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| <p>[1] '''''General discourse of the first book. The principles of the sword alone.'''''</p>
 
| <p>[1] '''''General discourse of the first book. The principles of the sword alone.'''''</p>
  
<p>In opening our promised work we shall begin with the sword alone, for on the knowledge of the sword depend the principles of all other arms. Many rules will be given which may serve excellently for the sword accompanied by the dagger or any other arm. He who can use the sword alone well will easily learn to use it in conjunction with other arms. You must know then that the rules of the sword are founded on four guards in which are formed all the positions and counter positions. From them arise the ''times'', ''counter-times'', disengagements, counter-disengagements, double disengagements, half disengagements, and re-engagements; nor in short can anything be done in attack or defence which does not partake of the nature of one of these four guards. They are differently formed, as will be seen in the accompanying plates. These we have introduced in order that you may recognise with what variations of position of the sword, feet and body, they are made. We shall describe the nature of each guard in its place and the plates will show the results which may arise from them. The discourses will be such that you will easily see when to apply the various rules, and how to the best advantage you must approach your adversary in order to come within presence. Though one who understands the art may approach as he pleases, since in whatever position he is he will succeed by his knowledge of distances, weak and strong positions, exposed and unexposed parts. Nevertheless it is certain that one position is better than another, and a man may approach with more security when he parries his arms in the proper manner. When within distance he must proceed in various ways, according to the changes made and the opportunities offered by his adversary, and according to the distance in which he finds himself. The distances are two, and what is good in the one is not so in the other. These distances control the whole attack and defence, as we shall explain. First we shall describe the four principal guards, why they are called, ''prime'', ''seconde'', ''tierce'' and ''quarte'', and the origin of these names. Then we shall treat of the divisions of the sword, then of counter-positions, distances, and some other matters which we consider necessary and useful to the good student of this art.</p>
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<p>In opening our promised work we shall begin with the sword alone, for on the knowledge of the sword depend the principles of all other arms. Many rules will be given which may serve excellently for the sword accompanied by the dagger or any other arm. He who can use the sword alone well will easily learn to use it in conjunction with other arms. You must know then that the rules of the sword are founded on four guards in which are formed all the positions and counter positions. From them arise the ''times'', ''counter-times'', disengagements, counter-disengagements, double disengagements, half disengagements, and re-engagements; nor in short can anything be done in attack or defence which does not partake of the nature of one of these four guards. They are differently formed, as will be seen in the accompanying plates. These we have introduced in order that you may recognise with what variations of position of the sword, feet and body, they are made. We shall describe the nature of each guard in its place and the plates will show the results which may arise from them. The discourses will be such that you will easily see when to apply the various rules, and how to the best advantage you must approach your adversary in order to come within presence. Though one who understands the art may approach as he pleases, since in whatever position he is he will succeed by his knowledge of distances, weak and strong positions, exposed and unexposed parts. Nevertheless it is certain that one position is better than another, and a man may approach with more security when he parries his arms in the proper manner. When within distance he must proceed in various ways, according to the changes made and the opportunities offered by his adversary, and according to the distance in which he finds himself. The distances are two, and what is good in the one is not so in the other. These distances control the whole attack and defence, as we shall explain. First we shall describe the four principal guards, why they are called, ''prime'', ''seconde'', ''tierce'' and ''quarte'', and the origin of these names. Then we shall treat of the divisions of the sword, then of counterpositions, distances, and some other matters which we consider necessary and useful to the good student of this art.</p>
 
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| <p>[2] '''Description of the four principal guards and the origin of their names.'''</p>
 
| <p>[2] '''Description of the four principal guards and the origin of their names.'''</p>
  
<p>The four guards arise from the four faces of the hand and the sword, that is to say of the two edges and the two surfaces; and these produce four different positions. ''prime'' is that position which the hand takes in drawing the sword from the scabbard, when the point is turned towards the adversary - all the guards especially with the sword alone must be formed with the point so directed. When the hand is turned slightly upward we have ''seconde'', and ''tierce'' when the hand is in its natural position turned neither up nor down. When the inside of the hand is turned upwards we have ''quarte''. The hand in turning can take these four positions only, and being in ''prime'' cannot go to ''quarte'' without passing through ''seconde'' and ''tierce''; so the name ''quarte'' is given to the last position. ''prime'' is the most suitable position for grasping the sword, although it can be done in ''seconde'' or ''tierce'': but with the hand in ''quarte'' the sword cannot be drawn from the scabbard. You must know that nothing can be done which does not arise from one of these four positions approximately; we say approximately, because, if you consider, you will find that there is a great distance between one guard and another owing to the width of the surface of the sword and of the hand, so that between ''prime'' and ''seconde'' there is a mean, where the hand might stop, and similarly between ''seconde'' and ''tierce'', and between ''tierce'' and ''quarte''. Therefore one might say that there were four legitimate guards and three bastard, since each bastard resembles the two, between which it is formed. But to avoid the confusion of so many terms we shall speak only of the four legitimate guards, which will serve very well for the three bastards also; for the quality of the guard is considered not only from the position of the hand, but also from the direction of the point, wherein lies the force of the guard. Therefore we shall divide the guards into these four only, especially as with the sword there are only four methods of hitting, that is on the inside, on the outside, below and above. The great differences between one guard and another will be explained when we treat of their natures, when we shall consider the various methods of defence, and the changes made in hitting, according to whether they are formed with the sword extended or withdrawn, high or low; we shall then treat of the nature of each one separately.</p>
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<p>The four guards arise from the four faces of the hand and the sword, that is to say of the two edges and the two surfaces; and these produce four different positions. ''Prime'' is that position which the hand takes in drawing the sword from the scabbard, when the point is turned towards the adversary - all the guards especially with the sword alone must be formed with the point so directed. When the hand is turned slightly upward we have ''seconde'', and ''tierce'' when the hand is in its natural position turned neither up nor down. When the inside of the hand is turned upwards we have ''quarte''. The hand in turning can take these four positions only, and being in ''prime'' cannot go to ''quarte'' without passing through ''seconde'' and ''tierce''; so the name ''quarte'' is given to the last position. ''Prime'' is the most suitable position for grasping the sword, although it can be done in ''seconde'' or ''tierce'': but with the hand in ''quarte'' the sword cannot be drawn from the scabbard. You must know that nothing can be done which does not arise from one of these four positions approximately; we say approximately, because, if you consider, you will find that there is a great distance between one guard and another owing to the width of the surface of the sword and of the hand, so that between ''prime'' and ''seconde'' there is a mean, where the hand might stop, and similarly between ''seconde'' and ''tierce'', and between ''tierce'' and ''quarte''. Therefore one might say that there were four legitimate guards and three bastard, since each bastard resembles the two, between which it is formed. But to avoid the confusion of so many terms we shall speak only of the four legitimate guards, which will serve very well for the three bastards also; for the quality of the guard is considered not only from the position of the hand, but also from the direction of the point, wherein lies the force of the guard. Therefore we shall divide the guards into these four only, especially as with the sword there are only four methods of hitting, that is on the inside, on the outside, below and above. The great differences between one guard and another will be explained when we treat of their natures, when we shall consider the various methods of defence, and the changes made in hitting, according to whether they are formed with the sword extended or withdrawn, high or low; we shall then treat of the nature of each one separately.</p>
 
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<p>Now we shall treat of another way of attacking the adversary, which is more subtle than the others. If you can safely reach the required position, you will hit without danger. On approaching, whatever your adversary’s guard you should gradually bring your sword towards the position where you intend to place it, so that on arriving within distance your sword reaches, the exact position desired. As we have said several times, the sword must be placed against the weakest part of the adversary's sword; this is so with the present method, until you are, within distance; but although elsewhere we have taught you to put your point against his point, yet with the present method you must advance so far as to bring your point against his hilt, but without letting his hilt penetrate beyond your point, though near it; your point must be in line with his hilt, neither above nor below, but to one side according to the position adopted by the adversary. Your point should be inclined rather downwards than upwards, for two reasons, the first, that you may be better able to disengage if, if necessary, the second, so that the adversary can find it only by lowering his hilt, which would give you a ''time'' to hit, as you are already on the move and your point is very near the adversary.</p>
 
<p>Now we shall treat of another way of attacking the adversary, which is more subtle than the others. If you can safely reach the required position, you will hit without danger. On approaching, whatever your adversary’s guard you should gradually bring your sword towards the position where you intend to place it, so that on arriving within distance your sword reaches, the exact position desired. As we have said several times, the sword must be placed against the weakest part of the adversary's sword; this is so with the present method, until you are, within distance; but although elsewhere we have taught you to put your point against his point, yet with the present method you must advance so far as to bring your point against his hilt, but without letting his hilt penetrate beyond your point, though near it; your point must be in line with his hilt, neither above nor below, but to one side according to the position adopted by the adversary. Your point should be inclined rather downwards than upwards, for two reasons, the first, that you may be better able to disengage if, if necessary, the second, so that the adversary can find it only by lowering his hilt, which would give you a ''time'' to hit, as you are already on the move and your point is very near the adversary.</p>
  
<p>On reaching this position, if your adversary is in ''tierce'' or ''quarte'', you must hold your sword in a straight line from your wrist to the point and your arm so far advanced that you are sure of defending any possible stroke with little movement, either when y0u reach your position, or at any time. In brief your sword and body must be in such a position that your ''forte'' can defend with little motion. But if your adversary is in a guard of ''prime'' or ''seconde'', you must then place your sword exactly in the line of his hand, but below it, and hold your sword in such a way that your hand forms no angle, and if he tries to you hit, you could parry with the same guard and hit at the same time on the outside over his sword, carrying the foot in that direction to shorten the movement, and to give yourself better cover and greater strength. If your adversary does nothing when you have your sword in the exact position, you should raise the point above the line of his hand and go on to the body and the nearest part exposed, covering yourself with your hilt in the line, where his sword might come, and supporting the stroke by the movement of your body in order to shorten the movement of the sword; by continuing you will reach the adversary's body before he can change his line. If when you reach your position he changes his hand to ''tierce'' or ''quarte''. then you should parry on the inside and follow on.</p>
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<p>On reaching this position, if your adversary is in ''tierce'' or ''quarte'', you must hold your sword in a straight line from your wrist to the point and your arm so far advanced that you are sure of defending any possible stroke with little movement, either when y0u reach your position, or at any time. In brief your sword and body must be in such a position that your ''forte'' can defend with little motion. But if your adversary is in a guard of ''prime'' or ''seconde'', you must then place your sword exactly in the line of his hand, but below it, and hold your sword in such a way that your hand forms no angle, and if he tries to you hit, you could parry with the same guard and hit at the same time on the outside over his sword, carrying the foot in that direction to shorten the movement, and to give yourself better cover and greater strength. If your adversary does nothing when you have your sword in the exact position, you should raise the point above the line of his hand and go on to the body and the nearest part exposed, covering yourself with your hilt in the line, where his sword might come, and supporting the stroke by the movement of your body in order to shorten the movement of the sword; by continuing you will reach the adversary's body before he can change his line. If when you reach your position he changes his hand to ''tierce'' or ''quarte''. Then you should parry on the inside and follow on.</p>
  
 
<p>Again if the adversary were in a low ''tierce'' or ''quarte'' directed downwards, you should place your point in the line of his hilt, but above it, towards his hand, and, when you reach your position, at once go on to the body, carrying your hilt to the defence, for then he can do no harm with these low guards; if he raises his point, it will meet your ''forte'', as you are moving. After reaching your position, you will pass so quickly that he will have no time to defend. You must take care to place your sword in position always with the hand in ''quarte'' both on the outside and on the inside, above and below, and to direct your point towards the adversary's hand and hilt, and so far distant, that you always have time to disengage it or change your line, before he touches it. The nearer to his body you can bring your point with these precautions the better you will succeed. Therefore to approach in the proper manner you must carry your point forward without pause, and in such a manner that you can abandon your first plan and adopt another according to circumstances.</p>
 
<p>Again if the adversary were in a low ''tierce'' or ''quarte'' directed downwards, you should place your point in the line of his hilt, but above it, towards his hand, and, when you reach your position, at once go on to the body, carrying your hilt to the defence, for then he can do no harm with these low guards; if he raises his point, it will meet your ''forte'', as you are moving. After reaching your position, you will pass so quickly that he will have no time to defend. You must take care to place your sword in position always with the hand in ''quarte'' both on the outside and on the inside, above and below, and to direct your point towards the adversary's hand and hilt, and so far distant, that you always have time to disengage it or change your line, before he touches it. The nearer to his body you can bring your point with these precautions the better you will succeed. Therefore to approach in the proper manner you must carry your point forward without pause, and in such a manner that you can abandon your first plan and adopt another according to circumstances.</p>

Revision as of 21:35, 30 May 2022

Salvator Fabris
Born 1544
Padua, Italy
Died 11 Nov 1618 (aged 74)
Padua, Italy
Occupation
Nationality Italian
Alma mater University of Padua (?)
Patron
  • Christianus Ⅳ of Denmark
  • Johan Frederik of Schleswig-
    Holstein-Gottorp
Influenced
Genres Fencing manual
Language Italian
Notable work(s) Scienza d’Arme (1601-06)
Manuscript(s)
Translations

Salvator Fabris (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – 17th century Italian knight and fencing master. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.[citation needed] The French master Henry de Sainct Didier recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s.[1] In the 1580s, Fabris corresponded with Christian Barnekow, a Danish nobleman with ties to the royal court as well as an alumnus of the university.[2] It seems likely that Fabris traveled a great deal during the 1570s and 80s, spending time in France, Germany, Spain, and possibly other regions before returning to teach at his alma mater.[citation needed]

It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as Supremus Eques ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.[3] It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership.

Fabris' whereabouts in the 1590s are uncertain, but there are rumors. In 1594, he may have been hired by King Sigismund of Poland to assassinate his uncle Karl, a Swedish duke and competitor for the Swedish crown. According to the story, Fabris participated in a sword dance (or possibly a dramatic play) with a sharp sword and was to slay Karl during the performance when the audience was distracted. (The duke was warned and avoided the event, saving his life.)[4] In ca. 1599, Fabris may have been invited to England by noted playwright William Shakespeare to choreograph the fight scenes in his premier of Hamlet.[5][2] He also presumably spent considerable time in the 1590s developing the fencing manual that would guarantee his lasting fame.

What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled Scientia e Prattica dell'Arme (GI.kgl.Saml.1868 4040).[2]

In 1601, Fabris was hired as chief rapier instructor to the court of Christianus Ⅳ, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title Sienza e Pratica d’Arme ("Science and Practice of Arms") or De lo Schermo, overo Scienza d’Arme ("On Defense, or the Science of Arms"). Christianus funded this first edition and placed his court artist, Jan van Halbeeck, at Fabris' disposal to illustrate it; it was ultimately published in Copenhagen on 25 September 1606.[2]

Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo.

The importance of Fabris' work can hardly be overstated. Versions of his treatise were reprinted for over a hundred years, and translated into German at least four times as well as French and Latin. He is almost universally praised by later masters and fencing historians, and through the influence of his students and their students (most notably Hans Wilhelm Schöffer), he became the dominant figure in German fencing throughout the 17th century and into the 18th.

Treatise

Additional Resources

References

  1. Didier, Henry de Sainct. Les secrets du premier livre sur l'espée seule. Paris, 1573. pp 5-8.
  2. 2.0 2.1 2.2 2.3 Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. pp XVIII-XIX.
  3. Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. p XXIX.
  4. Andersson, Henrik. Salvator Fabris as a Hired Assassin in Sweden. Association for Renaissance Martial Arts. Retrieved 2011-12-18.
  5. Barbasetti, Luigi. Fencing Through the Ages.[Full citation needed]
  6. Originally "asseruatore", but corrected in the errata.
  7. This seems like a mistranslation of rompere di misura at first blush, but according to Kevin Murakoshi, this is an archaic piece of fencing jargon that was still current in the early 20th century. It means to "break measure" or withdraw. ~ Michael Chidester
  8. Originally "richeide", but corrected in the errata.
  9. Originally "dirarsi", but corrected in the errata.
  10. Originally "longuezza", but corrected in the errata.
  11. Originally "mettre", but corrected in the errata.
  12. Originally "volto", but corrected in the errata.
  13. 13.0 13.1 13.2 There's no conclusion of this word on the next page, just a new sentence.
  14. Originally "occcsione", but corrected in the errata.
  15. Originally "albassare", but corrected in the errata.
  16. Originally "& migliore", but corrected in the errata.
  17. Originally "temerariemente", but corrected in the errata.
  18. Originally "bisogna", but corrected in the errata.
  19. The letter 'F' was omitted in the print and hand-corrected in all copies.
  20. Originally "guardia", but corrected in the errata.
  21. Originally "equali", but corrected in the errata.
  22. Originally "poco", but corrected in the errata.
  23. Originally "poco", but corrected in the errata.
  24. Originally "non buoni", but corrected in the errata.
  25. Originally "queui", but corrected in the errata.
  26. Originally "che spada", but corrected in the errata.
  27. Originally "accorgendosi", but corrected in the errata.
  28. Originally "con pugnale", but corrected in the errata.
  29. Originally "mouendolo", but corrected in the errata.
  30. Originally "diuersi", but corrected in the errata.
  31. Originally "dentro la spada", but corrected in the errata.
  32. Originally "andere", but corrected in the errata.
  33. Originally "richede", but corrected in the errata.
  34. Originally "in suoi", but corrected in the errata.
  35. This word can't be read on the photos I have. It's a 6-letter word that seems to end in "s?ed". The Italian word means to move or advance, and Tom Leoni translates it as "fling".
  36. Originally "della", but corrected in the errata.
  37. Originally "la dette", but corrected in the errata.
  38. Originally "è passare", but corrected in the errata.
  39. The errata adds "l’".
  40. Originally "farmarsi", but corrected in the errata. The errata says it should be on page 232, but this is the only instance of the word in the book.
  41. This large blank space was probably meant to be filled in later with a suitable translation for brezza, which means "breeze" though that's obviously not the intended meaning here. It might be a spelling of brecca, meaning "breach". Tom Leoni translates it "rampart". ~ Michael Chidester
  42. Originally "sforza", but corrected in the errata. The errata says it should be on page 241, but this is the only instance of the word on the correct line.
  43. Should be 183.
  44. Originally "ineguale", but corrected in the errata.