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| <p>[34] <br/><br/></p>
 
| <p>[34] <br/><br/></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>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 further, 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>[44] Now follows another hit in ''seconde'' between the weapons against a ''quarte''. Perhaps you were in ''seconde'' and your adversary in ''tierce'', his sword advanced and dagger close to the hilt of his sword, with his left side kept back in order to offer you an opening to hit, with the intention of parrying and hitting in the same ''time'', you have feigned to accept the opening and hit where he desired; thus he has been deceived by your trick, raised his dagger, and advanced his right side still farther in order to hit, and to defend at the same time below by changing his hand to ''quarte''. You have disengaged over the point of your adversary's dagger and hit between the weapons in the part exposed by his attempt to parry and hit. You have left your dagger in its original position, which has given you a defence, and excluded his sword in ''quarte'' on the outside. If your dagger had met his sword further forward, it could not have thrust it away, since the ''quarte'' is very strong in that part, with the result that both would have been hit. If you had tried to attack under the dagger, your adversary would easily have parried by merely making a somewhat larger angle with his sword hand, for his body was already sufficiently turned.</p>
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| <p>[44] Now follows another hit in ''seconde'' between the weapons against a ''quarte''. Perhaps you were in ''seconde'' and your adversary in ''tierce'', his sword advanced and dagger close to the hilt of his sword, with his left side kept back in order to offer you an opening to hit, with the intention of parrying and hitting in the same ''time'', you have feigned to accept the opening and hit where he desired; thus he has been deceived by your trick, raised his dagger, and advanced his right side still further in order to hit, and to defend at the same time below by changing his hand to ''quarte''. You have disengaged over the point of your adversary's dagger and hit between the weapons in the part exposed by his attempt to parry and hit. You have left your dagger in its original position, which has given you a defence, and excluded his sword in ''quarte'' on the outside. If your dagger had met his sword further forward, it could not have thrust it away, since the ''quarte'' is very strong in that part, with the result that both would have been hit. If you had tried to attack under the dagger, your adversary would easily have parried by merely making a somewhat larger angle with his sword hand, for his body was already sufficiently turned.</p>
 
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<p>All thrusts whether at the head or body, can be parried with the cloak; but thrusts between the hands must be parried with a change to ''seconde'', otherwise you would be in danger of being hit; for besides the yielding of the edge of the cloak on reaching the adversary's sword, there is the danger that your right shoulder in its advanced position may be reached by his point before the point is driven out of the line. Your arm too is in danger of obstructing your defence and of being hit, as you do not wish to withdraw the arm while parrying. Therefore by changing from ''tierce'' to ''seconde'' you make the defence easier, since not only does your arm give place to the cloak, but the front of the body is changed in such a way as to escape the danger, and you hit at the same moment. When his point comes outside your cloak or sword, there is not the same difficulty as when it comes between the two. Disengagements should be made above, for the hanging cloak obstructs their being made below. But on the side of the sword they can be made below, when making a hit outside the sword. But when the adversary's sword and cloak are separated, it would be well to pass the point of his sword if it is not inclined upwards at an angle, for then you could reach the body without bringing your ''faible'' near his ''forte''. If your sword is on the outside of his, you can disengage over the point, and hit in the middle, and sometimes over the cloak hand. Again, if your sword is over his cloak, disengage in the middle, and if his weapons are united and you cannot hit there, hit over the sword, or make a feint of a hit there, and, when he moves to parry with the sword, hit in ''tierce'' below, parry with the cloak and recover to the position over the cloak hand with a change to ''seconde''; in this manner you will hit in the same time and defend yourself with the cloak against a possible stroke below.</p>
 
<p>All thrusts whether at the head or body, can be parried with the cloak; but thrusts between the hands must be parried with a change to ''seconde'', otherwise you would be in danger of being hit; for besides the yielding of the edge of the cloak on reaching the adversary's sword, there is the danger that your right shoulder in its advanced position may be reached by his point before the point is driven out of the line. Your arm too is in danger of obstructing your defence and of being hit, as you do not wish to withdraw the arm while parrying. Therefore by changing from ''tierce'' to ''seconde'' you make the defence easier, since not only does your arm give place to the cloak, but the front of the body is changed in such a way as to escape the danger, and you hit at the same moment. When his point comes outside your cloak or sword, there is not the same difficulty as when it comes between the two. Disengagements should be made above, for the hanging cloak obstructs their being made below. But on the side of the sword they can be made below, when making a hit outside the sword. But when the adversary's sword and cloak are separated, it would be well to pass the point of his sword if it is not inclined upwards at an angle, for then you could reach the body without bringing your ''faible'' near his ''forte''. If your sword is on the outside of his, you can disengage over the point, and hit in the middle, and sometimes over the cloak hand. Again, if your sword is over his cloak, disengage in the middle, and if his weapons are united and you cannot hit there, hit over the sword, or make a feint of a hit there, and, when he moves to parry with the sword, hit in ''tierce'' below, parry with the cloak and recover to the position over the cloak hand with a change to ''seconde''; in this manner you will hit in the same time and defend yourself with the cloak against a possible stroke below.</p>
  
<p>These rules apply when on guard on the right foot. When on guard on the left foot you should proceed in a different manner. The position on the left foot is better with these weapons than with the sword and dagger, for the parts which are exposed and generally attacked with those weapons are in this case better protected, since the cloak hand can be held so high as to defend all the part exposed above the arm, while the hanging edge of the cloak defends below; thus both parts are covered at the same time, whereas with the dagger in covering one part you expose the other, besides the grave danger to the left knee, which is advanced and far from the defence. With the cloak the knee also is defended. Farther the sword in ''tierce'' cannot only be brought in conjunction with the cloak, but can rest on the cloak hand and be strengthened in such a way that it cannot be thrust aside. With this union of weapons you can make all the defences and attacks; if you have formed your guard well, your adversary will be able to hit only over the sword, where there is little exposed; your sword, strengthened by the conjunction of the left hand, will parry with ease and without farther change. This is impossible with the sword and dagger, since there are more exposed parts, and if you rest the sword on your dagger, you obstruct the dagger and destroy its function. On the other hand such a position strengthens the cloak and gives a better defence. With this guard you have merely to push on within distance of the adversary, where you can hit without separating your weapons. You should observe this union whether defending against cuts or thrusts.</p>
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<p>These rules apply when on guard on the right foot. When on guard on the left foot you should proceed in a different manner. The position on the left foot is better with these weapons than with the sword and dagger, for the parts which are exposed and generally attacked with those weapons are in this case better protected, since the cloak hand can be held so high as to defend all the part exposed above the arm, while the hanging edge of the cloak defends below; thus both parts are covered at the same time, whereas with the dagger in covering one part you expose the other, besides the grave danger to the left knee, which is advanced and far from the defence. With the cloak the knee also is defended. Farther the sword in ''tierce'' cannot only be brought in conjunction with the cloak, but can rest on the cloak hand and be strengthened in such a way that it cannot be thrust aside. With this union of weapons you can make all the defences and attacks; if you have formed your guard well, your adversary will be able to hit only over the sword, where there is little exposed; your sword, strengthened by the conjunction of the left hand, will parry with ease and without further change. This is impossible with the sword and dagger, since there are more exposed parts, and if you rest the sword on your dagger, you obstruct the dagger and destroy its function. On the other hand such a position strengthens the cloak and gives a better defence. With this guard you have merely to push on within distance of the adversary, where you can hit without separating your weapons. You should observe this union whether defending against cuts or thrusts.</p>
  
 
<p>So far we have treated of the defence and attack with the cloak with respect to the difference from the methods with the sword and dagger. Now we must mention that the cloak can be used by throwing it in various ways, such as by wrapping it round your adversary's head, and letting it go entirely, or holding it by the lower edge in order to bring it back to your arm, if the plan has failed. It may be  thrown over the adversary's sword, but it must reach the hilt of his sword in order to check and impede his hitting or doing anything else. You may throw it round your arm in order to deceive the adversary and then cast it in his face. You may rest the point of your sword behind it and then carry it to his face. In all these cases you should hit before the adversary frees himself. These are the tricks of the cloak which are not expected by the adversary, and the unexpected attack is more effective. Here we end the general discourse on this weapon.</p>
 
<p>So far we have treated of the defence and attack with the cloak with respect to the difference from the methods with the sword and dagger. Now we must mention that the cloak can be used by throwing it in various ways, such as by wrapping it round your adversary's head, and letting it go entirely, or holding it by the lower edge in order to bring it back to your arm, if the plan has failed. It may be  thrown over the adversary's sword, but it must reach the hilt of his sword in order to check and impede his hitting or doing anything else. You may throw it round your arm in order to deceive the adversary and then cast it in his face. You may rest the point of your sword behind it and then carry it to his face. In all these cases you should hit before the adversary frees himself. These are the tricks of the cloak which are not expected by the adversary, and the unexpected attack is more effective. Here we end the general discourse on this weapon.</p>
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<p>With the sword and dagger this method may be used in some cases, though not in all. For if the adversary's point were in conjunction with the point of his dagger, you could not engage it without danger of losing your own sword. In this case it is convenient to adopt the other method of placing your point against the adversary's ''forte'', where you can keep it free and hit with less subtlety than with the sword alone, since your sword is further from the adversary's sword and safer from his dagger, which cannot engage owing to the distance. You must take care in advancing to adopt a particular manner so that the point of your sword may not penetrate and may be kept always in the same position; as your body advances, so your dagger must approach his sword in such a way that, when you are ready to hit the dagger will be so far forward that it can defend against his sword without further movement. With the sword and dagger also you can attack without stopping, but you cannot use one method only against all positions, as with the sword alone, but you must adopt now one, and now another according to need. In order that this may be better understood, we shall give plates of the positions, showing the manner first of placing the sword, and then of the hit, which may follow, as at present we show the positions with the sword alone.</p>
 
<p>With the sword and dagger this method may be used in some cases, though not in all. For if the adversary's point were in conjunction with the point of his dagger, you could not engage it without danger of losing your own sword. In this case it is convenient to adopt the other method of placing your point against the adversary's ''forte'', where you can keep it free and hit with less subtlety than with the sword alone, since your sword is further from the adversary's sword and safer from his dagger, which cannot engage owing to the distance. You must take care in advancing to adopt a particular manner so that the point of your sword may not penetrate and may be kept always in the same position; as your body advances, so your dagger must approach his sword in such a way that, when you are ready to hit the dagger will be so far forward that it can defend against his sword without further movement. With the sword and dagger also you can attack without stopping, but you cannot use one method only against all positions, as with the sword alone, but you must adopt now one, and now another according to need. In order that this may be better understood, we shall give plates of the positions, showing the manner first of placing the sword, and then of the hit, which may follow, as at present we show the positions with the sword alone.</p>
  
<p>All these methods of attack with resolution are based on the advantage of the feet, body and sword. But if the adversary does not keep his point steady but continually moves it round in a circle, it is not easy to engage it. In that case you could exclude his sword and prevent his moving it, though in truth this remedy involves the danger of your being disordered; therefore it is much better both with the sword alone and with the sword and dagger to advance holding your point in line with the adversary's hand and continue, since he will be forced to stop his movement and to try to drive your point out of line, otherwise you will go on and hit in the ''time'' of his moving his point, and he will be unable to parry with his sword or dagger, if he has a dagger, since your point will be far distant from his and far advanced towards his body; if he tries to carry his dagger to the defence of the other side, he will not be able to parry and will give you a chance to hit because of his slowness due to the great distance. Therefore there is no position in which the adversary can place his body and weapons, to which with these methods there is no reply, since you have an advantage.</p>
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<p>All these methods of attack with resolution are based on the advantage of the feet, body and sword. But if the adversary does not keep his point steady but continually moves it round in a circle, it is not easy to engage it. In that case you could exclude his sword and prevent his moving it, though in truth this remedy involves the danger of your being disordered; therefore it is much better both with the sword alone and with the sword and dagger to advance holding your point in line with the adversary's hand and continue, since he will be forced to stop his movement and to try to drive your point out of line, otherwise you will go on and hit in the ''time'' of his moving his point, and he will be unable to parry with his sword or dagger, if he has a dagger, since your point will be far distant from his dagger and far advanced towards his body; if he tries to carry his dagger to the defence of the other side, he will not be able to parry and will give you a chance to hit because of his slowness due to the great distance. Therefore there is no position in which the adversary can place his body and weapons, to which with these methods there is no reply, since you have an advantage.</p>
  
 
<p>There are some men, speaking with rashness rather than with knowledge, of this art, who have presumed to say that there are some strokes, to which there is no reply, and which cannot be parried. But we are persuaded by sound reasons that every stroke has its reply, except the stroke made in the exact time and at the exact distance; to such a stroke there is no reply and it cannot be parried; whereas the stroke which is deceived in its ''time'' or its distance, has its reply and can easily be parried; so that you can defend yourself against all strokes of the one kind and none of the other, and he who thinks differently is deceived. So are they deceived who think that the same stroke can be used against every opponent. But we say that you can attack all opponents, but must proceed in different ways according to the opportunities offered by the adversary. Let this suffice for the methods of attacking with resolution and without a pause; you must understand how to advance or check yourself, move swiftly or slowly or retire, and to do everything of your own accord and not under the compulsion of the adversary, for that would be a sign that his replies were stronger and that you were trying to save yourself from danger. When you act of your own accord or for some purpose of deceiving, you can return and advance at will. In this consists true judgment and knowledge of arms, which gives you the assurance of proceeding according to the capacity of your opponent and according to the position in which he is. We have still to give the description of each plate beginning with the advantage acquired and the distance, and continuing with the hits which follow from those advantages and distances.</p>
 
<p>There are some men, speaking with rashness rather than with knowledge, of this art, who have presumed to say that there are some strokes, to which there is no reply, and which cannot be parried. But we are persuaded by sound reasons that every stroke has its reply, except the stroke made in the exact time and at the exact distance; to such a stroke there is no reply and it cannot be parried; whereas the stroke which is deceived in its ''time'' or its distance, has its reply and can easily be parried; so that you can defend yourself against all strokes of the one kind and none of the other, and he who thinks differently is deceived. So are they deceived who think that the same stroke can be used against every opponent. But we say that you can attack all opponents, but must proceed in different ways according to the opportunities offered by the adversary. Let this suffice for the methods of attacking with resolution and without a pause; you must understand how to advance or check yourself, move swiftly or slowly or retire, and to do everything of your own accord and not under the compulsion of the adversary, for that would be a sign that his replies were stronger and that you were trying to save yourself from danger. When you act of your own accord or for some purpose of deceiving, you can return and advance at will. In this consists true judgment and knowledge of arms, which gives you the assurance of proceeding according to the capacity of your opponent and according to the position in which he is. We have still to give the description of each plate beginning with the advantage acquired and the distance, and continuing with the hits which follow from those advantages and distances.</p>
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| [[file:Scienza d’Arme (Fabris) 156.jpg|400px|center]]
 
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| <p>[58] From the two positions of advantage just described has followed this hit in ''quarte'' against an opponent who has tried to parry in ''tierce''. On reaching the second position, as the adversary did not move, you have continued with the body without advancing the sword more than shown in the plate, still keeping your hand in the guard of ''quarte''. All this is done with great skill, because on reaching the second position with the arm withdrawn if you had extended it to hit, you would have given the adversary a ''time'' to hit below in ''quarte'', and to turn his body, letting your sword pass in vain, or to parry without disengaging. In extending the arm the sword in fact is weakened and may be easily thrust aside by the adversary, but when it is accompanied by the body the adversary is not strong enough to drive it away. For this reason then you have maintained your guard of ''quarte'', and also in order to parry more easily, if he should try to hit below. You have lowered the body in the straight line in order to render the defence easier both below and on the inside, so that wherever he should hit, you would defend with little movement of the hand and body; moreover you would be so far advanced that his sword would pass, and you would be out of danger. On the other hand if you had bent the body outwards, you would have been sore exposed on the inside and would not have advanced so far with the body, so that your adversary could more readily have recovered his sword, whilst you would have been less united; for all these reasons the movement would have been weaker.</p>
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| <p>[58] From the two positions of advantage just described has followed this hit in ''quarte'' against an opponent who has tried to parry in ''tierce''. On reaching the second position, as the adversary did not move, you have continued with the body without advancing the sword more than shown in the plate, still keeping your hand in the guard of ''quarte''. All this is done with great skill, because on reaching the second position with the arm withdrawn if you had extended it to hit, you would have given the adversary a ''time'' to hit below in ''quarte'', and to turn his body, letting your sword pass in vain, or to parry without disengaging. In extending the arm the sword in fact is weakened and may be easily thrust aside by the adversary, but when it is accompanied by the body the adversary is not strong enough to drive it away. For this reason then you have maintained your guard of ''quarte'', and also in order to parry more easily, if he should try to hit below. You have lowered the body in the straight line in order to render the defence easier both below and on the inside, so that wherever he should hit, you would defend with little movement of the hand and body; moreover you would be so far advanced that his sword would pass, and you would be out of danger. On the other hand if you had bent the body outwards, you would have been more exposed on the inside and would not have advanced so far with the body, so that your adversary could more readily have recovered his sword, whilst you would have been less united; for all these reasons the movement would have been weaker.</p>
  
 
<p>We might have included the results which would have followed against guards of ''prime'' and ''quarte'', and also guards at an angle, or withdrawn; but we have omitted them for the sake of brevity, and because whoever can advance with safety against a guard in the straight line, can more easily attack those at an angle or withdrawn. Therefore we shall not treat of them, since they may be readily met with the methods we have described; for the nearer you can approach the adversary before being impeded or checked by his sword, the safer you are and the quicker you will attain your end; the adversary has fewer resources when you are close; when the danger is greater, he cannot make many changes. As to rushes which may be made by guards at an angle or withdrawn, we omit those also, because they will give no trouble; for if you know how to attack according to our methods, you will always be covered in the straight line from the adversary's point to your body. As to the changes of line made by an opponent using a guard at an angle, they are always slower than with a straight guard; therefore in these six methods we have described the opponent as on guard in the straight line. There are some who claim that a straight guard cannot be defeated, especially if the body is held sideways, whereas we have here shown in how many ways such a guard may be deceived.</p>
 
<p>We might have included the results which would have followed against guards of ''prime'' and ''quarte'', and also guards at an angle, or withdrawn; but we have omitted them for the sake of brevity, and because whoever can advance with safety against a guard in the straight line, can more easily attack those at an angle or withdrawn. Therefore we shall not treat of them, since they may be readily met with the methods we have described; for the nearer you can approach the adversary before being impeded or checked by his sword, the safer you are and the quicker you will attain your end; the adversary has fewer resources when you are close; when the danger is greater, he cannot make many changes. As to rushes which may be made by guards at an angle or withdrawn, we omit those also, because they will give no trouble; for if you know how to attack according to our methods, you will always be covered in the straight line from the adversary's point to your body. As to the changes of line made by an opponent using a guard at an angle, they are always slower than with a straight guard; therefore in these six methods we have described the opponent as on guard in the straight line. There are some who claim that a straight guard cannot be defeated, especially if the body is held sideways, whereas we have here shown in how many ways such a guard may be deceived.</p>
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<p>''On attacking with Resolution with Sword and Dagger.''</p>
 
<p>''On attacking with Resolution with Sword and Dagger.''</p>
  
<p>Having fully discussed the method of attacking the adversary without waiting in presence with the sword alone, we shall now treat of the principles to be observed with the sword and dagger. Although with these weapons you make use of the advance of the continued movement of the feet, which gives greater quickness of action, still you most consider that you have two weapons to control, and that your adversary has two weapons, against which you must defend yourself. To proceed in the proper manner requires great judgment in understanding the advantages and the dangers. In attacking the adversary where he is uncovered, in order to make him move, you are in great danger of losing your sword, that is to say the danger that his dagger, if not his sword, will engage your sword, and not only impede your plan, but put you in peril,[!] Therefore you must be careful not to go so near either of his weapons, that your sword may be deprived of its freedom; although it is true that the more you can advance your sword and still keep it free, the more successful your method will be, even though the danger is greater.</p>
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<p>Having fully discussed the method of attacking the adversary without waiting in presence with the sword alone, we shall now treat of the principles to be observed with the sword and dagger. Although with these weapons you make use of the advantage of the continued movement of the feet, which gives greater quickness of action, still you most consider that you have two weapons to control, and that your adversary has two weapons, against which you must defend yourself. To proceed in the proper manner requires great judgment in understanding the advantages and the dangers. In attacking the adversary where he is uncovered, in order to make him move, you are in great danger of losing your sword, that is to say the danger that his dagger, if not his sword, will engage your sword, and not only impede your plan, but put you in peril,[!] Therefore you must be careful not to go so near either of his weapons, that your sword may be deprived of its freedom; although it is true that the more you can advance your sword and still keep it free, the more successful your method will be, even though the danger is greater.</p>
  
 
<p>With these weapons you must not only contrive that your dagger defends with little movement, when the adversary's sword attacks, but also that your own sword is in such a position, that it may hit in the exact ''time'' and defend the line nearest to the line in which the adversary is attacking, so that if he has made a feint of hitting in that line in order to hit in the other near line, which would be uncovered by the movement of defence, he will find the path closed and defended; it is not difficult for the two weapons to defend the two lines, the one defending the line in which the adversary attacks, and the other the line in which he may attack, and without impeding your power to strike in the same ''time''; if other methods are adopted you may be deceived. With these weapons also there are more paths in which the adversary may attack, and in which you may attack him, but there are fewer methods of proceeding against his movements because of the impediment of his dagger. Still there are four ways or methods by which you may attack without waiting for a time or anything else, but may go on resolutely without a pause. These involve three guards, which are illustrated in the plates, so that you may know that with them you may attack or wait, as you please. Of these we shall now treat more in detail; we shall begin with a low guard in ''seconde'', formed with the sword across the body. Then we shall speak of the others in order as we have done hitherto.</p>
 
<p>With these weapons you must not only contrive that your dagger defends with little movement, when the adversary's sword attacks, but also that your own sword is in such a position, that it may hit in the exact ''time'' and defend the line nearest to the line in which the adversary is attacking, so that if he has made a feint of hitting in that line in order to hit in the other near line, which would be uncovered by the movement of defence, he will find the path closed and defended; it is not difficult for the two weapons to defend the two lines, the one defending the line in which the adversary attacks, and the other the line in which he may attack, and without impeding your power to strike in the same ''time''; if other methods are adopted you may be deceived. With these weapons also there are more paths in which the adversary may attack, and in which you may attack him, but there are fewer methods of proceeding against his movements because of the impediment of his dagger. Still there are four ways or methods by which you may attack without waiting for a time or anything else, but may go on resolutely without a pause. These involve three guards, which are illustrated in the plates, so that you may know that with them you may attack or wait, as you please. Of these we shall now treat more in detail; we shall begin with a low guard in ''seconde'', formed with the sword across the body. Then we shall speak of the others in order as we have done hitherto.</p>
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| <p>[2] '''The first method of attacking the adversary without a pause with the sword & dagger.'''</p>
 
| <p>[2] '''The first method of attacking the adversary without a pause with the sword & dagger.'''</p>
  
<p>In this first method of attacking with resolution a guard of ''seconde'' is used, which has been already illustrated (pl. 56) with the sword and dagger. You begin with natural steps moving in a circle towards the left, as the principles of this guard require, so that you can withdraw or approach without changing the position of the body or the nature of the steps and can contrive to entice the adversary to advance. As we explained elsewhere in speaking of the nature of this guard and of the manner of holding oneself in forming it and working with it, the circular movement is intended to protect the part which is uncovered over the sword; by keeping your dagger outside the adversary's sword on arriving within distance and holding your sword close to your dagger, when your dagger has penetrated the point of the adversary's sword, you prevent his disengaging below. Since your sword has closed the path between the weapons and your dagger is held upright, he can disengage over the point of your dagger only by a very slow movement; nor can he make a feint and hit, which would cause disorder and a separation of your weapons, and perhaps lead to a hit. Your body is held low to prevent his being able to hit below. This guard is based on such a position that the adversary can hit only on the inside of the dagger over the sword, and consequently you must protest that part as you advance, taking care that in the meantime you do not uncover other parts so much that you cannot parry; having formed this guard you must make certain that the adversary's sword cannot hit or harass you except in this line over your sword. You must protect this line, so that when you have reached his sword your body is entirely out of line of his point. In no case with this guard must you separate your sword and dagger you must take care that your dagger on reaching his sword is close to its blade, so that you may run along the blade without beating it in order to avoid the danger which might arise, if the adversary raised his sword from that position and placed it in another, or withdrew it and hit after your dagger had fallen, or disordered your dagger by a feint and then hit in the time of your trying to defend; moreover the adversary’s word is at once free after being beaten, so that you would lose the control of it. But if you merely ran along the blade, you can then follow it wherever it goes, secure against any movement the adversary may make; your security is all the greater because he can never engage your sword, which is crossed out of line. You should make no farther advance towards the adversary, after bringing your dagger hand to this position, so that the ''faible'' of your sword will be at a distance, out of reach of his dagger; it is true that it is within the reach of his sword, but only with the danger to the adversary of having his sword excluded and being hit, before he can free it; hence your security, since your sword cannot be engaged. For the rest you must know how to apply the following rules, when within distance; if you have to hit ''seconde'' you must leave your dagger against the adversary's sword and hit when the opportunity occurs; if you have to hit in ''quarte'' by a turn of the hand, you must thrust with the blade of your sword still close to the dagger, so that the path between the weapons will be closed; after completing the extension the sword hand should be still close to the dagger hand, whilst the body should in no case be raised, but lowered still more at the moment of hitting. If you observe these rules you will defeat any adversary.</p>
+
<p>In this first method of attacking with resolution a guard of ''seconde'' is used, which has been already illustrated (pl. 56) with the sword and dagger. You begin with natural steps moving in a circle towards the left, as the principles of this guard require, so that you can withdraw or approach without changing the position of the body or the nature of the steps and can contrive to entice the adversary to advance. As we explained elsewhere in speaking of the nature of this guard and of the manner of holding oneself in forming it and working with it, the circular movement is intended to protect the part which is uncovered over the sword; by keeping your dagger outside the adversary's sword on arriving within distance and holding your sword close to your dagger, when your dagger has penetrated the point of the adversary's sword, you prevent his disengaging below. Since your sword has closed the path between the weapons and your dagger is held upright, he can disengage over the point of your dagger only by a very slow movement; nor can he make a feint and hit, which would cause disorder and a separation of your weapons, and perhaps lead to a hit. Your body is held low to prevent his being able to hit below. This guard is based on such a position that the adversary can hit only on the inside of the dagger over the sword, and consequently you must protect that part as you advance, taking care that in the meantime you do not uncover other parts so much that you cannot parry; having formed this guard you must make certain that the adversary's sword cannot hit or harass you except in this line over your sword. You must protect this line, so that when you have reached his sword your body is entirely out of line of his point. In no case with this guard must you separate your sword and dagger you must take care that your dagger on reaching his sword is close to its blade, so that you may run along the blade without beating it in order to avoid the danger which might arise, if the adversary raised his sword from that position and placed it in another, or withdrew it and hit after your dagger had fallen, or disordered your dagger by a feint and then hit in the time of your trying to defend; moreover the adversary’s sword is at once free after being beaten, so that you would lose the control of it. But if you merely ran along the blade, you can then follow it wherever it goes, secure against any movement the adversary may make; your security is all the greater because he can never engage your sword, which is crossed out of line. You should make no further advance towards the adversary, after bringing your dagger hand to this position, so that the ''faible'' of your sword will be at a distance, out of reach of his dagger; it is true that it is within the reach of his sword, but only with the danger to the adversary of having his sword excluded and being hit, before he can free it; hence your security, since your sword cannot be engaged. For the rest you must know how to apply the following rules, when within distance; if you have to hit in ''seconde'' you must leave your dagger against the adversary's sword and hit when the opportunity occurs; if you have to hit in ''quarte'' by a turn of the hand, you must thrust with the blade of your sword still close to the dagger, so that the path between the weapons will be closed; after completing the extension the sword hand should be still close to the dagger hand, whilst the body should in no case be raised, but lowered still more at the moment of hitting. If you observe these rules you will defeat any adversary.</p>
 
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| <p>[4] From the preceeding[!] guard of ''seconde'' with the dagger on the adversary's sword has followed this hit over the dagger. After engaging his sword you pushed on against the adversary, who was in tierce, as shown, and disengaged in ''seconde'' over his dagger, running along the blade of his sword with the blade of your dagger. Seeing you disengaging and advancing he has carried back his left foot thrust with his sword in order to meet you; by turning his body he thought he would be able to parry with his dagger, but he has failed, because his sword was already engaged by your dagger and you have protected a great part of the body, which was exposed before over your sword in ''seconde''; you have followed his blade, completely defending yourself, and hit without his being able to save himself. This is due to your continued union when disengaging, so that when the disengage was complete, the hit was already made, and his dagger could not parry. Similarly it may be that the adversary seeing you attacking and uncovered above the sword, has tried to hit in that line. Having already engaged his sword and knowing well that you could not be hit elsewhere, you have pushed your dagger forward along his blade, advanced and made the hit in ''seconde'' on completing your disengage.</p>
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| <p>[4] From the preceeding[!] guard of ''seconde'' with the dagger on the adversary's sword has followed this hit over the dagger. After engaging his sword you pushed on against the adversary, who was in tierce, as shown, and disengaged in ''seconde'' over his dagger, running along the blade of his sword with the blade of your dagger. Seeing you disengaging and advancing he has carried back his left foot and thrust with his sword in order to meet you; by turning his body he thought he would be able to parry with his dagger, but he has failed, because his sword was already engaged by your dagger and you have protected a great part of the body, which was exposed before over your sword in ''seconde''; you have followed his blade, completely defending yourself, and hit without his being able to save himself. This is due to your continued union when disengaging, so that when the disengage was complete, the hit was already made, and his dagger could not parry. Similarly it may be that the adversary seeing you attacking and uncovered above the sword, has tried to hit in that line. Having already engaged his sword and knowing well that you could not be hit elsewhere, you have pushed your dagger forward along his blade, advanced and made the hit in ''seconde'' on completing your disengage.</p>
 
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<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>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>
+
<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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| <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>
+
| <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 conjunction 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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| <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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| <p>[13] From the guard of ''quarte'' with the sword on the outside of the 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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| <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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| <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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<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>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>
+
<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>
  
 
<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>
 
<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>[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>
+
| <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 the 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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<p>''Treatise on Coming to Grips, Seizing the sword, Throwing the Cloak, and Principles of the dagger.''</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>
+
<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]]
 
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| <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>
+
| <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 that 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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| <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>
+
| <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 on his sword hand, and by bending his arm outwards forced him to relinquish his sword.</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>
+
| <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>
  
 
<p>Let this suffice on the subject of the bare hands against the dagger.</p>
 
<p>Let this suffice on the subject of the bare hands against the dagger.</p>

Revision as of 23:40, 8 June 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". ~ Michael Chidester
  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.