance in defence. This rule can be observed against all positions and changes of your adversary, whether accompanied by the dagger or any other defensive weapon, or when you use the sword alone. He who can most subtly maintain this guard will have a great advantage over his adversary.</p>
 
<p>If you wish to form a sound counter-position, the position of the body and arms must be such that without touching the adversary's sword you are defended in the straight line from the point of his sword to your body, so that without making any movement of the body or the sword you are sure that your adversary cannot hit you in that line, but that if he wishes to attack he must move his sword elsewhere, with the result that his ''time'' is so long, that there is every opportunity to parry. But in forming this position care must be taken that your sword is held in such a way as to be stronger than your adversary's, so that it may offer resistance in defence. This rule can be observed against all positions and changes of your adversary, whether accompanied by the dagger or any other defensive weapon, or when you use the sword alone. He who can most subtly maintain this guard will have a great advantage over his adversary.</p>
  
<p>But it often happens that when you form this guard, your adversary forms another against it. Often also this guard is formed so far out of distance that your adversary can wait until you begin to move your foot against him, and at the moment of year advance change his line, so that you are disconcerted another counter-position. Therefore you must be full of devices and be able in a moment to take up another position of advantage against that of your adversary and make a fresh guard, unless you are so far within distance that you can hit him daring this change, and if in changing he has not retired, since if he had retired you could not hit him even if you had been within distance. You must then take up another counter-position and approach at the same time, to regain the same distance as before. In forming this counter-position you must bear in mind the rule, that the body must be so far distant that the adversary cannot hit, or, if you have approached within distance so that he could hit by advancing his foot, you must form the counter-position without moving the feet. In this way, if the adversary should attempt to hit during the movement, you could parry and hit him, or break ground;<ref>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</ref> in the latter case his sword, would not reach. But if in moving your weapons to take up this advantage, you have moved slowly, you could then abandon your object and hit at the very moment in which your adversary advanced to attack, parrying at the same time. So that if the first movement is made without violence, you can abandon your attempt and make another, as opportunity offers. In short, if you wish to get within distance with some safety, you must first form the counter-position, and if disconcerted by your adversary's counter-position, it will be better to break ground than to approach, until there is an opportunity to get an advantage.</p>
+
<p>But it often happens that when you form this guard, your adversary forms another against it. Often also this guard is formed so far out of distance that your adversary can wait until you begin to move your foot against him, and at the moment of year advance change his line, so that you are disconcerted another counter-position. Therefore you must be full of devices and be able in a moment to take up another position of advantage against that of your adversary and make a fresh guard, unless you are so far within distance that you can hit him daring this change, and if in changing he has not retired, since if he had retired you could not hit him even if you had been within distance. You must then take up another counter-position and approach at the same time, to regain the same distance as before. In forming this counter-position you must bear in mind the rule, that the body must be so far distant that the adversary cannot hit, or, if you have approached within distance so that he could hit by advancing his foot, you must form the counter-position without moving the feet. In this way, if the adversary should attempt to hit during the movement, you could parry and hit him, or break ground;<ref>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 "break measure" or withdraw. ~ Michael Chidester</ref> in the latter case his sword, would not reach. But if in moving your weapons to take up this advantage, you have moved slowly, you could then abandon your object and hit at the very moment in which your adversary advanced to attack, parrying at the same time. So that if the first movement is made without violence, you can abandon your attempt and make another, as opportunity offers. In short, if you wish to get within distance with some safety, you must first form the counter-position, and if disconcerted by your adversary's counter-position, it will be better to break ground than to approach, until there is an opportunity to get an advantage.</p>
 
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<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>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>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>[33] <br/><br/></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>[34] <br/><br/><br/></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>[35]</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>
 
</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>[36] <br/><br/></p>
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| <p>[36]</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>
 
<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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| [[file:Scienza d’Arme (Fabris) 019.jpg|400px|center]]
| <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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| <p>[39] <br/><br/></p>
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| <p>[39]</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>
 
<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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| <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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| <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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| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|61|lbl=53}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|61|lbl=53}}
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|
 
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/118|3|lbl=101}}
 
| {{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>
+
| <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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|  
| <p><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|62|lbl=54}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|62|lbl=54}}
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{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/119|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/120|4|lbl=103|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/119|6|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/120|4|lbl=103|p=1}}
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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>
+
| <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>
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| <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}}
Line 1,007: Line 898:
 
| [[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 1,025: Line 914:
 
| [[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 1,043: Line 931:
 
| [[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>
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| <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 954:
  
 
{{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}}
 
{{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}}
Line 1,080: Line 964:
 
| [[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 1,099: Line 981:
 
| [[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 1,115: Line 995:
 
| [[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 1,131: Line 1,010:
 
| [[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 1,148: Line 1,025:
 
| [[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 1,166: Line 1,041:
 
| [[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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{{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 1,183: Line 1,056:
 
| [[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=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/134|6|lbl=-}}
  
Line 1,205: Line 1,076:
 
| [[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/></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}}
|
 
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| {{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 1,227: Line 1,096:
 
| [[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 1,247: Line 1,114:
 
| [[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}}
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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|4|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/140|4|lbl=123|p=1}}
 
{{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/139|4|lbl=-|p=1}} {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/140|4|lbl=123|p=1}}
Line 1,265: Line 1,130:
 
| [[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>
 
|  
 
|  
| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{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 1,284: Line 1,147:
 
| [[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>
 
|  
 
|  
| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{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 1,302: Line 1,163:
 
| [[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>
 
|  
 
|  
| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|82|lbl=72}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|82|lbl=72}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/142|7|lbl=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/142|7|lbl=-}}
  
Line 1,324: Line 1,183:
 
| [[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>
+
| <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>
 
|  
 
|  
| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|83|lbl=73}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|83|lbl=73}}
|
 
|
 
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/144|4|lbl=127}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/144|4|lbl=127}}
  
Line 1,344: Line 1,201:
 
| [[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>
 
|  
 
|  
| <p><br/><br/></p>
+
| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|84|lbl=74}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|84|lbl=74}}
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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=-}}
  
Line 1,360: Line 1,215:
 
| [[file:GKS 1868 1 detail 48.jpg|400px|center]]
 
| [[file:GKS 1868 1 detail 48.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 048.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 048.jpg|400px|center]]
| <p>[66] <br/><br/></p>
+
| <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><br/><br/></p>
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| <p><br/></p>
  
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|85|lbl=75}}
 
{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|85|lbl=75}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/146|5|lbl=-}}
 
| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/146|5|lbl=-}}
  
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/147|6|lbl=-}}
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| {{section|Page:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf/147|6|lbl=-}}  
 
  
 
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! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1601</p>
 
! <p>Illustrations<br/>from the 1606</p>
 
! <p>Illustrations<br/>from the 1606</p>
! <p>{{rating|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>[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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{{master subsection end}}
 
{{master subsection end}}
 
{{master end}}
 
{{master end}}
 
 
{{master begin
 
{{master begin
 
  | title = Book 2
 
  | title = Book 2
  | width = 270em
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}}
 
{{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>
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! 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>
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! 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>
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! 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>
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! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p>
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p>
 
! <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p>
 
  
 
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| [http://www.bruchius.com/docs/La%20Scien%20della%20Spada%20-%20Transcription%20by%20RvN.pdf Text to copy over]
 
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<p>The first method which we discussed on this subject of attacking with resolution is good, because you begin to acquire the advantage so far out of distance, that the adversary cannot hit. Yet it appears that the danger is revealed to the adversary too soon, so that he has good opportunity to change his line in order to disorder you, and ample time in which to employ various devices for his protection. The second method also is good, since it forms a secure guard with only one exposed part and that part so near the sword hand that it cannot be reached without passing your ''forte''. With this guard also your sword, as we have shown, is kept so free, that few disengagements are needed. If it were not in other respects so restricted, and you were not under the constraint of keeping your own steady it would be better than the first. Nevertheless considering the imperfections of these two methods, and particularly that defending oneself when the adversary cannot attack is a loss of time and a disadvantage, since it reveals your intentions to him and gives him a chance of finding a remedy, we have sought for another way of proceeding, a third method, which reveals nothing to the adversary until his body is in danger. This method when properly executed, will hit with such swiftness that the adversary not only has no time for so many changes, but can barely parry the first onslaught.</p>
 
<p>The first method which we discussed on this subject of attacking with resolution is good, because you begin to acquire the advantage so far out of distance, that the adversary cannot hit. Yet it appears that the danger is revealed to the adversary too soon, so that he has good opportunity to change his line in order to disorder you, and ample time in which to employ various devices for his protection. The second method also is good, since it forms a secure guard with only one exposed part and that part so near the sword hand that it cannot be reached without passing your ''forte''. With this guard also your sword, as we have shown, is kept so free, that few disengagements are needed. If it were not in other respects so restricted, and you were not under the constraint of keeping your own steady it would be better than the first. Nevertheless considering the imperfections of these two methods, and particularly that defending oneself when the adversary cannot attack is a loss of time and a disadvantage, since it reveals your intentions to him and gives him a chance of finding a remedy, we have sought for another way of proceeding, a third method, which reveals nothing to the adversary until his body is in danger. This method when properly executed, will hit with such swiftness that the adversary not only has no time for so many changes, but can barely parry the first onslaught.</p>
  
<p>The foundation of this method is the certainty that the adversary cannot hit before you are within distance; therefore there is no necessity to defend or to hold your sword steady in any position. You should advance towards the outside, until your feet are within distance; it is of no importance which foot is first. The time to carry the forte to the adversary's ''faible'' is when lifting the foot to bring it within distance, in order to exclude his sword without stopping; you should run along his blade in order to hit with your sword, feet and body in union and without rushing; for if he should then break ground he would have time not only to parry but to hit also. By advancing in union you can change in time, as you should do if on the  inside when he parries; you should in that case change from ''tierce'' to ''seconde'', lower the body and continue your advance when you will hit at the moment of his attempted parry; but in turning from ''tierce'' to ''seconde'' you must drop your point under his arm, keeping the hand in the same place and bend the body so as to hit in the right side. If your adversary has succeeded in parrying by breaking ground after you have engaged his sword and advanced to hit, he can no longer bring his point into line as for example he could have done, if you had stopped and made an interval between engaging his sword and advancing, for your plan would have been too slow. Similarly if you had [rushed]<ref>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".</ref> your body or sword forward or hurried your steps, you would have been at a disadvantage, since you could not have turned a second plan, but rather would have been in danger of being hit.</p>
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<p>The foundation of this method is the certainty that the adversary cannot hit before you are within distance; therefore there is no necessity to defend or to hold your sword steady in any position. You should advance towards the outside, until your feet are within distance; it is of no importance which foot is first. The time to carry the forte to the adversary's ''faible'' is when lifting the foot to bring it within distance, in order to exclude his sword without stopping; you should run along his blade in order to hit with your sword, feet and body in union and without rushing; for if he should then break ground he would have time not only to parry but to hit also. By advancing in union you can change in time, as you should do if on the  inside when he parries; you should in that case change from ''tierce'' to ''seconde'', lower the body and continue your advance when you will hit at the moment of his attempted parry; but in turning from ''tierce'' to ''seconde'' you must drop your point under his arm, keeping the hand in the same place and bend the body so as to hit in the right side. If your adversary has succeeded in parrying by breaking ground after you have engaged his sword and advanced to hit, he can no longer bring his point into line as for example he could have done, if you had stopped and made an interval between engaging his sword and advancing, for your plan would have been too slow. Similarly if you had [rushed]<ref>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".</ref> your body or sword forward or hurried your steps, you would have been at a disadvantage, since you could not have turned a second plan, but rather would have been in danger of being hit. ~ Michael Chidester</p>
  
 
<p>You should adopt the same method of advancing with resolution if your adversary on your first approach to engage his sword parries without breaking ground, since before he forced your sword you could hit and pass. But if when making this parry he breaks ground, it is then better to disengage, before he touches your sword; here is the difficulty, because if you move your sword on first seeking his, you cannot disengage in time. Therefore you must advance in such a way that the movement of disengaging shall not be opposite to your other movement; if by accident your hand fell, you could not lift it again in time, if your adversary advanced to meet your sword. But if your point is carried with such ease that you can abandon your first plan and adopt another according to the occasion and with the necessary skill the method will be very deceptive, since, when within distance, you engage your adversary's sword and while he expects to meet and resist your sword you disengage and advance the other foot, so that he can no longer return into line nor do anything but hit below by a half-disengagement; in that case you have only a small movement of the point to make and to lower the body to the line in which his sword is directed; you will continue on your course, exclude his sword and certainly hit. But if the adversary, while you are attacking his sword disengages or advances, rather than breaks ground, he will be hit before he has finished the disengage. If he disengages and breaks ground in order to find your ''faible'' again, then you should counter-disengage and advance, when you will hit at the same time; this will be easier and shorter than seeking his sword and disengaging, before he touches your sword. If the adversary changes his guard, when he breaks ground, raising or lowering his point or withdrawing it, in every case you should continue your advance and again seek his sword as soon as you are within distance, but in such a manner that in whatever way he tries to hit, you can keep on your course, parrying and hitting together. From the position and the distance between your adversary and yourself you will understand what he can do in defence and attack, how he can disturn and impede your sword and how to guard against it. For if you do not foresee what may heppen[!], the opportunity passes so quickly that there is no time to form a plan.</p>
 
<p>You should adopt the same method of advancing with resolution if your adversary on your first approach to engage his sword parries without breaking ground, since before he forced your sword you could hit and pass. But if when making this parry he breaks ground, it is then better to disengage, before he touches your sword; here is the difficulty, because if you move your sword on first seeking his, you cannot disengage in time. Therefore you must advance in such a way that the movement of disengaging shall not be opposite to your other movement; if by accident your hand fell, you could not lift it again in time, if your adversary advanced to meet your sword. But if your point is carried with such ease that you can abandon your first plan and adopt another according to the occasion and with the necessary skill the method will be very deceptive, since, when within distance, you engage your adversary's sword and while he expects to meet and resist your sword you disengage and advance the other foot, so that he can no longer return into line nor do anything but hit below by a half-disengagement; in that case you have only a small movement of the point to make and to lower the body to the line in which his sword is directed; you will continue on your course, exclude his sword and certainly hit. But if the adversary, while you are attacking his sword disengages or advances, rather than breaks ground, he will be hit before he has finished the disengage. If he disengages and breaks ground in order to find your ''faible'' again, then you should counter-disengage and advance, when you will hit at the same time; this will be easier and shorter than seeking his sword and disengaging, before he touches your sword. If the adversary changes his guard, when he breaks ground, raising or lowering his point or withdrawing it, in every case you should continue your advance and again seek his sword as soon as you are within distance, but in such a manner that in whatever way he tries to hit, you can keep on your course, parrying and hitting together. From the position and the distance between your adversary and yourself you will understand what he can do in defence and attack, how he can disturn and impede your sword and how to guard against it. For if you do not foresee what may heppen[!], the opportunity passes so quickly that there is no time to form a plan.</p>
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|}
 
|}
 
{{master subsection end}}
 
{{master subsection end}}
  
== Temp ==
 
 
{{master subsection begin
 
{{master subsection begin
 
  | title = Second Part - On Proceeding with Resolution with Sword and Dagger
 
  | title = Second Part - On Proceeding with Resolution with Sword and Dagger
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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>
+
! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p>
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p>
 
! <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p>
 
  
 
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| <p>[6] </p>
+
| <p>[6] '''The second method of attacking without a pause with the sword & dagger.'''</p>
 +
 
 +
<p>With this method also a guard of ''seconde'' is used, which has also been illustrated (Pl. 57.) it is formed with the feet in line and the points of the feet facing the adversary and wide apart, the body bent forwards and the shoulders in line, so that the whole of the chest faces the adversary; the arms and weapons are held high and curved inwards, so that the point of the dagger meets the sword near the ''forte'' closing the path between the weapons against thrusts and cuts, with the point of the sword directed to the left, so as to cover the head entirely and defend it from any cut without any further parry. Thus the adversary can attack only below between the weapons towards the face, which may be easily defended by both weapons, which are advanced. The lower parts also are defended and safe by reason of the distance, where the adversary cannot reach them except by bringing his head close to your hands.</p>
 +
 
 +
<p>When you have formed this guard you should advance with short steps in order to keep the same distance between the feet When you are so far advanced that your hands have penetrated the point of the adversary's sword, you should then carry one of your feet into line with the other on the side on which you intend to attack, which will bring your body out of line a distance equal to half the space between your feet when on guard, and you will be so far advanced, that your adversary can no longer bring his point into line. If you have carried the left foot into line with the right, you can hit in ''quarte'', holding the point of your dagger turned downwards in order to exclude his sword, so that it cannot attack in the line of your body. If you have carried the right foot to the line of the left, you will have greater advantage in hitting, since in carrying the body away you can leave the dagger to defend the side nearest the adversary and direct your sword, which, as we have said, is high and held across the body, against the adversary; your sword will then be so far advanced that its forte will penetrate before his weapons can parry, and the point on coming into line will hit. If the adversary should attempt a rush, you should either parry by leaving your dagger to defend without however beating his sword, or carry your foot to the right and thrust the ''forte'' of your sword forward in order to exclude his sword and continue with the point to his body, meeting him at the very moment of his rush; in this way your success will be greater then when he remains steady on guard. If he remains on guard, it will be better to move to the outside with the right foot, when by the advantage of being already on the move, you will arrive so quickly that he cannot save himself. With this method you are certain that the adversary can never engage your sword, which is a very great advantage. If you observe these rules, you can attack any imaginable position on guard.</p>
 
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| [[file:Scienza d’Arme (Fabris) 160.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 160.jpg|400px|center]]
| <p>[7] </p>
+
| <p>[7] This is the guard of ''seconde'' of which we have spoken, with the chest facing the adversary’s sword. When within such distance that your dagger has penetrated his point, you advance the right foot and ran along his blade with your dagger, passing out of line towards his right side in such a way, that his sword which was directed against your chest, is now out of line of your body as far as half the space between your feet, before you m0ved. Therefore it is sufficient to hold your dagger against his blade, without thrusting it away, attacking over his dagger for you know that your sword is superior and can make a hit in ''prime'', as will be seen in the next plate.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/229|2|lbl=-}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/229|2|lbl=-}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|141}}
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| [[file:Scienza d’Arme (Fabris) 161.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 161.jpg|400px|center]]
| <p>[8] </p>
+
| <p>[8] From the guard of ''seconde'' described in the last discourse, with which you have advanced so far that your dagger has penetrated the point of the adversary's sword, you can understand the effect and cause of the hit now shown. When within distance you have carried the right foot to the line of the left beyond the adversary's right side, and thus brought yourself out of line and reached his body with a guard of prime over his dagger; this guard has followed from the position of the ''seconde'' with the sword crossed and out of line; in directing the point you have not lowered your hand but raised it, as seen, preventing his dagger from parrying. Although the adversary has drawn back and tried to turn his body and has begun to extend his sword, your stroke has arrived before he has finished the extension; even if he had withdrawn still further, he would still have done no good, but would have been hit in the same place. If he had contrived to defend the first blow, he would still have been hit below with a second.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|230|lbl=220}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|230|lbl=220}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|142}}
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| [[file:Scienza d’Arme (Fabris) 162.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 162.jpg|400px|center]]
| <p>[9] </p>
+
| <p>[9] When you had reached so far with your guard of ''seconde'' that your dagger had begun to penetrate his point, the adversary tried to disengage in order to free his point. Seeing his intention you left your dagger in its position, turned your hand to ''quarte'' and hit between the weapons, arriving with such speed that he has had no time to parry. Your sword was outside his right side and so far advanced, when he disengaged, that it reached his body at the moment of his disengaging and directing his point, so that he had not been able to thrust your sword away with his dagger. If he had withdrawn in order to have room to parry, leaving your sword hand in the same position you would have dropped the point far enough to hit under his dagger hand at the moment of his expecting to parry, so that he could not have defended. Also if his sword had been lower, keeping the dagger arm at the same height you would have turned the point downwards and kept his feint out of presence.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|231|lbl=221}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|145}}
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| [[file:Scienza d’Arme (Fabris) 163.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 163.jpg|400px|center]]
| <p>[10] </p>
+
| <p>[10] When you came within distance with this guard of ''seconde'', with the feet apart and in line, the adversary raised his dagger, covering himself above, advanced his left foot and turned his hand to ''quarte'' in order to hit in the part which he saw exposed between your weapons. Therefore you have carried the right foot to the line of the left, thus bringing yourself out of presence; leaving your dagger against his sword in order to exclude it, you have directed the guard of ''seconde'' below his dagger arm, and thus hit at the moment of his putting his foot to the ground and will follow on to the body without stopping.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|232|lbl=222}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|146}}
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| <p>[11] </p>
+
| <p>[11] '''The third method of attacking  without a pause with the sword and dagger.'''</p>
 +
 
 +
<p>In the third method, which we are now about to explain a guard of ''tierce'', illustrated in plate 65 with the sword and dagger, is used. With that guard with the feet together, the body bent and the weapons divided and held high you await the adversary because of certain advantages of the guard, as we explained in full. You now use this guard at the beginning only while approaching the adversary from a distance, for when you are within distance the position of your body and weapons will be different. With this guard then you begin by carrying the left foot outwards, immediately lifting the right foot and carrying it also in the same direction; you bring your sword down from its position on guard and unite it with the dagger, carrying your left shoulder back, so that when within distance sword and dagger are in contact with the hand in a guard of ''quarte'', so that the adversary cannot enter between your weapons; your sword is held extended in line towards his chest or face, and your left shoulder so far back that your whole body is behind line of your sword; your point must be maintained opposite the part exposed by the adversary and your sword so far from his weapons that you are sure of freeing it before he can engage it, but at the same time the point should be as near his body as possible; you should leave the sword in that position without pushing it further forward, and follow on with the feet, bending the body and beginning to turn the hand towards ''tierce''; as you turn the hand the dagger is extended and the point of your sword lowered in proportion, so that it can be disengaged; while doing this you should bring the left shoulder forward, without letting the sword hand drop and continuing to turn towards a guard of ''seconde''. When you have arrived from ''quarte'' to ''tierce'' and are beginning to turn toward ''seconde'', the point of your sword should begin to pass the adversary's sword and dagger, but without having been pushed forward; your dagger should then have reached the blade of his sword, and when your hand has reached ''seconde'', the movement of disengaging should be complete and your point should hit above the dagger, unless his dagger were too high and he were covered in that line; in that case you should remain below his dagger arm and hit in ''seconde'', as also if the adversary's sword were held back and his dagger advanced and the points united; if the points were divided and his sword held back, you would  arrive, on dropping from the high ''tierce'' into line, close to his dagger on the upper side with the hand in ''quarte'' and the point of your sword would have penetrated as far as the fourth part of the blade, or little less; then you should join the dagger and sword hand, so that if the adversary tried to parry with his dagger and hit in ''quarte'', while your sword was approaching your dagger could defend your right side, and you could turn your body and hand at the same time and hit in ''seconde'' under his left arm. If when you carry your sword close to his dagger, the adversary does not move, and your point has penetrated to the fourth part of his blade, you should then turn your hand from ''quarte'' to ''seconde'', thrust your dagger towards his sword, with a slight turn of the body, run along his blade and go on, hitting over his dagger in the line into which your sword had dropped; he would be unable to parry, because in turning the hand to ''seconde'' the point of your sword would incline so far inwards and would be so far advanced that it would be nearer the spot where it hits than the path into which the adversary is trying to drive it; moreover it would be so strong that it could resist the dagger without fear of being thrust aside. If, while you are bringing your sword into that line, the adversary should raise his dagger to cover himself, keeping his sword steady, his sword would then be so far withdrawn that your dagger could not reach it; therefore you would have to move your sword from that line, carrying it over the point of his dagger into the line between his weapons, and hit in ''quarte'', keeping your dagger so close to your sword hand, that he could not enter between your weapons; you must also maintain your hilt against his sword and bend your head forward so that he will certainly be able neither to parry nor hit, since his sword will be excluded. If the adversary's weapons are divided and his sword held back you could also with your guard of ''quarte'' pass the point of his dagger between his weapons and go on, with your dagger and sword hand in conjunction; from this position you would carry the dagger forward towards his sword, turning your sword hand and leaving it there until you are sure you can reach his body with that guard, or until he tried to beat your sword or engage it in order to cover himself between the weapons, which would be an opportune moment to hit over his dagger. If the adversary uncovers himself below, you should advance your dagger to his sword and hit in ''tierce''. He will not be able to escape the three attacks, between the weapons, above and below.</p>
 +
 
 +
<p>These are the principles to be observed against guards which are withdrawn, whether the opponents sword is long or short, whether his weapons are united or divided, and whatever the position of his hand. But you must remember that if the adversary’s sword is advanced, whether his guard is open or closed, on bringing your sword into line you must proceed to engage his advanced sword, protecting your body by bringing it somewhat out of the line in which it is exposed, so that if the adversary changes his line, you are already defended. In trying to engage his sword you must use the dagger also and never arrive within distance with your weapons divided, whatever his guard. All these movements must be carried out without checking your feet or sword; when once the sword has begun to fall, you must be either advancing it or turning it without pause. This is an excellent method, likely to succeed against any weapons.</p>
 
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| [[file:Scienza d’Arme (Fabris) 164.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 164.jpg|400px|center]]
| <p>[12] </p>
+
| <p>[12] From the high ''tierce'' with the weapons divided and the feet together, as illustrated in Pl. 65 with the sword and dagger, has arisen the position of this ''quarte'' in the following manner: when at a distance with this guard of ''tierce'', with the weapons high and the feet together, you have begun by carrying the left foot away to the adversary's right side and bringing the right foot forward, at the same time bringing your sword and dagger into con-junction so that when within distance your hands were in contact and your sword had completed the change to ''quarte''; you have also gradually lowered the point so as to bring it into line and directed it in the line uncovered outside the sword; you have advanced the body, without allowing your point to penetrate any further, but turning your hand towards ''tierce'', carrying the right  side somewhat back and bringing your dagger near his sword; you have also lowered the point of your sword, so that, if necessary, you could disengage it, that is if the adversary had tried to parry with his sword. You would continue the movement of your hand from ''tierce'' to ''seconde'' and hit on the inside between his weapons; if the adversary tried to carry his dagger down to your sword, you would still turn the hand to ''seconde'' and thrust past the point of his dagger; parrying with the sword and dagger together you would disengage your point below as it was already with little movement being carried downwards and would hit under his dagger, with your body low and letting his sword pass outside your left arm, as will be seen in the next plate.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/235|2|lbl=-}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/235|2|lbl=-}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|155}}
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| [[file:Scienza d’Arme (Fabris) 165.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 165.jpg|400px|center]]
| <p>[13] </p>
+
| <p>[13] From the guard of ''quarte'' with the sword on the outside of opponent's sword in ''tierce'' has followed this hit. You had begun with the high ''tierce'', as previously described, and come within distance in the position of the last plate. The adversary tried to parry with his sword and dagger in conjunction; but as soon as you were within distance you began to turn your hand towards ''tierce'', placed your dagger against his sword, which was advancing to parry and hit, letting your point fall low, so that the adversary failed to find it; you continued the movement of your hand to ''seconde'', which brought your blade outside and below the adversary's left arm. If, when you directed  your sword into the line uncovered, the adversary had tried to disengage and parry with his dagger, you would have thrust in ''quarte'' which would have prevented him from doing anything, except retiring when you came within distance, or changing his guard in order to make you change; if you had failed to seize the opportunity of the change, you would have given him a chance to hit, if he had followed, though it is true you might have halted and adopted another method.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|236|lbl=226}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|236|lbl=226}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|156}}
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| [[file:Scienza d’Arme (Fabris) 166.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 166.jpg|400px|center]]
| <p>[14] </p>
+
| <p>[14] This next ''tierce'', which has excluded the opponent's sword in ''tierce'', with his sword advanced and his hands in union, has followed from the high ''tierce'' previously described you have brought your sword down and your hands together while advancing and excluded his sword with both weapons, keeping your right side further back than your left, so that, if the adversary disengaged, you could advance your body without any further movement to defend it, and could pass on to the attack, hitting in ''seconde'' or ''tierce'', as his disengage was high or low. If he did not disengage you could pass on to hit, as will be seen in the next plate.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|237|lbl=227}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|237|lbl=227}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|159}}
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| [[file:Scienza d’Arme (Fabris) 167.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 167.jpg|400px|center]]
| <p>[15] </p>
+
| <p>[15] From the preceeding[!] ''tierce'', which had excluded the opponent's sword has followed this hit. The adversary was in an advanced ''tierce'' with the hilts of his two weapons together; when he made no move on your advancing, you left your dagger against his sword on the inside, turned your hand to ''seconde'', carried your point over his dagger and hit in the chest, without his being able to parry. Although he has drawn back his feet and body, he has been unable to free his sword, because you were too far advanced and your sword had penetrated already to his body, when he found it.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|238|lbl=228}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|238|lbl=228}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|160}}
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| [[file:Scienza d’Arme (Fabris) 168.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 168.jpg|400px|center]]
| <p>[16] </p>
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| <p>[16] From the high ''tierce'' is derived this ''quarte'' also, which has come into presence over the dagger of an opponent in ''tierce'' on the left foot, with his right side drawn back in order to avoid the hit; which you might make by disengaging, and with his dagger raised to parry. In this case from this guard of ''quarte'' you would turn your hand to ''seconde'', and, if the adversary did not move his dagger, you would hit in the upper line, since your sword would have already penetrated far forward, and the angle made by the turn of your hand would carry it with force against the inside of his dagger so that the dagger could not thrust it away. If he raised his dagger to parry without disengaging his sword, which is on the outside, by dropping your point below and keeping your hands in conjunction you would hit with this ''quarte'' in the same ''time'' below, as will be seen in the next plate.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|239|lbl=229}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|239|lbl=229}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|163}}
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| [[file:Scienza d’Arme (Fabris) 169.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 169.jpg|400px|center]]
| <p>[17] </p>
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| <p>[17] From the advantage, which the ''quarte'' derived from the high ''tierce'' had acquired over the adversary's dagger on the outside, has followed this hit. When you brought your sword above his dagger, his plan was to engage your sword; he raised his dagger to parry and turned his hand to ''quarte'' in order to hit by disengaging and passing; you were already on the move and have seized the advantage, while he was raising his dagger, and have hit at the moment when he expected to engage your sword above; he has been prevented from either disengaging or passing, and even if he had disengaged, he would still have been hit.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|240|lbl=230}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|240|lbl=230}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|164}}
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| [[file:Scienza d’Arme (Fabris) 170.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 170.jpg|400px|center]]
| <p>[18] </p>
+
| <p>[18] This ''quarte'', with the sword between the weapons of an opponent in ''tierce'' on the left foot, is also derived from the high ''tierce''. If the adversary makes no move you would advance your body close to the hands and at once hit under his left arm in ''seconde'', while your body would pass outside his sword, and you, would leave your dagger against his sword; if he disengaged on the outside of your sword, you would still hit in ''seconde'' below; but if he disengaged on the side of the dagger, you would hit in quarte, dropping your point far enough to pass under his dagger hand; whilst hitting in ''quarte'', you would press your hands still closer together in order to exclude his sword. If he tried to parry with his dagger and thrust in ''tierce'' below, when he saw your sword attacking in the middle, you would then raise your sword over his dagger and hit, as will be seen.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|241|lbl=231}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|241|lbl=231}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|167}}
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| [[file:Scienza d’Arme (Fabris) 171.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 171.jpg|400px|center]]
| <p>[19] </p>
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| <p>[19] From the preceeding[!] ''quarte'' derived from the high ''tierce'' has followed this hit. When your sword came between his weapons, the adversary who was in ''tierce'' on the left foot, seeing your sword near his dagger, tried to exclude it with his dagger, and hit below in ''tierce''. You, who were in ''quarte'', as we said, turned your hand to ''seconde'', and at the same time carrying your point over his dagger hit the adversary, as he lowered himself and advanced his foot. You could also have disengaged below his dagger hand and made the same hit over the dagger, but a little lower because of the angle made by the arm.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|242|lbl=232}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|242|lbl=232}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|168}}
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| <p>[20] </p>
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| <p>[20] '''The fourth and last method of attacking without a pause with the sword and dagger.'''</p>
 +
 
 +
<p>This is the fourth method, in which we explain the manner of proceeding[!] against those who never hold their sword still, but continually move the point in a circle and hold the dagger, now advanced, now withdrawn, at one moment close to the sword, at another separated from it. We must proceed in a manner different from the other three methods. If the adversary moves his sword in a circle, as long as his sword hand is at a distance from his dagger hand, you should begin to approach your points and advance as far as possible towards his sword hand, in order to force him to one of two course[!], either to stop moving his point and meet your advancing point, or to move his dagger, both opportune moments to hit in the part he uncovers. You should continue to hold the point of your dagger directed towards the adversary, so that it may be ready to parry on every occasion of his attempting to hit; when he must pass the line of your dagger. You must also keep your body low and in union with your weapons. If the adversary makes no move, you must advance so far that you can take the ''time'' of the circular movement of his point, and hit, excluding his point at the same time, assured that, while your point is directed towards his hand, you will easily parry, whenever he tries to hit during your advance and will hit without being disordered. But the correct principles must be observed.</p>
 +
 
 +
<p>In case the adversary while moving his point in a circle has his dagger close to his sword hand, you must be careful not, to advance your sword so far that it would be engaged. The true method is to keep the point of your sword directed towards the first part of the adversary's blade, that is towards the hilt, and to follow on by bringing up the body to the first position of the hands, with the hands now a little in advance of the body, bending the arms at the elbow, as you advance; for if you work from the shoulders only as you advance your body, your hands will go too low and you will be exposed. Your hand should be in ''quarte'', with the points still directed towards the first part of his blade. As you come forward in union, you must lower the body, but never let the point of your sword penetrate so far that it is inside the adversary's dagger, that is, when his dagger is close to his sword hand. You should approach towards the blade or point of his dagger, and if he hits in the ''time'' of your advancing, you will parry more easily than if your points were directed towards his hands, since the ''fortes'' will be further from the adversary, so that the point of his sword cannot so easily penetrate them, and the ''fortes'' will be all the stronger, since they are gathered in close to the body. There is one point to be considered, that is that when his point moved in a circle, the first part of his blade also moved, and changes its position so much, that you cannot keep your points exactly against it. If you follow our rule and keep the points of your sword and dagger directed towards that part with your dagger hand somewhat divided from the sword hand, but with the point of the dagger close to the blade of the sword, that wavering of the adversary's sword will not matter, since it will never be so great that he can hit in any line, disorder you, or obtain any advantage.</p>
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 +
<p>If the adversary holds his dagger so far forward as to cover the whole of the first part of his blade, and moreover close to his sword in a guard of ''quarte'', you cannot then approach the hilt or the first part of his blade. If you tried to approach the second part of his blade, you would not be safe, since that part makes a large movement, when the point is moved, and the adversary would be too far away to be hit. In this case you should hold the point of your sword against his dagger hand, and your dagger not much advanced and directed towards the centre of his blade; you should advance with your feet and body towards his dagger side, with your hand in quarte and as you advance gather your hand in towards your left side, still keeping the point in the same line; when you have brought the hand as close to your body as possible, you would then be in the required position and could hit in the line uncovered nor would the adversary be able to parry in any way. If your dagger is directed towards the centre of his blade, it will easily parry if he tries to hit in that ''time''; if he hits before you reach your position, it will be still  better for your defence, since both your weapons will be free and steady, so that when once within distance you could take any ''time'' offered by the adversary. In following this method you must continue with the feet, keeping your points and hands steady, until you find a ''time'' or reach your position.</p>
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 +
<p>These rules may be followed against those opponents, who keep their hands steady on guard and move the point in a circle, if they change their hands from one guard to another, they would offer an even greater time and could more easily he attacked. But there are others who move the sword and dagger together, now advancing the dagger, now raising it, now lowering it or withdrawing it, continuing the circular motion with both weapons, and even with the feet, with their weapons in conjunction and the sword much in front of the dagger. Against these also you can advance with your points directed towards their hands, but still it would be better to keep the point of your sword and hand as high as the adversary's dagger hand, when at the top of its movement, for that hand has to guard against your two blades together; your point should be advanced, but not so far as to penetrate his dagger; you must advance resolutely, keeping your dagger directed towards the centre of his blade; you will come so far forward that your point will thrust in the line exposed, when the adversary lowers his weapons, and will hit without his dagger being able to parry, whilst you will be defended by your dagger from the thrust in ''quarte'' or ''tierce'', which he might make in that ''time''. If on your advance the adversary makes some movement in order to engage your sword with his sword or dagger, or with both together, that also would be a suitable ''time'' to hit. The fact of your being on the move and having your weapons steady is of great importance in carrying out their rules and taking a ''time''. The purpose of these rules is simply to instruct you how to reach a position where you may take a time, and, when you are in that position that you may understand what may happen and may be able to attack even if the adversary does not move.</p>
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 +
<p>Here we conclude the discourses on resolution, which we promised. If we are not deceived they will be sufficient to enable you to deduce other rules and methods; we have omitted the numerous varieties of methods and merely considered the foundations of the art, explaining its true principles, and leaving room for some rare genius to add and discover other methods. As far as possible we have avoided prolixity in order not to weary the reader and we have refrained from using geometrical terms in order that the reader may understand more easily, although the principles of our art are based on the art of geometry.</p>
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 +
<p>The plates of the fourth method of attacking with resolution with the sword and dagger will follow in order, and will illustrate the effects and causes of the advantage acquired and the hits made.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|243|lbl=233|p=1}} {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|244|lbl=234|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/245|1|lbl=235|p=1}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|243|lbl=233|p=1}} {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|244|lbl=234|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/245|1|lbl=235|p=1}}
 
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{{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/171|1|lbl=171|p=1}}
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{{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/172|4|lbl=-|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/173|1|lbl=173|p=1}}
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{{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/173|2|lbl=-|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/174|1|lbl=174|p=1}}
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{{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/174|2|lbl=-}}
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{{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|175}}
  
 
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| [[file:Scienza d’Arme (Fabris) 172.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 172.jpg|400px|center]]
| <p>[21] </p>
+
| <p>[21] With the ''tierce'' shown in this plate you have placed the point of your sword close to the blade of the adversary's dagger with the point of your dagger directed towards the centre of his blade, because he is moving his sword and dagger in a circle, successively raising, withdrawing and lowering both his weapons together. You intend to approach so far that you can take the ''time'' of his two weapons falling, and therefore have placed your point near the blade of his dagger, which is now high; when he drops or withdraws both his weapons, your point will be free and his body exposed, so that you can easily make the hit shown in the next plate.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/245|2|lbl=-}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/245|2|lbl=-}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|176}}
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| [[file:Scienza d’Arme (Fabris) 173.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 173.jpg|400px|center]]
| <p>[22] </p>
+
| <p>[22] From the last ''tierce'', with the point of your sword close to the blade of the adversary's dagger, has followed this hit. When you came within distance, the adversary raised his weapons and then lowered them; as your point was close to the blade of his dagger, you have thrust in the ''time'' of his dagger falling, and have hit changing your hand to ''seconde'', as shown. He has failed to parry with his dagger, because it is impossible, while you are making one ''time'', for him to make ''two'', one in withdrawing his arm and the other in returning it. Since this arm is not extended, it is seen that his sword had not finished its advance before he was hit. You have left your dagger in its original position in order to defend in case of his sword hitting; therefore your arm, which was first extended, is now withdrawn for, whilst your body was advancing, if you had kept the arm extended, the point of your dagger would have reached his hilt, and by thrusting he would then certainly have hit, for two reasons, the first because your dagger would have met the ''forte'' of his sword and therefore could not have resisted the impact, and secondly because by carrying your dagger forward, you would have offered a ''time'', all the more because your body would not have been out of line, as it is now. For these reasons you have maintained your position in order to be ready for all eventualities, both for taking the ''time'' of his dagger falling, and for taking it when his dagger advanced, and hitting below without his being able to parry. Also you could carry your sword above the adversary's sword, when his weapons fall, and prevent his raising it again except by a disengage. If[!] brief you have many chances of hitting and doing other things in order to disorder the adversary during his movements; but we mention only the more subtle and important.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|246|lbl=236|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/247|1|lbl=237|p=1}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|246|lbl=236|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/247|1|lbl=237|p=1}}
 
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{{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|179|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/180|1|lbl=180|p=1}}
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| [[file:Scienza d’Arme (Fabris) 174.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 174.jpg|400px|center]]
| <p>[23] </p>
+
| <p>[23] The opponent is here shown in ''tierce'' with his weapons divided moving the point of his sword in a circle, now carrying it away from and now bringing it near his dagger which is kept steady. You have brought your sword down from the high ''tierce'' and directed the point towards the first part of his blade, without touching it, but with the intention of distracting the movement of his sword, and forcing him to do one of two things, either to stop his movement and meet your sword, as it advances, or to engage your sword with his dagger and hit at the same time; in both cases you would take the time and hit according to circumstances; if he had attacked your sword on the outside, by a slight movement of your point, which you have brought near his blade for this purpose, you would disengage and hit on the inside in ''quarte''; if he attacked your sword with his sword and dagger together you would not disengage, but turn your hand to seconde, and parrying with your dagger hit below or above according to the height of his weapons. If he had tried to engage on the inside, you could have disengaged in ''tierce'' on the outside over his sword, and while he was parrying with his dagger could have turned your hand to ''seconde'' and hit over the dagger, disengaging on either side. Or, while he was trying to engage your sword on the inside, you could have turned your hand to ''seconde'', so that he would not have found your sword, and hit where the opening seemed best, but without stopping, for by stopping you lose your advantage.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/247|2|lbl=-|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/248|1|lbl=238|p=1}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/247|2|lbl=-|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/248|1|lbl=238|p=1}}
 
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+
| {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/180|2|lbl=-|p=1}} {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|183|p=1}}
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| [[file:Scienza d’Arme (Fabris) 175.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 175.jpg|400px|center]]
| <p>[24] </p>
+
| <p>[24] From the ''tierce'' with the point of your sword directed towards the first part of the adversary's blade when he was in ''tierce'' and moving his point in a circle, has followed this hit. Seeing your point so far advanced, the adversary has tried to engage it with his dagger; but your point has penetrated so far and your hilt is so high, that by simply turning your hand and directing the point against his chest, with your hand still at the same height, you have hit at the moment when he expected to engage your sword. You have made this stroke at such a distance from his dagger, that it was impossible for it to return and parry; even if he had carried his dagger to that part, he would still have been hit in ''quarte'' as will be shown in the text plate.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/248|2|lbl=-}}
 
| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/248|2|lbl=-}}
 
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| {{pagetb|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|184|p=1}}
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| [[file:Scienza d’Arme (Fabris) 176.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 176.jpg|400px|center]]
| <p>[25] </p>
+
| <p>[25] This is the ''quarte'' mentioned in the last discourse, hitting between the weapons of an opponent also in ''quarte''. You have placed your point against the first part of the adversary's blade, when he divided his weapons in making that circle, of which we spoke in the general discourse; you have reached your position at that moment, and, seeing the opening and that he was making no further move, have hit by turning your hand from ''tierce'' to ''quarte'', arriving before he could parry. If he had thrust forward in order to parry and hit in ''quarte'', he would have done no good; the only effect would have been that you would have arrived sooner and the hit would have been stronger, whilst your dagger would have defended more easily, since it would have approached the point of his sword. It may have happened that you had reached the first part of the adversary's blade and found little uncovered; you have made a feint of attacking below the point of his dagger, still continuing your advance; the adversary has tried to parry by raising his dagger and turning his hand to ''quarte''; in that ''time'' you have returned to the middle and hit in ''quarte'', parrying as shown. If he had returned his dagger to that line in order to parry, he would have failed.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|249|lbl=239}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|249|lbl=239}}
 
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| {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/187|1|lbl=187}}
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{{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/187|2|lbl=-}}
  
 
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| [[file:Scienza d’Arme (Fabris) 177.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 177.jpg|400px|center]]
| <p>[26] </p>
+
| <p>[26] From the position of your point against the first part of the adversary's blade has followed this hit. Seeing your point so far advanced in the opening made by his circular movement of his sword, he has tried to cover himself by uniting his dagger and sword; taking that ''time'' you have changed from ''tierce'' to ''seconde'', disengaging over the point of his dagger; he has tried to parry with his dagger, turning his hand to ''quarte'', and advancing to meet you with his sword; he has not succeeded, because the point of your sword had already reached his body at the moment of disengaging over his dagger, and because his ''quarte'' was easy to parry, since you had placed your dagger against his sword, engaging it at the beginning of your movement, and running along his blade. Or it may be that you had placed your point against the first part of his blade and thrust in the opening between his weapons; he has tried to parry and advanced in order to hit below; you have gone on merely changing from ''tierce'' to ''seconde'' and met the adversary, who was also advancing. He has been unable to parry or hit, since your dagger had already reached his ''faible'', and, although he has tried to turn his head[!] to ''quarte'' he has done no good.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|250|lbl=240}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|250|lbl=240}}
 
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| {{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/188|1|lbl=188}}
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{{section|Page:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf/188|2|lbl=-}}
  
 
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| [[file:Scienza d’Arme (Fabris) 178.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 178.jpg|400px|center]]
| <p>[27] </p>
+
| <p>[27] From the preceeding[!] ''tierce'' with the point of the sword against the first part of the adversary's blade has followed this hit. When within close distance you have taken the ''time'' offered by the adversary in carrying the point of his sword away from his dagger in its circular movement and have disengaged between his weapons in ''quarte''; he has been unable either to parry with his dagger or to turn his hand to ''seconde'' because of the advance of your sword, which had already hit when he tried to parry; for this purpose he bent his body thinking to escape the imminent danger, but when he turned his hand to ''seconde'', your body had already passed. You have hit with the dagger also at the same time, while he was occupied in the effort of defending himself from your sword, and because he was so impeded, that even if he had tried to hit with his dagger, he could not have done so, because his arm would have been imprisoned by your arm, which had passed so far forward, that he could hardly have seen anything. This hit with the dagger has been introduced to show that you can also hit with the dagger; if we have not spoken of it before, although there has often been an opportunity, it is because we have deemed it better to confine our attention to use of the sword. Moreover those who pass with resolution have no need to hit with the dagger or to fear the adversary's dagger, because when you pass and hit the sword penetrates entirely and removes all danger. Therefore you can pass without fear of his dagger, assuming that no one is so foolish as to let your sword pass through his body in order to hit you with his dagger; even if an opponent did that, he would generally be thrown to the ground before he could hit. Moreover since he is forced to parry with his dagger, he cannot hit in ''time'', whilst on the other hand by advancing with resolution , when the adversary's point is passed, you can leave it without hesitation, and carry your dagger to his body. Therefore it is clear that he who passes can hit with the dagger better than he who waits, whose lack of resolution is increased by seeing his opponent close upon him and his sword engaged, so that he can parry with the dagger only; his dagger being engaged on one task cannot perform the other. Therefore he who passes has always the advantage, and if he does not hit with the sword, can hit with the dagger, but if he hits with the sword, he will not need the other. We might already have treated of this manner of hitting, but our intention has been to consider the point of the sword, which attacks from a greater distance, takes and offers the times of hitting, and also is the first to strike terror and attack. For these reasons we have desired to consider a subject, which is more subtle and profitable. We have added this short discourse to show the error of those who reject the pass from fear of being hit by the adversary's dagger. We have also omitted for the sake of brevity the consideration of the broad-sword and many other kinds of weapons, of which there would have been much to say. Moreover such arms are not used among gentlemen nor in chance meetings, though they are excellent when campaigning or &emsp;&emsp;&emsp;&emsp;&emsp;&emsp;&emsp;&emsp;&emsp;&emsp;<ref>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</ref> but such matters are far from our subject, since we intend to treat only of the arms of gentlemen and of cases which may arise in the association of noblemen. Of these things we believe we have treated at sufficient length; it remains only to throw light on some extraordinary accidents, which may arise, although rarely. For this purpose we shall add another short discourse showing the method of defence on such occasions.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|251|lbl=241|p=1}} {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|252|lbl=242|p=1}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|251|lbl=241|p=1}} {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|252|lbl=242|p=1}}
 
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|}
 
|}
{{master subsection end}}
+
{{master subsection end}}  
  
 
{{master subsection begin
 
{{master subsection begin
  | title = Third Part - On Wrestling, Grips, Disarms, Cape-Throws, & Dagger Techiques
+
  | title = Third Part - On Wrestling, Grips, Disarms, Cape-Throws, & Dagger Techniques
 
  | width = 100%
 
  | width = 100%
 
}}
 
}}
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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>
+
! class="double" | <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p>
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p>
 
! <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p>
 
  
 
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| <p>[1] </p>
+
| <p>[1] '''''Book 2. Part 3.'''''</p>
 +
 
 +
<p>''Treatise on Coming to Grips, Seizing the sword, Throwing the Cloak, and Principles of the dagger.''</p>
 +
 
 +
<p>Although our intention was not to treat of the following matters because it seemed to us that our work could very well stand without them, nevertheless owing to the persuasions of many friends and to gratify them we have been induced to include in our book this treatise on coming to grips, seizing  the sword, throwing the cloak and the principles of the dagger, that is the principles of defence against the dagger with the bare hands. The reasons which at first dissuaded us from treating of these matters were the fact that the volume was sufficiently long without them, and the fact that our purpose was to show how to defend oneself and attack the adversary with the sword alone, or the sword and dagger, or the sword and cloak, these being the usual weapons among gentlemen and truly appropriate for noblemen; therefore we have said nothing of shields and bucklers and other things, which it would take long to discuss. We have always been of the opinion that one, who understands the rules we have put forward, can use his sword in company with any kind of weapon, whether in the hand or on the arm, for in all cases the observation of the ''time'' and distance is required. Thus we proposed to treat only of the thrust and the cut, believing that, whoever can defend and attack in ''time'' with these, would never need to come to grips on the seizing of swords. For similar reasons we have said nothing of defending against the dagger with the bare hands, since, when honourable men are driven by a point of honour to have recourse to a trial of arms they must do so on equal terms and with a correct test of valour, and should abhor a victory won by an unworthy and disgraceful advantage of weapons. Nevertheless we have accepted the advice of our friends, and since among men entirely honourable unexpected cases arise, and so suddenly that there is no time to resort to swords, it appears well to record how the dagger may be used against the dagger. Since that weapon is short, there is a danger of the adversary's seizing the dagger hand. Therefore, if possible, you should avoid parrying, and protect yourself by swift movements of the body and feet to one side or the other, hitting at the adversary's hands and arm; this will be a safer method and will keep him at a distance, so that he cannot seize your weapon or come to grips. For the rest if you have a knowledge of ''time'', distance and passing, the rules already described will serve; therefore we say no more. But to satisfy one who can command us, we shall explain how to defend and attack, when assaulted by an opponent with a dagger, when you are unarmed.</p>
 
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| [[file:Scienza d’Arme (Fabris) 179.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 179.jpg|400px|center]]
| <p>[2] </p>
+
| <p>[2] The struggle shown in this plate may have arisen in the following manner: you were in ''tierce'' on the inside, and your adversary also in ''tierce''; having the advantage you have attached[!] in ''quarte'' close to his sword; he has tried to defend with a ''quarte'' and carried his point out of line; therefore you have yielded your point, advanced the left foot and followed with the right behind his right foot, bringing your hand above his hand at the same time, whilst your pommel has reached his chest as your foot came to the ground. Or it may be that the adversary was on the outside of your sword; you have moved to engage his sword, and taking that ''time'' he has cut in ''mandiritto'' at the head. Therefore you have brought forward the left foot, parrying in order to hit in ''quarte''; seeing his danger he has attacked your sword in order to force it out of line; you have yielded your point, brought your pommel over his sword on the outside, passed and come to grips, as shown. Or it may be you, the assailant, had cut in ''mandiritto'', and the adversary had made the simple parry of ''quarte'', carrying his point outwards; you, who had brought forward the left foot when making your first hit, have passed in the time of his parrying without finishing the cut, but bringing your hand above his sword on the outside; that you have made the stroke shown so that the adversary is on the point of falling to the ground.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|254|lbl=244}}
 
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| [[file:Scienza d’Arme (Fabris) 180.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 180.jpg|400px|center]]
| <p>[3] </p>
+
| <p>[3] This plate shown[!] the wresting of the sword from the opponent's hand, accompanied by a thrust in ''seconde'' in the chest; this may arise in two ways; in the first the adversary had cut in ''mandiritto'' at the head; you parried in ''seconde'', completely covering yourself, and immediately after parrying passed; putting your left hand reversed on the inside of his hilt and hand you have twisted his arm, turned it outwards, and wrested his sword from his hand by force, so that he has been unable to hold it. In the second method, you were in ''tierce'' on the outside of the adversary's sword and have made a feint of hitting in the face, raising your hand to ''quarte'' and carrying the point to that line, seeing his danger he has raised his sword to defend; you have yielded from ''quarte'' to ''seconde'', brought the left side as far forward as the right, lowering your head so far that the hilt and forte have entirely covered it, so that his point has passed behind; at the same time you have disengaged your sword in ''seconde'', placed your hand reversed his sword hand, and by bending his arm outwards forced him to relinquish his sword.</p>
 
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| [[file:Scienza d’Arme (Fabris) 181.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 181.jpg|400px|center]]
| <p>[4] </p>
+
| <p>[4] This plate again shows the wresting of the sword from the opponent's hand arising in this manner; you have offered the adversary a ''time'' to hit on the inside in ''quarte''; on his advancing you have placed your ''forte'' over his point forcing it down, and at the same time brought your left foot forward, extending your left arm over your sword, placed your left hand under his hilt and lifted it upwards; by pressing down his point with your sword you have forced him to relinquish his sword. Or it may he you had made a feint of cutting in ''mandiritto'' at the head; the adversary tried to parry and hit in ''quarte''; abandoning the cut and letting your ''forte'' fall on his point and pressing it downwards, you have seized his hilt with your left hand, as explained, and wrested the sword from his hand.</p>
 
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| [[file:Scienza d’Arme (Fabris) 182.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 182.jpg|400px|center]]
| <p>[5] </p>
+
| <p>[5] In this next struggle the opponent is hit in the chest. You had made a feint of hitting in ''tierce'' on the inside, he moved to parry, but you disengaged in ''seconde'' before he touched your sword; resting your left hand on your hilt in order to strengthen it, so that he could not thrust your sword aside, and bringing the left foot forward and behind his right foot, you have hit in the chest, putting your left hand reversed, which was on your hilt, on his throat, and forcing back his head in order to throw him to the ground. Or it may be that the adversary had moved to engage your sword on the outside in ''tierce''; you disengaged in ''quarte'' and in the ''time'' of his parrying you yielded your point to his pressure, brought your pommel over his sword and turned your hand from ''quarte'' to ''seconde'', so that you have passed over his sword on the outside, and at the same moment brought your left foot forward and made the hit at close quarters as shown.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|257|lbl=247}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|257|lbl=247}}
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| [[file:Scienza d’Arme (Fabris) 183.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 183.jpg|400px|center]]
| <p>[6] </p>
+
| <p>[6] Next follows a cast of the cloak. You had your cloak around you; when you had to draw your sword, you let the cloak fall from the right shoulder, leaving it on the left only; after drawing the sword from the scabbard you took hold of the edge which was hanging with two fingers of the left hand, and then with the left hand gathered it up close to the hood, as though you meant to throw it over your arm. Since you were so far from the adversary's weapons that more than one step was needed to bring you within distance, you have thrown the cloak over his hands, retaining hold of the edge. This has caused the cloak to fall over his sword so that owing to its weight he can raise neither the point nor his hand; thus by carrying the left foot forward followed by the right you have hit as shown; you have kept the edge in your hand, not only in order to extend it and cover the whole of his sword, but in order also that, if the cast missed its object, you could recover with a jerk over your own, and cast again either over his sword or in his face. If you had merely wanted to prevent his hitting or doing anything else, you would have thrown it free without retaining hold; but in that case it would be necessary, first to engage his sword.</p>
 
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| [[file:Scienza d’Arme (Fabris) 184.jpg|400px|center]]
 
| [[file:Scienza d’Arme (Fabris) 184.jpg|400px|center]]
| <p>[7] </p>
+
| <p>[7] This plate shows the casting of the cloak accompanied by a thrust in the face. You were in a guard of ''tierce'' on the left foot with the cloak around your arm; since the adversary’s sword was also in ''tierce'' inside your cloak, you have rested the point of your sword against your cloak and carried it forward from the left hand with the help of a jerk; by bringing the right foot forward and accompanying the cloak with your point to his face, you have hit in the same movement. If he had tried to raise his sword and draw back to save himself, he would have effected nothing owing to the unexpected nature and novelty of the stroke, never thinking that you would throw your cloak, or could throw it when it was round your arm; this is truly an excellent trick. Various other devices may be used, but, as they are of no greater importance, we have omitted them.</p>
 
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| <p>[8] </p>
+
| <p>[8] '''Principles of defence against a dagger with the bare hands.'''</p>
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<p>It sometimes happens that an unarmed man is attacked by an enemy with a dagger, who rushes at him with intent to murder him, when the assaulted man has no refuge to fly to and is in certain danger of being hit and killed. Since we desire to show how in such a case it is possible to defend and attack the enemy, we shall explain some methods, leaving others to be explained by others at other times. In order that you may be better persuaded and convinced by our instruction, you must consider two principles; first that the man who seizes his dagger to attack another man, seeing that his opponent has nothing with which to defend himself, at once runs forward to hit in the first place that occurs to him, only fearing least his opponent should escape, before he can hit him; therefore he uses no skill, so that the man who is attacked can more easily defend. The second point is, that the dagger is not long enough to reach your body, while you are bending forward and extending your arms towards the adversary's hands and hilt, whether his stroke is high or low. Nor can his arm be so strong of itself as to force your two extended arms to yield; your two hands are almost always united, except when you have brought your body out of line, or twisted the adversary's arm, which takes away his strength, as will be shown in the first encounter, where we explain how one hand alone can defend and dash the dagger from the adversary's hand. If the man with the dagger tries to use his left hand, you should then seize that arm and turn it with the elbow over your shoulders; by giving it a wrench downwards you will not merely dislocate the arm, but even break it; or you can close with the adversary in order to throw him to the ground, or seize his dagger arm behind the elbow with your left hand and make him turn his back; in either case you will prevent his attacking with the dagger. In order to avoid undue length and the multiplication of examples, we shell include only the case of the adversary's attacking you, when he sees you have no defence at all.</p>
 
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| <p>[9] </p>
+
| <p>[9] This plate shows the adversary with his dagger drawn from the scabbard and his arm raised to strike, while you are waiting for him to attack. It is included to show the manner in which he has moved and holds his dagger; in the next plate the result will be shown; but afterwards we shall show the hit only, while the text will explain the position from which it has followed.</p>
 
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| {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/260|2|lbl=-}}
 
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| <p>[10] </p>
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| <p>[10] This disarm has arisen after the adversary has raised his dagger to strike, while you were waiting. He has aimed a blow downwards in continuation of his movement. You have raised your left arm, with your hand reversed and seized his arm as it fell close to the hilt of his dagger, giving the dagger a twist, as shown. Thus he could not prevent the dagger falling from his hand owing to the twist and the pain to his arm. He has bent his back in order to save his dagger; but as a result his position on his feet has been weakened, so that he is more likely to fall to the ground under the blow of your right arm, when you will finally wrest the dagger from his hand.</p>
 
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| <p>[11] </p>
+
| <p>[11] The next disarm, causing the dagger to fall from the adversary's hand, has happened in this way: he has driven the point of his dagger at your body from below; you were standing with your hands raised; you have placed your right hand on his blade, and your left hand under his dagger hand, lifting it up and pressing down the blade with your right hand, so that you have weakened his hand and easily forced the dagger out of his hand.</p>
 
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| <p>[12] </p>
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| <p>[12] Here again the adversary has lost his dagger. He has driven the point of his dagger straight forward with his hand in ''tierce''; with your hands close together, you have seized his hand and hilt of his dagger, with your body bent low; pressing downwards with your body and right hand on his hilt and lifting his arm with your left hand, you have torn the dagger from his hand with ease. The plate shows the position after it has left his hand.</p>
 
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| <p>[13] </p>
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| <p>[13] Here is another disarm and hit. The adversary with the dagger has tried to hit you who are unarmed, thrusting the point at your body from below upwards, you have placed your right hand under the blade of the dagger, and your left hand over his dagger hand; by drawing his hand towards you, and pushing your right hand forward, you have turned the point against him. By resting your chest against the pommel of the dagger and throwing the whole of your weight on to it, you have driven the point into the chest of the man who was holding it. His only chance of safety was to drop the dagger to the ground, but he should have done that when you began to turn his hand, for after it was turned, the point would have reached his body.</p>
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<p>Let this suffice on the subject of the bare hands against the dagger.</p>
 
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| <p>[14] </p>
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| <p>[14] '''''Defending with the sword alone against a pike.'''''</p>
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<p>The last plate illustrates a position not treated of by other writers. The point of the sword is held at right angles and directed to the ground in order to show the position of the body and sword in attacking a spontoon or half pike or other weapons, whether slightly longer or shorter matters not; it is equally unimportant whether the blade is longer or shorter, provided there are no barbs or other impediment. The left hand is in the greatest danger, but by proceeding in the correct manner you may easily protect it, that is by raising or lowering it more or less according to the line of the attack. You can also defend yourself against feints, disengagements, withdrawal or advancing of the pike, as well as against the simple thrust. You can defend very well against the cut too. You must advance without stopping for any reason, and although the arms are so unequal, by proceeding is[!] the correct manner you will force the adversary to retire, or you will reach him more quickly and easily. We have omitted further details in order not to expose the whole secret, and in order to offer a subject to those who study this art or investigating the principles suited to this defence; by diligent practise you may with no great difficulty  discover what is needed. The plate shows the position of the sword and body, and by no very long practise a keen intelligence will understand the advantage of the position and will learn how to use it. It is sufficient for us to have given the hint and shown that with the sword alone you can attack and defend at a pike, perhaps more easily than another sword, as we have seen in actual practice many times and on different occasions in the presence of gentlemen and great princes.</p>
 
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{{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|265|lbl=255|p=1}} {{section|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf/266|1|lbl=256|p=1}}
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| <p>[15] Among the plates of the guards, movements and hits in this work there are some which are defective in the grasp of the weapons, the position of the hilts, the turning of the hands, and the posture of the feet and body. In reality these positions are free and unstrained, otherwise the movements would be too slow. Still we hope that the discourses will supply the defects and explain what is to be inferred from the plates. The author began to divide the work into chapters, but being prevented by various difficulties he has allowed it to be printed and to remain as it is, divided into two books and each book into three parts.</p>
 
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<p>The printing of these discourses was completed on September the 25th, 1606, in the City of Copenhagen, the metropolis of the Kingdom of Denmark, in the house of Hendrich Walchirchen.</p>
 
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== References ==
 
== References ==
  
{{reflist|2}}
+
{{reflist}}
 
{{DEFAULTSORT:Fabris, Salvator}}
 
{{DEFAULTSORT:Fabris, Salvator}}
 
{{Early Italian masters}}
 
{{Early Italian masters}}

Revision as of 15:50, 24 May 2022

Salvator Fabris
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 "break measure" or withdraw. ~ 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.