Fiore de'i Liberi

Fiore Furlano de’i Liberi
This man appears sporadically throughout both the Getty and Pisani Dossi MSS, and may be a representation of Fiore himself.
Born	1340s Cividale del Friuli, Friuli
Died	after 1420 France (?)
Relative(s)	Benedetto de’i Liberi
Occupation	Diplomat Fencing master Mercenary
Nationality	Friulian
Patron	Gian Galeazzo Visconti (?) Niccolò III d’Este (?)
Influences	Johane Suveno Nicholai de Toblem
Influenced	Philippo di Vadi
Genres	Fencing manual Wrestling manual
Language	Middle Italian Renaissance Latin
Notable work(s)	The Flower of Battle
Manuscript(s)	MS M.383 (1400s) MS Ludwig XV 13 (1400s) Pisani Dossi MS (1409) MS Latin 11269 (1410s?) Codex LXXXIV (before 1436) Codex CX (before 1436) MS XXIV (1699)
Concordance by	Michael Chidester
Translations	Alt. English translation Traduction française Magyar fordítás Traducción castellano

Fiore Furlano de’i Liberi de Cividale d’Austria (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; ca. 1340s - 1420s) was a late 14th century knight, diplomat, and fencing master. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco. The term Liberi, while potentially merely a surname, more probably indicates that his family had Imperial immediacy (Reichsunmittelbarkeit), either as part of the nobili liberi (Edelfrei, "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights. It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Heinrich V, but this has yet to be proven.

Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands. He had ample opportunity to interact with both, being born in the Holy Roman Empire and later traveling widely in the northern Italian states. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student. He further mentions that on five separate occasions he was forced to fight duels for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp swords, unarmored except for gambesons and chamois gloves, and he won each without injury.

Writing very little on his own career as a commander and master at arms, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one Johane dicto Suueno, who he notes was a disciple of Nicholai de Toblem; unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well known in Fiore's time. He further offered an extensive list of the famous condottieri that he trained, including Piero Paolo del Verde (Peter von Grünen), Niccolo Unricilino (Nikolo von Urslingen), Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova), Lancillotto Beccaria di Pavia, Giovannino da Baggio di Milano, and Azzone di Castelbarco, and also highlights some of their martial exploits.

The only known historical mentions of Fiore appear in connection with the Aquileian War of Succession, which erupted in 1381 as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly appointed Patriarch (prince-bishop of Aquileia), Philippe II d'Alençon. Fiore seems to have supported the secular nobility against the Cardinal; he traveled to Udine in 1383 and was granted residency in the city on 3 August. On 30 September, the high council tasked him with inspection and maintenance of city's weapons, including the artillery pieces defending Udine (large crossbows and catapults). In February of 1384, he was assigned the task of recruiting a mercenary company to augment Udine's forces and leading them back to the city. This task seems to have been accomplished in three months or less, as on 23 May he appeared before the high council again and was sworn in as a sort of magistrate charged with keeping the peace in one of the city's districts. After May 1384, the historical record is silent on Fiore's activities; the war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records four times in 1383-4, it would be quite odd for him to be completely unmentioned over the subsequent five years if he remained, and since his absence from records coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.

Based on his autobiographical account, Fiore traveled a good deal in northern Italy, teaching fencing and training men for duels. He seems to have been in Perugia in 1381 in this capacity, when his student Peter von Grünen likely fought a duel with Peter Kornwald. In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean II le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. Both Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua, were in attendance. The duel was to begin with spears on horseback, but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.

Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on 24 June and attended by Gian Galeazzo Visconti, Duke of Milan, as well as the Duchess and other nobles. The duel was to consist of three bouts of mounted lance followed by three bouts each of dismounted poleaxe, estoc, and dagger. They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor (and the fact that all of the weapons were blunted), both combatants reportedly emerged from these exchanges unharmed.

Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco and Giovanni degli Ordelaffi, as the latter is known to have died in 1399. After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career. Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as Fior di Battaglia, Florius de Arte Luctandi, and Flos Duellatorum). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort; as evidence suggests that at least two longer versions were composed some time before this, we may assume that he devoted a considerable amount of time to writing during this decade.

Beyond this, nothing certain is known of Fiore's activities in the 15th century. Francesco Novati and D. Luigi Zanutto both assume that some time before 1409 he accepted an appointment as court fencing master to Niccolò III d’Este, Marquis of Ferrara, Modena, and Parma; presumably he would have made this change when Milan fell into disarray in 1402, though Zanutto went so far as to speculate that he trained Niccolò for his 1399 passage at arms. However, while the records of the d’Este library indicate the presence of two versions of "the Flower of Battle", it seems more likely that the manuscripts were written as a diplomatic gift to Ferrara from Milan when they made peace in 1404. C. A. Blengini di Torricella stated that late in life he made his way to Paris, France, where he could be placed teaching fencing in 1418 and creating a copy of a fencing manual located there in 1420. Though he attributes these facts to Novati, no publication verifying them has yet been located and this anecdote may be entirely spurious.

The time and place of Fiore's death remain unknown.

Despite the extent and complexity of his writings, Fiore de’i Liberi does not seem to have been a very significant master in the evolution of fencing in Central Europe. That field was instead dominated by the traditions of two masters of the subsequent generation: Johannes Liechtenauer in the Holy Roman Empire and Filippo di Bartolomeo Dardi in the Italian states. Even so, there are a number of later treatises which bear strong resemblance to his work, including the writings of Philippo di Vadi and Ludwig VI von Eyb. This may be due to the direct influence of Fiore or his writings, or it may instead indicate that the older tradition of Johane and Nicholai survived and spread outside of Fiore's direct line.

Treatise

The two manuscript copies of the Flower of Battle that were owned by the d’Este family have been lost since the early 16th century. The four copies currently known to exist were likely contemporary reproductions, and it is unclear if Fiore was directly involved with the creation of any of them. Of these, the MS Ludwig XV 13 (Getty) and the Pisani Dossi MS (Novati) are both dedicated to Niccolò III d'Este and state that they were written at his request and according to his design. The MS M.383 (Morgan), on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence, while the MS Latin 11269 (Paris) lost any dedication it might have had along with its prologue. Each of the extant copies of the Flower of Battle follows a distinct order, though both of these pairs contain strong similarities to each other in order of presentation. In addition, Philippo di Vadi's manuscript from the 1480s, whose second half is essentially a redaction of the Flower of Battle, provides a valuable fifth point of reference when considering Fiore's teachings. (These is also a 17th century copy of the Getty's preface, transcribed by Apostolo Zeno, but it contributes little to our understanding of the text.)

The major sections of the work include: abrazare or grappling; daga, including both unarmed defenses against the dagger and plays of dagger against dagger; spada a un mano, the use of the sword in one hand (also called "the sword without the buckler"); spada a dui mani, the use of the sword in two hands; spada en arme, the use of the sword in armor (primarily techniques from the shortened sword); azza, plays of the poleaxe in armor; lancia, spear and staff plays; and mounted combat (including the spear, the sword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as bastoncello, or plays of a small stick or baton against unarmed and dagger-wielding opponents; plays of sword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the chiavarina against a man on horseback.

The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters (or Teachers), figures in golden crowns who each demonstrate a particular guard for use with their weapon. These are followed by a master called "Remedio" (remedy) who demonstrates a defensive technique against some basic attack (usually how to use one of the listed guards to defend), and then by his various Scholars (or Students), figures wearing golden garters on their legs who demonstrate iterations and variations of this remedy. After the scholars there is typically a master called "Contrario" (counter), wearing both crown and garter, who demonstrates how to counter the master's remedy (and those of his scholars), who is likewise sometimes followed by his own scholars in garters. In rare cases, a fourth type of master appears called "Contra-Contrario" (counter-counter), who likewise wears the crown and garter and demonstrates how to defeat the master's counter. Some sections feature multiple master remedies or master counters, while some have only one. While the crowns and garters are used across all extant versions of the treatise, the specific implementation of the system varies; all versions include at least a few apparently errors in assignation of crowns and garters, and there are many cases in which an illustration in one manuscript will only feature a scholar's garter where the corresponding illustration in another also includes a master's crown (depending on the instance, this may either be intentional or merely an error in the art). Alone of the four versions, the Morgan seeks to further expand the system by coloring the metallic portions of the master or scholar's weapon silver, while that of the player is left uncolored; this is also imperfectly-executed, but seems to have been intended as a visual indicator of which weapon belongs to which figure.

The concordance below includes Zeno's transcription of the Getty preface for reference, and then drops the (thereafter empty) column in favor of a second illustration column for the main body of the treatise. Generally only the right-side column will contain illustrations—the left-side column will only contain additional content when when the text describes an illustration that spans the width of the page in the manuscripts, or when there are significant discrepancies between the available illustrations (in such cases, they sometimes display two stages of the same technique and will be placed in "chronological" order if possible). The illustrations from the Getty, Morgan, and Paris are taken from high-resolution scans supplied by those institutions, whereas the illustrations of the Pisani Dossi are taken from Novati's 1902 facsimile (scanned by Wiktenauer). There are likewise two translation columns, with the the two manuscripts dedicated to Niccolò on the left and the two undedicated manuscripts on the right; in both columns, the short text of the PD and Paris will come first, followed by the longer paragraphs of the Getty and Morgan.

Preface

First Italian Preface

Illustrations	Completed Translation (from the Getty) by Colin Hatcher	Completed Translation (from the Morgan) by Michael Chidester	Morgan Transcription (1400s) [edit] by Michael Chidester	Getty Transcription (1400s) [edit] Open for editing	San Daniele del Friuli Transcription (1699) by D. Luigi Zanutto	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
	I, Fiore the Friulian, born in Cividale D’Austria, was the son of Sir Benedetto of the noble order of the free knights of Premariacco, in the diocese of the Patriarchate of Aquileia. As a young man I desired to learn armed fighting, including the art of fighting in the lists with spear, poleaxe, sword, dagger and unarmed grappling, on foot and on horseback, armored and unarmored.	Fiore Friulano de Cividale d'Austria, the son of Sir Benedetto of the noble house of the Liberi of Premariacco in the diocese of the Patriarchate of Aquileia, in his youth wanted to learn fencing and the art of combat in the barriers (that is, to the death); of lance, ax, sword, and dagger, and of wrestling, on foot and on horse, in armor and without armor.	[1r] FIore furlan de Civida d'ostria che fo de miß Benedeto della nobil casada delli liberi da premergiaco dello diocisi dello patriarchado de Aquilegia in sua zoventu volse imprendere ad armizare, e arte de combater in sbara zoe a oltranza, ¶ De lanza, azza spada, e daga, e de abrazar a pe, e a callo cavallo in arme e senza arme.	[1r] F※╢I╟╢O╟╢R╟ Furlan de Cividale d'austria che fo di messer Benedetto de la nobel casada de li liberi di Premariacco de la diocesi delo Patriarchado de Aquilegia in sua çoventù volse imprender ad armiçare arte de combatter in sbarra ¶ de lança açça spada e daga et de abraçare a pe' e a cavallo in arme e sença arme.	Fiore Furlan di Civida dostria che ſo di Mis(sier) Benedeto della Nobil Casata delli liberi di Premergiaz della Diocesi dello Patriarchado de Aquilegia in sua zoventù volse imprendar ad armizare, e arte di combater in sbara zoè a oltranza, de lanza, azza, spada e daga, e de abrazar a pè, e a cavallo in arme, e senza arme.
	In addition I wanted to study how weapons were made, and the characteristics of each weapon for both offense and defense, particularly as they applied to mortal combat.	Also he wanted to know of the temper of iron, and the qualities of each weapon, as much for defense as for offense, and most of all matters of mortal combat.	¶ Anchora volse savere tempere di ferri. ¶ E fateza de zascuna arma, a cosi a defendere como, a offendere, e maximamente cose da combatere, a oltranza.	¶ Anchora volse savere tempere di ferri ¶ e fateççe d'çaschuna arma tanto a defendere quanto ad offendere e maximamente chose de combatter ad oltrança.	Anchora volse saver temperar de ferri, e fateze de zaseuna arma, e cusì a defendere, como a offendere e maxime e cose da combattere a oltranza.
	I also desired to learn the wondrous secrets of this art known only by very few men in this world. And these secrets will give you mastery of attack and defense, and make you invincible, for victory comes easily to a man who has the skill and mastery described above.	Also other marvelous and occult things that are apparent to few men in the world, and are very true things and very great for offense and defense, and things that cannot fail you, so easy are they to do, which art and mystery is described above.	¶ Anchora altre cose mereveglose, e occulte che a pochi homeni del mondo sono palese. ¶ E sono cose verissime, e de grandissima offesa, e deffesa, e cose che non se pon falare tanto sono lizere a fare, ¶ la quale arte, e magisterio ch'e ditto di sopra.	¶ Anchora altre chose meravigliose e oculte le quali a pochi homini del mondo sono palese. ¶ E sono chose verissime e de grandissima offesa e de grande deffesa e chose che non se pò fallare tanto sono lievi a fare, ¶ la quale arte e magisterio ch'è ditto di sopra.	La qual arte e magistero ch' è ditto di sopra,
	I learned these skills from many German and Italian masters and their senior students, in many provinces and many cities, and at great personal cost and expense.	And the aforesaid Fiore did learn the aforesaid things from many German masters. Also from many Italians in many provinces and in many cities, with great fatigue and with great expense, and by the grace of God from so many masters and scholars.	¶ E llo ditto fiore si a imprese le ditte cose de molti magistri todeschi, ¶ Anchora de molti iitaliani in molti provintie, e in molte zitade, cum grandissima fadiga, e cum grande spese, ¶ E per la gracia de dio de tanti magistri e scolari.	¶ E lo ditto fiore si à imprese le ditte chose da molti magistri todeschi ¶ e di molti italiani in più provincie e in molte citadi cum grandissim [fadiga] e cum grand'spese, ¶ e per grazia di dio da tanti magistri e scolari.	ebbe ditto Fiore, si à imprese le ditte cose de molli magistri todeschi. Anchora de molti Ytaliani in molte provintie et in molte xitade cum grandissima fadiga e cum grande spese: e per la gracia de Dìo de tanti magistri e scolari,
	And by the grace of God I also acquired so much knowledge at the courts of noblemen, princes, dukes, marquises, counts, knights and squires, that increasingly I was myself asked to teach. My services were requested many times by noblemen, knights and their squires, who wanted me to teach them the art of armed combat both for fighting at the barrier and for mortal combat. And so I taught this art to many Italians and Germans and other noblemen who were obliged to fight at the barrier, as well as to numerous noblemen who did not actually compete. And below are the names and a little of the history of some of the noblemen who have been my students, and who were obliged to fight at the barrier.	And in so many courts of great lords, princes, dukes, marquises and counts, knights, and squires did he undertake this art, that the aforesaid Fiore was more and more times retained by many lords and knights and squires for learning from the aforesaid Fiore to do the art of fencing and of combat in the barriers to the bitter end, which art he demonstrated to many Italians and Germans and other great lords that were obliged to combat in the barriers (and also to countless that were not obliged to combat). And of some that have been my scholars that have been obliged to combat in the barriers, of these I wish to name and make here a remembrance.	¶ E in corte di grandi signor,i principi duchi Marchesi, e Conti, cavalieri, e scuderi in tanto, a impresa aquesta arte, ¶ Che llo ditto fiore i estado piu, e piu volte requirido da molti signori e cavaleri, e scuderi per imprendere dal ditto fiore sì fatta arte, de armizar e de combatere in sbara ¶ a oltranza, la quale arte ello a mostrada, a piu sori iitaliani e todeschi e altri grandi signori che anno debudo combatere in sbara. ¶ E anchora, a Infiniti che non anno debudo combater. ¶ E de alguni che sono stadi mie scolari che anno debudo combater in sbara, ¶ Di alguni ne voglo fare aqui memoria, e nome	¶ E in corte di grandi signori principi duchi marchesi e conti chavalieri e schudieri in tanto à impresa questa Arte, ¶ che lo ditto fiore à stado più e più volte richiesto da molti Signori e chavallieri e schudieri per imprender del ditto fiore sifatta arte d'armizare e d'combatter in sbarra a oltrança la quale arte ello à mostrada a più sori ytaliani e todeschi e altri grandi Signori che àno debudo combattere in sbarra, ¶ e ancho ad infiniti che non àno debydo combattere, ¶ e de alguni che sono stadi miei scolari che àno debudo combatter in sbarra ¶ de' quali alchuni qui ne farò nome e memoria.	e in corte de grandi Signori, Principi, Duchi, Marchesi e Conti, Cavalieri e Scudieri intanto à impresa questa arte, chella ditto Fiore è stalo più rolle requisido da motti Signori caratieri e scudieri per imprender dal dillo Fiore si fatta arte de armizar e de combater in sbara a altranxa, la quale arte ello à mostrado a più Ytaliani e todeschi e altri grandi Signori che hanno debuto combatter in sbara: e anchora a infiniti che non hanno debuto combatter: e de alguni che sona stati me scolari, che hanno debudo combatere in sbara ne voglia fare a qui memoria e nome :
	The first of them was the noble and gallant knight Piero del Verde who fought Piero della Corona. Both were German, and the fight took place in Perosa.	And the first notable and gallant knight is Sir Peter von Grünen, who was obliged to combat with Sir Peter Kornwald (who were both Germans). And the battle was required to be at Perugia.	¶ E llo primo notabel, e gaiardo cavaliero fo miß Piero dal verde che debea combater cum miser Piero dala corona che foreno trambedui todeschi. ¶ E la batagla debea essere a perosa.	¶ Como de loro si fo el nobele e gagliardo chavaliero Misser piero del verde el quale debea combattere cum Misser piero d'la corona i quali forono ambidoy todeschi. ¶ E la Bataglia debea esser a Perosa.	Ello primo notabel e gajardo cavaliero ſo Mis(sier) Piero dal Verde che debea combater cum Mis(sier) Piero de la Corona che foreno (en)trambe dui todeschi: e la battaglia debea esser a Perosa.
	Next was the brave knight Niccolo Voriçilino, also a German, who was obliged to fight Niccolo Inghileso. The field of battle for this fight was Imola.	Also the valiant knight Sir Nikolo [illegible] (the German), who was obliged to combat with Nicolo (the English), and the field was given at Imola.	¶ Anchora allo valoroso cavaliero miser Nicholo unriçilino todescho che debea combater cum nicholo Inghileso e llo campo fo dado a Imola.	¶ Anchora a lo valoroso chavaliero Misser Nicolò ??? thodesco che debea combatter cum nicolò Inghileso. Lo campo fo dado ad Imola.
	Next was the well-known, valiant and gallant knight Galeazzo de Capitani da Grimello, known as da Mantova, who was obliged to fight the valiant knight Buçichardo de Fraca. The field of battle for this fight was Padova.	Also the notable, valiant, and gallant knight Sir Galeazzo Cattaneo dei Grumelli, called da Mantua, who was obliged to combat with the valiant knight Sir Boucicault (Jean II le Maingre) of France, and the field was at Padua.	¶ Anchora alo notabel va valoroso, e gaiardo cavalero miß Galeaz delli captani de grimello chiamado da Mantoa che debea combater cum lo cavalero valoroso miser Buçichardo de franza, e llo campo fo a padoa.	¶ Anchora al notabele valoroso e gagliardo chavalliero Misser Galeaço di Captani di Grimello chiamado di Mantoa che debea combattere cum lo valoroso chavalliero Misser Briçichardo de fraça lo campo fo a padoa.	Anchora ello notabel valoroso e gaiarda caraliera Mis(sier) Galeazo de li capitani de Grimello chiamato da Mantoa che debea combatter cum la cavaliero valoroso Mis(sier) Brizichardo de Franza ello campo ſo a Padoa.
	Next was the valiant squire Lancillotto da Becharia de Pavia, who exchanged six strikes with a sharpened steel lance against the valiant German knight Baldassarro, in a fight that took place in the lists at Imola.	Also the valiant squire Lancillotto Beccaria of Pavia. That was 6 thrusts of soft-iron lance on horseback against the valiant knight Sir Balthasar von Braunschweig-Grubenhagen (a German), and also obliged to combat in the list, and this was at Imola.	[1v] |Anchora allo valoroso schudero lanzilotto de Beccharia da pavia, ¶ Che fe ·vi· punte de lanza a ferri moladi a cavallo, contra el valente cavalero miß Baldesar todescho, ¶ |E anchora debevano combater in sbarra, e questo fo a Imola.	¶ Anchora al valoroso schudiero Lancilotto da Becharia de pavia el quale fe' VI punti de lança a ferri moladi a chavallo contra lo valente cavalliero Misser Baldassare todescho i quali ad Imola debea combatter in sbarra.	Anchora allo valoroso sendero Lanzilotto de' Beccharia de Pavia: che ſe VI punte de lanza a ferri moladi a carallo cantra el valente caralero Mis(sier) Baldesar todesco: e anchora debevano combaterr in sbara, e questo ſo a Imola.
	Next was the valiant squire Gioanino da Bavo, from Milan, who, in the castle in Pavia, fought three passes with a sharpened steel lance, against the valiant German squire Sram. And then on foot he fought three passes with the axe, three with the sword and three with the dagger, in the presence of the very noble prince and lord the Duke of Milan, and his lady the Duchess, and numerous other lords and ladies.	Also the valiant squire Giovannino da Baggio of Milan, who in the castle in Pavia, with the valiant squire Sirano (the German), struck three thrusts of soft-iron lance on horseback. And then on foot he made three blows of axe, and three blows of sword, and three blows of dagger, in the presence of the most noble lord Duke of Milan, and of the lady Duchess, and of countless other lords and lady.	¶ Anchora allo valeroso schudero Zohannj de Baio da Milano che fe in pavia in lo castello, contra ello valente schudero Sram todescho tre punte de lanza a ferri moladi, a cavallo ¶ |E poii fe a pe tri colpi de azza, e tri colpi de spada e tri colpi de daga, im[!] presenza dello nobilissimo signor ducha de Milano, e de madona la duchessa e de altri infiniti signori e donne.	¶ Anchora al valoroso schudiero çoanino da Bajo da Milano che fe' in pavia in lo castello contra lo valente schudiero Gram??? todesco tre punti di lança a ferri moladi a chavallo. ¶ E poy fe' a pe' tre colpi d'açça e tre colpi d'spada e tre colpi di daga in presença del nobilissimo principe e Signore Missier lo Ducha di Milano e d'Madona la duchessa e d'altri infiniti Signori e donne.	Anchora ello valoroso sendero Iohamniu de Bajo de Melano che ſe in Paria in lo castello contra ello valente schudero . . . . . todesco tre punte di lanza a ferri moladi a cavallo et poi ſe a pe tri colpi de azza e tri colpi de spada e tri colpi de daga in presenza dello nobilissimo Signor Ducha de Milano e de Madonna la Duchessa e de altri infiniti Signori e donne.
	Next was the cautious knight Sir Açço da Castell Barcho, who was obliged to fight one pass against Çuanne di Ordelaffi, and another pass against the valiant and good knight Sir Jacomo di Boson, the location chosen by his eminence the Duke of Milan.	Also the cautious knight Sir Azzone di Castelbarco, who once was obliged to combat with Sir Giovanni di Ordelaffi. And another time with the valiant and virtuous knight Sir Giacomo da Boson, and the field was set at the pleasure of the lord Duke of Milan.	¶ Anchora allo cauteloso cavalero misser Azo di Castelbarcho che debeva una volta combater cum miß Zohanni di li ordelaffig. ¶ |E una altra volta cum ello valente e bono cavalero miß Jacomo da Besen, e'l campo debeva essere allo piaser del signor ducha de milano,	¶ Anchora al cauteloso chavalliero Missier Açço da Castell Barcho che debea una volta combatter cum çuanne di Ordelaffi. ¶ E un'altra volta cum lo valente e bon chavalliero Misser Jacomo di Bosom??? e 'l campo debea esser al piasere de lo Signore ducha di Milano,	Anchora ello cauteloso cavalero Mis(sier) Azo de Castelbarcho che debera una volta combatter cum Mis(sier) Iohanni de li Ordelaffi
	Of these and of others whom I, Fiore, have taught, I am very proud, because I have been well rewarded, plus I earned the respect and the affection of my students and also of their relatives. Also, I should tell you that I always taught this art secretly, and so no one was present at my lessons except for the student and occasionally a close relative of his, and if anyone else was there by my grace or favor, they were only allowed to watch after swearing a sacred oath of secrecy, swearing by their faith not to reveal any of the techniques they saw me, Master Fiore, demonstrate.	These and others have I, Fiore, taught, and I am very content because I have been well-remunerated and I have had the honor and the love of my scholars and of their relatives. Also I say that to whom I have taught this art, I have taught secretly, that there was no person other than the scholar and some close relative of his. Also that those who were present had sworn with sacrament that they would not reveal any play that they had seen from me, Fiore.	de questi e de altri che io fiore hoe amagistradi, e sono molto contento perche son stado bene remunerado, e si o aibudo lo honore, e llo amore di mie scolari e de lor parenti. |Anchora digo che a chi i'o insignada aquesta arte, Io l'o insignada occultamente ch'ello non gl'e stado persona altra che lo scolare, e alguno di stretto suo parente. Anchora che aquilli che gli sono stadi anno aibudo sacramento de non apalentar nesuno zogho che loro abiano vezudo da mi fiore.	di questi e d'altri i quali io fiore ò magistradi io son molto contento perché io son stado ben rimunerato e ò aibudo l'onore e l'amore di miei scolari e di parenti loro ¶ digo anchora che questa arte io l'ò mostrada sempre ocultamente sì che non glie sta' presente alchuno [1v] a la mostra se non lu scolaro et alchuno so discreto parente e se pur alchuno altro glie sta' per gracia o per cortesia cum sagramento gli sono stadi prometendo a fede de non palesare alchun çogo veçudo da mi fiore magistro	ed altri che io Fiore ho amagistradi, e sono molto contento, perchè sono stato bene rimunerato e si o aibudo lo honore e lo amore di miei scolari e di lor parenti. Anchora diga che a chi iò insignada questa arte io lò insignada ocullamente e chello no glie stado persona altra che lo scolare e alguno di stretto suo parente. Anehora che a quelli che gli sono stadi anno aibiulo sacramento de non apalesar nesuno zogho che loro abiano rezudo de mi Fiore,
	More than anyone else I was careful around other Masters of Arms and their students. And some of these Masters who were envious of me challenged me to fight with sharp edged and pointed swords wearing only a padded jacket, and without any other armor except for a pair of leather gloves; and this happened because I refused to practice with them or teach them anything of my art.	And most of all have I been wary of fencing masters and of their scholars. And they (that is, the masters), out of envy, challenged me to play at swords of sharpened edge and point, in arming jacket but without any other armor save for a pair of chamois gloves, and all of this was because I did not wish to practice with them, nor did I wish to teach them anything of my art.	¶ E maximamente, me ho guardado da magistri scrimiduri e de soi scolari. E loro per invidia zoe li magistri m'ano convidado a zugar a spade de taglio e de punta in zuparello da armare senza altra arma salvo che un paro de guanti de camoza, e tuto questo e stado perche io non ho vogludo praticarcum loro, ne ho vogludo insignare niente de mia arte.	¶ E mazormamente me ò guardado da' magistri scrimidori a da' suoy scolari e loro per invidia çoè gli magistri m'àno convidado a çugare a spade di taglio e di punta in çuparello d'armare senç'altra arma salvo che un paio di guanti de (camoça?) e tutto questo è stado perché io non ò vogl(i)udo praticar cun loro nè ò vogliudo insegnare niente di mia arte.	e maximamente me ho guardado da magistri scrimiduri e de soi scolari. E loro per invidia, zoè li magistri manno convidado a zugar a spada da taglio ed a punta in zuparello da armar senza altra arma salrvo che un paio de guanti da camera …
	And I was obliged to fight five times in this way. And five times, for my honor, I had to fight in unfamiliar places without relatives and without friends to support me, not trusting anyone but God, my art, myself, and my sword. And by the grace of God, I acquitted myself honorably and without injury to myself.	And this misfortune occurred 5 times that I was so required. And 5 times, for my honor, I convened to play in strange places, without relatives and without friends, having no hope in anything other than in God, in the art, and in me, Fiore, and in my sword. And by the grace of God, I, Fiore, remained with honor and without lesions in my person.	¶ E questo accident e stado ·v· volte che sono stado requirido. ¶ E ·v· volte per mio honore m'a convegnudo zugar in loghi stranii senza parenti, e senza amisi, non abiando speranza in altro, |Che in dio, in l'arte e in mi fiore, e in la mia spada. ¶ E per la gratia de dio io fiore sono romaso cum honore, e senza lesione de mia persona.	¶ E questo accidente ¶ è stado V volte per mio honore m'à convegnu' çugare in luoghi strany sença parenti e sença amisi non habiando sperança in altruy se non in dio in l'arte e in mi fiore e in la mia spada. ¶ E per la gracia di dio io fiore son rimaso cum honore e sença lesione di mia persona.	e questo accidente e stado V rolte, che sono stada requisido: e V rolte per mio honor ma conregnudo zugar in loghi strani senza parenti e senza amisi, non abiando speranza di altri che in Dio, in larle e in mi Fiore e in la mia spada: e per la gracia de Dio io Fiore sono nomato con honore in questa arte.
	I tell my students who have to fight at the barrier that fighting at the barrier is significantly less dangerous than fighting with live swords wearing only padded jackets, because when you fight with sharp swords, if you fail to cover one single strike you will likely die.	Also I, Fiore, said to my students that were obliged to combat in the barriers that combat in the barriers is a far lesser peril than combat with sword of sharp edge and point in arming jackets. Because for him that plays at sharp swords, on a single cover that fails, that blow gives him death.	¶ Anchora io fiore diseva a mie scolari che debevan combatere in sbara, che lo combater in sbara, a asa asa de meno periculo, che, a combater cum spade de taglio, e de punta in zuparelo da Armar. ¶ Perche aquello che zoga a spade taienti, una sola coverta che falla aquello colpo gli da la morte.	¶ Anchora yo fiore diseva a' miei scolari che debean combatter in sbarra che lo combatter in sbarra è asay di menore priculo che a combatter cum spade di taglio e di punta in zuparello d'armare po' che chului che zuoga a spade taglienti una sola coverta che falla in quello colpo gli dà la morte.
	On the other hand, if you fight at the barrier and are well armored, you can take a lot of hits, but you can still win the fight. And here is another fact: at the barrier it is rare that anyone dies from being hit. So as far as I am concerned, and as I explained above, I would rather fight three times at the barrier than one time in a duel with sharp swords.	And one that combats in the barriers and is well-armored, he can receive several such strikes and can still win the battle. Also, there is another thing: that only on rare occasions does someone perish because of grabs and holds. Thus I say that I would sooner combat three times in the barriers than just one time with sharp swords, as I said above.	¶ |E uno che combate in sbara, e bene armato, e po recevere feride asai anchora po vincer la batagla. ¶ Anchora si e una altra cosa che rare volte ne perisse nesuno perche se piglano a presone. ¶ Si che io digo voria innanci combater tre volte in ssbara[!], che una sola volta a spade taiente come dito de sopra.	¶ Et uno che combatte in sbarra e ben armado e' pò ricevere feride asay. Anchora può vincere la bataglia. ¶ Anchora si è un'altra cosa che rare volte de perisse nisumo perché si pigliano a presone. ¶ Sì che io digo che voria inanci combattere tre volte in sbarra che una sola volta a spade tagliente come sovra detto.
	Now I should add that a man may fight at the barrier well armored, with a knowledge of the art of combat, and may have all the advantages possible to have, but if he lacks courage he may as well just go ahead and hang himself. Having said that, I can say that by the grace of God none of my students have ever lost at the barrier. On the contrary, they have always acquitted themselves honorably.	And I say that a man being well-armored for combat in the barriers, and knowing the art of combat, and having all the advantages that he can take, if he is not valiant then he will wish to hang himself. Well can I say that, for the grace of God, none of my scholars in this art have been lost—that always they remained with honor is this art.	¶ E si digo che lo homo che de combater in sbara siando bene armato e sapiando l'arte delo combater, e abiando li avantazi che se pon piglare se ello non e valente, ello se voria ben impichare ben che posso dire per la gratia de dio che zamaii nesuno mio scholaro in questa arte non fo perdidore |Che sempre sono romasi cum honore in questa arte.	¶ E sì digo che l'omo che de' combatter in sbarra esendo ben armado, e sapiando l'arte del combattere e habiando li avantaçi che se pon pigliare se ello non è valente ello si vorave ben impichare ben che possa dire per la gratia di dio che çamay nessuno mio scolaro non fo perdente in questa arte, tuti in ella sono sempre remasi cum honore.
	I should also point out that the noble knights and squires to whom I showed my art of combat have been very satisfied with my teaching, and have never wanted any other instructor but me.	Also I say that I predict that these lords, knights, and squires to whom I have demonstrated this art of combat are content with my teachings, and did not wish any other master than the aforesaid Fiore.	¶ Anchora digo io predeto che aquisti signori cavaleri e schuderi che i'o monstrada aquesta arte da combatere sono stadi contenti delo mio insegnare non vogl-ando altro magistro [2r] che lo ditto fiore.	¶ Anchora digo io predetto Fiore che questi Signori chavalleresci e Schuderi achuy io monstrada quest’arte da combattere, sono stadi contenti de lo mio insegnare non voglando altro che mi per magistro.
	In addition let me just say that none of my students, including those mentioned above, have ever owned a book about the art of combat, except for Galeazzo da Mantova. And he put it well when he said that without books you cannot be either a good teacher or a good student of this art. And I can confirm it to be true, that this art is so vast that there is no one in the world with a memory large enough to be able to retain even a quarter of it. And it should also be pointed out that a man who knows no more than a quarter of the art has no right to call himself a Master.	Also I say that none of these scholars here named had any book about the art of combat other than Sir Galeazzo di Mantua. Well did he say that without books no one will ever be a good master nor scholar in this art. And I, Fiore, confirm it: this art is so long that there is no man in the world with such a great memory that he can hold in mind, without books, even a fourth part of this art. And I grant that not knowing more than the fourth part of this art, I would not be a master.	¶ Anchora digo che nesuno de quisti scolari aqui anominadi non ave maii libro in l'arte de combater altro che miß galeaz di manthoa. ¶ Ben ch'ello diseva che senza libro non sara zamai nesuno bono magistro ne scolaro in questa arte. ¶ |E io |Fiore lo confermo che von(?) che aquesta arte e si longa ch'ello non e al mondo homo de si grande memoria che podesse tener a mente senza libri la quarta parte de questa arte. ¶ |Adoncha cum la quarta parte de questa arte non sapiando piu non seria magistro.	¶ Anchora digo che nessuno di miei scolari in speciale li sopradetti non ave may libro in l'arte de combattere altro che Misser Galeazo da Mantva ¶ Ben ch'ello diseva che sença libri non sarà çamay nissuno bon magistro nè scolaro in questa'arte ¶ E io fior lo confermo però che quest'arte è sì longa che lo non è al mondo homo de sì granda memoria che podesse tenere a mente sença libri la quarta parte di quest'arte. ¶ Adoncha cum la quarta parte di quest'arte non sapiando più non saria magistro.
	Now I, Fiore, although I can read and write and draw, and although I have books about this art, and have studied it for 40 years and more, do not myself claim to be a perfect Master in this art, (although I am considered so by some of the fine noblemen who have been my students). But I will say this: if, instead of studying the Art of Armed Combat for 40 years, I had spent 40 years studying law, papal decrees, and medicine, then I would be ranked a Doctor in all three of these disciplines. And you should also know that in order to study the science of arms I have endured great hardship, expended great effort and incurred great expense, all so as to be a perfect student of this art.	Thus I, Fiore, knowing how to read and to write and to draw, and having books on this art, and having studied it for 40 years and more, yet I am not a very perfect master in this art. (Though I am well-held, by the great lords that have been my students, to be a good and perfect master in this art.) And I do say that if I had studied 40 years in civil law, in canon law, and in medicine, as I have studied in the art of fencing, then I would be a doctor in those three sciences. But in this science of fencing I have had great contentions and strain and expenses just to be a good scholar (as we said of others).	¶ Che io fiore sapiando leger, e scriver e disignare, e abiando libri in questa arte, e in lei, o studiado ben ·xl· anni e piu. |Anchova[!] non son ben perfecto magistro in questa arte. Ben che sia tegnudo da grandi signori che son stadi mie scolari, bon e perfecto magistro in questa arte. ¶ |E si digo che s'io avesse studiado ·xl· in lege in decretale, e in medesina como i'o studiado in l'arte de armizar che io saria doctor in quelle tre scientie. ¶ |E in questa scientia de armizar ho aibuda grande briga, e stenta, e spesa de essere pur bon scolare, disemo d altro.	¶ Che io fiore sapiando legere e scrivere e disegnare e habiando libri in quest'arte e ley ò studiado ben XL anni o più, anchora non son ben perfetto magistro in quest'arte ben che sia tegnudo di grandi signori che sono stadi mie scolari ben e perfetto magistro in l'arte predetta. ¶ E sì digo che s'io avesse studiado XL anni in lege in decretali e in midisina chome i' ò studiado in l'arte del armiçare che io saria doctore in quelle tre scientie. ¶ Et in questa scientia d'armizare ò habuda grand' briga cum fadiga e spesa d'esser pur bon scolaro disemo d'altro.
	It’s my opinion that in this art there are few men in the world who can really call themselves Masters, and it is my goal to be remembered as one of them. To that end I have created this book all about this martial art and the things related to it, including weapons, their applications, and other aspects too. In doing this I have followed the instructions given to me by the nobleman I respect the most, who is greater in martial virtue than any other I know, and who is more deserving of my book because of his nobility than any other nobleman I could ever meet, namely, the illustrious and most excellent noble, the all-powerful prince, Sir NICCOLO, Marquis of Este, Lord of the noble cities of Ferrara, Modena, Reggio, Parma and others, and to whom may God grant long life and future prosperity, and victory over all of his enemies. AMEN.	Considering, as I said before, that in this art I could find few masters in the world, and wishing that there be made a memory of me in this art, I will put all the art (and all things that I know of iron and of temper and of other things) in a book, following that which we know how to do for the best and for the most clarity.	|Considerando io preditto che in questa arte pochi al mondo sen trovano magistri, e voglando che de mi sia fatta memoria in questa arte, io faro uno libro in tuta l'arte, e de tute cose ch'io so, e di ferri e de tempere e de altre cose segondo che nui saveremo fare per lo miglore, e per piu chiareza.	¶ Considerando io predetto fiore che in quest'arte pochi al mondo sen trovano magistri e vogliando che di mi sia fatta memoria in ella io farò un libro in tuta l'arte e de tutte chose le quale i' so e di ferri e di tempere e d'altre chose segondo l'ordene lo quale m'à dado quell'alto Signore che sopra gli altri per marcial virtud' mi piase più e più merita di questo (di questo) mio libro per sua noblità ch'altro Signore lo quale vedessi may e veder porò zoè el mio illustro et ecelso??? Signore possente principo Misser ※╣N╠╣I╠╣C╠╣O╠╣L╠╣O╠║※ Marchese da Este Signore de la nobele Cità di ferara di Modena Reço Parma etcetera a chuy dio dia bona vita e ventura prospera cum victoria degli inimisi suoy. ※╣A╠※╣M╠※╣E╠※╣N╠※╠.
	I am going to lay out this book according to the preferences of my lord Marquis, and since I will be careful to leave nothing out, I am sure that my lord will appreciate it, due to his great nobility and courtesy.			COmençamo lo libro segondo l'ordinamento del mio signore marchese e façemo che non gli manchi niente in l'arte che io mi rendo conto che lo mio signore mi farà bon merito per la sua grand' noblità e cortesia.
	I will begin with grappling, of which there are two types: grappling for fun, or grappling in earnest, by which I mean mortal combat, where you need to employ all the cunning, deceit and viciousness you can muster. My focus is on mortal combat, and on showing you step by step how to gain and defend against the most common holds when you are fighting for your life.			¶ Començemo a lo abraçare lo quale si è di doe rasone çoè da solaço e da ira çoè per la vita cum ogni ingano e falsità e crudelità che si pò fare. E di quello che si fa per la vita voglio parlare e mostrare per rasone e maximamente a guadagnar le prese chom'è usança quando si combatte per la vita.
	If you wish to grapple you should first assess whether your opponent is stronger or bigger than you, as well as whether he is much younger or older than you. You should also note whether he takes up any formal grappling guards Make sure you consider these things first.			¶ L'omo che vole abraçare vole esser avisado cum chuy ello abraça se lo compagno è più forte o s'ello è più grand' di persona e s'è (e)llo troppo zovene overo troppo vecchio. Anchora de vedere si ello se mette ale guardie d'abraçare e de tutte queste chose si è de prevedere.
	And whether you are stronger or weaker than your opponent, be sure in either case that you know how to use the grapples and binds against him, and how to defend yourself from the grapples your opponent attacks you with.			¶ E niente meno meterse sempre o più forte o meno forte ale prese d' le ligadure e sempre defenderte d'le prese del suo contrario.
	If your opponent is not wearing armor, be sure to strike him in the most vulnerable and dangerous places, for example the eyes, the nose, the larynx, or the flanks. And whether fighting in or out of armor, be sure that you employ grapples and binds that flow naturally together.			¶ E se lo tuo inimigo è disarmado attend'a ferirlo in li loghi più dogliosi e più priculosi çoè in gl'ochi in lo naso in le femine sotto 'l mento e in li fianchi. E niente meno guarda si tu puo' venire ale prese o le ligadure o armado o disarmado che fosse l'uno e l'altro.
	In addition, to be a good grappler you need eight attributes, as follows: [1] strength, [2] speed, [3] knowledge, by which I mean [3] knowing superior holds; [4] Knowing how to break apart arms and legs; [5] Knowing locks, that is how to bind the arms of a man in such a way as to render him powerless to defend himself and unable to escape; [6] Knowing how to strike to the most vulnerable points; [7] Knowing how to throw someone to the ground without danger to yourself. And finally [8] Knowing how to dislocate arms and legs in various ways. As required, I will address all of these things step by step through the text and the drawings in this book.			¶ Anchora digo che l'abraçare vole avere viii chose çoè forteça presteça savere [2r] çoè saver prese avantiçad', savere far roture çoè romper braçi e gambe, saver ligadure çoè ligar braçi per modo che l'homo non habia più defesa nè se possa partire in sua libertà, saver ferire in luogo più priculoso. ¶ Anchora save mettere uno in terra sença priculo di si instesso. ¶ Anchora saver dislogar braçi e gambi per diversi modi. ¶ Le quale tutte chose scrivirò e porò depinte in questo libro de grado in grado chome vole l'arte.
	Now that I have discussed some general rules for grappling, I will discuss the grappling guards. There are a variety of grappling guards, some better than others. But there are four guards that are the best whether in or out of armor, although I advise you not to wait in them for too long, due to the rapid changes that take place when you are grappling.			¶ Noi avemo ditto ço che vole l'abraçare ora disemo delle guardie d'abraçare. ¶ Le guardie del abraçare si pò fare per diversi modi et un modo è migliore del altro. ¶ Ma queste iiii guardie so' le migliore in arme e sença arme avegna dio che le guardie non à stabilità per le prese sùbite che se fano.
	The first four Masters that you will see with crowns on their heads will show you these four superior grappling guards. The first two are named “The Long Guard” and “The Boar’s Tooth” and they can be used to counter each other. The second two are named “Iron Gate” and “The Forehead Guard”, and they can also be used to counter each other. From these four guards, whether in or out of armor, you can do all of the eight things I listed earlier, namely holds, binds, dislocations, etc. You will need to learn the guards of the Masters, how to distinguish the Students from the Players and the Players from the Masters, and finally the difference between the Remedy and the Counter. While a Counter will usually be presented after the Remedies are shown, sometimes there will be a special “Remedy” that comes last of all. But let me make this clearer for you.			¶ E lli primi quatro magistri che vederiti cum le corone in testa per quegli si mostra le guardie del abraçare çoè posta longa e dente di cengiaro le quali fanno una in contra l'altra e poy fano porta di ferro e posta frontale l'una in contra l'altra. ¶ E queste iiii guardie pon fare tutte chose che denanci sono ditte del abraçare in arme e senç'arme çoè prese e ligadure e roture e ¶ como bisogna fare per modo che le guardie sen cognosca delli magistri zugadori e lli scolari da' zugadori e lli zugadori de' magistri e lo remedio del contrario ben che sempre lo contrario è posto dredo al remedio e talvolta lo remedio dredo o dredo tutti li soy zogi e di questo faremo chiareça.
	The four guards or “posts” are easy to learn. Sometimes you’ll take a guard and face your opponent without making contact, waiting to see what your opponent will do. These are called the posts or guards of the first Masters of Battle. And these masters wear a golden crown on their head, to signify that the guards they wait in provide them with a superior defense. And these four guards are best suited to apply the principles of my art of armed fighting, which is why these Masters choose to wait in these particular guards.			¶ Noi disemo che acognossi le guardie overo poste è lizera chosa prima che le guardie àno lor arme in mano l'una contra l'altra e non si tochano l'una cum l'altra. ¶ E stano avisade e ferme una contra l'altra per vedere ço che lo compagno vol fare. ¶ E queste sono chiamad' poste overo guardie overo primi magistri de la Bataglia. ¶ E questi portano corona in testa perché sono poste in logo e per modo di fare grande defesa cum esso tale aspetare. ¶ E sono principio di quell'arte çoè di quell'arte de l'arma cum la quale li ditti magistri stano in guardia.
	Whether you call it a “post” or a “guard”, you are referring to the same stance. As a “guard” it is used defensively, that is you use it to protect yourself and defend yourself from the strikes of your opponent. As a “post” it is used offensively, that is, you use it to position yourself in such a way in relation to your opponent that you can attack him without danger to yourself.			¶ E tanto è a dire posta che guardia. ¶ E guardia è tanto a dire che l'omo se guardi e se defende cum quella de le feride del suo inimigo. ¶ E tanto è a dire posta che modo de apostar lo inimigo suo per offenderlo sença priculo di sè instesso.
	The next Master who follows the four guards comes to respond to these guards and to defend himself against a Player who makes attacks that flow from the four beginning guards shown earlier. And this Master also wears a crown, but he is named the Second Master of Battle. He is also known as the Remedy Master, because he carefully selects his response to attacks flowing from the posts referred to above, and makes remedies that prevent him from getting struck.			¶ L'altro magistro che seguita le .iiii. guardie vene ad ensire de le guardie e si vene a defender d'un altro zugadore cum gli colpi che esseno di le .iiii. guardie che sono denançi. E questo magistro porta anchora corona, e sì è chiamado magistro secondo magistro. ¶ Anchora si e chiamado magistro remedio perché ello fa lo remedio che non gli siano dade dele ferid' overo che non gli sia fatta inçuria in quell'arte che sono le ditte poste overo guardie.
	This second or Remedy Master has a group of Students under him, who demonstrate the plays taught by the Remedy Master that follow the cover or grapple that he shows first as his remedy. And these Students wear a garter under their knee, to identify themselves. These Students will demonstrate all the remedies of the Remedy Master, until a third Master of Battle appears, who will show the Counters to the Remedy Master and his Students.			¶ E questo segondo zoè rimedio si à algui zugadori sotto di sì i quali zugano quelli zogi che poria zugare lo magistro ch'è davanti zoè lo rimedio pigliando quella coverta overo presa che fa lo ditto rimedio. E questi zugadori portarano una divisa sotto lo zinochio e farano questi zugadori tutti li zoghi de lo rimedio infintanto che si trovarà un altro magistro che farà lo contrario de lo rimedio e di tutti suoi zugadori.
	And because he can defeat the Remedy Master and his students, this Third Master wears both the symbol of the Remedy Master—a golden crown, and the symbol of his students—a golden garter below the knee. And this King is named the Third Master of Battle, and he is also named the Counter Master, because he makes counters to the Remedy Master and his students.			¶ E perçò ch'ello fa contra lo rimedio e contra soy zugadori ello porterà la divisa de lo magistro rimedio e d'soi zugadori çoè la corona in testa e la divisa sotto lo zinochio e questo Re è chiamado magistro terço ed è chiamado contrario perché sarà contra gli altri magistri e contra a' soi zogi.
	Finally let me tell you that in a few sections of this Art we will find a Fourth Master (or King) who can defeat the Third Master of Battle (the Counter to the Remedy). And this King, the Fourth Master, is named the Fourth Master of Battle. He is also known as the Counter-Counter Master. Be aware however that in this Art few plays will ever go past the Third Master of Battle, for to do so is very risky. But enough about this.			¶ Anchora digo che in alchuni loghi in l'arte si trova lo quarto magistro zoè Re che fa contra lo terço Re, zoè lo contrario delo rimedio. E questo re è lo magistro quarto chiamado magistro quarto. ¶ Ed è chiamado contra contrario. ¶ Ben che pochi zogi passano lo terço magistro in l'arte. ¶ E si più s'in fano se fà cum priculo. E basta di questo ditto.
	As I have explained above, the guards of the Abrazare (shown by the First Master of Battle), the Second Master of Battle (the Remedy Master) and his Students, the Third Master of Battle (the Counter Remedy, that is the counter to the Second Master of Battle and his Students), and the Fourth Master of Battle (named the Counter-counter Master), represent the foundation of my Art of Grappling whether in and out of armor. Furthermore, these four Masters of Battle and their Students are also the foundation of the Art of the Spear, which has its own guards, Masters and Students. The same is true for the Art of the Pole-axe, the Sword in One Hand, the Sword in Two Hands and the Dagger.			¶ Como noy avemo parlado qui dinanci de le guardie d'abrazare e del segondo magistro zoè del rimedio e deli soi zugadori e del terzo magistro contrario al segondo magistro e a soy zugadori, e del quarto magistro ch'è chiamado contra contrario, chosì come questi magistri e zugadori àno a reçere l'arte d'abrazare in arme e sença arme chosì àno questi magistri e zugadori a reçere l'arte de la lança cum le lançe e loro guardie magistri e zugadori. ¶ Et per le simile cum la azza e cum la spada d'una mano e de doy mani. E per lo simile cum la daga.
	In summary, these Masters of Battle and their Students, identified by their various devices, although first presented as governing principles of my Art of Grappling, are actually the foundation of my entire Art of Armed Fighting, whether on foot or on horseback, and whether in or out of armor.			¶ Sì che per efetto questi magistri e zugadori detti dinançi cum le insegne loro e divise àno a rezere tutta l'arte d'armizare a pe' e da cavallo in arme e senç'arme. ¶ Segondo ch'elli fano in lo zogho del abrazare.
	And my purpose in structuring my art in this way is to make my system easier to learn, by using the same principles of the guards, the Master, the Remedy and the Counter throughout it, just as you see first in the section on Grappling.			¶ E queste s'intende solamente po' che chosì bisogna esser guardie e magistri in le altre arte e rimedy e contrary come in l'arte de abrazare azòchè lo libro si possa liçeramente intendere.
	And the text, the drawings and the plays will so clearly show you my art, that you will have no trouble understanding it.			¶ Ben che le rubriche e le figure e li zogi 'n mostrarano tutta l'arte sì bene che tutta la si porà intendere.
	Now let’s move on to study the actual drawings, the plays and the text, and you will see that I have spoken truly.			¶ Ora atenderemo ale figure depinte e a lor zoghi e a loro parole le quale ne mostrarà la veritade.
		We commence this book following my intellect, in such a way that anyone can know to understand easily. And we make comparison of five things. That is, 1) of masters that stand in guard, and 2) of masters (and of masters) that are remedy, and 3) of scholars, and 4) of players, and 5) of contraries to masters and to scholars. The masters stand in positions, that is, guards—that which are called both positions and guards. Positions are called such because they position one, and guards are called such because they guard one from an enemy, and as such, they are called positions and guards for their strength, that poorly will one be able to break the positions on purpose without coming to danger.	COmennzamo libro segondo vero intelleto, per modo che zascaduno lo sapia intendere lezieramente. |E faremo comparatione de cinque cose, zoe di maistri che stanno in guardia. |E di maistri che sono remedii, e di scolari, e di zugaduri, e di contrarii di maistri, & di scolari.|Gli maistri che stanno in posta zoe guardie che tanto, e a dre[!] posta che guardia. |Posta tanto e a dire che a postare uno, e guardia si e a dire a guardarse da uno so Inimigo, et tanto e a dire posta e guardia che forteza. |Che maleasievelmente se po rompere le poste senza perigolo, Vegnando a proposito,
		The masters that stand in guard stand one against the other without touching one weapon against the other, and here the masters will bear crowns on their heads. The other crowned masters that will be after them also bear crowns, and they are called Masters Remedy. Those that here play with these masters and with their scholars are called players. And the scholars of these Masters Remedy bear a device under the knee, and initiate the cover and holds following what the Master Remedy does, and doing such plays that the Master Remedy knows how to do. At the end will be found the counter of the Master Remedy and of his scholars. And this counter bears a crown on his head and a device under the knee because he is the counter of the Master and of the scholars, and as such he bears the devices of both the Master Remedy and all his scholars. In some plays the counter will be found immediately after the remedy, and in some plays the counter will be found after all the plays of the Master Remedy. Know that here the counter which is made to the Master Remedy, that the counter breaks all of the plays of that cover or grip that he makes. In the following, you will find them well-depicted and -written so that can be easily understood.	gli magistri che stano in guardia, stanno l'uno contro l'altro, e non se tocharano una arma cum l'altra. |E quigli maistri porteranno corona in testa, gli altri maistri incoronadi che serano driedo de lore porterano anche corona. |E son chiamadi maistri remedii. |Quigli che Zugarano cum quisti maistri & cum soii scolari, sono chiamadi zugaduri. |E gli scolari di quisti maistri remedii, portano una divisa sotto al genochio. |E principia le coverte, e le prese segondo maistro remedio so. |E farano tanti zoghi che'l so maistro remedio poria fare in fino a tanta che s'e trovara lo contrario del maistro remedio & di soii scolari. |E questo contrario portera una corona in testa, e una divisa sotto el genochio, perch'e lo contrario del maistro e di scolari, perzo porta tanta divisa luii che l'maistro remedio cum tuti li soii scolari. |E in alguni loghi troverite, lo contrario subito dredo lo aremedio. |E in alguni loghi troverete lo contrario dredo di tuti li zoghi dello magistro remedio. Sapiando che quiilo contrario e fatto al maistro remedio, aquello contrario rompe tuti li soii zoghi de quella coverta overo presa ch'ello feva. |Segondo che voii troverite dipento e scrito si bene che l'eçerissimamente si porano intender.
		And we will commence first on horse with lance and with sword and with wrestling. And afterward with lance on foot, and then with sword in armor, and with sword in two hands in wide and narrow plays. Then the play of the axe, and then certain special matches, and then sword in one hand, and finally wrestling on foot and the play of the dagger. And in this way you can see all the art of fencing in this book, that cannot ever fail you, so well-worded are the explanations about the depicted figures.	|E comenzaremo prima a cavallo de lanza, e de spada, e de abrazare. |E poi dredo de lanza a pe, |E poi de spada in arme, |E poi de spada a doi man zogho largo. ¶ E poii streto E poi zogo de azza |E poi certi partiti, e poi de spada a una man a poi zogho de abrazar a pe |E poi zogho de daga. |E per questo modo porite vedere tuta l'arte de armizar in questo libro che non se pora falar niente tanto dirano bene le glose sopra le figure dipinte.

Latin Preface

Illustrations	Draft Translation (from the Pisani Dossi) by Michael Chidester	[Paris does not contain Preface]	Morgan Transcription (1400s) [edit] Open for editing	Getty Transcription (1400s) [edit] Open for editing	San Daniele del Friuli Transcription (1699) by D. Luigi Zanutto	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
	Here begins a book on dueling and combat, and it is called the Flower of Battles armed and unarmed, on horse and on foot, composed by me, Fiore de'i Liberi of Cividale de Austria, in the diocese of Aquileia, born of Sir Benedetto of the noble ancestry of the Liberi.					[2a] Incipit liber duellandi et dimicandi et uocatur Flos duellatorum in armis sine armis equester et pedester conpositus per me florium de liberis de cividato austrie aquilegensis diocesis quondam domini benedicti de nobilti prosapia liberorum natus.
	Fiore Friulano de'i Liberi of Cividale de Austria in the diocese of Aquileia, son of Sir Benedetto, wishes health in the name of the Lord and a prosperous realization of their desires to all who want to learn the play of arms on foot or on horse.					FLORIUS foroiuliensis de liberis de ciuidato austrie aquilegensis diocesis, quondam domini benedicti progenitus, cunctis ludo armorum intendere uolentibus pedestribus sceu equitibus salutem in domino et optatorum prosperum euentum.
	Being inclined from my early youth to warlike actions by a natural appetite, I applied myself very diligently with the passing years to my desire to comprehend the many abilities of this art, such as with the sword, the lance, the dagger—and no less the play of grappling—on foot or on horse.					Cum a primordio iuuentutis appetitu naturali ad belicosos actus fuerim inclinatus, me monuit per processum etatis industria ad plurima huius artis ingenia capescenda, uelut ensis lançee dagardi nec minus brachii ludendi pedester vel equester:
	All of which, thanks to God, I have received knowledge of through various examples of expert masters and the doctrines of Italians and Germans, and above all from Master Johane, called “Suveno”, who was a student of Nicholai of Toblem in the Mexinensis diocese, and also from many princes, dukes, marquises, counts, and from countless others in diverse places and provinces.					quorum omnium deo dante plenariam notitiam sum adeptus expertorum magistrorum exemplis multifariis et doctrina ytalicorum ac alamanorum et maxime a magistro johane dicto suueno, qui fuit scholaris magistri Nicholai de toblem mexinensis diocesis, ac etiam a pluribus principibus ducibus marchionibus et comitibus et ab aliis innumerabilibus et diuerssis locis et prouinciis.
	Even so, my desire for this exercise declining, and so that so much military experience (which furnishes a most valid sustenance to expert men in warfare or in any other tumult) be not lost negligently, I have decided to compose a book regarding the most useful elements of this splendid art, putting in it various figures with examples, by which methods of attack and defense and parries can an astute person be served in fencing or pugilism.					Jam uero declinante huius exercicii proposito, ne forte tantum milicie iochalle negligenter deperiret, quod equidem in gueris uel alio quolibet tumultu peritis uiris prestantissimum subsidium elargitur, disposui librum conponere prelibate artis utilliora concernentem, uarias in eo pingendo figuras et exemplo ponendo; quibus inuasionum modis defensionum ue pariter et astutiis uti possit inspesserit, armiger siue pugil.
	Every man of generous soul loves and conceals this work of ours as though it were a treasure, and therefore does not divulge it in any way among the country folk (which, in fact, Heaven created of obtuse sense and inadequate of agility, to carry loads like beasts of burden). Therefore, I decree that they should reject those for this precious arcana, and on the contrary they should invite kings, dukes, princes, and barons, and also men of court and others of high ability in the duel, following that which said "It is not meet that the Imperial Majesty be decorated in arms alone", etc.					Quicunque ergo generosi animi hoc nostrum opus quoddam quasi thesaurum dilligat et recondat, ne quando inter rurales nullatenus propaletur: ipsos enim obtusi senssus et agilitati ineptos ac ut iumenta oneribus applicandos cellum generauit. Quapropter ab hoc precioso archano censeo reppellendos et per opositum ad ipsum comitandos reges duces principes et barones, ceteros denique curiales et alios habiles in duello iuxta illud: " Imperatoriam mayestatem non sollum armis decoratam " etc.
	And so that no one believes that in the present volume there be some false thing or error, I have eliminated the ambiguities and I have described only things that I have seen or which were discovered and tested by me. Accordingly, we begin to explain our purpose with the help of the Omnipotent, whose Name be blessed and praised through the centuries. Amen.					Nec quisquis in volumine presenti falssam rem aut errorem non permisctum credat opositum; quoniam ambigua resecando, sollummodo uisa et a me probata et inuenta describuntur. Incipiamus itaque intencionem nostram exponere cum omnipotentis auxilio, cuius nomen sit benedictum et collaudatum in seculla. Amen.
	If you want to learn the deeds of arms, my friend, See that you bear all that that this poem teaches. Be audacious in violence and young at heart. Have no fear in your mind, only then can you perform. Take the woman as an example: fearful, Taken by panic, never will she face the naked sword. Thus, a frightened man, like a woman, cannot prevail. If your heart lacks audacity, everything else is wanting; Audacity and virtue: of such consists the art.					[2b] ¶ Armorum actus si te delectat, amice, Noscere, tecum habeas totum quod carmina monstrant. Sis audax ui atque animo nec senix adesto: Nil menti sit timor; ades, perficere posses. Huius in exemplum mulier sit; pauida nunquam Nudum expectaret gladium, formidine capta. Sic homo formidans ut femina nulla ualebit: Deforet et totum, cordis si audatia deesset; Audatia et uirtus talis consistit in arte.

Second Italian Preface

Illustrations	Completed Translation (from the Pisani Dossi) by Michael Chidester	[Paris does not contain Preface]	Morgan Transcription (1400s) [edit] Open for editing	Getty Transcription (1400s) [edit] Open for editing	San Daniele del Friuli Transcription (1699) by D. Luigi Zanutto	Pisani Dossi Transcription (1409) [edit] by Francesco Novati	Paris Transcription (1420s) [edit] by Kendra Brown and Rebecca Garber
	Other Prologue On the 10th day of the month of February in 1409, I, Fiore Friulano de'i Liberi of Cividale de Austria, who am son of Sir Benedetto of the house of the Liberi of Premariacco, begin this gloss, the which treats in facts of fencing and of hand-to-hand combat—that is, lance, axe, sword, and dagger, and grappling, on foot and on horse, in armor and without armor, and of other things that pertain to fencing. And we will make the remedy and the counter for all these things so that one follows the other.					[2a] ¶ Alter Prologus DE mille quatrocento e noue a dì X de lo mese de febraro fo principiada de mi fior furlano dei liberi de Ciuidal d'ostria che fo de meser benedecto de la casada dei liberi da premergiago aquesta glosa la qual tracta in facto de armiçar e de conbatere a corpo a corpo: zoè lança açça spada e daga e abrazare a pe e a cauallo in arme e sença arme e d' altre cosse che apertene ad armeçar. E de tute queste cosse noy faremo li remedij e li contrarij, si che un siguirà l'altro.
	And this present gloss will recite all our knowledge and our understanding of all that we have seen from many masters and scholars and fencers, and from dukes, princes, marquises, counts, knights, and squires, and from countless other men of diverse provinces, and also things that we discovered ourself. There will also be guards of all weapons, and plays, and covers, and strikes, and holds, and binds, and breaks, and dislocations of arms and legs, and torsions and lesions—in the most perilous places—following that which the master of this art wishes. So poorly can one keep in mind without books and writing this large art that there will never be a good student without books. How, then, could there be a good master? I, the aforementioned Fiore, have seen a thousand men calling themselves masters, though not four among them were good students, and of those four none would be a good teacher.					E questa presente glosa reciterà tuto nostro sauer e nostra intencione de tuto quello che noy auemo ueçudo de multi magistri e scholari e armeçaduri e duchi principi marchesi conti chaualieri e schuderi e de altri innumerabilli homeni de diuersse prouincie e anchora cosse trouade da noy: anchora serano guardie de tute arme e zoghi e couerte e feride e prese e ligadure e roture e dislogadure de braçi e gambe e torsion e lesion e in li lochi più perigolusi, segondo che lo maysterio de questa arte uolle; chè male se pò tener a mente sença libri e scriptura sì longissima arte e non serà çamay nesun bon scholar sença libri: guarda como porà essere bon magistro; chè io predito fior ò ueçudo mille chiamati magistri che non sono de tuti loro quatro boni scholari e de quilli quatro boni scholari non seria uno bon magistro.
	For this reason, the aforementioned gloss is made with all our knowledge and set into a book filled with painted figures, over which march this gloss and rubrics, number by number. And the aforementioned painted figures will be devised with such signs as this: the master that commences the plays bears for an insignia a crown of gold upon his head, and his students who will follow with his plays bear a band of gold under the knee, and the master that will be the counter to the other masters will have both a crown of gold on his head and a device of gold under his knee. And over every play will be its gloss, which aforementioned gloss, and likewise its book set with painted figures, is made by the petition of the Illustrious and Excellent Sir Niccolò, Lord Marquis of the city of Ferrara, and of the city of Modena, and of Parma, and of other cities.					La qual supradita glosa è fata cum tuto lo nostro sauer sopra uno libro isturiado de figure depento sopra lo qualle andarano aqueste glose e rubriche de numero in numero.E le dicte figure dipente serano diuisade; cum zò sia cossa che li magistri che comenzano lor çoghi portarano per insegna una corona d'oro in testa e li lor scholari che siguirano lor çoghi portarano una lista d'oro soto el zenochio e li magistri che serano contrarij de li altri magistri hauerano corona d'oro in testa e diuisa d'oro soto lo zenochio; e sopra ogni çogho la sua glosa, la qual sopradicta glosa e anchora lo libro istoriado de figure dipento è fato appeticione de lo Illustro et Excelso Meser Nicholò Signor Marchese de la cità de ferara e de la cità de modena e de parma e de reço citade.
	In which gloss we will speak with all our knowledge, and first we will speak of the grappling on foot, and then of the other matters of fencing, following that which you will see painted and ordered by the foresaid Fiore. And we will commence with grappling in the name of God and Sir Saint George, the Good Knight.					In la qual glosa parlaremo cum tuto nostro sauer. E prima diremo de abraçar a pe' e poy de li altre cosse de armiçar, segondo che uoy uederiti dipento e ordenato per lo dicto fior. E si començaremo a lo abraçar al nome de dio e de meser sant çorço bon chaualier.
	Grappling wants 7 things—that is, 1) strength, 2) quickness of foot and of arms, 3) advantageous holds, and 4) breaks, and 5) binds, and 6) strikes, and 7) lesions, following that which you will see in the painted figures, and especially in plays that will gain holds, each one with its knowledge and with its malice. Because in plays that are taken in agreement, the holds are made with love and do not give ire, whereas in the above art of grappling that is made to gain holds, sometimes it is from ire and sometimes for life, and these are holds and plays that cannot be practiced with courtesy, and these are also perilous plays to practice. And after those we will treat the advantageous and stronger plays, that are better in armor than without for more defense of man and more security, and we will swiftly do that which he would attempt by the inscribed words and painted figures. And we first begin grappling on foot to gain holds, and also holds that are made in accordance.					Lo abraçar uole vij cosse: zoè forteza presteza de pie' e de braci e prese auantaçade e roture e ligadure e percusion e lesion, segondo che uoij uederiti in le figure dipente; e masimamente in çoghi che se guadagnano le prese zaschun cum suo sauer e cum sua malitia. Chè zoghi che se piglia de concordia, le prese se fa d'amore e non da ira. E sopra l'arte de l'abraçar che se fa a guadagnar le prese tal uolta se fa da ira e alguna uolta per la uita e sono prese e zoghi che non se pò çugar de cortesia, anche sono çoghi pericolusi da çugar. E sopra quello tractaremo li çoghi auantaçadi e più forti e quilli che più besognano in arme che sença per più deffesa de lo homo e più segurtade e faremo sì che leçeramente se porano intendere per le parole scripte e per le figure dipente. E principiamo prima de abraçar a pe a guadagnar le prese e anchora prese facte de concordia.
	Then there will be 4 crowned masters, who will be masters of the dagger and of the art that pertains to the dagger.					¶ Poy serano .iiij. magistri incoronadi che serano magistri de la daga e de l'arte che apertene a la daga.
	Then find 4 with seven swords about them that signify the 7 blows of the sword.					¶ Poy trouariti .iiij. cum septe spade adosso che àno a significar li vij colpi de la spada.
	Then find one master against 3 scholars who make the plays of the sword in one hand (without buckler).					¶ Poy trouariti uno magistro contra .iii. scolari che fa el zogho de la spada d'una mane sença bucolero.
	Then find one with a staff and with a dagger that is the master that makes a counter to the lance.					¶ Poy trouariti uno cum uno bastone et cum una daga ch'è magistro che fa contra uno che ha la lança.
	Then find another master with two sticks and with a dagger against one that has a lance.					¶ Poy trouariti uno altro magistro cum duy bastuni e cum una daga contra uno che ha una lança.
	Then find the guards of the lance that are 6 masters: the first 3 masters play from the right side, the other three that follow play from the left side.					¶ Poy trouariti le guardie de la lança che sono vi magistri: li primi .iij. magistri çogano de parte drita, li altri tri che segueno zogano de parte stancha.
	Then find two kings with two swords that await others with javelins, lances, and swords, and they wait in their own guards of waiting.					¶ Poy trouariti duy re cum due spade che spetano che illi sia lançade lançe e spade e spetano le proprie guardie che se deno aspetar.
	Then find two for two methods by which can be defeated one with a lance who is inferior.					¶ Poy trouariti duy per duy modi como se pò desferar uno che sia inferà cum una lança.
	Then find a man with seven swords and 4 figures about him, and one can see that which they signify, the aforementioned figures and the aforementioned swords.					¶ Por trouariti uno homo cum septe spade adosso cum .iiij. figure intorno; e si se porà uedere zò che à a significar le dicte figure e le dicte spade.
	Then find 6 crowned masters with 6 swords, and one does not carry a sword like the others do, and see the reason one is divided from the other.					¶ Poy trouariti vj magistri incoronadi cum .vj. spade e uno non porta la spada che fa l'altro e lì uederiti per che rasone una è diuisa da l'altra.
	Then find 12 crowned masters, one after the other, which masters stand in the guards of the sword.					¶ Poy uederiti .xij. magistri incoronadi uno dredo l'altro, li quali magistri stano in le guardie de la spada.
	Then find two masters crossed that commence the wide play with a strike into the throat of the companion.					¶ Poy trouariti duy magistri incrosadi che comença uno ferire de çogho largo in la golla del conpagno.
	Then find two other crowned masters that have three plays of the wide play.					¶ Poy trouariti duy altri magistri incoronadi che hano tri zoghi de zogho largo.
	Then find another crowned master that has twelve students that make his plays, and the first is the Villain's Strike.					¶ Poy trouariti uno altro magistro incoronado che ha dodexe scolari che fano soy zoghi e lo primo zogho si è lo colpo de lo uilano.
	Then, after these 12 plays, find a counter that thrusts the point into the face of the companion.					¶ Poy dredo de quisti .xij. zoghi trouariti uno contrario che mete la punta in lo uolto a lo conpagno.
	Then find 2 crowned masters that are crossed at the mid-sword, which masters can make all the plays that follow after unto each other until another king is not found—and that which one master does the other one can do, the one like the other, according to which one has more speed than the other—except that after these plays of these two masters crossed, find 5 contrary masters, and they say to the two crossed masters that they make counters to their plays closely, and most of all against any taking of the sword, and they are worth more in armor than without, though they are good in the one art and in the other (that is in armor and without).					¶ Poy trouariti ij magistri incoronadi che sono incrosadi a meça spada, li quali magistri pono far tuti li zoghi che segueno dredo infino che non se troua uno altro re e cussì pono far uno de quilli magistri aquilli zoghi l'uno como l'altro, segondo che l'uno ha più presteça de l'altro, saluo che tra quisti zoghi de quisti duy magistri incrosadi trouariti .v. magistri contrarij de li dicti duy magistri incrosadi che fano contra lor zoghi stricti e maximamente contra çascadun tor de spada e ualeno più in arme che sença, ben che sono boni in una arte e in l'altra, zoè in arme e sença.
	Then find a crowned master that is crossed with another from the backhand side, and after are two of his plays.					¶ Poy trouariti uno magistro incoronado ch'è incrosado cum uno altro de parte riuerssa; e lì dredo serano soy duy çoghi.
	Then find a crowned master that makes a counter.					¶ Poy trouariti uno magistro incoronado che fa uno contrario.
	Then find a master that has one under his arm to throw him to the ground, sword and all.					¶ Poy trouariti uno magistro che tiene uno soto lo braço per butarlo in terra cum tuta la spada.
	Then find four scholars that make four takings of the sword, and there finishes the play of the sword in two hands.					¶ Poy trouariti quatro scolari che fano quatro tor de spada e lì finisse lo çogho de la spada a due mane.
	Then find 6 crowned and armored masters with swords in hand, which masters stand in their guards, one against the other, to come to the holds in the plays that follow (which plays are 10).					¶ Poy trouariti .vj. magistri incoronadi armati cum spade in mano, li qualli magistri stano in lor guardie e una contra l'altra per uegner a le prese ali zoghi che segueno; li quali zoghi sono .x.
	Then find four masters with 4 axes in guard, and one guard against the other, which masters can make five plays (and other plays that are in the play of the sword, which I will mention).					¶ Poy trouariti quatro magistri cum .iiij. aççe in guardia e una guardia contra l'altra, li qualli magistri pono far cinque zoghi ed altri zoghi che sono in lo çogho [2b] de la spada che ben in farò mentione.
	Then find thrusts of the lance, and one lance against another on horse (one lance withdrawn with one extended), and other matches also of lance against lance in diverse ways.					¶ Poy trouariti far punte de lança e una lança contra l'altra a chauallo e una lança curta cum la longa e altri partidi anchora spada contra lança per diuerssi modi.
	Then find sword at sword, and the striking of the swords the one man against the other, and taking the sword, and throwing the horse in diverse ways, the method and the counter. Also see plays of the arms in diverse ways.					¶ Poy trouariti de spada a spada e li ferieri de le spade l'uno homo contra l'altro e tor de spada e butar da çhauallo per diuerssi modi e 'l pro e 'l contra. Anchora uederiti çoghi de braçe per diuerssi modi.
	Also see one that wants to thrown another to the ground, horse and all.					¶ Anchora uederiti uno che uole butar uno altro a terra cum tuto lo chauallo.
	Also see one that wants to take the reins from the hand of the other.					¶ Anchora uederiti uno che uole trare la brena de mane a uno altro.
	Also see a crowned master on foot with a spear in hand, and that which he can do with the spear could be done with a lance, with a staff, and also with a sword—that is, this master awaits 3 on horses: the first caries a lance underhand, the second carries it in rest, and the third wants to throw his lance against the master, which master is sufficient to do his plays that follow (that is, two plays).					¶ Anchora uederiti uno magistro a pe' incoronato cum uno spedo in mane e quello che luy pò far cum lo spedo poria far cum una lanza cum uno bastone e anchora cum una spada, çoè che questo magistro speta .iij. a cauallo: lo primo porta la lança soto mane, lo segondo la porta arestada, lo terzo uole butar sua lança contra de quelo magistro, lo qualle magistro si è suficiente de far soi çoghi che il segueno, çoè duy çoghi.
	Then find a crowned master on horse with a lance in rest that goes against another to make a thrust of the lance, which aforesaid master has a cord that is tied to his lance, and the aforesaid cord enters the saddle of his horse (which cord is quite long—four fathoms or more), and with this lance he wants to strike his companion, or throw the aforesaid lance to the neck of his companion in order to drag him from his horse.					¶ Poy trouariti uno magistro incoronado a cauallo cum una lança arestada che ua contra uno altro per far punte de lança, lo qualle dicto magistro si ha una corda ch'è ligada a la lança sua e entra la dicta corda entro la sella de lo suo chauallo, la qual chorda si è longa ben quatro braça o più e cum questa lanza uole ferire lo conpagno o butare la dicta lança a lo collo de lo conpagno per strasinarlo da chauallo.
	Then find a crowned master with a dagger in hand that awaits two companions with swords who go against him one by one, and see their plays.					¶ Poy trouariti uno magistro incoronato cum una daga in mane che speta a uno a uno duy conpagni cum spade contra luy e lì uederiti. soy çoghi.
	Then see matches of sword against dagger that are done well, which could easily be understood by the discussion written above them (that is, the gloss).					¶ Poy uederiti partidi de spada con tra daga che ben farò che se porano intendere liçeramente per le parole soprascripte, çoè per la glosa.
	Then find a single axe, very cunning and laborious; by means of it, when the first blow is struck in the face, the companion receiving the blow quickly loses his vision (such that he will have great trouble to ever see anything again).					¶ Poy trouariti una açça sola molto cautelosa e lauorada per modo che lo primo colpo che la fieri in lo uolto, lo conpagno subito receuudo lo colpo perde la uista per modo che serà grande briga che ueda zamay.
	Also see a crowned master with an axe in hand that has thrown a cord (which has a weight a pound or more heavy, with a hard binding to his axe) around the legs of his companion; yanking on his ax, he will throw his companion to the ground.					¶ Anchora uederiti uno magistro incoronato cum una açça in mane che à butada una corda con lo stropeduro de la sua açça ch'è graue una libra o più intorno le gambe a lo conpagno; tirando luy la sua açça zitarà lo conpagno in terra.
	And for all these plays named above will be set their glosses with their drawings, so they can well be easily understood.					E sopra tuti quisti çoghi desopra nominati serano facte le lor glose cum si facta declaratione che ben se porano intendere liçeramente.
	I, the aforementioned Fiore, plead to my Lord Marquis that the book be recommended, because he cannot find another one equal to this, nor would he find a master that knew how to make such a book (nor even knowing much that is in the book), and also because of the long time that I have spent making it. And I am not able to make another so great as this one—for by my faith I have spent half a year making it—such that I do not want more of this trouble, for old age now pursues me. God watch over Lord Marquis Niccolò d'Este, Lord of the city of Ferrara, of the city of Modena, of the city of Parma, and of the city of Reggio.					Io predicto Fior prego el mio signor marchese che lo libro li sia arecomandado, perché Voy non trouariti may uno parechio de questo, però che magistri non se trouaria che saueseno far si facti libri nè anchora intendere in lo libro pocho o niente et etiam per lo longo tempo che io sonto stato a farlo, non sonto per fame più nesuno de tanta quantità como è questo; chè per mia fede io li sonto sta' meço anno a farlo, sì che io non uoio più de queste brige per lo tempo uechio che me incalça. Dio guardi lo segnore Marchese Nichollò da este signore de la cità de ferara de la cità de modena de la cità de parma e de la cità de reço.
	Whoever wants to see fencing as one beautiful song Should study this book that the scholar Fiore has made: Which book is called the Flower of Battle. It will recite about every type of fencing— That is, of lance, ax, sword, and dagger—and of grappling, On horse, on foot, in armor and without, as it should be done; And you will see holds, covers, binds, and breaks, And the plays and measures for combat in the barriers. And having examined the book, you can easily believe The importance of the things that you will see in it. For fifty years I have studied in these arts: Who learns more in less time will have a good deal.					¶ Chi uole uedere de armiçar un bello tenor Studij in questo libro che à fato lo scolar fior: Lo qual libro è chiamato fior de bataya. Aquello reciterà de armiçar de ogni trauaya, Çoè de lança açça spada daga e d'abraçar A cauallo a pe' in arme e sença como se de' far; E uederiti prese couerte ligadure e roture E per conbatere in sbara lor zoghi e lor mesure. E de altre cosse che in lo libro uoy uederiti Abiandolo examinado ben credere lo poriti; Chè cinquanta anni in tal arte ò studiado: Chi in men tempo più sa el n'à bon mercado.

Seven Swords

Illustrations	Illustrations	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		We are four animals with these features: Whoever wants to fence makes comparisons to us;	Behold! we are four distinguished animals with these [traits] Who, for instance, strongly reminds [that] he is able in arms; He wants to be clear/bright and even shining brightly with honesty.			[17a] Noy semo quatro a[n]i[m]ali de tal [con]plesio[n]e: Chi vole a[r]miçar de noy faça [con]p[ar]at[i]o[n]e;	[1v] ¶ Quatuor ecce sum[us] animalia [mor]ibus ampla Quae monuit na[m] potens Pot[uit] [...] i[n] armis Esse cupit clarus necno[n] prob[itate] refulge[n]s
		And whoever will have a good portion of our virtues Will have honor in weapons, as bespeaks the art.	He undertakes the lessons for himself, [and] determines which [are for] harming. Impress the evidence made known upon your spirit. Thenceforth That [evidence] of arms will have been taught before among friends.			E chi de nostre vertu hara bona parte In arme havera hono[r] chomo dise l'a[r]te.	¶ Accipiat [documenta] s[ibi?] / qu[a]e cernit o[?]esse Pectoribus [nuncius] affixe indicit[us]. Inde Ille e[ri]t [armorum] p[r?] [doc]tus i[n]t[er] amicos.
		This Master with these swords signifies the seven blows of the sword. And the four animals signify four virtues, that is prudence, celerity, fortitude, and audacity. And whoever wants to be good in this art should have part in these virtues.			[32r] ¶ Questo Magistro cum queste spade significa gli Setti colpi de la spada. E lli quattro animali significa quattro vertù, zoè avisamento, presteza, forteza, et ardimento. E chi vole esser bono in questa arte de queste vertù conven de lor aver parte.
		Prudence/Wisdom No creature sees better than me, the Lynx. And I always set things in order with compass and measure.	Prudence Everything born under the sky will be discerned with [my] eyes; I, the lynx, I conquer [by] measurement whatever it pleases [me] to attempt.		Avisamento.	Prudentia Meio de mi lovo cervino non vede creatura E aquello meto sempre a sesto e mesura.	Prudentia ¶ Omnia nata oculis ego linx cerne[n]do sub axe Vinco [mensura[n]s] quisq[uod?] te[n]tare placeb[ ]
		No creature sees better than I the Lynx, and I proceed always with careful calculation.			¶ Meglio de mi lovo cervino non vede creatura. E aquello mette sempre a sesto e a misura.
		Celerity/Speed I, the tiger, am so swift to run and to wheel That even the bolt from the sky cannot overtake me.	Quickness I am quick in the hunt and roll the quick ones back in their orbit, Nor in my running will the lightning overcome the tiger.		Presteza.	Celeritas Yo tigro tanto son presto a corer e voltare, Che la sagita del cello no[n] me po ava[n]ça[r]e.	Celeritas ¶ Su[m] celer i[n] cursa subitosque revolv[em] in orbes Nec me cur[r]ente[m] sup[er]abunt fulmia tigri[m].
		I am the Tiger, and I am so quick to run and turn, that even the thunderbolt from heaven cannot catch me.			¶ Io tigro tanto son presto a correr e voltare che la sagitta del cielo non mi poria avanzare.
		Audacity/Daring None carries a more ardent heart than me, the lion, But to everyone I make an invitation to battle.	Courage I am the quadruped, the strong crown; my brave things, For instance, are the foundation of every axis. Now conquers the lion of the heart; [...] Therefore, we call whomsoever to arms.		Ardimento.	Audatia Piu de mi lione non porta cor ardito, Pero de bataia faço a zaschaduno i[n]vito.	Audacia Quadrupedu[m] su[m] fo[r]tis apex, audacia [ Non/nam ] mea q[uis/uo]que polo [subsunt]. [nunc] cord[us?] le[onem] || vincit [ ] que[']cumq[ue] [ergo] gvocitam['] ad arm[a]
		No one has a more courageous heart than I, the Lion, for I welcome all to meet me in battle.			¶ Più de mi Leone non porta core ardito, però di bataglia fazo a zaschun invito.
		Fortitude/Strength I am the elephant and I carry a castle as cargo, And I do not kneel nor lose my footing. I am the Elephant and I carry a castle in my care, and I neither fall to my knees nor lose my footing.	Strength		Forteza. ¶ Ellefante son e un castello porto per chargo. E non mi inzinochio nè perdo vargo.	Fortitudo Ellefa[n]t son e uno castello ho p[er] cargho, E non me i[n]çenochio ni perdo vargho.	Fortitudo ¶
		Stance of the Queens on the right Stance of the Queens on the left Stance of the Windows on the right Stance of the Windows on the left Extended Stance Shortened Stance Full iron gate Half Iron Gate Boar's Tusk				Posta d[omi]nar[um] dextra Posta d[omi]nar[um] sinixtra Posta fenest[r]ar[um] dext[ra] Posta fenest[r]ar[um] sinixt[ra] Posta longha Posta brevis Tota porta ferea media po[r]ta ferea dens apri	Posta m[u]l[ier]um dextri Posta Do[mi]na[rum] Sinistra Posta fe[ne]stra[rum] dextra Posta fenestra[rum] sinistra Posta longa Posta brevis Tota porta ferea Media porta fe[r]rea dens apri

Grappling

Illustrations	Illustrations	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
	[No illustration]	[1] In the name of God and Saint George, we begin our system with Grappling on foot, seeking to gain superior holds. Holds are not superior unless they give you an advantage. Thus we four Masters seek to achieve advantageous holds through the techniques you see depicted here.				[4a-t] Principiamo prima in nome de dio e de meser sant zorzo de lo abraçare a pe a guadagnare le prese. Le prese non son guadagnade se le non son cum auantaço. Però noy .iiij. magistri cerchamo prese auantaçade chomo positi uedere dipento.
		[2] [The Long Guard] I am ready to show you how I win with my holds, And if I don’t leave you wondering what happened, you can count yourself lucky.	Even if you capture me, I would win; I am truly prepared. If I do not deceive you, you will be able to benefit for a short while.			[4a-a] Per guadagnar le prese e' son aparichiato, Se non te ingano, tu harai bon merchato.	[38v-a] ¶ Vt m[ihi] prensuras lucrer, sum ne[m]pe p[ar]at[us]. Si te no[n] fallo pot[er]it p[ro]desse paru[m]p[er].
		I am Posta Longa and I seek you like this. And in response to the first grapple that you attempt on me I will bring my right arm up under your left arm. And I will then execute the first play of Grappling. And with that lock I will force you to the ground. And if that lock looks like it will fail me, then I will switch to one of the other locks that follow.			[6r-a] ¶ Io son posta longa e achosì te aspetto. E in la presa che tu mi voray fare, lo mio brazo dritto che sta in erto, sotto lo tuo stancho lo metterò per certo. E intrerò in lo primo zogho de abrazare, e cum tal presa in terra ti farò andare. E si aquella presa mi venisse a manchare, in le altre prese che seguen vignirò intrare.
		[3] [The Boar's Tooth] I seek to reverse the fight, And from this position I will force you to the ground.	I seek to shift, <for> which reason I would be able to deceive you well. Henceforth, I would turn you, using the speeding chest, through the dirt.			[4a-b] De pugna mutacion cercho de fare E cum quella in tera ti farò andare.	[38v-b] ¶ Querito mutare p[ro] quo te c[on]fall[er]e possim. Hinc te p[er] t[er]ram p[ro]peranti pecto[r]e v[er]tam.
		I counter you with Dente di Zenghiaro. And with this move I am sure to break your grip. And from this guard I can transition to Porta di Ferro, which will force you to the ground. And if my plan fails me because of your defense, I will seek other ways to hurt you, for example with breaks, binds and dislocations, as you see depicted in these drawings.			[6r-b] ¶ In dente di zenghiar contra ti io vegno. Di romper la tua presa certo mi tegno. E di questa isirò e in porta di ferro intrerò. E per metterte in terra sarò aparechiado. E si aquello ch'i' ò ditto mi falla per tua defesa per altro modo cercherò di farte offesa, çoè cum roture ligadure e dislogature. In quello modo che sono depente le figure.
		[4] [The Iron Gate] If you fail to beat me with your skill, I believe That with my power I will hurt you, or worse. I wait for you without moving in Porta di Ferro, ready to grapple with all of my skill. And this guard can be applied not only in the art of grappling, but also in the art of the Spear, the Poleaxe, the Sword, and the Dagger. For I am Porta di Ferro, full of danger. Those who oppose me will always end up in pain and suffering. And as for those of you who come against me trying to get your hands on me, I will force you to the ground.	If you do not conquer with a trick, I can, of course, believe [that] By my strength, that one <that is, you> will suffer many calamities.		[6r-c] ¶ In Porta di ferro io ti aspetto senza mossa per guadagnar le prese a tutta mia possa. Lo zogho de abrazare aquella è mia arte. E di lanza azza Spada e daga ò grande parte. Porta di ferro son di malicie piena. Chi contra mi fa sempre gli dò briga e pena. E a ti che contra mi voy le prese guadagnare, cum le forte prese io ti farò in terra andare.	[4a-c] Se per inçegno non me uinceray, zò creço Che cum mia forza ti farò male e peço.	[38v-c] ¶ Si no[n] ingenio vinces q[ui]d[em] cred[er]e possum virib[u]s ip[s]e scilicet tu meis patieris pessima multa.
		[5] [The Guard of the Forehead] I advance upon you with my arms well forward To lay hands on you in a variety of ways. I am Posta Frontale, used to get my hands on you. Now if I come against you in this guard, you may lay hands on me. But I will then move from this guard, and with skill I will take you down to Porta di Ferro. Then I will make you suffer as if you had fallen into the depths of hell. And I will serve you so effectively with locks and dislocations, that you will quickly acknowledge my superiority. And as long as I don’t forget my skills, I will gain my superior holds.	Behold! I am coming, eager to overcome by means of the stretched shoulder, In order that I gain for myself a powerful capturing during the playing.		[6r-d] ¶ Posta frontale son per guadagnar le prese, chi in questa posta vegno tu me faray offese. Ma io mi moverò di questa guardia e cum inzegno ti moverò di porta di ferro. Peço ti farò stare staresti in l'inferno. De ligadure e rotture ti farò bon merchato. E tosto si vederà che avera' guadagnato. E le prese guadagnerò se non sarò smemorato.	[4a-d] Cum li braci uegno acusì ben destese Per guadagnar in ogni modo le prese.	[38v-d] ¶ En venio tensis cupie[n]s sup[er]are lacertis. Ut m[ihi] prensuras lucrer ludendo potentes.
		[6] With this move I will either force you to the ground Or else your left arm will be dislocated. This is the first play of Abrazare and from every grappling guard you can arrive at this play, and from this position, proceed as follows: jam his right inside elbow with your left hand, and bring your right hand up behind and against his left elbow as shown. Now quickly make the second play, that is to say, having gripped him like this, turn your body to the left, and as a result he either goes to the ground or his arm will be dislocated.	In this way, I, using a capturing, would make you touch the earth. I will dislocate your left shoulder, or perhaps the other.		[6v-a] ¶ Questo si è lo primo zogho de abrazare e ogni guardia d'abrazare si pò 'rivare in questo zogho e in questa presa zoé pigli cum la man stancha lo suo brazo dritto in la piegadura del suo brazo dritto e la sua dritta mano metta chosì dritta apresso lo suo cubito e poy subito farà la presa del segondo zogho zoé piglila in quello modo e daga la volta ala persona e per quello modo o ello andarà in terra overo lo brazo gli serà dislogato.	[4b-a] Cum questa presa in terra andare ti farò O uero el braço senistro ti deslogarò.	[39r-b] ¶ Hac ego p[re]nsura, facia[m] te tang[er]e t[er]ram. Denodabo tuum l[a]evum ut[er] forte lac[er]tum.
		[7] Either I will make you kiss the ground with your mouth, Or I will force you into the lower lock. As the Scholar of the First Abrazare Remedy Master says, I am certain to put this man to the ground, either by breaking or dislocating his left arm. And if the Zugadore who fights with the First Abrazare Remedy Master takes his left hand off the shoulder of the Remedy Master in order to make a defense, then I will quickly let go of his right arm with my left hand and instead seize his left leg with my left hand, and grip his throat with my right hand in order to throw him to the ground, as you see depicted in the third play.	I would compel you, ugly, to lick the ground with your mouth; Not to mention I would even make you, wretched, enter the lowest key. [In the Paris, the Scholar wears a crown.]		[6v-b] ¶ Lo Scolaro del primo Magistro sì digo che son certo d' zitar questo in tera o rompere suo brazo sinistro overo dislogare. E si lo zughadore che zogha cum lo Magistro primo levasse la man stancha de la spalla del Magistro per far altra defesa subito io che son in suo scambio lasso lo suo brazo dritto cum la mia man stancha, piglio la sua stancha gamba e la mia man dritta gli metto sotto la gola per mandarlo in terra in questo che vedeti depento lo terzo zogho.	[4b-b] Cum la bocha la terra ti farò basare O in la chiaue de soto ti farò intrare.	[39r-d] ¶ Ore tuo t[er]ram te cogam lamb[er]e turpem. Vel faciam intrare miseru[m] te clave [sed] ima.
		[8] And I will put you on the ground on your back, And I will not let you back up again without injury. The scholar that came before me speaks truly that from his hold he will force his opponent to the ground or dislocate his left arm. As he told you, if the Zugadore takes away his left hand from the shoulder of the Remedy Master, then the Remedy Master transitions to the Third Play, as you see depicted here. Thus, the First play and the Second play are really one single play, where the Remedy Master forces the Zugadore to the ground with a turn of his body, while in this Third play the Zugadore is thrown to the ground onto his back.	I would throw you, without pause, into the farthest earth up to the kidneys. Without you being able to rise from ominous punishment at all.		[6v-c] ¶ Questo scolaro ch'è denanci de mi dise ben lo vero che de la sua presa convene che vegna in questa per metterlo in terra overo dislogargli in brazo stancho. Anchora digo che si lo zugadore levasse la man stancha de la spalla del magistro che lo magistro (che lo magistro) 'rivaria al terço zogho similemente chome vedeti depento. Sì che per lo primo zogho e per lo segondo che uno ??? zogho ello magistro lo manda in terra cum lo volto e lo terzo lo manda cum le spalle in terra.	[4b-c] E te farò cadere in terra cum la schena E non te lassarò leuare sença pena.	[39v-b] ¶ Renib[us] i[n] t[er]ram iaciam te protinus imam. Nec sine tristifica pot[er]is c[on]surg[er]e pena.
		[9] Even if you were a master of grappling, I will force you to the ground with this technique. This is the Fourth Play of Abrazare, by which the Scholaro [Student] can easily force the Zugadore to the ground. And if he cannot force him to ground like this, he will seek other plays and techniques and use other methods, as you will see depicted below. You should know that the plays and the techniques will not always work in every situation, so if you do not have a good hold, you should quickly seek one, so as not to let your opponent gain any advantage over you.	In this way, I would make you sink down to the earth using a capturing, If you were being better during the entire playing by the masters. [In the Paris, the Scholar wears a crown.]		[6v-d] ¶ Questo è lo quarto zogho de abrazare ch'è liziero se lo scolaro pò metter lo zugadore in terra e se non lo pò mettere per tal modo in terra ello zercherà altri zoghi e prese como si pò fare per diversi modi che mò vederiti al dredo noi depento che posseti ben savere che gli zoghi non sono eguali ne le prese rare volte e però che non à bona presa se la guadagna più presto che'l pò per non lassare avantazo al nimigho suo.	[4b-d] Se tu fussi magistro de lo abraçare, In terra cum questa presa ti farò andare.	[39v-d] ¶ Hac te p[re]nsura fac[er]em p[ro]cu[m]bere t[er]re, Si melior cun[c]tis esses lude[n]do mag[ist]ris
		[10] With the grips that I have on you above and below, I will break open your head on the ground. This grip that I make with my right hand at your throat will bring you pain and suffering, and with it I will force you to the ground. Also let me tell you that if I seize you under your left knee with my right hand, I will be even more certain of driving you into the ground.	Because of capturing, <by> wrestling above and below You will pound the earth with the top of your head. The fates will not refuse. [In the Paris, the Scholar wears a crown.]		[7r-a] Questa presa che ò cum la mia mano dritta in la tua gola io te fazo portare doglia e pena, e per quello tu andaray in terra. Anchora digo che se ti piglio cum la mia mano mancha sotto lo tuo stancho zinochio che sarò più certo de mandarte in terra.	[4b-e] Per la presa che io ho desoura e ti desota Farò che la testa in terra te serà rota.	[40r-b] ¶ Propt[er] p[re]nsura[re?], sup[er?] quaa[,?] luctor et i[nfra], Vertice c[on]tundes t[er]ram. nec fata negabu[n]t.
		[11] Your hand in my face is well placed, But I will now show you some other moves.   I am the counter of the Fifth Play [10] that is shown earlier. And let me explain that if with my right hand I push up the elbow of his hand that seeks to harm me, I will turn him in such a way that either I will force him to the ground, as you see here depicted, or I will gain a hold or a lock, and so I will have little concern for his grappling skills. [In the Pisani Dossi, the Master is missing his crown.]	I served up the palms to the face. But still I cheerfully moved Those [palms] from that place, <in order that> I would therefore be able to Bury you using the other capturing.		[7r-b] ¶ Io son contrario del .V.to zogho denanci apresso. E sì digo che se cum la mia mano dritta levo lo suo brazo d'la sua mano che al volto mi fa impazo, farògli dar volta per modo ch'io lo meterò in terra, per modo che vedeti qui depento, overo che guadagnarò presa o ligadura e de tuo abrazar farò pocha cura.	[4b-f] Le man al uolto sì t'ò ben poste, Che de altre prese ti farò le mostre.	[40r-c] ¶ Apposui palmas faciei. S[ed] t[ame]n illas Inde libens movi. Quo+ ut te d[er]m[er]g[er]e possem P[re]rensuris aliis. quas nu[n]c ostend[er]e tento.
		[12] By putting my head under your arm, I will easily throw you to the ground. From this hold that I have gained, and by the way I hold you, I will lift you off the ground with my strength and throw you down under my feet head first with your body following. And as far as I am concerned, you will not be able to counter me.	You, confused one, will be spread on the ground (like a tarp) in sadness and disorder; This, because I am holding [your arm] on the left <and put> the head of this person <that is, me> under the shoulder.		[7r-c] ¶ Per la presa ch'io ò guadagnada al modo che io te tegno de terra te levarò per mia forza e sotto gli mei piedi te meterò prima cum la testa che cum lo busto e contrario non mi farai che sia visto.	[5a-a] Per la testa che io ò posta soto el tuo braço In terra ti farò andare cum poco mio impaço.	[40v-a] ¶ In ter[r]am tendes tristi [con]fusus honore. Hoc q[uia] sub l[a]evo teneo + posuj caput ip[s]e scilicet ego lac[er]to.
		[13] Because of my thumb pressing under your left ear, Your hold on me is failing, as you can see depicted here. When I press my thumb under your ear you will feel so much pain that you will go to the ground for sure, or I will make other hold or lock that will be worse than torture for you. The counter that can be made is the Sixth play [11] made against the Fifth Play [10] when he puts his hand underneath his opponent’s elbow. This counter can certainly be done to me here.	I but hold this finger to the left ear during wrestling, In order that you destroy the capturing by which you were keeping the upper hand on me. [In the Paris, the Scholar wears a crown.]		[7r-d] ¶ Lo dedo poles te tegno sotta la tua orechia che tanta doglia senti per quello che tu andarai in terra sença dubito overo altra presa ti farò o ligadura che sarà più fiera che tortura. Lo contrario che fa lo sesto zogho contra lo quinto quello che gli mette la mano sotto lo chubito aquello si pò far a me tal contrario sença nessuno dubito.	[5a-b] Per lo dedo che io te tegno soto la rechia stancha Veço che la presa che tu auiui te mancha.	[40v-d] ¶ Aure [sed] hac digitu[m] teneo luctando sinistra Prensura[m] ut p[er]das qua me sup[er]are tenebas.
		[14] With great cunning you grabbed me from behind, But this move will throw you to the ground without fail. You seized me from behind in order to throw me to the ground, and I turned like this. And if I fail to throw you to the ground you will have a lucky escape. This play is a good finishing move, but unless this is done quickly, this remedy will fail.	<If you>, Traitor, by your art have seized me from behind, This capturing nevertheless puts <and buries> you in the deepest ground.		[7v-a] ¶ Tu mi pigliasti di dredo per butarme in terra e per questo modo io son voltado. Se io non te butto in terra tu n'ài bon merchado. questo zogho si è un partido, chosì tosto sarà fatto ch'el contrario sarà fallito.	[5a-c] Dedredo me prendisti a grande tradimento E questa presa te manda in terra sença falimento.	[41r-a] ¶ situ Proditor arte tua carpsisti me q[uoque] retro. H[a]ec p[re]nsura t[ame]n t[er]ra[m] te ponit + mergit? i[n] ima[m].
		[15] This is a grappling move that involves the Gambarola, But be aware that this move will not always work. This is a play that involves a throw over the leg [Gambarola] which is a risky move in grappling. So if you want to make this leg throw successfully, you will need to do it with power and speed.	Here, meanwhile, the play of turning of legs is discussed. However, it is not suitable; it often fails at holding.		[7v-b] ¶ Questo si è un zogho da Gambarola che non è ben sigura chosa nel abrazare. E se alguno pure vol fare la gambarola, fazala cum forza e prestamente.	[5a-d] Questo è un abraçare de gambarola, Che de le cinque non uen facta una sola.	[41r-c] ¶ Ludusb hica interdu[m] celebrat[ur] crurad rotandic. No[n] t[ame]n est aptus. Fallit na[m] s[a]epe tenentes.
		[16] This is a good hold to practice, For I can hold you without you being able to harm me. This is a finishing move and it is a good way to hold someone, because they cannot defend themselves. For the counter, the one who is being held should move as quickly as he can over to a wall or a post and drive himself backwards against it so that the man holding him breaks his head or his back against the aforementioned wall or post.	By the joint, thought and mind, the capturing is called Outsider. In this way, at last, I will force you, gloomy one, to endure.		[7v-c] ¶ Questo si è un partido e si è una strania presa a tegner uno a tal modo che non se pò defendere. Lo contrario si è che 'l pò apresso 'l muro o altro ligname e volti se per modo ch'ello faza a choluy che lo tene rimper la testa e la schena in lo ditto muro overo ligname.	[5a-e] Questa si è de concordia strania presa: Asai ti posso stentare sença deffesa.	[41v-a] ¶ Concordi [con]cepta a[n]i[m]o, p[re]nsura vocat[ur] Extranea. Hac tande[m] facia[m] te dege[re] mestu[m]
		[17] I will strike you so hard in the groin That all of your strength will be taken away. This student strikes his opponent with a knee to the groin to gain advantage in order to throw him to the ground. To make the counter, when your opponent comes in quickly to strike you in the groin with his knee, seize his right leg under the knee with your right hand, and throw him to the ground.	In this way, <I> myself would destroy your testicles with a hard Knee, so that no strength will be present in the heart.		[7v-d] ¶ Questo fere lo compagno cum lo zinochio in gli choglioni per avere più avantazo di sbatterlo in terra. Lo contrario si è che subito che lo compagno tra' cum lo zinochio per ferirlo in gli coglioni ch'ello debia cum la man dritta pigliare la ditta gamba sotto lo zinochio e sbaterlo in terra.	[5a-f] In li chogiun ti farò tal percossa, Che tuta tua força ti serà rimossa.	[41v-d] ¶ Tal[ite]r ip[s]e ego tuos [con]fringa[m] poplite duro Testiculos, q[uam] null[a]e aderint i[n] pecto[r]e vires.
		[18] I'll give you so much pain and suffering to your nose That I will immediately make you let go of me. If you seize me with both your arms underneath mine, I will strike with both my hands into your face. And even if you were well armored this would still make you let go. The counter of this play is to place your right hand under the left elbow of your opponent and push hard upwards, and you will be able to free yourself.	I will redouble so many pains which your nose is suffering That I believe you will quickly release me [who am] fighting with you.		[8r-a] ¶ Perçò che tu me ha' pigliado cum li toi brazi de sotto gli miei 'trambe le mie man te fermo in lo volto. E si tu fossi ben armado cum questo zogho io saria lassado. Lo contrario di questo zogho si è che si lo scolaro che ven inzuriado del çugadore in lo volto mettase la sua man dritta sotto lo cubito del zugadore çoè del brazo sinistro e pençalo forte e lo scolar rimarà in sua libertà.	[5b-a] In tuo naso faço tanta pena e doia, Che a lassarme tosto serà tua uoia.	[42r-a] ¶ Tot t[ibi] congemi[n]o naso patiente dolo[r]es Q[uam] cito me tecu[m] ludente[m] credo relinq[ue]s.
		[19] No doubt about it, with this move I will free myself And with this counter you will be thrown to the ground.   This shows how I make the counter to the thirteenth play [18]. As you can see his hands have been removed from my face. And from this hold, if I fail to throw him to the ground I will be worthy of your disdain. [In the Getty, the master grabs the scholar's right elbow rather than his left wrist.]	I set up your limbs using a similar capturing (and so we demonstrate). Nevertheless, <you>, miserable ruined one, will depart By means of the counter, as you will duly see if you examine [it] by the light of day. [In the Paris, the Master is missing his crown.]		[8r-b] ¶ Lo contrario del XIII io fazo. Le soy mani del mio volto sono partide. E per lo modo ch'io l'ò e sì lo tegno, si ello non va in terra prenderò grande disdegno.	[5b-b] El è uero che de tal presa t'ò lassato E cum questo contrario seray aterrato.	[42r-d] ¶ Destitutuj si[mi]li p[re]nsura (sicq[ue] fatemur) Membra tuj[.?] t[ame]n ip[s]e tu scilicet mis[er?] ruitur[us] abibis Contrario. Ceu rite vides, si lu[m]i[n]e c[er]nis.
		[20] I will hurt you under your chin so badly That you will quickly find yourself thrown onto your back. If you come to grips with both your arms underneath your opponent's, then you can attack his face as you see depicted, especially if his face is not protected. You can also transition from here into the third play of grappling.	And I drag many pains to you below your chin, So that I touch the farthest earth with the sorrowful kidneys.		[8r-c] ¶ Se tu pigli uno cum 'trambi li toy braci de sotto va' cum le toy mane al suo volto segondo vedi che io fazo e mazormente s'ello à discoverto lo volto. Anchora puo' tu vegnire in lo terzo zogho de abrazare.	[5b-c] Soto el mento ti faço doia e greueza, Che in terra cum la schena andarai in freça.	[42v-a] ¶ Subq[ue] tuo mento plures t[ibi] tracto dolo[r]es. Renibu[s] ut t[er]ram [con]tinga[m] t[ri]stib[us] imam.
		[21] With your hands in my face you can cause me trouble, But with this counter to your eyes, I will cause you even more trouble. This is the counter to the fourteenth play [20], and to any other play where my opponent has his hands in my face while grappling with me. If his face is unprotected, I push my thumbs into his eyes. If his face is protected, I push up under his elbow and quickly move to a presa or a ligadura. [In the Pisani Dossi, the Master is missing his crown.]	Here, by this twin play, you press the face with the hand. But the counter, thenceforth, will injure the eye more greatly. [In the Paris, the Master is missing his crown.]		[8r-d] ¶ Io son lo contrario dello XIIII zogho e d'zaschuno che le mane me mette al volto in fatto d'abrazare. Li dedi polisi io metto in l'ochi soi s'il volto suo i' truovo discoperto. E si ello è coperto 'l volto io gli dò volta al cubito e presa o ligadura io fazo subito.	[5b-d] Cum le man al uolto tu me fa impaço, E aquesto contrario a l' ochio più te fa impaço.	[42v-d] ¶ Cu[m] manib[us] facie[m] p[re]mis hic lude[n]do gemellis. Contrariu[m] [sed] et hoc oculo magis[tris?] inde nocebit.

Baton

Illustrations	Illustrations	Completed Translation (from the Getty and PD) by Colin Hatcher	Draf Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[1] With a short staff I bind your neck, And if I fail to put you into the ground, you can count yourself lucky. See how with a short staff I hold you bound by your neck. And from here if I wish to throw you to the ground I will have little trouble doing so. And if I choose to do worse to you I can keep this strong bind applied. And you will not be able to counter this play.			[8v-a] ¶ Guarda che cum uno bastoncello io te tegno per lo collo ligado, e in terra ti voglio butare, pocha briga questo ho a fare ¶ che se io te volesse peço trattare in la forte ligadura te faria entrare. E llo contrario non mi porissi fare.	[5b-e] Cum un bastoncello lo collo t'ò ligato: Se non te meto in terra ayne bon merchato.
		[2] If this short staff play does not put you on the ground, Then I will have no faith in the effectiveness of this art. If you were well armored then I would prefer to make this play against you than the previous one. Now that I have caught you between your legs with the short staff, you are stuck riding it like a horse, but you won't be trapped like this long before I turn you upside down onto your back. [In the Getty, the Scholar steps between his opponent's legs.]			[8v-b] ¶ S'tu fossi ben armado in questo zogo più tosto te faria, considerando che t'ò preso cum uno bastonzello tra le gambe, tu sta' a cavallo e pocho ti pò durare che cum la schena ti farò versare.	[5b-f] Se tu non ua cum questo bastoncello in terra, Non crederò may che questa arte sia uera.
		[3] I am the Student of the Sixth Remedy Master of the Daga, who counters in this way with his dagger. And it is in his honor that I make this cover with my short staff. And from here I will rise quickly to my feet and I will make the plays of my Master. And this cover that I have made with a short staff can also be done with a hood. And the counter to this move is the same counter shown by my Master [in the dagger section]. [Based on the description, the placement of this illustration is probably an error and it more likely belongs to the following play.]			[8v-c] ¶ Del sexto re ch'è remedio di daga e contra per questo modo cum sua daga di quello son scolaro. E per suo honore fazo tal coverta cum questo bastonçello. E subito mi levo in pe', e fazo gli zoghi d'l mio magistro. questo che fazo cum lo bastoncello io 'l faria cum un capuzo. El contrario d'l mio magistro si è mio contrario.
		[4] I have taken this remedy from the Eighth Remedy Master of the Dagger, and I can defend myself armed only with this short staff. And having made this cover I rise to my feet, and I can then make all of the plays of my Master. And I could defend myself in this way equally well with a hood or a piece of rope. And the counter to this move is the same counter shown by my Master. [Based on the description, the placement of this illustration is probably an error and it more likely belongs to the previous play.]			[8v-d] ¶ Del octavo Re ch'è rimedio io fazo questo zogho e pur cum questo bastonzello fazo mia deffesa. E fatta la coverta io in pe' mi drizzo e li zoghi del mio magistro posso fare e cum uno capuzo overo una corda te faria altretale. El contrario ch'è del mio magistro si è mio.

Dagger

Introduction

Illustrations	Illustrations	Complete Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
	[No illustration]	[1] These five figures are the guards of the dagger; and some are good in armor; and some are good without armor; and some are good both in or out of armor; and some are good in armor but not good without armor; and all these are displayed below.			[9r-t] Queste zinque figure sono le guardie de la daga e tale è bona in arme, e tale è bona senza (senza) arme, e tale è bona in arme e sença arme, e tale è bona in arme e non senza arme e tutte queste noy dechiaremo.
		[2] [Full Iron Gate, Single] I am Full Iron Gate Single. And I am good in armour and without armour, because I can ward off an attack with or without moving to grapple. And I can play with or without a dagger when I make my covers.			[9r-a] ¶ Io son tutta porta di ferro e son sempia. E son bona in arme e senza, perché io posso rebatter e far cum presa e senza, e posso zugare cum daga e senza e far mie coverte.
		[3] [Full Iron Door, Doubled] I am Full Iron Gate Doubled, and I am good in armour and without armour, but in all situations I am better in armour than without armour, and with a guard like this I cannot use a dagger.			[9r-b] ¶ I' son tutta porta di ferro e son dopia, e son bona in arme e senza, e pur megliore son in arme che senza, e cum tal guardia non posso usar daga.
		[4] [Middle Iron Gate, Doubled] I am Middle Iron Gate with dagger in hand and I am doubled, and I am better and more strong than any of the others, and I am good in armour and without armour, and I can cover low and high on either side.			[9r-e] ¶ Io son mezana porta de ferro cum la daga in mano e son dopia e la megliore e la più forte d'tutte le altre e son bona in arme e senza e posso covrir de sotto d'sopra in ogni parte.
		[5] [Full Iron Door, Doubled and Crossed] And I am Full Iron Gate with the arms crossed and doubled. And I am like a mighty fortress, and in armour I am especially strong. But without armour I am not sufficient, because I cannot cover long.			[9r-f] ¶ E' son tutta porta di ferro cum li brazi incrosadi e son dopia e son in forte forteça e in arme io son bona e forte. E sença arme io non son sufficiente perché non posso covrir longo.
		[6] [Middle Iron Gate, Doubled and Crossed] And I am Middle Iron Gate doubled and crossed [with dagger]. And I am good in armour but not without armour, because I cannot cover long, but I can cover above and below, from the right and the left, with or without a dagger.			[9r-c] ¶ I' son meza porta di ferro e son dopia incrosada. E son bona in arme e non senza perché non posso far longa coverta e posso covrire d' sopra e de sotto d' man dritta e de man riversa cum daga e senza.
	[No illustration]	[7] I am the noble weapon named the dagger who plays at very close range, and he who understands my malice and my art will also gain a good understanding of many other weapons. And since I finish my fight fiercely and quickly, there is no man who can stand against my method. Whoever witnesses my deeds of arms will see me make covers and thrusts as I move to grapple, and will see me take away the dagger by dislocating and binding arms, and against me neither weapons nor armour will be of any use.			[9v] ¶ Io son la nobele arma chiamada daga che d'zogho stretto molto son vaga. E chi cognosce mie malicie e mia arte d'ogni sotile armizare averà bona parte. E per finir subito una crudel bataglia non è homo che contra me vaglia. E chi me vederà in fatto d'armizare coverte e punte fare cum lo abrazare, e torogli la daga cum roture e ligadure. E contra me non valerà arme nè armadure.
		[8] Everyone should take care when facing the perilous dagger, and your arms, hands and elbows must go quickly against it, to do these five things, namely: take away the dagger; strike; dislocate the arms; bind the arms; and force your opponent to the ground. And never fail to do one or the other of these five things; And may he who seeks to defend himself protect himself in this way.			[9v-a] ¶ Del curtello priculoso che zaschun de (de) luy dubito, li brazi, le man e llo cubbito doi contra quello va di subito. ¶ E far questo cinque chose sempre serà. ¶ Zoé tor la daga e ferir, romper li brazi e ligargli e meterlo in terra. ¶ E sì di questi cinque zoghi uno l'altro non abandona. ¶ Chi sa deffender si guardi la persona.
		[9] With the fendente I can strike to the head and the body from the elbow up to the top of the head. But below the elbow I cannot be sure that I can make this strike without danger, and therefore I am reluctant to strike lower.			[9v-b] De fendente posso ferire la testa e 'l corpo del cubito infino ala sumità dela testa. E del cubito in zò non ho sigura libertà sença priculo tanto, et d'questo ferire mi dubito.
		[10] From the left (reverse) side, you can strike from the elbow to end at the temple of the head. And these are called the colpi mezani (middle strikes). And these reverse strikes from the left cannot be delivered if you are still waiting to make cover against your opponent’s attack.			[9v-c] ¶ De la parte reversa si pò ferire del cubito infin ale tempie de la testa. E sono chiamadi colpi mezani. E quelli colpi da reverso non se pon fare stando parechiado de fare coverta contra 'l suo nimigho.
		[11] From the right side you can strike or cover if needed, and your target ranges from the elbows to the temples of the head. And this strike is more safely made from the right side than made from the left side.			[9v-d] ¶ La dritta parte pò ferire e pò covrire s'ello è di bisogno, e pò ferire delli cubiti in fin ale tempie dela testa, e più siguramente de la parte dritta che de la r(e)versa.
		[12] The dagger that goes through the middle towards the head strikes below the chest and never higher. And while striking you should at all times make cover with your left hand.			[9v-e] ¶ La daga che va per mezo verso la tua testa pò ferire in fin sotto lo petto e non più in erto e sempre cum la mane stancha pò andar coverto.
		[13] After taking away your dagger, to signify my victory I hold it in my raised hand in this manner. In my right hand I hold your dagger, and I gained it through my skill, which is so good that if you draw a dagger on me, I will take it from your hand. And I know well how to strike to finish you, no matter what advantage you might have.	Now sealed with the palm, thus I carry the safe dagger. With my hands I would lift [the dagger] itself, all having been carried.		[10r-a] ¶ Perché io porto daga in mia mane dritta io la porto per mia arte ch'ella ò ben meritada, che zaschun che me trarà di daga, io gliela torò di mano, e cum quella lo saverò ben ferire, po' che lo pro e 'l contra del tutto so finire.	[6a-a] Nam palma[m] tut[a]m signo, sic refero daga[m] Cum ma[n]ib[us] tolla[m] cu[n]tis gesta[n]tib[us] ip[s]am	[21r-a] Na[m] palma tuta[m] sig[no] sic defero daga[m]. Cu[m] manib[us] tolla[m] cu[nc]tis gesta[n]tib[us] ip[s]a[m].
		[14] Because I triumph over those who fight with me, I carry torn-off broken arms as a decoration. I choose to symbolize my skill with the broken arms I carry. And I do not lie when I tell you that I have broken and dislocated many arms in my life. And whoever chooses to go against my art, will find me always ready to use that art against him.	Whereas I would overcome all which can war with me; Distinguished, I carry before me broken arms in [my] hands.		[10r-b] ¶ Per gli brazzi rotti ch'io porto, io voglio dir mia arte ch'è questa senza voler mentire, che assay n'ò rotti e dislogadi in mia vita, e chi contra mia arte se metterà voler fare, tal arte sempre io son per voler usare.	[6a-b] Cu[m] cu[n]tos superem qui possunt bellica mecum Pol[!] manib[us] fractis ornatis porto lacertos	[21r-b] Cu[m] cun[c]tos supere[m] qui possu[n]t bellica mecu[m] Pro manib[us] fractis ornat[us] po[r]to lace[r]tis.
		[15] Locking the arms of all opponents In such a way that none can safely extend their right hand, To show my success I carry a pair of keys in my hand. I am the Master of the unlocking and locking of the arms of those who choose to oppose me. I will cause them great pain and suffering with my techniques of binding and dislocating. And therefore I carry these keys to signify the value of my art.	Nailing together the arms of all fighting in the region In such a way that they would not be able to extend the safe right, Now happily I thus collect two keys in my hands.		[10r-c] ¶ Io son magistro de avrire e anche di serare zoé gli brazi a chi contra mi vol fare yo lo metterò in grandi brig(h)e e stente per modo che le ligadure e rotture sono depente. E perzò porto le chiave per insegna che tal arte ben m'è degna.	[6a-c] Brachia cu[m]clava[n]s cu[n]tis bellantib[us] orbe Taliter ut tuta[m] neq[ue]ant p[ro]te[n]dere dext[ra]m Nu[n]c let[us] claves ma[n]ib[us] sic cu[n]gero binas	[21r-c] Brachia co[n]clava[n]s cu[nc]tis bella[n]tib[us] orbe Talit[er] ut dextra[m] nequeant p[rae]te[n]de[re] tutam / Nunc letus claves manib[us] sic [con]gero binas.
		[16] You ask how I force others to the ground under my feet with such prowess, I tell you that because I grapple each man and throw him down; The victory palm is appropriately held in my right hand. You ask how it is that I have this man held under my feet. Thousands have suffered this fate because of my art of Abrazare. And I carry the victory palm in my right hand, because no one can stand up to my grappling skills.	You ask why I, boasting, ruined so great [a person] with [my] feet: Because by wrestling men of courage, I assert to lay them all low; Certainly the palm is extended to stand on our right.		[10r-d] ¶ Me domandano, perché io tegno questo homo sotto gli miei piedi, perché migliara n'ò posti a tale partito per l'arte dello abrazare. E per vittoria io porto la palma in la man destra porché dello abrazare zamai no fo resta.	[6a-d] Queris cur pedib[us] pessundo glo[r]ia talles Cur luctando viros dicho prosternere cu[n]tos Palma quidem nostra prete[n]dit[ur] sixte[re] dextram	[21r-d] Queris cur pedib[us] pessundo gloria tales Cur luctando viros dico p[ro]st[er]ne[re] cuntos Palma q[ui]de[m] n[ostr]a pr[a]etenditur siste[re] dextra.

1st Master

Illustrations	Illustrations	Complete Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[17] I am the First Master of the Dagger, full of guile, And with my left hand I will wind the dagger around your arm, And truth to tell I can make many other plays, And my students will do them cunningly. I am the first master and I am called Remedy, because I know how to remedy so well that you cannot harm me whereas I on the contrary can strike you and hurt you. And I cannot make a better play against you than to make your dagger go to the ground, by turning my hand to the left.	The first master of the dagger, I am called caution itself; At any time, the left hand having been extended to lift the dagger away.		[10v-a] ¶ Io son primo magistro e chiamado rimedio, po' che rimedio tanto è a dire che savere rimediare che non ti sia dado, e che possi dare e ferire lo tuo contrario inimigho. ¶ E per questa che meglio non si pò fare la tua daga farò andar in terra, voltando la mia mane a parte sinestra.	[6a-e] Magistro primo son de daga, pieno de ingano, Et cum man stancha torote la daga de mano: E asay altri zoghi io posso far in ueritade E li mie scholari li farano cum falsitade.	[21v-a] ¶ Primus ego dag[a]e cautus vocor ip[s]e mag[iste]r. Cumq[ue] manu leva p[re]tento tolle[re] dagam.
		[18] If I make a turn around your arm with my dagger, I will strike you in the chest, and it will not be taken from me. I will turn my dagger around your arm. And because of this counter you will not be able to take the dagger from me. And also with this turn I can drive it into your chest without a doubt.	Truly I sweep the dagger away around your shoulder. Not wasting that [attack], I would pulp you, miserable, in the chest.		[10v-b] ¶ Cum mia daga intorno 'l tuo brazo darò una volta. E per questo contrario la daga tu non me lla avarai tolta. ¶ E anche cum questa volta ch'io fazo senza dubio io te la ficharò in lo tuo petto.	[6a-f] Cum mia daga intorno tuo braço farò uolta E in lo peto te ferirò e non me serà tolta.	[21v-d] ¶ Circu[m] ne[m]pe tuu[m] daga[m] [con]volvo lac[er]tu[m]. Nec p[ro]clens illa[m] miseru[m] te pecto[r]e tu[n]da[m].
		[19] With your right arm locked under my left, I can cause you much harm while keeping you trapped. I will lock your arm in the middle bind, and I will do it in such a way that you will not be able to give me any trouble. And if I wish to put you to the ground I will do so with little effort, and you will have no chance of escaping. [In the Getty, the Scholar steps with his left foot in front of his opponent's right, not behind.]	And behold your right [arm] confined under my left Shoulder. Far too many misfortunes delay you, the imprisoned one.		[10v-c] ¶ In la mezana ligadura t'ò serato 'l brazo per sì fatto modo che tu non mi poi fare alchun impazo. E se ti voglio sbatter in terra a mi è pocha briga, e de fuzirme no ti dar fadiga.	[6b-a] Lo tuo braço drito soto el mio mancho è serato; Asay male ti posso far e roman inpresonato.	[24r-a] ¶ Subq[ue] meo levo dext[er] tuus ecce lac[er]to Claudit[ur]. inclusu[m] mala te q[uam] plura morant[ur].
		[20] If you wind around my arm and try to lock it in this way, I will put you in the lower bind and this hold will make things hard for you. I make the counter to the play that came before me. You can see the kind of position that I have put him in. I will break his arm or quickly throw him to the ground.	It is permitted that you hold me pressed hard inward, the lower key having been retained [and] Then pressed hard, [which] will harm the shoulder.		[10v-d] ¶ Lo contrario del zogho che m'è dinanzi io lo farò, voy possi vedere a qual partido i' l'ò posto. Romperogli lo brazo e sbaterolo in terra tosto.	[6b-b] Perchè tu m'abij cusì asserato mio braço, In la chiaue de soto tal presa ti farà impaço.	[24r-d] ¶ Me licet imp[re]ssum teneas / retine[n]do lacertu[m] Inferiore tu[m] clave p[re]ssura nocebit.
		[21] If I can turn this arm of yours, I will make you suffer with a middle bind. This is a good cover from which to take the dagger from your hand, and with this grip I will be able to bind you well. And this art is so effective that if I place my right hand under your right knee, then I will put you to the ground.	If I myself can now turn the shoulder using the hands, You, sad, will remain eternally in that middle key.		[11r-a] ¶ In bona choverta per torti la daga di mano, anchora per tal presa te poria ben ligare e se io metesse la mia man dritta sotto lo tuo dritto zinochio in terra te faria andare pò che quest'arte ben la so io fare.	[6b-c] Si questo braço ti posso uoltare In la chiaue meçana ti farò stentare.	[24v-a] ¶ Volue[re] si possu[m] manibu[s] nu[n]c ip[s]e lac[er]tu[m] / Tristis [illo?] eternu[m] mediana i[n] clave manebis.
		[22] You will not make me suffer in the middle bind When I meet you with this counter and make you let go. I make the counter to the play that came before me, so that you will not be able to throw me to the ground, nor take the dagger from me, nor bind me either. You will have to let go, or else you will be quickly stabbed by my dagger.	You will not make [me] endure in the middle key. But now, By means of that my counter, it is convenient for you if you will yield to me.		[11r-b] ¶ Lo contrario del zogho che m'è denanzi i' son per fare, che tu non mi porai zitar in terra nè tormi la daga nè anchora ligarme, ma ti conven lassare al tuo malgrado o d'mia daga subito sara' incassado.	[6b-d] In la chiaue mezana non mi fara' stentare, Che cum questo contrario me conuen lassare.	[24v-d] ¶ Degere no[n] facies mediana i[n] clave. s[ed] isto Me nu[n]c [con]trario / t[ibi] [con]venit / ut m[ihi] cedas.
		[23] This is a play with no counter, and it is inevitable that the player will go to the ground and lose his dagger if the student performs this technique as depicted. And when the player is thrown to the ground, the student can finish him in various ways.			[11r-c] ¶ E questo si è un zogho senza alchun contrario e conviene che per forza lo zugador vada per terra e ch'ello perda la daga, lo scolaro como voi vedete questo che digo al zugador pò fare, e quando lo serà in terra altro arà a terminare.
		[24] This play is rarely used in the art of the dagger, yet it is an additional defense to know. For after beating aside the attack in this way, the scholar can then strike with a counter to the ribs or the stomach.			[11r-d] ¶ Questo zogo si è pocho usado in l'arte di daga ma pure è defesa e più savere che lo scolaro cum tal rebattere fatto in tal modo fa ferire lo zugadore zoè lo suo contrario in la chossa overo in lo ventre.
		[25] This bind is easy for me to do And from it I will be able to strike you in the back. I am a counter to the First Dagger Remedy Master. Woe to he who remedies with techniques that allow his left hand to be seized. And from this hold I will be able to drive the dagger into his back. [These two illustrations seem to show the beginning and end of the technique.]	It is neither labor nor pain to me to make a persistent bind, By which route now I will be able to injure you, And possibly I will strike your kidneys with a great wound. [The Paris resembles the Getty.]		[11v-a] ¶ Io son contrario del primo Re di daga ditto rimedio. Che male sa rimediare soy zoghi chi la sua mano stancha la lassa pigliare. E per tal presa che ò la daga in la schena gli posso fichare.	[8a-d] Aquesta ligadura a farla non me pena E per lei te porò ferire in la tua schena.	[44r-b] ¶ Neclabor est nec pena m[ihi] faciendo tenace[m] Nexura[m]. qua nu[n]c pot[er]o t[ibi] lede[re]. Renes Et feriam fortasse tuos cu[m] vulne[re] grandj.
		[26] I make the counter-counter to the First Master, For the counter-counter is a fine master.				[8a-e] Contra contrario io faço per lo magistro primo Perchè de contra contrarij è magistro fino.
		[27] I make the counter-counter against the First Master, And I will be first to take away the dagger every time.				[8a-f] Per lo primo re faço contra el contrario; Lo primo tore de daga farò, si non suario.
		[28] I counter the First Dagger Master And I will strike your arm from above. [In the Pisani Dossi, the Master is missing his crown.]	I am of the first king; you retain the dagger, openly I make the counter. This is well known [to] strike the shoulder.			[8a-a] De lo primo re de daga el contrario faço E per uezuda io li ò ferido el braço.	[43v-b] ¶ Regis ego primi daga[m] retinentis, aperte Contrariu[m] facio. Patet hoc feriendo lacertum.
		[29] I make the counter to the First Master With this cover I will hurt him and worse. I am also the counter of the First Dagger Remedy Master, and when his student grips me like this [10], I will strike him, and make him let go. And if he tries to do other plays against me, I will counter him without hesitation.	I certainly keep the counter of the first master, And I will now prove this covering using many bad things.		[11v-b] ¶ Anchora mi son contrario di questo primo rimedio di daga pò che la presa che mi fa lo suo scolaro per tal modo lo ferirò, e me convegnirà lassare. E si altri zoghi vorà contra me fare, lo contrario gli farò senza nissun tardare.	[8a-b] De lo primo magistro lo contrario reço; Cum tal couerta li farò mal e peço.	[43r-d] ¶ Contrariu[m] p[re]mi s[er]vo profecto mag[ist]ri. Atq[ue] hac tectura mala nu[n]c q[uam] plura p[ro]babo.
		[30] In the previous counter I told you that you could hurt him and worse; Here I show you how this can be done. This flows from the counter referred to in the previous play. It also flows from the counter referred to two plays back [10], where the Counter Remedy Master has trapped the hand of his opponent with his dagger, and where he told you that he can drive the dagger into his opponent’s back. My play comes from that play, but where he says you drive the dagger into your opponent’s back, I drive it into his chest. But this still flows from the previous play, even though I choose to finish it differently. [In the Getty, the Master's right foot is outside (in front) of his opponent's left foot.]	Using a counter to the former, which threatens many evils, I direct myself in these circumstances so that I would strike the associate with a deadly wound.		[11v-c] ¶ Questo è un contrario che non è mio. Anche lo zogho di questo contrario ch'è sopra de mi zoè lo segondo contrario che ha ligada cum la sua daga la mano del compagno che dise ch'el pò fichare la daga in laschena al compagno e quello so zogho de luy i' facço. ¶ Ben che luy dise in la schena e mi la metto in lo petto, e pur suo zogho perchè chosì pò fare.	[8a-c] Per lo contrario che dise de far mal e peço Aquello che pò far aquello aqui reço.	[43v-d] ¶ Contrario illius, mala q[uod] q[uam] plura minat[ur] Hic rego me, ut sociu[m] letalj vulne[re] leda[m].
		[31] I am well placed and positioned to force you to the ground; If you do not know the counter, I will throw you down immediately. I am the student of the first Master of [Dagger] Remedies. And with this grip I seek to take your dagger and bind your arm, and since I do not believe that you know how to counter me, I will do this to you without delay. [The Getty resembles the Paris. These two illustrations may show progressive stages of the technique.]	I am ready now to beat you, gloomy, into the ground. And if the counter would miss, I would do this to you readily.		[11v-d] ¶ Io son scolaro del primo Re e Rimedio. E cum questa presa ti voglio tor la daga e ligarte lo brazzo però che non crezo che lo contrario tu mi sapi fare e però ti farò questo senza tardare.	[6b-e] Per mandarte in terra e' son ben acunço e posto: Si lo chontrario mancha farotelo ben tosto.	[25r-a] ¶ Aptus ego i[n] ter[r]a[m] su[m] nu[n]c te pelle[re] mestu[m]. Et si [con]trariu[m] deerit / facia[m] tibi pr[a]esto.
		[32] I make the counter like this, And I know well how to strike you from here. I counter you like this, so that you will neither take my dagger nor bind my arm, and my dagger and I will remain at liberty. And then I will be able to strike you when you let go of me in such a way that you will have no defense.	Now I do this counter quickly; you see duly just as it were. The spirit becoming enflamed, I would then beat your limbs.		[12r-a] ¶ Lo contrario per questo modo ti fazzo che tu non mi torai la daga nè mi ligara' lo brazo, e mi e mia daga remaremo in libertate. E poi ti ferirò in lo lassar che tu mi faray per modo e maniera che defesa non averai.	[6b-f] Lo contrario per questo modo ò aparichiato E de ferirte uoio esser ben saciato.	[25r-d] ¶ Hoc nu[n]c [con]trariu[m] p[re]pero / ceu rite videbis. P[er]cutia[m] flagrante[re] a[n]i[m]o tua me[m]vra d[e]inde.
		[33] To make a much stronger cover I cross my arms in this manner; And from here I can do all the previous remedies. This cover is known to be much stronger and I make it so as to be able to obstruct you with various plays. And you cannot overcome such a strong cover, because two arms can easily oppose one arm.	I cover myself using great bodily strength, as you see the movements. I attack in this way before anyone can bring about anything.		[12r-b] ¶ Questa coverta si chiama più forteza e perçò la faço per podere cum parechi zoghi farte impaço. E tal forza non mi poi tu anichilare, perché doy brazi ben pò uno contrastare.	[7a-a] Per più forteça io crouo aquesto partito; De tuti li remedij denançi io ti faço inuito.	[25v-a] ¶ Me tego ceu cernis grandi valitudine motus. Ante mo[di]s quos quisq[ue] pot[uit] effice[re] tento.
		[34] With this counter the previous cover will meet with failure; After I have made you turn I will strike you with my dagger. This is the counter to the cover that came before, that I told you was much stronger. And I will turn him with my left hand. Having turned him, I will not fail to strike him.	Now, by means of this counter, I cheat the earlier plays In such a way, and I would turn you behind in order to wreck you <that is, bring you to ruin> with wounds.		[12r-c] ¶ Questo è 'l contrario di questo zogho ch'è denanzi ch'è chiamado più forteza. E lo volterò cum la mia man stancha. Dadagli la volta a ferirlo no mi mancha.	[7a-b] Per questo contrario li zoghi denanço conuen falar: Cum mia daga ti ferirò, tal uolta ti farò far.	[25v-d] ¶ Hoc nu[n]c [con]trario ludos ego fallo priores. Tal[ite]r et voluam q[uam] post vulne[re] p[re]da[m] scilicet condam(?)
		[35] Since my Master’s technique will not fail me, I will break your arm over my shoulder. With this excellent presa that I have made against you, I will not fail to break your arm over my left shoulder. And afterwards I can strike you with your own dagger, since this play will not fail me.	Because of how that master now brings about the taking, I believe you will not withdraw without shoulders having been broken.		[12r-d] ¶ Per bona presa che ò contra te fatta non mi falla che non ti rompa lo brazo sopra la mia mancha spalla. E poy cum la tua daga te porò ferire e questo zogho non è miga da fallire.	[7a-c] Per la presa de lo magistro a mi non falla Che non ti ronpa el braço sopra mia spalla.	[23r-a] ¶ Propt[er] captura[m] qua[m] nu[n]c facit ille mag[iste]r / No[n] sine fractura discedes credo lacertj.
		[36] You will not break my arm over your shoulder, For with my counter I will throw you to the ground. I make this counter to you who in the previous play intended to break my arm over your shoulder. I will throw you to the ground to your death with great force and you will cause me no further injury.			[12v-a] ¶ Per quello che al zogho ch'è denanzi volesti romper sopra la tua spalla lo brazo per quello zogho questo contrario ti fazo. Che per tal forza in terra te sbaterò per morto a çò che a mi ni altri più mai fazi torto.	[7a-d] In su tua spalla lo mio braço non ronperay, Ma per questo contrario in terra te butaray.
		[37] Your dagger will quickly be taken from you, When I twist it upwards close by your elbow. I am in a good position to take the dagger from your hand, and to do it I push the point upwards, close to your elbow. And you will lose it, and I will quickly strike you with it. I took the dagger in this way because I was not able to bend your arm.	I seize the dagger using a sudden violent whirling motion near the elbow; Yet before [that], I strongly turn the lower arms.		[12v-b] ¶ La daga di mane ti torò che son ben aparechiado, e la punta ti trarò in erto per apresso lo tuo cubito. E quella perderay e ferirò te cum lei subito. Perchè io non t'ò possudo piegar lo brazo tal tor di daga io ti fazo.	[7a-e] La tua daga ben presta ti serà tolta Per apresso el tuo cubito façando uolta.	[23r-c] ¶ Arripiam supito violento turbine dagam Ante t[ame]n cubitu[m] p[ro]pe volva[m] brachia fortis scilicet ego
		[38] My dagger will not be taken by your turning it, And I will strike you with it without fail. I make the counter of the play that came before, so that you will not be able to take my dagger in that way. I will press my dagger into your hand, to make you let go, and with the cruel point I will strike you for your trouble.			[12v-c] ¶ Lo contrario ti faço del zogo ch'è denanci, perché tu no mi togli la daga a sì fatto modo farò che la mia daga penzandote cum la mano mia stancha lassaray e cum crudele punte te ferirò cum tuo guay.	[7a-f] La daga non me serà tolta per tuo uoltare, Anche in lo mio ti ferirò sença fallare.
		[39] I will have no problem making you fall to the ground, But you will have a major problem trying to get up. In this way you will be driven into the ground, and you will not be able to make any defense or counter. And I will quickly make the dagger that you hold in your hand go far from you, because of my skillful knowledge of this art. [In the Getty and Paris, the Scholar steps outside of his opponent's right leg.]	It is not any work to me, laying you out fallen. You will not be able to rise free[ly] without a large wound.		[12v-d] ¶ In terra del tutto ti convien andare e defesa over contrario non poray fare. ¶ E la daga da ti farò andar luntana, più tosto che ti la pigliarò in mano però ch'io so quest'arte cum ogni ingano.	[7b-a] A farte cadere non m'è neguna fadiga, Mo a leuarte te serà grande briga.	[23v-a] ¶ Non labor est ullus m[ihi] te st[er]nendo cadente[m]. Surge[re] nec pot[er]is sine grandi vulne[re] lib[e]rj.
		[40] I do not want to fall to the ground with the previous play, So with this grip I will take away all of your strength. What you plan to do cannot always be done. I am the counter of the scholar who came before, and this counter will make him look very foolish, because in this way I will make him let go my leg. And I will drive the dagger into his face to demonstrate that he is indeed a great fool. [In the Pisani Dossi, the Master is missing his crown.]			[13r-a] ¶ Zò che si dise non ven og(n)ora fatto. Io so' lo contrario del scolaro ch'è denanzi lo qual è un grande matto, che tanto ò sapudo fare che la gamba mia convegni lassare e per questo modo gli metto la daga in lo volto per mostrare ch'ello sia matto e stolto.	[7b-b] De andare in terra de questo niente uoio lo Che cum questa presa tuta la força ti toio.

2nd Master

Illustrations	Illustrations	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[41] And I make cover with arms crossed, And I can make all the previous remedies, Nor will I fail to cover any of the backhand strikes, For I can do them all, one by one. I play with my arms crossed, and can make all the remedies that were previously shown. And if we were both armoured, you could not make a better cover. No other crowned [Dagger] Remedy Master makes a stronger cover than I, for I can play both to the right and to the left, and I can cross from both underneath and from above.			[13r-b] ¶ Io zogho cum gli brazi crosadi per far li remedy che denanzi sono passadi. E si noy fossemo 'trambi doy armadi non curarem di far miglior coverta. Più forte rimedio di mi non porta corona, però ch'i posso zugare dritto e riverso, anchora incrosare di sotto chome di sopra.	[7b-c] E' me couro cum li braci incrosadi E posso fra i zoghi tuti denanci passadi; E aquilli de man riuerssa non cauo nessuno, Che tuti li posso far a uno a uno.
		[42] You won’t be able to make the plays that came before, nor the plays from the backhand strikes [that follow], Because with this counter, your cover will be completely lost. I counter the [Dagger] Remedy Master who made the cross before me, so he will not be able to cause me any problems with his crossing. I will give a push to his elbow to make him turn, and then I will quickly strike him.			[13r-c] ¶ Lo contrario del Re che incrosa denanci io fazo che cum suo incrosar non mi farà impaço che tal penta gli darò al chubito che lo farò voltare e ferirolo subito.	[7b-d] Ghi zoghi denançi nè quilli de man riuerssa: Per questo contrario la tua couerta in tuto è perssa.
		[43] Take the dagger, dislocate your arm, bind you, Or throw you to the ground–I can do all of these things. I believe that this very strong grapple is fatal to anyone, because I can break your arm, throw you to the ground, or take your dagger. I can also hold you bound in the upper bind. And as a result of these four things, you will be unable to get away.			[13r-d] ¶ Per questa presa che ò tanto forte a zaschuno cr(e)deria dar la morte. Però che ti posso romper lo brazo e posso te butar in terra, e sì posso torti la daga. Anchora ti tegno (tegno) in la soprana ligadura ligado. E de queste quatro chose de mi non saray liberado.	[7b-e] La daga tore dislogare e anche ligare E metere in terra queste cosse posso fare.
		[44] As for the four plays you mentioned, you won’t be able to do any of them to me, And with this counter I will throw you to the ground. I know the counter to the previous play. And with this grapple I will counter all four of the plays he said he could do before. And as soon as he sees me, I will throw him to the ground, for this grapple is strong and fierce.			[13v-a] ¶ Io so' lo contrario del zogho passato qui inanzi. E sì digo ch'io rompo cum questa presa tutti gli soy quattro zoghi detti denanzi. E non mi pò vedare che io non lo sbatta in terra, per la presa che ò forte e fiera.	[7b-f] De le quatro cosse l'una solla non me po' far: Anche cum questo contrario in terra ti uoio butar.
			I certainly cover myself during wrestling using arms as in the cross. And I can make sport with all the first rules.				[23v-c] ¶ Me tego luctante[m] sicut cruce ne[m]pe lac[er]tis. Om[ni]b[us] atq[ue] modis possu[m] collude[re] primis.
			By this counter your covering is refuted; and behold: Neither the play of the reversed palm, nor the prior [plays] Accomplish. Then you, miserable one, will die lying on your back.				[22r-b] ¶ Hoc tua [con]trario tectura reffelit[us?] ecce Et neq[ue] [con]u[r?]se palme ludj / no[n] atq[ue] p[ri]ores P[ro]ficient. tu deinde miser moriture recu[m]bes.

3rd Master

Illustrations	Illustrations	Complete Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[45] Here begin the powerful plays of the backhand attack, Through which many have been killed. And the plays of my scholars will follow, And so we begin the defense to the backhand attack.				[8b-a] Qui comença zoghi de man riuerssa, zoghi forti; Per tali zoghi non sauer asay ne sono morti: E li zoghi li mie scholari seguirano E pur de parte riuerssa començarano.
		[46] With this play of the Master, your dagger will be taken And I will strike you a mortal blow.				[8b-b] Per lo zogho del magistro la daga ò guadagnada E de ferirte te farò grande derada.
		[47] Here I believe I will throw you to the ground. First I will do this to you, and then I will do worse to you. Here begin the plays of the reverse strikes, through which countless men have lost their lives. And the plays of my scholars will follow, demonstrating the cover made with the right hand. This play depicted is easy to do, and in this way I will throw this man into the ground. [In the Getty, this Scholar is the Master.]	I believe you, treacherous one, will now indeed touch the earth. And itself <read: I> would do worse to you, henceforth lying dead. [In the Paris, this Scholar is the Master.]		[13v-b] ¶ Qui comenzan çoghi di man riversa per li quali infiniti àno lor vita persa. E li zoghi li mei scolari seguirano pur per la coverta qual io fazo cum la destra mano. ¶ questo è un zogho liziero da fare per tal modo chostuy voglio in terra riversare.	[8b-c] Aqui ua in terra, ço me creço; Aquesto ti faço, po' ti farò peço.	[22r-c] ¶ Credo quide[m] t[er]ram q[uam] nu[n]c tu p[ro]fide tanges. Et faciam peiora tibi dehinc ip[s]e scilicet ego jacentj.
		[48] You will go to the ground because of your lack of knowledge, And in armour this is a particularly safe throw. With this method you will be driven into the ground. And I could not make a safer throw, being armoured. But even without armour, there is nothing you can do. And even if you were strong and powerful, I would still be able to do this to you.	You, incautious one, will touch the earth with [your] chest prostrated. This armor-wearer will more safely impart the play.		[13v-c] ¶ Per questo modo in terra saray zitado. E più siguramente lo faria se fosse ben armado. Che anchora desarmado non mi poy far niente. E questo ti faria s'tu fosse anchora più possente.	[8b-d] Tu ua in terra per tuo pocho sauer: E in arme più seguro se pò tener.	[22v-a] ¶ Incautus t[er]ram p[ro]strato pecto[r]e tanges. Armiger hu[n]c poterit securius adde[r]e ludu[m].
		[49] This leads to a broken ruined arm, As you will find out when I have you in this hold. You will go to the ground and your arm will be dislocated by the skill of my crowned Master. And there is not one counter that you can do to me, for I hold you like this…	Each is able to break the shoulder of the associate in wrestling, as I comprehend. It will be pleasing to know whatever has been imparted.		[13v-d] ¶ Tu vay in terra e lo brazo t'è dislogado per l'arte del mio magistro ch'è incoronado. E nissun contrario non mi poy tu fare. Che qui ti tegno per farte più stentare.	[8b-e] Aquesto è un guastare çaschadum braço Al modo che tu senti che io ti tegno e faço.	[22v-c] ¶ Frange[re] quisq[ue] po[n?]t socio luctando lacertu[m] Ceu teneo . sentire dat[us] quicu[m]q[ue] libebit.
		[50] I will have no trouble dislocating your arm And I will easily take your dagger from you. …and will make you suffer greatly.				[8b-f] A dislogarte lo braço non n'ò fadiga E la daga ti posso tore sença briga.
		[51] This is another powerful dislocation From which I will be able to kill you with your own dagger. This is a lock that has no counter and no defense. And in this way I can take your dagger, and it will be no trouble to bind or dislocate your arm. You will not be able to get away without my permission. And I can ruin your arm if I choose.	He was able to dislocate the shoulder of any companion for himself, And sentence him to death with the point of the dagger.		[14r-a] ¶ Questa è una presa la qual no à contrario nè deffesa. E qui la daga ti posso tore e a ligarte non m'è fadiga. Dislogarte 'l brazo e' non mi dà briga. Partir non ti poy sença mia libertade. E guastar ti posso a mia voluntade.	[9a-a] Aquesto è uno altro deslogare forte E cum tua daga ti posso dare morte.	[31r-a] ¶ Denodare po[tui]t socio sibi quisq[ue] lacertu[m]. Atq[ue] sua damnare necj cu[m] cuspide dag[a]e.
		[52] I take your dagger as I wish, And now if I choose, I can bind you in the lower lock. You will lose your dagger by the way I hold you. And after taking your dagger I can bind you. and make you suffer in the lower lock, which is one of the key binds, and which I will use on you. And whoever is put into this lock cannot escape, because of the great pain and suffering they will be forced to endure.	I now take hold of your dagger, nor can I be mistaken. And if I want, I am able to bind you, who is [sic] being overthrown <read: thrown back> in the key.		[14r-b] ¶ La daga tu perdi per tal modo che ti tegno. E toltati la daga io ti posso ligare. E in la ligadura di sotto ti farò stentare. Quella ch'è la chiave del abrazare, in quella ti voglio ligare. E chi gl'intra non gli pò essire, però grande pene e stente gli conven sofrire.	[9a-b] La daga ti toio, aquesto uoio far, E si io uoio in la chiaue ti posso ligar.	[31r-c] ¶ Arripio dagam t[ibi] nu[n]c. nec falle[re] possu[m]. Si q[uem] volo i[n] clavj pot[er]o te nect[er]e v[er]su[m].scilicet revolutu[m]
		[53] I will turn your dagger upwards with my right arm, And I will quickly bind you in the lower lock.				[9a-c] Reuoltarò tua daga per sopra mio mancho braço, E subito in la chiaue de soto ti farò impaço.
		[54] This is called the strong lower lock, And it is a bind with a great risk of death But this lock, truth to tell, If not properly applied can be escaped from. This is called the lower lock, also known as the “strong key”, and from this bind I can kill you, whether you are armoured or unarmoured, because from here I can strike you in all of your most vulnerable places. And no one can escape from this bind. And if you are put into it, as depicted in the drawing, there you will remain enduring much pain and suffering.	The lower key is brought under the strong name; It is the bind of death by means of excessive distinction. If any enters into this, he will hardly prevail to escape this.		[14r-c] ¶ Questa è chiamada ligadura di sotto e la chiave forte che cum tal ligadura armado e disarmado se pò dar la morte che in tutti loghi pricolosi pò ferire. E di sì fatta ligadura non pò essire. E chi gl'entra gli sta cum briga e cum stenta, segondo che si ved' ne la figura dipenta.	[9a-d] Questa è chiamata la chiaue de soto forte Ed è ligadura perigolosa de morte: La quale ligadura sença nessun mentire Chi ghi entra male ghi pò ensire.	[31v-a] ¶ Inferior clavis fert[ur] sub no[m]i[n]e fortis Est nexura quid[es?] nimio discrimi[n]e mortis. Si quis i[n] hac intrat[,] vix hac exire valebit.
		[55] This is how to do the counter to the Master's cover to the reverse strike, And with this bind I will make you drop to the ground on your knees. This is the counter to the Third Daga Remedy Master, who covers the reverse attack. I have made this bind against him. Whether he is armoured or unarmoured, this bind is strong and secure. And if I trap a man who is unarmoured in this way, I will ruin his hand and dislocate it. And the pain will be so great I will make him kneel at my feet. And should I wish to strike him, this I can also do. [In the Getty, the Master's left foot is forward.]	I, the efficient counter of the master, during this wrestling Finish whomever by means of the reverse palm of the hand; And you will sink down on bended knee by means of this taking.		[14r-d] ¶ Questo è lo contrario del terzo Re çoè quello che zoghi a man riversa. I' ò fatta contra luy questa ligadura. Armado e disarmado ella è bona e sigura. E se un disarmado piglio in questo modo, guastogli la mane e anchora la disnodo dislogo. E per doglia sotto gli mie pie' lo farò inzenochiare. S'io lo vorò ferire quello porò ben fare.	[9a-e] Contrario del magistro de man riuerssa questo so fare, E per questa presa in terra ti farò inzenochiare.	[31v-c] ¶ Hoc ego contr:arium p[er]ago luctando m:ag[ist]ri Efficiens palma manuu[m] q[uo]cunque rev[er]sa. Tuq[ue] hac captura p[ro]cumbes poplite flexo

4th Master

Illustrations	Illustrations	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[56] I am a Master who covers with both hands, And I can hurt you from above or below. If I give a turn to your shoulder without releasing your arm, Then in this way I and my students will put you in great pain. I am the Fourth [Dagger Remedy] Master, and I play from this grip. From covers like this my students will hurt many…	Using both hands, <I> the master now take hold of the associate. From above and beneath, I am able to injure you with a weapon.		[14v-a] ¶ Lo quarto Magistro so' chi zogho cum questa presa. Cum simile che questa gli mie scolari a molti farano offesa. E si io mi volto da parte dritta e non ti lasso 'l brazo, io ti torò la daga e faròti cum ley impazzo.	[9b-a] Io son magistro che cum due man faço presa E desopra e desota io posso far offesa: Si io te uolto le spalle e non te lasso lo braço, Per tal modo el primo scholar ti fa impaço.	[32r-a] ¶ Ambab[us] manib[us] sociu[m] nu[n]c p[re]ndo mag[iste]r.ego s. Desup[er] et subt[er] possu[m] te l[a]edere fer[r]o.
		[57] My Master spoke truly and unerringly: I can take your dagger, while you cannot escape. …And if I turn to the right without releasing your arm, I will take your dagger and put you in great pain.				[9b-b] El mio magistro à dito el uero sença falir: La daga ti posso tore e non ti po' partir.
		[58] I am well positioned to force you to the ground, And if you don't end up with a broken head, you can count yourself lucky. This is an upper bind that locks you up very well. I will take your dagger from you and throw you to the ground. And I can also dislocate your arm. If however you grip your right hand with your left hand, then you can counter me and make me let go of you. [These two illustrations may show the beginning and end of the technique.]	I am certainly prepared in order to cast you down into the earth. And I will give many evils to your head, if it remains because of courage. [In the Paris, the Scholar's left foot is forward, but inside (in front) of his opponent's leg.]		[14v-b] ¶ Questa è una ligadura soprana che ben si serra. La daga ti posso tore e meterte in terra. Anchora lo brazzo ti posso dislogare, si tu pigliassi cum la tua man stancha la tua dritta el mio contrario saria e convegneria ti lassare.	[9b-c] Per mandarte in terra e' son ben aparichiato: S'tu non te ronpi la testa ayni bon merchato.	[32r-c] ¶ Ut te demitta[m] i[n] t[er]ram su[m] ne[m]pe parat[us]. Et capiti mala multa dabo[,] si me[n]te sedebit.
		[59] This is another lock that will throw you to the ground, And against such a hold no one is safe. This is another upper bind that is very powerful. And with this I am certain to throw you to the ground. And if I wish I can dislocate your arm. To counter me, you grip your right hand with your left hand. Then your grip will be strong and mine will be weak. [In the Getty and Paris, the Scholar's right foot is forward.]	This movement is another to strike down the associate to the earth. Nevertheless, it is not safe because he attempts a similar playing.		[14v-c] ¶ Questa è un'altra soprana ligadura ed è ben forte. E per metterte in terra io son ben certo. E dislogarte lo brazo o romperlo qual i' voglio ti fazo. ¶ Lo contrario mio si è, se tu piglila cum la man stancha la tua dritta, la tua presa sarà bona e la mia sarà fallita.	[9b-d] Questo è un altro mandare in terra e ligadura; E contra tal presa non è la persona ben segura.	[32v-a] ¶ Ut te demitta[m] i[n] t[er]ram su[m] ne[m]pe parat[us]. Et capiti mala multa dabo[,] si me[n]te sedebit.
		[60] As I see this you will quickly go to the ground, Of this I am certain, and you won't be getting back up.				[9b-e] Io ueço che in terra tu sei subito per andar: De questo tente certo, mo non de leuar.
		[61] I can also throw you to the ground like this, And once you are on the ground it will go badly for you. After I made the cover of my Master, I put my left hand under your right elbow. And my right hand quickly gripped you under your knee in such a way that I could throw you to the ground, and there was no counter that you could do to me.	Certainly in this way I can send you a second time To the ground. Hereafter, <I> myself will approve worse things to you.		[14v-d] ¶ Quando io fici la presa del mio magistro la mia man stancha miti sotto el tuo dritto cubito. E la mia man dritta te prisi sotto lo zinochio subito per modo che in terra ti posso zitare e nissun contrario non mi porai fare.	[9b-f] Anchora per questo modo in terra ti meterò; Quando tu serai in terra peço io ti farò.	[32v-c] ¶ Hoc iter[um] te ne[m]pe modo demitte[re] possu[m] In t[er]ram. Dehinc ip[s]e ego si tibi peiora p[rob]abo.
		[62] I will give a turn to your dagger, And in that way it will be quickly taken from you. With my right hand I will make a horizontal turn to your dagger, pushing it round close to your arm that I am holding. And your dagger will be mine to control. And then I will deal with you as you deserve.	In this way, <I> myself coil your dagger up using the whirlwind, Because I would capture you, whether you would prevent or you would fight back.		[38r-a] ¶ Cum la mia man dritta darò volta tonda ala tua daga menandole in erto per apresso el tuo brazo che tegno. E la tua daga mi remagnirà in mano per pegno. E poi ti trattarò segondo che sei degno.	[10a-a] A la tua daga farò far una uolta, Che per quella subito ti serà tolta.	[33r-a] ¶ Taliter ip[s]e scilicet ego tua[m] [con]volva[m] turbine daga[m] / Q[uod] t[ibi] sive vetes capia[m] / tu sive repugnes.
		[63] If I raise your dagger upwards close to your elbow, You will feel it instantly taken from you. If I raise your dagger upwards close to your elbow, I will keep it in my hand and strike you for certain. But I will need to make this play very quickly, to make sure that you cannot counter me with your left hand.	Now if I attempt to lift your elbow [and] very own dagger, You yourself certainly will see it has been suddenly freed.		[38r-b] ¶ Si questa daga per apresso 'l tuo cubito levo in erto in mia man remarà a firirte per certo. Benché questo zogho si vol far ben presto, perché lo contrario no gli valga sinestro.	[10a-b] Si io leuo la tua daga per apresso tuo cubito Tu sentira' che te serà tolta subito.	[33r-c] ¶ Si p[ro]p[ri]e nu[n]c cubitu[m] daga[m] tibi tolle[re] tento [,] Illa te subito privatu[m] ne[m]pe videbis.
		[64] I moved my right hand like this, And I will make you strike yourself in your thigh with your own dagger.				[10a-d] Cum la man drita io ò fata tal mossa Che tua daga ti farò ficar in la cossa.
		[65] Against the Master who covers with both hands I make this counter as my defense.   I am the Counter-remedy against the Fourth [Dagger] Remedy Master. And I counter all his plays that came before me. And with one quick wrench like this I will ruin this student’s hand and his master’s too. And if they are well armored the ruin of their hands will be all the more certain.	By this means I will now seek the opponent, using both palms In order to defend myself, just as the master does Who seizes the companion with both hands during wrestling. [The Paris resembles the Getty illustration.]		[38r-c] ¶ Del Quarto Re e magistro io son contrafattore. E questi zoghi due ch'è denanzi de mi sono fazzo lo contrario che per tal modo gli guastarò le man a lor e a lor Magistro cum una tratta che farò subito. Se elli fosseno ben armadi io gli guastaria senza dubito.	[10a-c] Del magistro che fa cum due mane presa Aquesto contrario faço per mia defesa.	[33v-b] ¶ Hoc ego [con]trariu[m] palmis nu[n]c querito binis[,] Ut me defende[m] veluti facit ille mag[iste]r. Qui capit ambab[us] manib[us] luctando sodale[m].

5th Master

[]   Images	Images	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[66] I want each of my students to know That you cannot defend against the collar grab unless you move quickly. And with the strike that I make against your elbow, I will quickly feel your arm dislocate. I am the Fifth Dagger Remedy Master who defends against the collar grab made by this player. Before he can strike me with his dagger I destroy his arm like this, because the grip he has on me is actually to my advantage. And I can do all of the covers, holds and binds of the other remedy masters and their students who came before me. And I say this from experience: all who study this art should be aware that you cannot successfully defend the collar grab unless you move quickly.	You would grasp my chest. Thus far you have not been able to wound me. I will, nevertheless, dislocate this, your shoulder, during wrestling.		[38r-d] ¶ Io son Quinto Re Magistro per lo cavezzo tenido di questo zugadore. Inanzi ch'ello mi traga cum sua daga per questo modo gli guasto lo brazo perché lo tenir ch'ello mi tene a mi è grande avantazo. Che io posso far tutte coverte prese e ligadure degl'altri magistri rimedi e di lor scolari che sono dinançi. Lo proverbio parla per esempio. Io voglio che ognun ch'à scolaro in quest'arte sazza che presa di cavezzo nissuna deffesa no impaça.	[10a-e] Io uoio che çaschadun de mi magistro saça Che presa de caueço defesa nesuna impaça; Per lo ferir che io faço in lo tuo cubito Sentira' deslogare lo tuo braço ben subito.	[33v-d] ¶ Pecto[r]e me prendis. Nec adhuc m[ihi] lede[re] posses. Denoclabo tuu[m] t[ame]n hunc luctando lacertu[m].
		[67] After striking against your elbow, I will continue on To quickly seek to find your dagger. This is another way to destroy the arm. And from this play I can move to other plays and holds…	I would now strike close by your elbow. You will then move past me, And I, the strong one, will unexpectedly attempt your dagger.		[38v-a] ¶ Questo è un altro modo di guastare lo brazzo. E per venir in altri zoghi e prese, io questo zogho fazo. Anchora digo che se fossi afferrado d'una lanza cum tal firir in lei overo che me disferraria overo che l'asta del ferro io partiria.	[10a-f] Per questo ferire apresso el tuo cubito me conuen lassar E subito la tua daga uegnirò a trouar.	[34r-b] ¶ Te prope nunc cubitu[m] feria[m]. me deinde reli[n]ques. Atque validus daga[m] tentabo repente.
		[68] I will get rid of your spear with my arms in this way, Then I will turn and hit you, And if I cannot do it this way Then I will use the technique I described before. …Also, if you are pinned by a spear then by making this strike against it you will either unpin yourself or break off the haft from the spearhead.				[16b-d] Cum li braçi a questo modo me uoio disferare, Cum lo ferire che farò e cum lo mio uoltare; E si per questo modo non serò ben disferato, Tosto in lo zogho denançi io si serò intrato.
		[69] If I want to get this spear off me, I had better hit it hard from above, So that I will break the staff of your spear And then I will want to come to the close. This is another way to make you let go, and is also a better method of breaking off the head of a spear…			[38v-b] ¶ Questo è un altro far lassar anchora è meglior da disferar una lanza. Anchora digo che se cum forza io ti fiero in la zuntura de la man che mi tene per lo cavezzo io mi tegno certo che io te la dislogarò, se tu non la fuzi via. Lo contrario io lo voglio palentare???. In quello che lo scolar vene zò cum gli brazzi per dislogar la mano delo zugadore subito lo zugadore de' tore via la mano del cavezzo de lo scolar. E subito cum la daga in lo petto lo pò guastar.	[16b-c] Si de questa lança me uoio disferare, Sopra lei un grande colpo me conuen fare: Si che romperò tua lança in la doya , E de uenire a le strete auerò uoya.
		[70] By striking to your wrist or to your elbow, I will either dislocate it, or you will quickly let go. …Also if I strike you hard in the wrist joint of the hand holding my collar, I am certain to dislocate it unless you let go. I wish to tell you the counter. As the student strikes down with his arms to dislodge the player's hand, the player quickly withdraws his hand from the student’s collar, and he then quickly strikes the student in the chest with his dagger.	Either I will strike over the elbow, or near the fist, And in this place I will dislocate the wretched one. Henceforth you will quit the entire chest.			[10b-a] Apresso tuo pugno ferirò o sopra el cubito Dislogarote in lo lago e lassarame subito.	[34r-d] ¶ Vel supra cubitu[m] feriam v[el] deprope pugnu[m]. Inq[ue] loco nus[?]u[m] denodabo. Hi[n]c pectora linques.
		[71] I am confident and certain that you will go to the ground, And I care little or nothing for your dagger. This play will make you let go of me. And in addition, if I advance my right foot behind your left foot, you will be thrown to the ground without fail. And if this play is not enough, I will try others on your dagger, because my heart and my eyes are never focused anywhere other than upon taking away your dagger quickly and without delay.	I am able to safely believe that you will go into the ground now; Neither will your dagger be able to accomplish harming me.		[38v-c] ¶ Per questo modo in terra ti voglio butare inanzi che la daga mi vegna approssimare. E si la daga tua sarà a mezo cammin per me ferire, le prese ch'io lassarò e la tua daga vorò seguire, che tu no mi porà offender per modo che sia, che cum li zoghi de li rimedy ti farò vilania.	[10b-c] De andar in terra tentene certo e seguro, E de tua daga pocho o niente me curo.	[34v-d] ¶ Tutus ut i[n] t[er]ram nu[n]c hadas[,] crede[r]e possum. Nec tua daga michi pote[r]it p[er]fecto noce[re].
		[72] I choose to try this method of throwing you to the ground, And if this does not work I will try a different play. I will throw you to the ground like this, before your dagger can get near me. And if your dagger comes down the center line to strike at me, I will release my grip and deal with your dagger, so that you will not be able to injure me in any way. Then with the remedy plays I will make you suffer.	I put to the test where I would at once lay you sharply on your back. If, perchance, I do not strew you, I will [scribal error] <actually try> something better.		[38v-d] ¶ Questo è un zogho di farse lassar. Salvo che si lo mio pe' dritto dredo lo tuo stancho io fazo avanzare tu porissi andar in terra senza fallo. E si questo zogho a mi non basta, cum altri de la tua daga ti farò una tasta???, però che'l mio chore e l'ochio altro non guarda, che a torti la daga senza dimora e tarda.	[10b-b] Per riuerssarte in terra io uoio prouare aquesto modo; Si per questo non uay farote uno altro zogho.	[34v-b] ¶ Experior quo te resupi[n]e[m] p[ro]tinus actu[m]. Si te no[n] sterna[m] melio[r]e[m] forte p[er]abo. vel probabo?
		[73] You will find out that over my right shoulder I will not fail to break your arm. This player had me grabbed by the collar, but before he could strike me with his dagger I quickly seized his left hand with my hands and pulled his arm over my shoulder so as to dislocate it, and then I completely dislocated it. But this play is safer to do in armor than unarmored.	I will not have been cheated of breaking the left shoulder; I am holding that which is loaded down on the right using the leg during wrestling.		[15r-a] ¶ Questo zugadore mi tegniva per lo cavezzo et io subito inanzi che ello tressi cum la daga cum ambe le mie man presi la sua man stancha, e 'l so brazzo stancho zitai sopra lo mio dritto per dislogargli lo ditto brazzo. Che ben gliel'ò del tutto dislogado. questo faria più siguro armado che disarmado.	[10b-d] Tu senti che sopra la mia drita spalla A ronper tuo stancho braço non me falla.	[35r-b] ¶ No[n] deceptus ero levum frangendo lac[er]tu[m]. Que[m] dextra teneo spatula luctando gravatu[m].
		[74] By the way I seize you and hold you, I will force you to the ground shoulders first. In this way I will hurl you to the ground without fail. And I will surely take your dagger. And if you are armored that may help you, since I will be aiming to take your life with your own dagger. But even if we are armoured, this art will not fail me. And if you are unarmored and very quick, other plays can be made besides this one. [In the Getty and Paris, the Scholar's right foot is inside (in front) of his opponent's left leg.]	I hold you using this form, and I will catch the lamenting one; Now, with the leg, you will be strewn as deep into the earth as possible.		[15r-b] ¶ In questo modo te zitirò per terra che non mi pò fallire. E la tua daga prenderò a non mentire. Se tu saray armado , lo te porà zovare, che cum quella propria ti torò la vita. Se noy semo armadi l'arte non ò fallida. Ben che si uno è disarmado e sia ben presto, degl'altri zoghi pò far asai e anchora questo.	[10b-e] Per lo modo ch'io ti tegno e t'ò preso Cum le spalle in terra andaray disteso.	[35r-d] ¶ Te tali teneo forma / prendoq[ue] gemente[m] / Q[uam] nu[n]c cu[m] spatulis t[er]ram st[er]neris i[n] ima[m].
		[75] To take your dagger I make a cover like this, And then with other plays I will make you suffer. This cover is very good in armor or without armor. And against any strong man such a cover is good for covering an attack from below as well as from above. And from this play you can enter into a middle bind as shown in the third play of the First Dagger Remedy Master. And if the cover is made in response to an attack from below, the student will put the player into a lower lock also known as “the strong key”, as shown in the sixth play [38] of the Third [Dagger] Remedy Master who plays to the reverse hand attack.	Now I make this cover, for which reason <read: in order that> I would be able to take away the dagger, Not to mention [that] I can strike you using many plays.		[15r-c] ¶ Questa coverta in arme e senz'arme è molto bona. E contra zaschun homo forte tanto è bona a chovrire di sottomane quanto di sopra. E questo zogho intra in la ligadura mezana çoè al terzo zogho del primo Re e rimedio di daga. E si la ditta coverta si fa sottomane, lo scolaro mette lo zugadore in ligadura de sotto zoè in la chiave forte ch'è sotto lo terzo Re e rimedio ch'è zoghi a man riversa a lo sesto zogho.	[10b-f] Per tor tua daga tal couerta io faço, E cum altri zoghi asai ti farò impaço.	[35v-b] ¶ Ha[n]c nunc tectura[m] facio / ~ ut quo tolle[re] dagam / Possim. Sed multis possu[m] te lede[re] ludis.
		[76] If I can turn this arm of yours, Then I will force you into the lower lock. If I can turn this arm I will be certain to put you into the lower lock also known as “the strong key”. I will however be able to do this more safely if I am armored. I could also do something else against you: if I grip your left hand firmly and seize you under your left knee with my right hand, then I will not lack the strength to put you to the ground.	If I can now twist your shoulder while fighting, I will readily cause [that] you will be overwhelmed in the lower key.		[15r-d] ¶ Si questo brazzo posso voltare io non mi dubito che in la ligadura de sotto e chiave forte ti farò intrare. Ben che siando armado più siguramente se poria fare. Ancho poria altro contra ti fare, se io tegno la mane stancha ferma e cum la dritta ti piglio sotto al zinochio la gamba stancha per metterte in terra forza non mi mancha.	[11a-a] Si io posso aquesto tuo braço uoltare, In la sotana chiaue ti farò intrare.	[35v-d] ¶ Volve[re] si possu[m] tibi nu[n]c certando lac[r]tum / Inferio[r]e cito facia[m] te i[n] merge[re] clave.
		[77] Whether you try to strike at me from above or below, You will lose your dagger from this crossing. With arms crossed I await you without fear. And I don't care whether you come at me from above or below, because however you come at me, you will be bound. You will be locked either in the middle lock or the lower lock. And if I wished to make the plays of the Fourth Dagger Remedy Master, I would cause you great harm with these plays. And I will have no difficulty in taking your dagger. [In the Getty, the Scholar's left foot is forward.]			[15v-a] ¶ Cum gli brazzi crosadi t'aspetto senza paura. Tra' voy di sotto e voy di sopra che non fazzo niente cura, che per ogni modo che tu mi trara' tu sarai ligado. O in la ligadura mezana o in la sottana tu saray serato. Ben che se volesse far la presa che fa lo quarto Re rimedio di daga cum gli zogi soi asai male te faria. E a torti la daga non mi mancharia.	[11a-b] Si de soto o de soura tu te miti a trare Perderay la daga per questo incrosare.
		[78] By holding your arm with my two hands, I will take away the dagger from you, as you deserve. This grip is sufficient to prevent you being able to touch me with your dagger. And from here I can do the play that comes after me. And I could also certainly do other plays to you. I disregard the other plays for now, however, because this one is good for me and very fast.	Now because I am holding you using both hands during wrestling, I certainly would take hold of [your] dagger just as if you had truly deserved.		[15v-b] ¶ Questa presa mi basta che cum tua daga non mi poy tochare. Lo zogho che m'è dredo quello ti voglio fare. E altri zoghi asay ti poria fare sença alchun dubito. I' lasso gl'altri perchè questo m'è bon e ben subito.	[11a-c] Per lo tuo braço che cum due man e' tegno, De man ti torò la daga con tu è degno.	[36r-b] ¶ Nu[n]c quia te manib[us] teneo lucta[n]do gemellis Arripia[m] daga[m] veluti tu ne[m]pe mereris.
		[79] The student who came before me did not make this play, So I show how to take away the dagger in his place. This is the play referred to by the student who came before me, and I take away this dagger as he indicated. And to disarm him I push his dagger downwards and to the right as written above. And then by making a turn with his dagger I will thrust the point into his chest without fail. [In the Getty and Paris, the Scholar's left foot is forward, and his opponent's right foot is forward.]	Now I teach taking the dagger away while wrestling the associate; This first student does not know how to play.		[15v-c] ¶ Questo scolaro che m'è denanzi questo è suo zogho però che questo tore di daga io lo façço in suo logho, che cargo la sua daga inverso la terra dritto per torcergli la daga como sì sopra è scritto. E per la volta che ala daga farò fare, la punta in lo petto gli metterò senza fallare.	[11a-d] Lo scolar ch'è denançi non fa suo zogho, E a tore la daga io mostro in suo logho.	[36r-d] ¶ Tollere nu[n]c doceo daga[m] ludendo sodalj. Hoc q[uam] discipulus nescivit lude[re] primus.
		[80] So that this student cannot dislocate my arm, I pull it towards me and bend it. And the farther I pull it towards me and bend it, the better, because in this way I make the counter to the Remedy Master of the close play of the dagger.			[15v-d] ¶ A ço che questo scolaro non mi possa lo brazzo dislogare, io lo tegno curto e linzinado. E si io li tignisse più lincinado saria anchora meglio perchè i' faço lo contrario del Re e magistro del zogho stretto dela daga.

6th Master

[]   Images	Images	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[81] There is no man who knows more about dagger versus dagger than I. Whether in armor or without, I will gravely injure you, And when fighting at the barrier I truly love To vanquish everyone with these close plays. I am the Sixth [Dagger Remedy] Master and I tell you that this cover is good either in armor or without armor. And with this cover I can cover attacks from all directions and enter into all of the holds and binds, and strike to finish, as the students who follow me will show. And each of my students will make this cover, and then they will make the plays shown after, as they are qualified to do.	I do not recognize the man with whom I can’t play. If we both lead while turning dagger in dagger, Either I would be armed [with both], or by chance we would be without weapons, And that movement is pleasing, provided that it would be a close play.		[16r-a] ¶ Sesto Magistro che son digo che questa coverta è fina in arme e senç'arme. E cum tal coverta posso covrire in ogni parte, e intrare in tutte ligadure e far prese e ferire segondo che gli scolari miei vignirano a' ferire finire. E questa coverta façça çaschuno mio scolaro, e poy faça li zoghi dredo che si pò fare.	[11a-e] De daga a daga non cognoscho homo che sia; In arme e sença gli farò grande vilania: E de conbater in sbara aquello è mio dileto, Che zaschum vinçerò per tal zogho streto.	[36v-a] ¶ Non cognosco ho[m]i[n]em cu[m] quo no[n] lud[er]e possem Si daga[m] i[n] daga[m] v[er]tendo ducim[us] ambo Armatus v[e]l sim vel forte carentibus armis Et placet iste mo[t]us sit strict[us] dum[mod]o lud[us]
		[82] I made the cover of the Sixth [Dagger Remedy] Master who preceded me. And as soon as I have made this grip I will be able to strike you. And because I position my left hand in this way, I will not fail to take away your dagger. I can also put you in the middle bind, which is the third play [3] of the First Dagger Remedy Master. I could also make other plays against you, without abandoning my dagger.			[16r-b] ¶ I' ò fatta la coverta del Sesto Magistro che m'è denanzi. E subito io fici questa presa per ferirte che far lo posso. E a torti la daga non mi mancha per tal modo tegno la mia man stancha. Anchora ti posso metter in ligadura (me-) mezana ch'è lo terzo zogo del primo Magistro çoè rimedio di daga. Anchora d'altri zogi te poria fare senza mia daga abandonare.
		[83] From the cover of my Master which is so perfect, I will strike you in the chest with a half turn of my dagger. I have made this half turn from the cover of my Sixth Master and I have quickly positioned myself to strike you. And even if you were armored I would care little, for in that case I would thrust this dagger in your face. However, as you can see, in this case I have thrust it into your chest because you are not armored and you do not know the close range game.			[16r-c] ¶ La volta ò fatta tegnando la coverta del mio Magistro Sesto, e a ferirte so' stado ben presto. E si tu fossi armado pocha di ti faria cura, che questa daga te meteria in lo volto a misura. Ben che mituda te l'ò in lo petto perché tu non è armado ne' far zogo stretto.	[11b-a] Per la couerta del magistro ch'è tanto perfeto, Cum meça uolta t'ò ferito in lo peto.
		[84] With my Master’s cover and with a half turn to the outside, I can still strike or bind you or take away your dagger. I have not abandoned the cover of my Sixth [Dagger Remedy] Master. I turn my left arm over your right. And moving my right foot at the same time as my left arm I turn myself to the outside. You are now partly bound, and you will have to admit that you will quickly lose your dagger. And I make this play so quickly that I have no concern or fear of your counter. [In the Paris, the Scholar wears a crown, and both he and his opponent have their right feet forward.]			[16r-d] ¶ Del Sesto mio Magistro non habandonay la coverta. Lo mio brazzo stancho voltay per di sopra lo tuo dritto. E concordando lo pe' dritto cum lo brazo stancho voltandome a parte riversa, tu è mezo ligado e la tua daga tu poi dire io l'ò tosto persa. E questo zogo io lo fazo sì subito che d'contrario non temo nè non ho dubito.	[11b-b] Per la couerta del magistro cum meça uolta di fora Ferir e ligar e la daga tore posso anchora.
		[85] From the cover my Master made With this grip and cover I will give you grief. Having made the cover of my Master, I made this grip. And I can strike you whether you are armored or unarmored. And I can also put you into the lower lock of the first scholar of the Fourth Dagger Remedy Master.			[16v-a] ¶ Fatta la coverta del mio Magistro i' ò fatta questa presa. Armado e disarmado ti posso ferire. E anchora ti posso metter in ligadura soprana del primo scolar del quarto Magistro rimedio di daga.	[11a-f] Per la couerta che à fato el mio magistro In questa presa e couerta ti faço tristo.
		[86] Without abandoning the cover of the Sixth [Dagger Remedy] Master, I make this turn [with my dagger]. Your right hand will lose the dagger, and seeing that you have been reversed, my dagger will quickly strike you, and your dagger will be lost to you. Also I can make a turn with my left arm and make you suffer in the lower lock.			[16v-b] ¶ Non abandonando la coverta del Magistro Sesto, i' fazo questa volta, la mano tua dritta per perder e la daga, e vedi che tu la riversi, la mia subito ti ferirà, e la tua daga da ti serà persa. Anchora talvolta cum lo brazo stancho posso fare che in la sotana ligadura ti farò stentare.
		[87] If you and I are both armored, I will thrust the knife into your hand, as you can see. Although I am placed after the counter-remedy to the Sixth Master, I should logically be placed before him, because I am a student of the Sixth [Dagger Remedy] Master and my play belongs to him. And this play makes more sense in armor than unarmored, because if he is armored I can strike him in the hand where he cannot fully protect himself; whereas if he is unarmored, I would aim to strike him in the face or in the chest, or in some other vulnerable place. [This play has been moved to its proper location as given in Fiore's explanation.]			[16v-d] ¶ Ben che sia posto dredo lo contrario del Sesto zogo io vo per rasone denançi de luy, perché io son so scolaro e questo zogo si è suo zoè del Magistro Sesto. E vale più questo zogo in arme che senç'arme, però fiero costuy in la mano perché in quello logo non si pò ben armare, perché se uno è disarmado çercheria de ferirlo in lo volto o in lo petto overo in logo che pezo gl'avenisse.	[12a-a] Siando ti armato e mi armato Tu uidi che lo cortello in la man t'ò ficato.
		[88] With my left hand I will turn you and expose you And with this counter, I will be able to strike you hard. I make the counter-remedy of the Sixth King [Dagger Remedy Master], turning your body with an elbow push, and in this way I can strike you, because with this elbow push that I quickly do, I will be able to defend against many close plays. And this is a particularly good counter-remedy to the all of the holds of the close-range game.			[16v-c] ¶ Lo contrario del Re Sesto io faço penzando lo tuo cubito farò la tua persona voltare e in quello te porò ferire. Però che questo penzere che subito faray de molti zoghi stretti defender si porà. E maximamente è contrario de le prese del zogo stretto.	[11b-d] Cum la man mancha e' ti farò uoltar o discourire E per tal contrario e' ti porò ben ferire.
		[89] With my left hand placed in my defense as shown, I will quickly cause you harm with this counter.				[11b-c] La man stancha ò metuda a tal deffesa, Che questo contrario subito ti farà offesa.

7th Master

[]   Images	Images	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[90] If I am armored this is a good cover to choose, And from here I can enter quickly into the middle bind, And the fight will be over For there is no good defense against it. I am the Seventh [Dagger Remedy] Master and I play with arms crossed. And this cover is better made when armored than unarmored. The plays that I can do from this cover are the plays that came before me, especially the middle bind which is the third play of the first Dagger Remedy Master. Also I can turn you by pushing your right elbow with my left hand. And I can strike you quickly in the head or in the shoulder…	I, well-fortified, make this cover in arms, And suddenly, I will enter into the middle key, which ends all Wars; neither is any strong against the conducting of war, Nor is any opposition able to oppose me.		[17r-a] ¶ Lo Setimo Magistro son che zogo cum le brazze incrosade, e più vale questa coverta in arme che senç'arme. Quello che posso fare cum tal coverta gli miei zogi sono denançi, zoè la ligadura mezana ch'è lo terzo zogo del primo magistro rimedio di daga. Anchora te posso voltar pençandote cum la mia man stancha lo tuo dritto cubito. E poy ferirte in la testa o in le spalle di subito. E questa coverta è più per ligare che per far altro, ed è fortissima coverta contra daga.	[11b-e] Siando armà questa couerta uoio pigliar, E subito in la chiaue meçana uoio intrar, Aquella ch'è finimento de bataya, E contra lei nonn è deffesa che gli uaya.	[36v-c] ¶ Hanc ego tecturam facio munitus i[n] armis Et subito i[n] media[m] clavem q[uae] t[er]mi[n]at om[n]e Bellum, nec [con]tra valet ullus bellica tracta[n]s, Intrabo. nec obesse pot[uit] m[ihi] quisq[ue] reluctans
		[91] In armour this is a very strong cover Because from here you can bind either above or below; One way you go to the lower bind, The other way you go to the upper bind or the middle bind. …And this cover is better for binding than any other cover, and is a very strong cover to make against the dagger. [In the Paris, this Scholar wears a crown.]	That movement certainly prevails over the dagger while held in the cross[ing], And on the other hand it can work above and beneath in armor. This lower play openly goes to the outside Bind. The middle [bind] lies below, or perhaps [the] highest.			[12a-c] In arme aquesto è un fortissimo incrosar Che de sopra e de sota se pò ligar: Aquesto ua ala ligadura sotana E quello de sopra ua ala meçana.	[37r-c] ¶ Pr[a]evalet iste mo[t]us cruce daga[m] ne[m]pe tenentj. Supra nanq[ue] pot[uit] op[er]arj & subter i[n] armis. Vadit ad extrema[m] nexura[m] hic ludus ap[er]te Inferior. Mediana iacet sub forte sup[er]mo.
		[92] You will not be able to put me into the middle bind, Whereas I am going to strike you as I turn you. This is the counter remedy to the plays of the Seventh [Dagger Remedy] Master who came before me. With the push that I make to his right elbow, let me tell you that this counter-remedy is good against all close range plays of the dagger, the poleaxe, and the sword, whether in armor or unarmored. And once I have pushed his elbow I should quickly strike him in the shoulder. [In the Getty, the Master's right foot is forward.]			[17r-b] ¶ Questo è lo contrario del Setimo Magistro che m'è denançi, per la penta ch'io fazo al so destro cubito, Anchora digo che questo contrario si è bon a ogni zogo stretto di daga, e d'azza, e de spada in arme e senç'arme. E fatta la penta al cubito lo ferirò in le spalle vol esser subito.	[11b-f] In la ligadura meçana non son per intrare, Anche son per ferirte in farte uoltare.

8th Master

[]   Images	Images	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[93]   I am the Eighth [Dagger Remedy] Master and I cross with my dagger. And this cover is good both armored or unarmored. And some of my plays are shown before me, and some are shown after me…	In this way, I carry my dagger while fighting during the cross[ing]. Any defense Which the dagger offers does not oppose itself in the play, But I will be strong to lay waste in playing using many moves.		[17r-c] ¶ L'otavo Magistro son e incroso cum mia daga. E questo zogo è bon in arme e senç'arme. E li miei zogi sono posti alchuni denanzi alchuni di driedo. Lo zogo che m'è denanzi zoè lo quarto zogo çoè che fere lo zugadore in la man cum la punta di sua daga per lo simile poria ferir costuy di sotta mano come ello lo fere di sopra. Anchora poria pigliar la sua mano in la zuntura cum la mia man stancha e cum la dritta lo poria ben ferire segondo che trovarete dredo di mi lo nono scolaro del nono Magistro che fere lo zugadore nel petto. Anchora poria fare lo ultimo zogo ch'è dredo abandonando la mia daga.		[37r-a] ¶ Hac cruce porto mea[m] daga[m] luctando. nec obstat Ulla sibi i[n] ludo dantis defensio dag[a]e. Sed multis ludendo mo[t]is vastare valebo
		[94] …In the play that is shown before me, three plays back [72], the Zugadore was struck in his hand with the point of his opponent's dagger. Similarly in this play I could strike downwards to his hand just as in the earlier play I struck upwards to his hand. Also, I could seize his hand at the wrist with my left hand, and then strike him hard with my right hand, just as you will find demonstrated by the ninth student [108] of the Ninth [Dagger Remedy] Master, who strikes the Zugadore in the chest. Also, I could do the last play that follows after [109] where I drop my own dagger and take his.
		[95] I am the counter-remedy to the Eighth [Dagger Remedy] Master that preceded me, and to all of his students… [This counter was moved before [97] and [98] because it is unclear how they relate to the Eight Master.]			[17r-d] ¶ So' ben lo contrario del otavo zogo che m'è dinanzi e di tutti soy scolari. E se io alungo la man mia mancha al suo cubito, penzendolo per força a modo che lo porò ferire ala traversa. Anchora in quello voltare che gli farò poria butargli lo brazo al collo e ferirlo per asay modi che si pò fare.
		[96] After this turn that I make you do I will strike you and force you to the ground. …If I extend my left hand to his elbow, I can push it so strongly that I can strike him obliquely. Also, as I make him turn I can throw my arm around his neck and hurt him in a variety of possible ways.				[12a-b] Per la uolta che presta t'ò fata far Ferendoti in terra ti farò andar.
		[97] This is a guard that is a strong cover in armor or unarmored. It is a good cover because from it you can quickly put your opponent into a lower lock or “strong key.” This is what is depicted by the sixth play [54] of the Third [Dagger Remedy] Master who defends against the reverse hand strike and who uses his left arm to bind the Zugadore’s right arm.			[17v-a] ¶ Questa si è una guardia e si è zogo forte in arme e senç'arme. L'è bona perché la è subita de mettere uno in ligadura de sotto e chiave forte ch'è depenta lo Sexto zogo del terço Magistro che zoga a man riversa che tene lo zugadore ligado cum lo suo brazo stancho lo suo dritto.
		[98] This cover that I make like this with arms crossed is good in armor or unarmored. And my play puts the Zugadore into the lower lock, which is also called the “strong key,” which the scholar who preceded me told you about, namely the sixth play [54] of the Third Master who defends with his right hand against the reverse hand strike. And this play is made similarly to the play that immediately preceded me, but is begun in a slightly different way. And our counter–remedy again is the elbow push. [The Master in the right image is missing both garter and crown.]			[17v-b] ¶ Questa coverta che io fazzo a questo modo cum li brazzi incrosadi, si è bona in arme e senç'arme. El mio zogo si è di metter questo zugadore in la ligadura di sotto zoè quella ch'è chiamada chiave forte in quella che dise lo scolaro che m'è denanzi zoè in lo Sesto zogo del terço Re che zoga cum la mano dritta a man riversa. E questo zogo si fa similemente che se fa questo primo che m'è denançi ben ch'el sia per altro modo fatto. E llo nostro contrario si è a pençere ne lo cubito.

9th Master

[]   Images	Images	Completed Translation (from the Getty and PD) by Colin Hatcher	Draft Translation (from the Paris) by Kendra Brown and Rebecca Garber	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[100] From this grip that I have I can do many plays. Take away the dagger, break, strike or bind. And the quickest is to take the dagger from your hand, so as to avoid any risk of harm from the player. I am the Ninth King [and Dagger Remedy Master] and I no longer have a dagger. And this grip that I make from the low attack is similar to the grip made by the Fourth King [and Dagger Remedy Master], only this one is made against the low attack instead of the high attack, and my plays are not the same as his. This grip is good whether in armor or unarmored, and from it you can make many good strong plays, as shown below. Whether in armor or unarmored there is no doubt of their effectiveness.			[17v-c] ¶ Lo nono Re son e più non è di daga e tal presa che io fazo de sotto tale presa fa lo Quarto Re di sopramano ch'io faço di sotta. Ma gli miei zogi non si fano cum gli soi rigotta???. Questa presa vale in arme e sença che io posso fare zogi assai e forti. E maximamente quelli che mi fano seguito. In arme e sença di loro non è dubito.	[12a-d] Per questa presa che i' ò asay zoghi posso far: Tore la daga ronper ferir e ligar; E la più presta si è a tore la daga de mano Per non receuere dal conpagno nesun ingano.
		[101] If I rotate the dagger close to your elbow, Your dagger will be mine for certain. I have followed on from the presa of the Ninth [Dagger Remedy] Master. Taking my right hand from the grip, I seize your dagger as shown and I rotate it upwards close to your elbow. And I will then thrust the point into your face for certain, or I will deal with you as the next student will demonstrate.			[17v-d] ¶ Lo mio Magistro Nono cum la presa ch'ello ha fatta quella ho seguita lassando la mia mano dritta dela presa, pigliai la tua daga como io fazo per apresso lo tuo cubito gli darò volta in erto. La punta ti meterò in lo volto per certo. Segondo che lo scolar fa chi m'è dredo in quello modo ti farò come i' credo.	[12a-e] Si io uolto la daga per apresso tuo cubito, Tua daga serà mia, de zò non dubito.
		[102] The first student of this Master Takes away the dagger and makes this play. I complete the play of the student who came before me, and from his grip this is how he should finish his play. Other students will make different plays from his grip. Watch those who follow, and you will see their techniques.	The student will perhaps be able to make this play of that master [of yours], And would have snatched the powerful dagger away. [In the Paris, the Scholar wears a Master's crown.]		[18r-a] ¶ Questo zogo che fa lo scolar che m'è denanzi io fazzo suo complimento perché de la sua presa qui si finisse lo zogo suo. Ben che gl'altri soy scolari farano de tal presa altri zogi. Guardate dredo e vederete gli loro modi.	[12b-c] De questo mio magistro lo primo suo scolar Pò tore la daga e questo zogho pò far.	[37v-b] ¶ Hu[n]c ludu[m] pot[er]it istius forte mag[ist]ri Discipulus fac[er]e. daga[m] q[ue] auf[er]are pote[n]tem
		[103] I can dislocate your arm like this, And I can also bind you in the lower bind. My Master's grip has already been demonstrated. Here my right hand leaves his grip. And if I grip you under your elbow, I can dislocate your arm. And also from this grip I can put you into a bind, namely the “strong key” [lower bind], which is one the third King and [Dagger Remedy] Master showed in his plays In his sixth play [38] he shows you how this one is done. [In the Getty, the Scholar's right foot is forward.]	I can truly dislocate your shoulder in this same way; Furthermore, I can lead to using the lower key. [In the Paris, the Scholar wears a crown.]		[18r-b] ¶ La presa del mio Magistro quella ò fatta vista, e la mia man dritta lassai dela sua presa, e sì t'ò preso sotto lo tuo dritto cubito per dislogarte lo brazzo. E anchora cum tal presa ti posso metter in ligadura zoè in chiave forte, che lo terço Re e magistro reze soi zog(h)i. In lo Sesto zogho sono gli soi modi.	[12b-b] A questo modo ti posso lo braço dislogare; Anche in la chiaue desoto ti poria ligare.	[38r-c] ¶ Denodare m[odo] si[mi]li t[ibi] nempe lac[er]tum Inferio[r]e etiam clave c[on]nect[er]e possum.
		[104] If I can give your arm a half turn, You will quickly find yourself in the lower bind. I have arrived at this position from the grip of my Master [Ninth Dagger Remedy Master], and I do not remain in this grip but move into the lower bind, also known as the “strong key.” This I can do without difficulty, and I can then easily take your dagger. [In the Getty, the Scholar's right foot is forward.]	I prepare to take away your life using the Lower bind, if by chance I can twist your shoulder. [In the Paris, the Scholar wears a crown.]		[18r-c] ¶ Per la presa del mio magistro io son venudo in questa. E di questa presa non farò resta che te metterò in ligadura sottana çoè in chiave forte, che a mi è pocha di briga. Ben che la tua daga ben possa avere senza fadiga.	[12b-a] Si a tuo braço posso dare meça uolta In la ligadura de soto la uita ti serà tolta.	[38r-a] ¶ Inferio[r]e tibi nexura tollere vita[m] Pr[a]eparo / si possu[m] t[ibi] volue[re] forte lac[er]tu[m].
		[105] Without releasing my grip I enter underneath your arm, And from behind your shoulder I will hurt you grievously. I have not abandoned the grip of my Master [the Ninth Dagger Remedy Master], but I have quickly entered under his right arm, to dislocate it with this grip. I can do this whether he is wearing armor or not, and once I have him held from behind and in my power, I will show him no mercy as I hurt him.	Behold! I crossed beneath the shoulder during play, And furthermore, I left behind the taking. But I will burden the back.		[18r-d] ¶ La presa del mio magistro non ò abandonada. Ancho subito intrai per sotto lo suo brazzo dritto per dislogargli quello cum tal presa. O armado o desarmado questo gli faria. E quando io lo tegnirò dredo de lu' in mia bailia per mal fare non gli renderò cortesia.	[12a-f] Non lassando la presa pasay per soto tuo braço; De dredo le tue spalle ti farò impaço.	[37v-c] ¶ En ego transivj subt[er] ludendo lac[er]tum. Captura[m]q[ue] et[iam] liquj. S[ed] t[er]ga gravabo.
		[106] Although this play is not often employed, It can be done well, if you practice it. I did not abandon the grip of my Master [the Ninth Dagger Remedy Master] and the Zugadore saw that he could not break my grip on his arm. And as he pressed downwards towards the ground with his dagger, I quickly reached through his legs from behind and grabbed his right hand with my left hand. And once I had a good grip on his hand, I passed behind him. And as you can see in the picture, he cannot dismount his own arm without falling. And I can now also do the play that follows me. If I let go of the dagger with my right hand, and I grab his foot I will send him crashing to the ground, and I cannot fail to take his dagger.	It is granted that this play could scarcely be learned by this art, Yet this one honestly succeeds by means of the practiced man.		[18v-a] ¶ La presa del mio magistro non abandonai in fin che questo zugador vidi (vidi) che non lassava la presa. E luy se inchina cum la daga in verso terra. E io subito pigliai la sua mano cum la mia mancha per enfra le soi gambe. E quando la sua mano hebbe ben afferada dredo de lu' passai. Como(mo) possete vedere ch'ello non si pò discavalcare sença cadere. E questo zogho che m'è dredo posso fare. La man dritta de la daga lassa e per lo pe' lo vegno a pigliare per farlo in terra del tutto andare e a torgli la daga non mi pò mancare.	[12b-d] Ben che aquesto zogho non sia tropo usado, Ello uen ben fato a chi l'à pratichado.	[43r-a] ¶ Iste licet ludus vix sit hac cognit[us] arte Exp[er]to t[ame]n ip[s]e viro succeddit honeste.
		[107] The student who preceded me performed the first part of this play, and I make the finish by driving him into the ground, as has already been explained. Although this play is not commonly performed in the art, I wish to show you that I have a complete knowledge of it.			[18v-b] ¶ Questo scolaro che m'è denanzi à fatto lo principio, e io fazo del so zogho la fine de mandarlo in terra como ello ha ben ditto. Perché questo zogho non habia corso in l'arte volemo mostrare che in tutta lei habiamo parte.
		[108] I made the cover of my Master [the Ninth Dagger Remedy Master] and then quickly I gripped him in this way with my left hand. And then I drew my dagger and thrust it into his chest. And if I do not have time to draw my dagger, I will make the play that follows me.			[18v-c] ¶ Del mio magistro fese sua coverta e subito cum mia mano stancha presi la sua a questo modo. E cum la mia dagha gli fazo una punta in lo suo petto. E si la daga mia non fosse sufficiente faria questo zogo che a mi è seguente.
		[109] With this play I complete the play of the student who preceded me, who left his [sheathed] dagger where it was and instead decided to take your live dagger. I have already explained how this play is performed.			[18v-d] ¶ Questo zogo complisco de questo scolaro che m'è denanzi che lassa la sua daga cativa e vole la tua bona. questo che io ti fazo a luy tu la (prisona??? rasona???).
	[No Image]	[110] The Counter-remedy to this Ninth [Dagger Remedy] Master's play is as follows: when the Zugadore with his left hand has seized your right hand that has the dagger, then you should quickly seize your dagger near the point and strongly draw or pull it back towards you so that he has to let go of it, or alternately press the dagger point into his elbow to make him think twice.			[18v-f] ¶ Lo contrario dello Nono Magistro si è questo che quando lo zugadore à presa la man dritta cum la daga cum la sua man stancha che subito lo zugadore pigli la sua daga a presso la punta e tragala overo tiri in verso di si sì forte che la convegna lassare overo gli daga ponta al chubito per farlo svariare.

Dagger vs. Sword

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[1] I know how to cover cuts and thrusts with my dagger. Come one by one, that this play will not fail. And my Scholar will show the proof: Doing it according to what you find depicted. Here begin sword against dagger plays, and you will have a significant advantage if you know how to do these. The Master waits in a guard named Boar’s Tusk, a guard that will protect me from both cuts and thrusts. As I beat back my opponent’s sword, I pass backwards with my right foot, for I know the Narrow Play so well it cannot fail me. Attack me one by one as you wish. None of you will escape as I destroy each of you with this turn of my dagger.	Here the sword and the dagger begin to play. The advantage is great to he who knows how to do it. The Master awaits in this guard with the dagger, and the guard is called Boar's Tusk. Come cuts or thrusts, I know how to guard myself from these: I will withdraw my right foot as I deflect. I understand the narrow play so well that I cannot possibly fail. Come one by one whoever wants to work against me, and if you don't flee from me, I will waste you in one turning. [In the Morgan, the Master is missing his crown.]	[18r-d] Aqui comenza spada e daga a zugare, lo avantazo si e grande a chi lo sa fare. Lo magistro spetta in questa guardia cum la daga. E lla guardia se chiama dente de zenghiaro vegna tagli e punte che di quelle me so guardiar lo pe dretto cum lo rebatere indredo lo faro tornar. lo zogo stretto so a mente e non lo posso falar. A uno a uno vegna chi contra mi vole fare, che se ello non me fuzi. Io lo guastaro in uno voltare.	[19r-a] ¶ Qui cominza Spada e daga a zugare. Lo vantazo è grande a chi lo sa fare. Lo Magistro 'spetta in questa guardia. E la guardia se chiama dente di zenghiaro. Vegna tagli e punte che di quelle mi so guardare. Lo pe' dritto cum rebatter in dredo lo farò tornare. Lo zogo stretto so a mente e non lo posso fallare. A uno a uno vegna chi contra me vol fare. Che se ello non me fuzi io lo guastarò in un voltare.	[35a-a] Cum mia daga so de taglio e punta courir. A uno a uno uegna che lo zogho non ò a falir: E lo mio scholar lo mostrarà per proua: Façalo segondo che depento si troua.
		[2] The proof is found depicted here: You see that I can strike you without difficulty. I have made the cover against the thrust that my Master showed you, and now I quickly strike my opponent in the face or the chest. With dagger versus sword you should always aim to close with your opponent. Here, since I am at close range I can strike you effectively, and like it or not, you will have to endure it. [In the Getty, the Scholar's left foot is outside of (behind) his opponent's.]	This is made plain in the picture, constructed with great care, having been pointed out by a witness. And henceforth you will see how I am able to subdue utterly with the dagger. My Master makes this cover against the thrust and immediately strikes to the face or to the chest. And with dagger against sword, I always seek the narrow play. Here I am in the narrow and I can strike you well. Like it or not, you must suffer. [In the Paris, this Scholar is the Master and his left foot is outside of (behind) his opponent's.]	[18v-a] Lo mio magistro contra la punta fa tal coverta e subito fieri in lo volto overo in lo petto. E cum daga, contra spada, sempre vole zogo stretto. Aqui son stretto e ti posso ben ferire. O voi o non tu lo convene sofrire.	[19r-b] ¶ Lo mio magistro contra la punta fa tal coverta e subito fieri in lo volto overo in lo petto. E cum daga contra spada sempre vole zogo stretto. Qui son stretto e ti posso ben ferire, o vogli o no tu lo conven sofrire.	[35a-b] La proua aqui se troua dipenta: Tu uidi ch' e' te posso ferir sença stenta.	[20r-a] ¶ Hoc patet i[n] textu pictura teste docente. Hincque vides q[ue] daga [con]tunde[re] possu[m].
		[3] The sword has won against the dagger here, Because I have turned you and pushed you. If the attacker in the previous picture had known how to defend himself, he would have reached across with his left hand and seized the opponent behind his left elbow, turning him in the manner shown here. Then he would have no need of a counter to the remedy of the dagger Master.	Your dagger is not strong; I set your back in motion so that I have compelled [you] to turn Around. You will not be able to reveal to me [your] sad face. If the Player that came before me had known to do this defense, he would have put his left hand to the Scholar behind his elbow in this way, turning him in the way that is demonstrated here. Then I should have had no need to make the counter to the Master who is in guard with the dagger. [In the Morgan, the Master is missing his crown.]	[18v-b] Se lo zugadore che m'e denanci avesse sapindo fare tal defesa. S'ello avesse la mane stancha al scolaro posta aquesto modo dredo lo suo cubito voltandolo per tal modo che aqui se monstra. A me non bisognava far contrario dello magistro che sta cum la daga in posta.	[19r-c] ¶ Si lo zugadore che m'è denanci avesse sapuda fare tal deffesa, se ello avesse la mano stancha al scolaro posta a questo modo dredo lo suo cubito voltandolo per tal manera che qui si mostra a me non bisognava far contrario del magistro che sta cum la daga in posta.	[35a-c] La spada qui cum la daga à uinto, Però che io t'ò uoltado e spinto.	[20r-d] ¶ Nil valuit t[ibi] daga / cito ta[m] t[er]ga coegi Volue[re]. / nec vultu[m] pot[er]is m[ihi] pande[re] triste[m].
		[4] If someone would attack me with a sword to my head, I would make this cover with a quick catch; I would turn him with the left hand And then I would strike with a dagger in his back. If the dagger Master is attacked with a downward strike to the head, he passes forward immediately making the cover shown, turns his opponent by pushing his elbow, and then strikes him immediately. He can also bind the opponent’s sword with his arm, as shown in the fourth play of the sword in one hand. You will also find this Middle Bind shown in the third play of the dagger, which is made a hands-breadth from the face.	And whoever would have struck the sword into me and under the crown of the head, I will have made this covering, the elbow having been seized by the left [hand]; And using my own hand, the back of the one playing would be turned. Thence the dagger would have struck, his kidneys having been penetrated. If, to the Master that stands in guard with the dagger against the sword, someone comes attacking with a downward blow to his head, he steps forward and he makes this cover quickly, and from the turn [the Master] pushes his elbow and then he can immediately strike him. Also, he can bind the sword with his arm in the way that the fourth play of the sword in one hand is done, and you can also find the Middle Bind in the third play of the dagger (where the hold is a hand's width from the face).	[18v-c] Se allo magistro che sta in posta cum la daga contra la spada gli vene trato de fendente per la testa. Ello passa innanzi, e questa coverta ello fa presta e dagli volta penzando lo cubito. E aquello po ferir ben subitto. Anchora la spada cum lo brazo gli po ligare, per quello modo che lo quarto zogo de spada d'una mano sa fare, e anchora in la daga allo terzo zogo troverai, aquella ligadura mezana. Che apresso lo volto sta serada a una spanna.	[19r-d] ¶ Si a lo magistro che sta in posta cum la daga cum spada gli vene tratto de fendente per la testa, ello passa inançi e questa coverta ello fa presta e dagli volta penzando lo cubito. E quello pò ferir ben subito. Anchora la spada cum lo so brazo gli pò ligare per quello modo che lo quarto zogo di spada d'una mano sa fare. E anchora in la daga allo terço zogo troverai quella ligadura mezana che apresso lo volto sta serada ad una spana.	[35a-d] Si uno me trasese cum la spada per la testa, Aquesta couerta faria cum la presa presta; Cum la man stancha io lo uoltaria E cum la daga in la schena lo feriria.	[20v-b] ¶ Inijceret quicu[m]q[ue] m[ihi] [sub?] scilicet si u[r]tice spata[m] / Tectura[m] hanc facere[m] cubitu[m] [pre]nde[n]do sinist[ra]. Atq[ue] manu p[ro]pria ludentis t[er]ga rota[r]e[m]. Inde suos renes daga[m] penetra[n]te ferire[m].
		[5] Because you have not struck me in the back, I make this counter without trouble.				[35b-a] Perchè tu non m'abij a ferir in la schena Aquesto contrario faço ben sença pena.
		[6] This match is one of dagger to sword: The sword invites against the dagger that he holds, And he will demonstrate through his Scholar The way in which this play may be done. This is one way to defeat dagger against sword. The man with the dagger grabs the man with the sword by the collar and warns: “I will strike you with my dagger before you can draw your sword from its scabbard.” The man with the sword says “Try and strike me then, for I am ready.” And as the man with the dagger attacks, the man with the sword responds in the manner shown in the next picture.	This is a match which is of the dagger against the sword. He who has a dagger and holds the swordsman by the chest says "I will strike with my dagger before you draw your sword from the scabbard." He of the sword says "Attack, for I am ready." And with that, the swordsman does that which is depicted hereafter. [In the Morgan, the Master is missing his crown.]	[18v-d] Questo e uno partito ch'e de daga contra la spada Aquello che ha daga e tene aquello de la spada per lo cavezo dise io te feriro cum mia daga innanzi che tu cavi la spada dela guagina. Quello della spada dise pur tra che sono aparechiado. E cum quello dela spada fa segondo ch'e dipento aqui de dredo.	[19v-a] ¶ Questo è un partido de daga contra spada. Quello che à daga e tene quello della Spada per lo cavezo, dise io te ferirò cum mia daga inanci che tu cavi la Spada dela guagina. E quello de la spada dise tra' pure che son aparechiado. E come quello de la daga vol trare quello de la spada fa segondo ch'è depento qui driedo.	[35b-b] De daga a spada si è el partito La spada contra la daga ten lo inuito, E mostrarà per lo suo scholar A che modo quello zogho se pò far.
		[7] In this fashion the sword defends against the dagger: I will strike you with the sword; the dagger can do nothing. When the man with the dagger raises his arm to strike me, I immediately press the sheath of my sword against his dagger arm in such a way that his arm is jammed. I then quickly draw my sword, and I can strike him before he has a chance to even touch me with his dagger. I could also take the dagger from his hand using the method of the First Dagger Remedy Master, or I could put him into the middle bind, using the third play of the First Dagger Remedy Master.	When he lifts his arm to give it to me with the dagger, instantly I put my scabbard on his dagger arm in such a way that he cannot give me grief. And quickly I draw my sword, and I can strike before he can touch me with his dagger. Also, I can take the dagger from his hand in the same way as does the First Master of dagger. And again, I can bind him in the Middle Bind, which is the third play of the dagger (of the First Master who is Remedy).	[17r-a] Quando costui leva lo brazo per darme della daga. Subito io gli o posta la da guagina apozada allo brazo suo della daga per modo che non mi po far impazo. E subito io sguaino la mia spada, e si lo posso fer inanzi ch'ello me possa tochar cum sua daga. Anchora poria torgle la daga dela mano per lo modo che fa lo primo magistro de daga. Anchora poria ligarlo in la ligadura mezana, ch'e lo tezo[!] zogo della daga, dello primo magistro ch'e remedio.	[19v-b] ¶ Quando costuy leva lo brazo per darme de la daga subito gl'ò posta la guagina apozada al suo brazo d'la daga per modo che no mi pò far impazo. E subito sguagino la mia spada, e sì lo posso ferire inançi ch'ello mi possa tochare cum sua daga. Anchora poria torgli la daga de la mano per lo modo che fa lo primo magistro de daga. ¶ E anchora porave ligarlo in ligadura mezana che lo terço zogo d'la daga del primo magistro ch'è rimedio.	[35b-c] Per questo modo la spada da la daga se difende: Cum la spada te ferirò; la daga non pò far niente.
		[8]   Here is another way for the sword to defeat the dagger. In this one I hold my sword with its point on the ground, as you see drawn here, and I say to the man with the dagger, who has grabbed me by the collar: “Go ahead and attack me with your dagger from this position. And when you try I will strike against your arm with my sword still in the scabbard, then I will draw my sword as I pass backwards with my right foot, and in this way I will be able to strike you with my sword before you are able to strike me with your dagger.	That best moving of what will have been played, and [is] careful in the art. I would neither cover nor likewise strike the point to that left unprotected.		[19v-c] ¶ Aquesto si è un altro partito de spada e daga. Quello che tene la spada cum la punta in terra per modo che vedete dise a quello de la daga che lo tene per lo cavezo: Tra' pur cum la daga a tua posta che in quello che tu vorà trare cum la daga io sbaterò la mia spada sopra lo tuo brazo, e in quello sguaginerò la mia spada tornando de lo pe' dritto indredo, e per tal modo ti porò ferire inanci cum mia spada che tu mi fieri cum tua daga		[20v-d] ¶ Optimus iste mov[en]s ludendi et cautus i[n] arte. Neq[ue] tega[m] feriamq[ue] simul nuda[n]do mucrone[m].
		[9] This is another odd match: The sword makes an invitation against the dagger. The sword will make the play of the Scholar And will demonstrate that the dagger can do nothing. This is a similar defense to the one shown before, although it is done slightly differently. As the man with dagger raises his arm to strike, I quickly raise my sheathed sword up under his dagger, aiming the point of my sheathed sword into his face, while at the same time passing back with my lead foot. From here I can strike him as you see drawn in the next picture. [In the Getty, the Scholar wears a crown.]			[19v-d] ¶ Questo è simile partito a questo qui dinanzi. Benché non si faça per tal modo ch'è ditto dinanzi. questo zogo se fa per tal modo ch'è ditto qui dinanzi che quando questo cum la daga leverà lo brazo per ferirme io subito leverò la mia spada in erto sotto la tua daga metendote la punta de la mia guagina de la spada in lo volto tornando lo pe' ch'è dinanzi indredo. E chossì te posso ferire segondo ch'è depinto dredo a me.	[35b-d] Questo è un altro stranio partito: La daga contra spada si fa inuito. La spada farà el çogho del scholar E mostrarà che daga nient pò far.
		[10] I will strike the eye in your face with my scabbard And I won't refrain from striking you with the sword. This is the continuation of the play of the Master who made the preceding defense. And I am performing it exactly as he said to do it. And as you can plainly see, you will give me no trouble with your dagger.			[20r-a] ¶ Questo zogo si è del Magistro che fa lo partito qui dinanci. Che segondo ch'ello ha ditto per tal modo io faço. Che tu vedi bene che tua daga tu no mi poy fare nissuno impazo.	[36a-a] Cum la guaghina te ferirò l'ochio de la testa E cum la spada de ferirte non farò resta.

Sword in One Hand

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[1] Here are three opponents who all want to kill this Master. The first aims to kill him with a thrust. The second intends a cut. The third will throw his sword at the master like a spear. If the Master can perform a mighty deed and avoid being killed, then God will have indeed blessed him with great skill.	We are three players that wish to strike this Master. One would strike with the point, another the edge, and another wants to throw his sword against the aforesaid Master, so that it will be a great feat indeed if this Master is not killed. May God make him suffer.	[17v-a] Noii semo tri zugadori che volemo ferir questo magistro. Uno gle di trare de punta l'altro de taglo, l'altro vole lanzare la sua spada contra lo ditto magistro. Si che bene sera grande fatto ch'ello non sia morto questo magistro. Che dio lo faza ben tristo.	[20r-c] ¶ Noy semo tre zugadori che volemo alcider questo magistro. Uno gli dè trare di punta, l’altro di taglio, l’altro vole fatt lanzare la sua spada contra lo ditto magistro. Sì che ben sarà grande fatto ch’ello non sia morto che dio lo faza ben tristo.
		[2] Whether throwing the sword or striking cuts and thrusts, Nothing will trouble me because of the guard that I hold. Come one by one whoever wants to go against me Because I want to contend with them all. And whoever wants to see covers and strikes, Taking the sword and binding without fail, Watch what my Scholars know how to do: If you don't find a counter, they have no equal. You are cowards and know little of this art. You are all words without any deeds. I challenge you to come at me one after another, if you dare, and even if there are a hundred of you, I will destroy all of you from this powerful guard. …	If a wild one throws a sword, or if The other would prepare to cut to pieces, still that one would only favor me with the point; This caution teaches, in order that I would not be ridiculed or alarmed. You are wicked and of this art you know little; you do things that words cannot describe. Come one by one whoever knows what to do and is able, and even if you are a hundred I will waste all of you with this guard (which is so good and strong). …	[17v-b] Voi sete cativi e di questa arte save pocho. Fate gli fatti che parole non ha logo, vegna a uno a uno chi sa fare e po. Che se voi fosse cento tuti ve guastaro per questa guardia ch'e cosi bona e forte. Io acresco lo pe ch'e denanci uno pocho fora de strada. E cum lo stancho io passo alla traversa. E cum quelo passar io me covro rebatendo le spade, ve trovo discoverti, e de ferire ve faro certi. E si lanza o spada che me ven lanzada, tute le rebatto come i'o ditto passando fora de strada, segondo che vui vederite gli mie zoghi de dredo, de guardagli ch'io ven prego, e pur cum spada a una man faro mia arte	[20r-d] ¶ Voy seti cativi e di quest’arte savete pocho. Fate gli fatti che parole non ano loco. Vegna a uno a uno chi sa fare e po’ che se voi fossi cento tutti vi guasterò per questa guardia ch’è chossì bona e forte. Io acresco lo pe' ch’è denanci un pocho fora de strada e cum lo stancho io passo ala traversa. E in quello passare incroso rebattendo le spade ve trovo discoverti e de ferire vi farò certi. E si lanza o spada me ven alanzada, tutte le rebatto chome t’ò ditto passando fuora di strada, segondo che vedreti li miei zochi qui dreto, de guardagli che v'in prego. E pur cum spada a una mano farò mia arte como n’è dereto in queste carte.	[13a-c] Per lançare de spada e trare tayo e punta Per la guardia che io ho niente me monta. Vegna a uno a uno chi contra uole far, Chè cum tuti io uoio contrastar. E chi uole uedere couerte e ferire, Tor de spada e ligadure senza falire, Guardi ghi mie scolari corno san fare; Se elli non trouan contrario non àno pare.	[10r-d] ¶ Ensis sive ferus iaculet[ur] / scindere sive Pr[a]eparet alter / adhuc cupiat me cuspide solu[m] / H[a]ec cautela docet / ne n[un]c ridendo pavesca[m].
		[3] With a step, I have made a cover with my sword And it has quickly entered into your chest. …I will advance my front foot a little off the line, and with my left foot I will step crosswise, and as I do so I will cross your swords, beating them aside and leaving you unprotected. I will then strike you without fail. And even if you throw your spear or sword at me, I will beat them all aside in the same manner I described above, stepping off the line as you will see me demonstrate in the plays that follow, and which you would do well to study. And even though I am only holding the sword in one hand, I can still perform all of my art, as you will see demonstrated in this book.	Taking a step, I cover my limb using my raging sword; Thence I will penetrate your breast immediately with it. …I advance my forward foot slightly out of the way, and with my left I step to the side. I cover myself during that step, beating your swords and finding you uncovered, and I will be certain to strike you. And whether lance or sword is thrown at me, I will beat them all just as I have said, stepping out of the way according to that which you see in my plays hereafter. Watch what I show to you, and with the sword in one hand I will make my art.			[13a-d] Cum passo ò fata couerta cum mia spada E aquella in lo peto subito t'è intrada.	[10v-b] ¶ Ense me[?] / faciens passu[m] tego me[m]bra furentj. Inde [vium?] pectus penetrabo p[ro]tinus illo.
		[4] In order to wound you again with this, my point, I have added my left hand to the sword. This is a play where if you wish to make this kind of thrust, you should be armoured. If your opponent strikes at you with a thrust or a cut, you first make your cover, and then quickly counter attack as shown. [The Getty resembles the Pisani Dossi, including the lack of armor.]	In order to do it again, I will strike a bargain with you using my gloomy point; Then the left hand retains that sword with strength. This is a play in which he who wants to thrust the point wants to be armored. When someone strikes at you with the point, or with the edge, make the cover and immediately thrust this in the way that is depicted. [The Paris resembles the Pisani Dossi, including the lack of armor.]	[19r-a] Questo e uno zogo che vole essere armato chi vole metere tal punta. Quando uno te d tra de punta, o de taio, tu fai la coverta, e subito metegli questa per lo modo ch'e dipento.	[21v-c] ¶ Questo è un zogo che vol esser armado chi vol metter tal punta. quando uno ti tra' di punta e de taglio, tu fay la coverta, e subito mettigli questa per lo modo ch'è depinto.	[13b-a] Per ferirte anchora cum questa mia punta La man sinistra a la spada si ò zunta.	[10v-d] ¶ Ut[??] iteru[m] feriam nu[n]c te cu[m] cuspide mestu[m] / Le[va?] manus retinet ense[m] cu[m] [V]irib[us] istu[m].
		[5] Here I have struck you in your head From the cover that I have made so quickly.	Here I struck the forehead, causing a bloody wound, Because in giving this [wound], I cover myself in rapid motion with a cover.			[13b-b] Aqui io t'ò ferido in la tua testa Per la couerta ch' i' ò fata acosì presta.	[11r-a] ¶ Hic ego sanguineo p[er]cussi vulne[re] fronte[m]. Hoc q[uia?] me texi volueri cu[m] tegmi[n]e dante[m].
		[6] Again I have struck your head without stepping Because of the good cover that I knew to make. I have rendered you completely unprotected, and now I will easily strike you in the head. And if I choose to pass forward with my rear foot, I can perform close range techniques against you, such as locks, dislocations and grapples.	I have found you completely uncovered and I have struck you in the head for certain. And if I want to step forward with my rear foot, I can make many narrow plays against you (that is, the binds and breaks of grappling).	[17v-d] In tuto t'o trovado discoverto, e in la testa t'o ferido per certo. E s'io cum lo mio pe de dredo voio innanzi passar asai zoghi stretti poria contra ti fare, zoe in ligadure roture, e in abrazare.	[20v-b] ¶ In tutto t’ò trovado discoverto e in la testa t’ò ferido per certo. E se io cum lo mio pè di dredo voglio inanci passare assay zoghi stretti porìa contra te fare zoè in ligadure, rotture e abbrazare.	[14a-a] Anchora la testa t'ò ferida sença passare Per la bona couerta ch'i' ò sapuda fare.
		[7] In this way, I uncover you to strike you with my point To defend myself from you from each neglect and shame. I have done what my teacher told me to do. That is to say I stepped off the line making a strong cover. And having rendered my opponent unprotected I now easily place a thrust into his face. And with my left hand I will demonstrate that I can take his sword, and send it to the ground.	I uncover you in order to strike a bargain with the point extended. I will avenge after this; The soul having been ground into small pieces, we will be perfected. I have done that which the Master has said—that is, I stepped out of the way making a good cover. And I found the player uncovered such that I certainly want to thrust my point in his face. And I want to try this with my left hand, to see if I can make your sword hit the ground. [In the Paris, the Scholar wears a crown.]	[17v-c] Quello che ha ditto lo magistro io l'o ben fatto, zoe ch'io passai fora de strada fazando bona coverta. E lo zugadore trovo discoverto. Si che una punta gle voio metere in lo volto per certo. E cum la man stancha voio provare. Se la tua spada posso in terra fare andare.	[20v-a] ¶ Quello che à ditto lo magistro io l’ò ben fatto: zoè ch’io passai fora de strada facendo bona coverta. E lo zugadore trovo discoverto sì che una punta gli voglio metter in lo volto per certo e cum la man stancha voglio provare se la tua spada posso in terra far andare.	[13b-d] Per tal modo te discrouo per ferirte de punta Per uendegarme de ti d'ogni inçuria e onta.	[11v-b] ¶ Detego te ut feriam p[re]tenta cuspide. Post h[a]ec Viride[n?]am frende[n]te a[n]i[m]o faciem[us] ad Unguem.
		[8] Because of the hand that I have put beneath your hilt, If your sword doesn't hit the ground, call me feeble.   From this position I can easily strike or stab you. And if I advance my front foot forward, I can lock you in the middle bind, as shown in the third play of the first Remedy Master of the dagger. Alternately I can do the play shown next, and strike and lock you as shown there. [In the Getty, the Scholar's opponent has his right foot forward.]	You would mock me with your voice, and I shall call you blind; If your sword, when I catch it by the hilt openly, Will not fall to the ground, your weakness will remain henceforth.		[20v-c] ¶ De taglio e de punta ben te posso ferire. Anchora se acresco lo pè ch’è denanzi io ti posso ligare in ligadura mezana ch’è denanzi dipenta al terzo zogo del primo magistro rimedio di daga. Anchora questo zogo che m’è dredo io ti posso fare e per tal modo ti posso ferire e anchora ligare.	[13b-c] Per la ma ne ch' i' ò posta sotto tuo elzo, Si tua spada non ua in terra dime guerzo.	[11r-d] ¶ Derideas me voce tua / cecum[que] vocato / Si tuus hic ensis | capulo que[m] prendo patenter No[n] cadet i[n] te[r]ram. nudus tu d[e]inde maneto
		[9] With my left arm, I have bound your right And will you be presented with many strikes. Here both your sword and your arm are effectively trapped, and you will not be able to escape before I strike you as described, because you have shown you know nothing of this play.			[20v-d] ¶ La tua spada e 'l tuo brazo ò ben inpresonado e no te’n poy fuzire che non ti fiera a mio modo perché tu mostra saver pocho di questo zocho.	[14a-c] Cum lo mio braço stancho lo drito t'ò ligado E de molte feride saray apresentado.
		[10] Because of the way in which I have caught your sword, Quickly I will have your hand empty. Here I can easily strike you while taking your sword, and by rotating it in your hand I will make you drop it as the only way to prevent yourself being thrown to the ground.	I decide to pluck the sword out of your slow hands; This more-clever hand snatched that of yours in such a manner.		[21r-a] ¶ Qui te posso ben ferire e la tua spada tore senza fallire voltandola in torno la mane ti farò riversare??? per modo che la spada te convien lassare.	[14a-b] Per lo modo ch'i' ò presa la tua spada Tosto della mane te l'auerò cauada.	[11v-d] ¶ Arbitror a manib[us] anse[m] t[ibi] carpere lentis / Callidior manus h[?] rapuit t[ibi] tal[ite]r illu[m]
		[11] I will make you turn with the left hand And in that, I want to give you a great blow. Here I can strike you from the front, but this is not enough. By gripping your elbow I make you turn away, then I wrap my sword around your neck from behind, and you will have no defense to this.	At any time, with the hand, I would have turned the elbow, turning my sword around. I make you covered in blood. I cannot be deceived.		[21r-b] ¶ Qui ti posso ferire denanzi e questo non mi basta, per lo cubito che io ti penzo io ti farò voltare per ferirte di dredo e la spada al collo ti porò butare sì che di questo non ti poray guardare.	[14a-d] Cum la man mancha io te farò uoltare E in quello un grande colpo ti uoio dare.	[12r-d] ¶ Cum[que] manu volua[m] cubitu[m] voluendo aventu[m] Te faciam mucrone meo. nec falle[re] possum.
		[12] Because of the turn that I have given you by your elbow I believe I have cut you across the throat. In the previous drawing I told you I would turn you and then quickly wrap my sword around your neck, as shown here. And if now I fail to cut your throat, then I am a pathetic fool. [The Getty resembles the Pisani Dossi.]	Now I consider cutting the middle of your neck using the sword; Then, therefore, I am superior because I throw this forearm back.		[21r-c] ¶ Per quello zogo che m’è denanzi per quello modo ti fo io voltare e subito la spada mia ti butai al collo. Se io non te taglio la gola dì pur che io sia tristo e follo.	[14b-a] Per la uolta che per tuo cubito t'ò data Meça la gola te creço auer taiata.	[12r-b] ¶ Nu[n]c ego p[re]pendo mediu[m] scidisse mucrone Gutturis. hoc ideo / cubitu[m] q[uia?] p[re]sto revolui
		[13] This is a good break of the point on the ground And in this fashion you will come to be in the narrow. You aimed a thrust at me and I beat it to the ground. Do you see how you are now unprotected and can be struck? And I can also turn you and do you even more harm, by striking you from behind.			[21r-d] ¶ Tu mi zitassi una punta e io la rebatei a tera, vede che tu sei discoverto e che ti posso ferire. Anchora ti voglio voltare per farte pezo. E di dredo te ferirò in quello mezo.	[14b-b] Aquesto è un bon rompere de punta a terra E uen a esser streto per tal maynera.
		[14] I have sending you to the ground in my thoughts: Again, you are uncovered so that I can strike you. Because I turned you by pushing your elbow, I have quickly come to this position and from here I can throw you to the ground, where you will no longer be able to fight me or anyone else.			[21v-a] ¶ Per la volta che ti fici fare penzandoti per lo cubito, a questo partido so' vegnudo ben di' subito, per cason de butarte in terra, perché tu non fazi, nè a me nè altruy guerra.	[14b-c] De mandarte in terra y'ò mio pensir: Anche è descouerto che ti posso ferir.
		[15] Either your sword is bent or it is broken And I can strike you from above or from below with mine. This opponent struck at my head, and I beat his sword to the ground, coming to the position you see depicted here. Now after forcing you to turn away I will aggressively wrap my sword around your neck.			[21v-b] ¶ Questo mi trassi per la testa, e io rebatei la sua spada. Io so' vegnudo a questo partido. Anchora ti farò (volare) voltare per non aver fallito, e la spada te metterò al collo, tanto son io ardito.	[14b-d] O la tua spada è piegada ouero ch'è rota E cum la mia te posso ferir de sopra e de sota.

Sword in Two Hands

Introduction

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[1] We are two guards that are similar to each other, and yet each one is a counter to the other. And for all other guards in this art, guards that are similar are counters to each other, with the exception of the guards that stand ready to thrust—the Long Guard, the Short Guard and the Middle Iron Gate. For when it is thrust against thrust the weapon with the longer reach will strike first. And whatever one of these guards can do so can the other. And from each guard you can make a “turn in place” or a half turn. A turn in place is when without actually stepping you can play to the front and then to the rear on the same side. A half turn is when you make a step forwards or backwards and can switch sides to play on the other side from a forwards or backwards position. A full turn is when you circle one foot around the other, one remaining where it is while the other rotates around it. Furthermore you should know that the sword can make the same three movements, namely stable turn, half turn and full turn. Both of these guards drawn below are named the Guard of the Lady. Also, there are four types of movement in this art, namely passing forwards, returning, advancing, and withdrawing. [Text spans both images.]			[22r-a] ¶ Noy semo doi guardie una sì fatta che l’altra, e una è contraria de l’altra. E zaschuna altra guardia in l’arte una simile de l’altra si è contrario salvo le guardie che stano in punta zoé posta lunga e breve e meza porta di ferro che punta per punta la più lunga fa offesa inançi. E zò che pò fare una pò far l’altra. E zaschuna guardia pò fare volta stabile e meza volta. Volta stabile si è che stando fermo po’ zugar denunci e di dredo de una parte. Meza volta si è quando uno fa un passo inanzi o indredo e chossì po’ zugare de l’altra parte denanzi e di dredo. Tutta volta si è quando uno va intorno uno pe’ cum l’altro pe’ l’uno staga ferma e l’altro lo circondi. E perzò digo che la spada si ha tre movimenti zoé volta stabile, meza volta, e tutta volta. E queste guardie sono chiamate l’una e l’altra posta di donna. Anchora sono IV cose in l’arte zoé passare, tornare, acressere e discresse(re).
		[2] Six Masters we are, and we dispute one to another Each does something that the others do not: And every one of them holds his sword in guard; We will explain and demonstrate that which they are. For throwing I am well-prepared, On a big step I will make a bargain. We are six guards and each of us is different from the other, and I am the first to speak of my purpose. My method is to throw my sword. The other guards follow after me. I believe they will tell you themselves about their particular virtues.			[22r-c] ¶ Noy semo Sey guardie, e una non è simile de l'altra. E io son la primera che digo mia rasone. De lanzar mia spada questa è mia condicione. Le altre guardie che d'mi sono dredo dirano le lor virtude come io credo.	[17b-t] Sie magistri semo l'uno da l'altro deuisati; L'uno fa per uno modo che non fa i altri: E zaschadum de lor ten la sua spada in posta; Ad aquello che le son ben diremo la mostra. [17b-a] Per alançare e' son ben aparichiato; De un grande passar farò merchato.
		[3] Against the grip of hand and also the throw, With this guard, I know well how to ward. I am a good guard, in armor or without armor, and against a spear or a sword thrown from the hand, I am confident I will not be harmed, because I know how to beat them aside and thus evade them.			[22r-d] ¶ Io son bona guardia in arme e senza, e contra lanza e spada zitada fora di mano, che io le so rebattere e schivarle, però me tegno certo che non me pon far male.	[17b-b] Contra tegner de man e anchora de lançare Cum questa guardia ben me so reparare.
		[4] In order to strike farther and to step stronger Against armor I want to stand in this way. I am the guard to use if you want to extend a long thrust, because my grip on the sword increases its reach. I am good to use against you if you and I are armored, because I can make a quick thrust to the front which will not miss you.			[22v-a] ¶ Io son guardia de trar una longa punta tanto che lo mio mantener di spada de longeza monta. E son bona d'andare contra uno che sia luy e mi armato, perché io habia curta punta denanzi io non sarò inaganato.	[17b-c] Per trare più longo e per più forte passar Contra armato in tal ato uoio star.
		[5] Against dagger and against sword, armored And unarmored, I want to be found in this way. I am a good guard against sword, axe and dagger if I am armored, because I grip the sword with my left hand at the middle. And this is particularly useful against the dagger, which can do more harm to me at close range than the other weapons.			[22v-b] ¶ Io son bona guardia contra spada azza e daga siando armado, perché io tegno la spada cum la man mancha al mezo. E llo faço per fare contra la daga che me pò fare de le altre arme pezo.	[17b-d] Contra daga e contra spada armato E disarmato a tal modo uoio esser trouato.
		[6] This grip is the noble Stance of the Queen: She defends against cutting and thrusting in every way. I am named the Guard or Post of the Lady, and I am different from the four sword guards that came before me, even though they are themselves different from each other. And although the next guard that opposes me seems to be my guard also, you will note that I am not using my sword reversed as a poleaxe, whereas that is how he is using his.			[22v-c] ¶ Guardia e posta di donna son chiamata perché cum queste altre prese de spada 'e son divisada, che una non è tal presa che l'altra, ben che questa che m'è contra mi pare la mia guardia se non fosse forma d'azza che la spada s'i intrada.	[17b-e] Questa presa è posta de dona l'altera: De tagli e punte se deffende per ogni mainera.
		[7] This sword I use for a sword and an axe: With harness and without, whoever can take me, go ahead. This sword is being used as both a sword and a poleaxe. And its great force can stop any attack from a lighter weapon. This guard is also the High Guard of the Lady, who with her skill can fool the other guards, because you will think she is going to attack you with a strike, but instead she will attack you with a thrust. All I have to do is raise my arms above my head, and I can then quickly launch a thrust at you.			[22v-d] ¶ Questa spada si è spada e azza. E gli grandi pesi gli lizieri forte impaza. Questa anchora posta de donna la soprana, che cum le soi malicie le altre guardie spesso ingana, perché tu crederai che traga de colpo io trarò di punta. Io non ho altro a fare che levar gli brazzi sopra la testa. E posso buttar una punta che io l'ò presta.	[17b-f] Questa spada me scusa per spada e per aza: In arme e sença chi me pò fare me faça.
		[8] Downward Blows We are downward blows and we dispute By cleaving the teeth with proper intention: We have not delayed in wounding And we return to guard from move to move. We are the downward blows. In this art our method is to cut with precision from the teeth down to the knee. And we can easily end up in any of the low guards. We are highly effective in breaking the other guards, and with each blow we leave a trail of blood. We downward blows strike fast, and thereafter we return to our guard back the way we came.			- Colpi fendenti - [23r-a] ¶ Noy semo fendenti e in l'arte façemo questione de fender gli denti e 'rivar alo zinochio cum rasone. E ogni guardia che si fa terrena, d'una guardia in l'altra andamo senza pena. E rompemo le guardie cum inzegno, e cum colpi fazemo de sangue segno. Noi fendenti dello ferir non avemo tardo, e tornamo in guardia di vargo in vargo.	[12b-e] Noy semo fendenti e façemo questione De fender gli denti cum drita raxone : Noy del ferir non auemo tardo E tornamo in guardia de uargo in uargo.
		[9] Under Blows We are the blows called Under, Who always seek to strike the hands; And we dispute from the knees up And we teach a lesson by returning with downward blows. We are the rising blows, and we go from the knee to the middle of the forehead, following the same path that the downward blows follow. And we return down the same path as we ascend, unless we choose to remain high in the Long Guard.			- Colpi sottani - [23r-b] ¶ Gli colpi sottani semo noi, e cominzamo a lo zinochio, e andamo per meza la fronte per lo camino che fano gli fendenti. E per tal modo che noi intramo??? per quello camino noy retornamo, overo che noi remanemo in posta longa.	[12b-f] Noy semo colpi chiamadi li sotani, Che sempre may cerchamo de ferir le mani; E dal zenochio in su façemo questione E tornando cum fendenti fazemo lexione.
		[10] Middle Blows We middle blows go thwarting; From the knee and above we go wounding; And we beat the thrusts out of the way And, redoubling the blow, striking is our deal; And if we of the middle blow enter cleaving, We waste many people with such blows. We are the middle blows, and we are so-called because we go crosswise through the middle of the path of both the downward blows and the rising blows. And we strike with the true edge of the sword from the right, and with the false edge of the sword from the left. And our path could be anywhere between the knee and the head.			- Colpi mezani - [23r-c] ¶ Colpi mezani semo chiamadi perché noy andamo per mezi gli colpi soprani e sottani. E andamo cum lo dritto taglio de la parte dritta, e de la parte riversa andamo cum lo falso taglio. E lo nostro camino si è dello zinochio ala testa.	[13a-a] Noy colpi meçani andamo trauersando; Dal zenochio in su andamo guastando; E rebatemo le punte fora de strada E redopiando lo colpo de ferir è derada; E si noy del meçano colpo intramo in fendent, . Asay cum tali colpi guastamo zent.
		[11] The Thrusts Thrusts we are, of greatest offense And we make our dispute to all strikes; Venomous we are, more than a serpent, And we kill more people than any strike; And our thrusts to the blows do say: So little do you cut that we sew like a needle. We are the cruel and deadly thrusts. Our target is the body’s center line, and we can strike anywhere between the groin and the forehead. And we thrusts can be made in five ways: two of us can be made from high guards, one from each side, and two can be made from low guards, also one from each side. The fifth one comes from a center line guard, and can be made from Middle Iron Gate, the Short Guard, or the Long Guard.			- Le punte - [23r-d] ¶ Noy semo le punte crudele e mortale. E lo nostro camino si è per mezo lo corpo cominzando a lo petenichio infin a la fronte. E semo punte d'V rasone, zoè doy soprane una d'una parte l'altra de l'altra. E doy de sotta similemente un d'una parte e l'altra de l'altra, e una di mezo che esse di meza porta di ferro overo di posta lunga e breve.	[13a-b] Ponte semo de grandissima offensione E a tuti colpi façemo questione; Venenose semo più che serpente E più che tuti colpi alczidemo zente; E noy ponte a li colpi si disemo: Tanto no taiaret che noy cusiremo.
		[12] The Iron Gate (Powerful) We are called stances and guards by name, And we are each one similar and contrary to another; And following the way we stand and are positioned, We will demonstrate how to make one against another. The Full Iron Gate, I am low to the ground So that I always restrain cuts and thrusts. Here begin the guards of the two handed sword, of which there are twelve. The first is the low Iron Gate, which is a very strong guard, and a good guard in which to wait for an attack by every kind of hand-held weapon, whatever its length, as long as you have a good sword that is not too long. And from this guard if you make cover with a passing step you move to the Narrow Game. Or you can exchange thrusts, striking home with yours. Or, as you step, you can beat the opponent’s thrust to the ground. And this guard can cover attacks from all angles.	Each one <read: us> calls the position by name, and the deceptive guard. The second is similar to another, and indeed to the counter. And just as this has been placed, so we understand similar action. I am called the Iron Gate, equal to the earth from all; I always prepare something again, chop and strike with the point. Here commence the guards of the sword in two hands, and there are 12 guards, and the first is the Full Iron Gate which stands in great strength and is good for awaiting all hand-held weapons, both extended and withdrawn, as long as she has good sword (not one of too much length). She steps with a cover and goes to the narrow, she exchanges thrusts and she delivers her own; she also beats thrusts to the ground and always goes with steps, and against all blows she makes a cover. And whoever joins a brawl with her will make great defense without fatigue.	[12r-a] Aqui comenzano le guardie de spada a do mane e sono ·xii· guardie, e la prima si e tuta porta di ferro che sta in grande forteza e si e bona da aspetar ogni arma manuale longa, e curta, e pur ch'ello abia bona spada non cura de tropa longheza. Ella passa cum coverte e va ale strette. Ella scambia le punte e le soi ella mette. Anchora rebatte le punte a terra, e sempre va cum passi e de ogni colpo ella fa coverta. E chi in quella gle da briga grande defese fa senza fadiga.	.Porta di ferro, pulsativa. [23v-a] ¶ |Qui cominzano le guardie di spada a doy man. E sono .XII. guardie. La prima si e tutta porta di ferro che sta in grande forteza, E si e bona da spetar ogn arma manuale longa e curta E pur ch el habia bona spada non cuna di troppa longeza. Ella passa cum coverta e va ale strette. Ela scambia le punte e le soy ella mette. Anchora rebatte le punte a terra, e sempre va cum passo. e de ogni colpo, ella fa coverta. E chi in quella gli da briga grand' deffese fa senza fadiga.	[18a] Poste e guardie chiamare per nome si façemo, E una simille cum l'altra contrarie noy semo; E segondo che noy staxemo e semo poste, De far l'una contra l'altra façemo le mostre. [18a-a] Tuta porta de fero son la piana terena Che tagli e punte sempre si refrena.	[12v] ¶ Nomine quis[que] vocat scilicet nob[is] situs / et custodia fallax. Altera [con]similis ali[a]e / [con]traria + necnon. Sicut et hic posite / similes sic p[re]ndim[us] actus. [12v-a] ¶ Fe[r]rea porta vocor t[er]rena [a]equal[iter] ab omni / Qu[a]e semp[er] reparo / cesur[a]e et cuspidis ictus.
		[14] The Stance of the Queen on the Right (Powerful) I am the Stance of the Queen, noble and proud For making defense in every manner; And whoever wants to contend against me Will want to find a longer sword than mine. This is the Guard of the Lady, from which you can make all seven of the sword’s strikes and cover them too. And from this guard you can break the other guards with the strong blows you can make, and you can also quickly exchange thrusts. Advance your front foot offline, and then pass diagonally with your rear foot. This will take you to a position where your opponent is unprotected, and you will then be able to quickly strike him.	Brave, elevated, I am the Lady’s Position, high, And in any quarter by this manner I defend limbs with fury. This is the Stance of the Queen, which can make all seven blows of the sword and can also cover all blows. She breaks the other guards through the great blows that she makes, and she is always ready for the exchange of thrusts: the foot which is in front advances out of the way and the one behind steps to the side. And her companion is made uncovered, and that one can immediately strike him for certain.	[12r-b] Questa si e posta de donna che po far tuti setti colpi dela spada. E de tuti colpi ella se po covrir. E rompe le altre guardie per grandi colpi che po fare. E per scambiar una punta ella e sempre presta. Lo pe denanci acrese fora de strada, e aquello de dredo passa ala traversa. E llo compagno fa romagner discoverto. E aquello po ferire subito per certo.	.Posta de donna destraza, pulsativa. [23v-b] ¶ |Questa si e posta di donna che po fare tutti gli setti colpi de la spada. E de tutti colpi ella se po crovrire. E rompe le altre guardie per grandi colpi che po fare. E per scambiar una punta ella e sempre presta. Lo pe ch e denançi acresse fora di strada, e quello di dredo passa ala traversa. E lo compagno fa remagner discoverto, e quello pe ferir subito per certo.	[18a-b] Io son posta de dona soprana e altera Per far deffesa in zaschaduna mainera; E chi contra de mi uole contrastare Più longa spada de mi conuen trouare.	[12v-b] ¶ Audax excelsus muliebris su[m] situs. alta Et quocun[que] mo[do] defendo me[m]bra furentis.
		[15] The Stance of the Window (Fluid) I am the royal Stance of the True Window And I am always ready for the whole art. This is the Window Guard who is always quick, skillful and deceptive. She is a master at covering and striking. She threatens all opposing guards, whether high guards or low guards. She moves quickly from this guard to other guards to confuse her opponent. And she is a very good guard from which to make powerful thrusts, break the opponent’s thrust or exchange points.	I am this the regal Position, certainly, of the True Window, And fleeting, I always disclose in accordance with my clear art. This is the Stance of the Casement Window on the right, which is always ready with malice and trickery, and she is the Master of covering and of striking and with all the guards she makes her disputes (with the high and with the low). She often goes from one guard to another in order to fool her companion, and she throws great thrusts, and knows how to break and to exchange them—those plays she can make very well.	[12r-c] Questa si e posta de fenestra dextra che de malicie e inganni sempre e presta, E de covrir e de ferir e lla magistra. E cum tute guardie ella fa questione, e cum le soprane, e cum le terene. E d'una guardia a l'altra ella va spesso per inganare lo compagno. E a meter grande punte e saverle rompere e scambiar. Quelli zoghi ella po bene fare.	.Posta de fenestra instabile. [23v-c] ¶ |Questa si e posta di finestra, che d' malicie e inganni sempre la e presta. E de covrir e de ferir ella e magistra. E cum tutte guardie ella fa questione e cum le soprane e cum le terrene. E d una guardia a l altra ella va spesso per inganar lo compagno, E a metter grande punte e saver le romper e scambiare, quelli zoghi ella po ben fare.	[18a-c] Io son posta realle de uera finestra E de in tuta l'arte sempre io son presta.	[12v-c] ¶ Regalis ver[a]e: situs hic sum ne[m]pe fenestr[a]e: Et volvere[m] i.e. velocem fateor clara me semp[er] i[n] arte.
		[16] The Middle Iron Gate (Stable) The Middle Iron Gate, I am strongest For giving death with thrusts and downward blows: And by extending my sword, I feel that From the narrow play I always defend myself. This is Half Iron Door, because it stays in the middle and is a strong guard. But, she wants a long sword. She throws strong thrusts and beats with force the swords upwards, and returns with a downward blow for the head or arms, and returns to its guard. But it is called Door, because it is strong and it is a strong guard that badly it can break without danger, and without coming to the close.	I am the strong Iron, and named Door in the Middle, And I give heavy blows, and I seek death with the point. This is the Middle Iron Gate because she stands in the middle, and she is a strong guard but she doesn't want her sword extended. She throws strong thrusts and beats swords upward with strength, and returns with a downward blow through the head or through the arms and then simply returns to her guard. But she is well-named "gate" because she is strong; she is a strong guard that cannot be broken easily without danger and coming to the narrow.	[12r-d] Questa e meza porta di ferro perche sta in mezo, e de una forte guardia ma ella non vole longa spada, ella zetta forte punte, e rebatte per forza le spade in erto, e torna cum lo fendent per la testa o per gli brazi, e pure torna in sua guardia. Per zo vene chiamada porta, per che ella e forte. E de forte guardia che male se po rompere senza pericolo a venir ale strette.	- porta di ferro mezzana stabile - [24r-b] ¶ Questa è mezzana porta di ferro perché sta in mezzo è una forte guardia ma ella vole longa spada. Ella butta forte punte e rebatte per forza le spade in erto e torna cum lo fendente per la testa o per gli brazzi e pur torna in sua guardia. Però ven chiamata porta perché la è forte ed è forte guardia che male se pò rompere senza periculo e venire ale strette.	[18a-d] Meçana porta de fero 'son la forte Per dare cum punta e fendenti la morte: E per lungeça' de spada che io me sento Del streto çogho sempre me deffendo.	[12v-d] ¶ Fer[r]ea sum fortis / mediana[que] Janua dicor. Do[que] graves ictus. et cuspide querito mo[r]te[m].
		[17] The Extended Stance (Fluid) I am the Extended Stance with my short sword And I often strike the throat with cunning. This guard is the Long Guard, which is full of deception. She is skilled in probing the guards to see if she can deceive her opponent. If she needs to strike the opponent with a thrust, she is well-suited to do it. As for the opponent’s blows, she knows how to avoid them and then strike back with blows of her own. This guard employs deception more than any other guard.	I remain the short sword, but, however, in this Position I am called Long, very often cutting the neck using this clever device. This is the Extended Stance which is full of deceit; she probes the other guards to see if she can deceive a companion. If she can strike with a thrust, she knows how to do it well; she voids the blows and she can wound when she is able. More than any other guard, her tactic is deception.	[12v-a] Questa si e posta longa ch'e piena de falsita. Ella va tastando le guardie se lo compagno po inganar. S'ella po ferire de punta ella lo sa ben fare, gli colpi ella schiva e poi fiere s'ella lo po fare. Piu che le altre guardie le falsitade sa usare.	- posta longa instabile - [24r-a] ¶ Posta longa si è questa piena di falsità. Ella va tastando le guardie se lo compagno pò ingannare. Se ella pò ferir de punta la lo sa ben far e gli colpi la schiva e po' fieri s’ela lo pò fare più che le altre guardie le falsità sa usare.	[18b-a] Io son posta longa cum mia spada curta Che cum inçegno la golla spesso furta.	[13r-a] ¶ Ense brevi maneo. situs att[ame]n hic ego longus Nomi[n]or / ingenio guttur sepissime scindens.
		[18] The Headband Stance called the Crown (Fluid) The Headband Stance, I am called the Crown; I will pardon no one, not from the edge nor from the point. This is the Forehead Guard, called by some instructors the Crown Guard. She is a very good guard for crossing swords, and is also very good against thrusts. If she is attacked with a high thrust, she crosses swords while stepping off line . If she is attacked with a low thrust, she also steps offline, but this time she drives the opponent’s sword to the ground . She can also do other things. For example, in response to a thrust she can pass backwards with the front foot and respond with a downward strike to the head or arms, ending in the Boar’s Tusk, then she can quickly throw a thrust or two with advancing steps, then deliver a downward strike, ending in that same guard.	I am called the famous Crown, the Frontlet Position itself. I don’t spare each one, destroying with cuts and the point. This is the Headband Stance, and some Masters call her the Stance of the Crown. She is good at crossing, and she is also good against thrusts because if a point comes attacking upwards, she crosses, stepping out of the way. And she also steps out of the way if a point comes attacking low, beating the thrust to the ground. Again, she can do it differently, such that in the attack of a thrust she returns her foot behind and comes with a downward blow through the head and through the arms and goes to the Boar's Tusk, and then suddenly throws a thrust or two with an advance of her foot and returns with a downward blow from her own guard.	[12v-b] Questa si e posta frontale e alchuni magistri la chiamano posta di corona. Che per incrosar ella e bona, e per le punte, ella e anchora bona che se la punta gle vene trata erta ella la incrosa passando fora de strada. E se lla punta si ven trata bassa anchora passa fora de strada rebatendo la punta a terra. Anchora po fare altramente, Che in lo trar dela punta torni cum lo pe indredo, e vegna di fendenti per la testa e per gli brazi e vada in dente do zenghiaro e subito bute una punta, o doe cum acreser de pe, e torni di fendent cum quella propria guardia.	- posta frontale ditta corona instabile - [24v-c] ¶ Questa si è posta frontale chiamada d’alchun magistro posta di corona che per incrosar ella è bona e per le punte ell’è ancora bona che se la punta glie ven tratta erta ella la incrosa passando fuora di strada. E se la punta è tratta bassa anchora passa fuor di strada rebatendo la punta a terra. Anchora pò far altramente, che in lo trar de la punta torna cum lo pe' indredo e vegna da fendente per la testa e per gli brazzi e vada in dente di cengiaro e subito butti una punta o doe cum acresser di pe' e torna di fendente in quella propria guardia.	[18b-b] Posta frontalle e' son chiamata corona; De tagli e de punte a nesum non perdona.	[13r-b] ¶ Frontalis situs ip[s]e vocor / famosa corona. Nec cui[que] parco / cesura [et] cuspide ru[m]pens.
		[19] [The Stance of the Queen on the Right] Again, I am the Stance of the Queen against the Boar's Tusk; With malice and trickery, I will give of [my sword] in a brawl.	I am the Boar’s Tooth Position placed opposite the Lady’s, Bearing wily hindrance to many chest[s]. This is the Stance of the Queen, which can make all seven blows of the sword and can also cover all blows. She breaks the other guards through the great blows that she makes, and she is always ready for the exchange of thrusts: the foot which is in front advances out of the way and the one behind steps to the side. And her companion is made uncovered, and that one can immediately strike him for certain.	[12v-c] Questa si e posta de donna che po tuti gli setti colpi fare della spada fare. E de tuti colpi ella se po covrire. E rompe le altre guardie per grandi colpi che po fare. E per scambiar una punta ella e sempre presta. Lo pe ch'e denanci acrese fora de strada, e aquello de dredo passa ala traversa. E lo compagno fa romagnire discoverto. E aquello po ferir subito per certo.		[18b-c] Anchora son posta de dona contra dent de zenchiar; Cum malicie e ingani asa' briga io ghi ò a dar.	[13r-c] ¶ Oppositus denti: muliebris su[m] situs apri: / Impedime[n]ta ferens v[er]suto aftraro? pecto[r]e multis.
		[20] The Wild Boar's Tusk (Stable) I am the strong Stance of the Boar's Tusk. My tactic against all the guards is to probe. This is the Boar’s Tusk, because it strikes the way the wild boar strikes. Sometimes it makes powerful thrusts from below up into the face, without stepping forward, and it returns along the same path with a downward strike to the arms. Other times as it thrusts the point of the sword high into the face, it advances the front foot forwards, then returns to its guard with a downward strike to the head or the arms. Then it quickly launches another thrust with another advance of the front foot. And this guard can mount a good defense against the Narrow Game.	I am the Position of the Wild Boar, brave and immoderate of strength, Well-proved to extend with all precautions. This is the Wild Boar's Tusk since the tusk of a wild boar has a similar method of striking. She attacks with great underhand thrusts ending in the face and doesn't move a step, and then returns with a downward blow down to the arms. And sometimes she throws her point to the face and goes with the point high, and in that throw of the point she suddenly advances the foot which is in front and returns to her guard, and immediately throws another thrust with an advance of the foot, and thus defends well against the narrow play.	[12v-d] Questo si e dente de zenghiar, che dello dente de zenghiar fa simile modo de ferir. Ello tra grande punte, per sotto le mane in fin al volto, e non se move de passo, e torna cum lo fendente, zo per li brazi. E alchuna volta tra la punta al volto, e va cum la punta erta, e in quello butar de punta, ello acrese lo pe ch'e denanzi subito, e torna cum lo fendente per la testa, e per li brazi, e torna in sua guardia, e subito zetta un'altra punta cum acresere de pe, e ben se defende dalo zogo streto.	- dente di cenghiaro stabile - [24r-d] ¶ Questa si è dente di zengiaro però che dello zengiaro prende lo modo di ferire. Ello tra' grandi punte per sotto man in fin al volto e no si move di passo e torna cum lo fendente zò per gli brazzi. E alchuna volta tra' la ponta al volto e va cum la punta erta, e in quello zitar di punta ello acresse lo pe' ch'è dinanzi subito e torna cum lo fendente per la testa e per gli brazzi e torna in sua guardia e subito zitta un’altra punta cum acresser di pe' e ben se defende delo zogo stretto.	[18b-d] Io son la forte posta de dent de zenchiar. Cum tute le guardie me son uso de prouar.	[13r-d] ¶ Su[m] situs aprinus audax / [et?] virib[us] ingens / Expertus cu[nc]tis[?] cautelis pande[re] Vires.
		[21] The Shortened Stance (Stable) I am the Shortened Stance and I hold my sword long; Often I thrust the point and then return with cunning. This is the Short Guard that is more effective with a longer sword. It is a deceptive guard but it is risky to wait in. It is constantly moving, trying to see if it can enter with a thrust and a step against the opponent. And this guard is more effective in armor than without armor.	I am this, the Shorter Position, and I go back over the long sword. I often threaten with the point; nevertheless, thenceforth I return thither. This is the Shortened Stance, which wants a long sword, and she is a malicious guard which doesn't have stability. Also, she always moves and watches to see if she can enter with her point and with a step against her companion, and more appropriate is this guard in armor than without armor.	[13r-a] Questa si e posta breve che vole longa spada, ed e una maliciosa guarda che non ha stabilita. Anche sempre se move, e guarda se po intrar cum punta e con passo contra lo compagno, e piu e apropiada tal guardia in arme che senza arme.	- porta breve stabile - [24r-c] ¶ Questa si è posta breve che vole longa spada et è maliciosa guarda che non à stabilità. Anche sempre si move e vede se pò entrar cum punta e cum passo contra lo compagno. E più è apropiada tal guardia in arme che senz’arme.	[19a-a] Io son posta breue e ò de spada lungeça; Spesso meto punta e in lei torno in freça.	[13v-a] ¶ Sum situs hic brevior. longu[m][que] remetior ense[m]. Cuspide sepe minor. illuc t[ame]n inde re[r?]utor.
		[22] The Stance of the Queen on the Left (Powerful) I am the left Stance of the True Window; I am just as swift in this one as from the right. This is the Guard of the Lady on the left, and she is always quick to cover or strike. She generates powerful blows and easily breaks the thrust, driving it to the ground. Also, because of her skill in traversing, she can quickly enter into the Narrow Game, a game she is very familiar with.	I am called the On the Left Position itself, and Of the True Window. Thus, I am certainly fast on the right, just as this way on the left. This is the Stance of the Queen on the left, and she is always ready to cover and to strike. She makes great blows and breaks the thrusts, beating them to the ground, and she enters into the narrow play by knowing how to thwart. Such a guard knows how to make these plays well.	[13r-b] Questa si e posta de donna la sinistra che de coverte e de ferire ella e sempre presta. ella fa grandi li colpi e rompe le punte, sbattele a terra. E intra in lo zogo stretto, per lo saver atravesare. Aquisti zoghi tal guardia sa bene fare.	.Posta di donna la sinestra, pulsativa. [23v-d] ¶ |Questa si e posta di donna la senestra, che d' coverte e de ferir, ella e sempre presta. Ella fa grandi colpi e rompe le punte, e sbattele a terra. E intra in lo zogho stretto per lo suo saver traversare. Questi zogi tal guardia sa ben fare.	[19a-b] Io son la stancha posta de uera finestra; Cussì de la drita como de questa son presta.	[13v-b] ¶ L[a]evus e[:]go ip[s]e vocor [/] Ver[a]e[que] fenestr[a]e. Sic celer i[n] dextra velut hac su[m] ne[m]pe sinistra.
		[23] The Stance of the Long Tail (Stable) Stance of the Long Tail, I am extended to the ground Forward and backward, I always make offense: And if I step forward and enter with a downward blow, I come to the narrow play without fail. This is the Long Tail Guard Guard that extends behind you down to the ground. She can attack with a thrust, and can also move forwards to cover and strike. And if she passes forward while striking downwards she can easily enter the Narrow Game. This is a good guard to wait in, because you can quickly transition from it into other guards.	Behold! I am dragged forward into the ground, the Long Tail Position. And before And after I very often drive, piercing blows to blows. This is the Stance of the Long Tail which is extended toward the ground. She can thrust the point behind and she can cover and strike in front, and if she steps forward and attacks with a downward blow, into the narrow play she enters without failure. And such a guard is good for waiting, because from her someone can enter into the others quickly.	[13r-c] Questa si e posta de coda longa ch'e distesa in terra de dredo ella po mettere punta, e denanci po covrir e ferir. E s'ello passa innanci e tra delo fendente. In lo zogo stretto intra senza falimento. Che tale guardia e bona per aspetare. Che de quella in le altre tosto po intrare.	- posta di choda longa stabile. - [24v-a] ¶ Questa si è posta di coda longa ch'è destesa in terra di dredo, ella pò metter punta e denanci pò covrir e ferire. E se ello passa inanci e tra' del fendente, in lo zogo stretto entra senza fallimento chè tal guardia è bona per aspettare che de quella in altre tosto pò intrare.	[19a-c] Posta de coda lunga son in terra destesa; Denançi e dedredo sempre io faço offesa: E se passo innançi e entro in lo fendent, E' uegno al streto zogho sença faliment.	[13v-c] ¶ Protrahor i[n] t[er]ram situs en caudat[us]. et ante / Post[que] ago p[er]s[a]epe traiectis ictib[us] ictus.
		[24] The Two-Horned Stance (Fluid) I make myself called the Stance of the Anvil If I have enough deceit, I will not challenge it. This is the Two Horned Guard, which is held so strongly locked in position that its point cannot be moved off the center line. And this guard can do all of the things that the Long Guard can do. And the same is true of the Window Guard and the Forehead Guard. [In the Novati, the left hand is not reversed; this may be due to an error on the part of the artist hired to clean up the Pisani Dossi manuscript images before publication.]	I am surely called by all the actual Two-Horned Position. Don’t even ask how deceptive, how clever I would be according to you. This is the Stance of the Two-Horned Anvil, which is so strongly enclosed that she always remains with her point toward the middle of the way. And she can do that which the Extended Stance can do, and this can similarly be said of the Stance of the Window and the Headband Stance.	[13r-d] Questa e posta de bicorno che sta cosi serada che sempre sta cum la punta per mezo la strada E aquello che po fare posta longa po far questa E similmente dico de posta di fenestra, e posta frontale.	- posta di bicorno instabile - [24v-b] ¶ Questa è posta di bicorno che stà cossì serada che sempre sta cum la punta per mezo de la strada. E quello che pò fare posta longa pò fare questa. E similemente dico de posta di fenestra e di posta frontale.	[19a-d] Posta de bicornio io me faço chiamar; Si io ho falsitade asay non men domandar.	[13v-d] ¶ Nomi[n]or a cun[c]tis certe situs ip[s]e scilicet ego. bicornis. Nec pete [quam] falsus / [quam] sim n[un]c callid[us] i[n] te
		[25] The Stance of the Boar's Tusk in the Middle (Stable) This is the Middle Boar’s Tusk, so named because the boar has two tusks, one low and this one in the middle, by which I mean this one stays on the center line. And the Middle Boar’s Tusk can do whatever the Low Boar’s Tusk can do. Just as the wild boar strikes diagonally with its tusks, so you strike diagonally with your sword, in such a way as to displace your opponent’s sword, from which position, having uncovered your opponent, you can launch thrusts, or destroy his hands, head or his arms.			- posta di dente de zenchiaro mezana stabile - [24v-d] ¶ Questo si è dente di cengiaro lo mezano e perçò che sono doy denti di zengiaro l’uno tutto, l’altro si è mezo però è ditto mezo, perzò ch’ello sta in mezo de la persona e zò che pò fare lo ditto dente pò fare lo mezo dente. E per modo che fieri lo zengiaro a la traversa per tal modo se fa cum la spada che sempre fieri cum la spada ala traversa de la spada del compagno. E sempre butta punte e discrova lu compagno e sempre guastagli le mane e talvolta la testa e gli brazzi.

Wide Plays

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
	[No Image]	[26] I am the sword, deadly against all weapons. Neither spear, nor poleaxe, nor dagger can prevail against me. I can be used at long range or close range, or I can be held in the half sword grip and move to the Narrow Game. I can be used to take away the opponent’s sword, or move to grapple. My skill lies in breaking and binding. I am also skilled in covering and striking, with which I seek always to finish the fight. I will crush anyone who opposes me. I am of royal blood. I dispense justice, advance the cause of good and destroy evil. To those who learn my crossings I will grant great fame and renown in the art of armed fighting.			[25r-t] ¶ Spada son contro ogni arma mortale, né lanza né azza né daga contra mi vale. Longa o curta me posso fare e me strengo e vegno allo zogho stretto, e vegno allo tor d’ spada e allo abrazare, mia arte si è rotare e ligadure so ben fare de coverte e ferire sempre in quelle voglio finire. Chi contra me farà ben lo farò languire. E son Reale e mantengo la justicia, la bontà acresco e destruzo la malizia. Chi me guarderà facendo in me crose, de fatto d’armizare gli farò fama e vose.
		[27] By crossing with you at the tip of the sword I have settled my point in your chest from the other side. Here begins the Wide Play of the sword in two hands. This Master who is crossed at the point of his sword with this player says: “When I am crossed at the points, I quickly switch my sword to the other side, and strike him from that side with a downward blow to his head or his arms. Alternately, I can place a thrust into his face, as the next picture will show.” [In the Pisani Dossi, the player is wearing a crown.]	I hold the sword constricted in the cross[ing] with the point. Of the others I am first; I burden the chest with the point. Here begins the wide play of the sword in two hands with a little crossing; the honor will be to whoever will know to make it. This Master who is here crossed with this player says "When I am crossed at the tip of the sword, I quickly give a turn to my sword and thus I strike with a downward blow from the other side (that is, through the head and through the arms), or I thrust the point into his face as you see hereafter in my depiction." [In the Paris, both Masters have their right feet forward. In the Morgan, the player is wearing a garter and crown.]	[13v] Aqui comenza zogo largo de spada a doe mane cum pocho incrosare, lo honore sera de chi meio savera fare. [13v-a] Questo magistro ch'e aqui incrosado cum questo çugadore dise quando io sono incrosado in punta de spada subito io do volta ala mia spada, e si lo fiero de l'altra parte cum lo fendente zoe per la testa, e per gli brazi, overo o ch'io gli metto una punta in lo volto. Como vuii vederite qui de dredo da mi dipento.	[25r-c] ¶ Qui cominza zogho di spada a doy man zogho largo. questo magistro ch’è qui incrosado cum questo zugadore in punta de spada dise: “quando io son incrosado in punta de spada subito io dò volta ala mia spada e sì lo fiero da l’altra parte cum lo fendente zò per la testa e per gli brazi, overo che gli metto una punta in lo volto, come vederi qui dredo depinto”.	[19b-a] Per incrosar cum ti a punta de spada De l'altra parte la punta in lo petto t'ò fermada.	[14r-a] ¶ In cruce comp[re]ss[a]m teneo cu[m] cuspide spata[m]. ☜ Ex alia s[u]m [per]te gravo cu[m] cuspide pectus.
		[28] With the strike of which the Master spoke who came before, I have quickly put the point of my sword in your throat. I have placed a thrust into his face, as the previous Master said. Also, I could have done what he told you, that is, when my sword was crossed on the right I could have quickly switched sides to the left, striking his head or arms with a downward blow.”	Now hear my discussion of the earlier master: The impatient point of the sword approaches the juicy throat. I have set my point in his face as said my Master who came before. Also, I could have made the [other] play that he said—that is, to have attacked with my sword immediately when I was beside the crossing of the right side: from the other side (that is, from the left) I should have immediately turned my sword into a downward blow to the head and to the arms, as has said my Master that came before.	[13v-b] Io te ho posto una punta in lo volto, como lo mio magistro ch'e denanci dise. Anchora poria avere fato zo ch'ello dise, zoe avere trato de mia spada, subito quando io era apresso lo incrosare della parte dritta dell'altra parte zoe della stancha io debeva voltare subito la mia spada in lo fendente per in la testa e per gli brazi como ha ditto lo magistro mio ch'e denanci.	[25r-d] ¶ Io t’ò posta una punta in lo volto come lo magistro ch’è denanci dise. Anchora porìa aver fatto zò ch’ello dise zoè aver tratto de mia spada subito quando io era appresso lo incrosare della parte dritta: de l’altra parte zoè d’la stancha io debeva voltare la mia spada in lo fendente per la testa e per gli brazzi, como à ditto lo mio magistro ch’è denanzi.	[19b-b] Per lo ferir che dise el magistro ch'è denançi posto, In la golla t'ò posta la punta de la spada tosto.	[14r-c] ¶ Audito sermone mei nu[n]c ante mag[ist]ri Guttur adit madidu[m] mucronis turbida cuspis.
		[29] By crossing at mid-sword, I will strike your left arm; I will do this quickly because the time is short.   I too am crossed in the Wide Play, but this time at the middle of the swords. And immediately after making my cross I let my sword drop down to slide forwards and backwards over his hands. Or, if I choose to pass forward with my right foot and move offline, I can then make a thrust into your chest, as you will see drawn next. [In the Pisani Dossi, the player is wearing a crown.]	I, the clever one, holding the sword now in the middle, with the sword As if in a cross, would certainly beat your left shoulder So much this time, however greatly briefness would be recommended. Again I am crossed here for the long play, at mid-sword. And immediately when I am crossed, I allow my sword to run off over his hands, and if I want to step out of the way with my right foot, I can thrust my point into his chest as is depicted hereafter. [In the Morgan, the player is wearing a garter and crown.]	[13v-c] Anchora me incroso qui per zogo largo, a meza spada. E subito quando io sono incrosado io lasso discorere la mia spada sopra le suie mane, e se voglo passare cum lo pe dritto fora de strada io gli posso mettere una punta in lo petto come vui vedite qui dredo dipento.	[25v-a] ¶ Anchora me incroso qui per zogho largo a meza spada. E subito che son incrosado, io lasso discorrere la mia spada sopra le soi mane, e se voglio passare cum lo pe’ dritto fuora de strada, io gli posso metter una punta in lo petto come qui dredo è depinto.	[19b-c] Per incrosar meça spada el braço stancho te ferirò; Perchè lo tempo si è curto ben presto io lo farò.	[14v-a] ¶ In medio nu[n]c ense tene[n]s ego callid[us] ense[m] Ceu cruce[/] p[er]cutia[m] l[a]evu[m] t[ibi] ne[m]pe lac[er]tum Sit nimis hoc t[em]p[u]s breve q[uam]uis ta[n]ta p[ro]bando
		[30] From the Master who crosses at mid-sword, I do that which he said well. Here you see me completing the play of my teacher. I have made his cover, and then immediately I do what he said to do, that is I strike first to my opponent’s arms, and then I continue with a thrust into his chest.	I strike a bargain with you just as that earlier master before said. He who holds back the sword in the cross[ing], he would be able to deceive. The play of my Master I have completed, in that I have made his cover and I have quickly executed his saying: I have struck first his arms, and then I have placed my point in his chest.	[13v-d] Lo zogho delo mio magistro io l'o compido, che i'o fatto la sua coverta. E subito, o fatto el suo ditto. Che i'o feridi prima gli brazi, e poii gle ho posta la punta in lo petto.	[25v-b] ¶ Lo zogho del mio magistro io l’ò complido, che io ò fatta la sua coverta e subito ò fatto lo suo ditto, che io ò ferido prima gli brazzi, e poi gli ò posta la punta in petto.	[19b-d] Per lo magistro che incrosa a meça spada, De quello che l'à dito de quello te faço derada.	[14v-c] ¶ Te ferio velut ille prior tulit dixit ante mag[iste]r. Qui cruce mucrone[m] retinet / con? ut. q[u]o fall[er]e possit.
		[31] Also from this same crossing I have grasped your sword in this way: And before your sword escapes my hand, By striking I will deal with you like a foul villain. My master previously instructed me that when I am crossed at mid-swords with my opponent, I should immediately advance forward and seize his sword as shown, and then strike him with a cut or a thrust. Also I could destroy his leg as you see drawn next, by stomping with my foot against the side of his knee or under the kneecap.	My Master who came before has taught me that when I am crossed at the mid-sword, I should immediately advance forward and grab his sword (as in this match) in order to strike him with edge or point. Also, I can waste his leg in the way that you will be able to see depicted hereafter by striking with my foot over the back of his leg or under his knee.	[14r-a] Ello mio magistro che m'e denanci m'a insegnato che quando a meza spada io son cum uno incrosado che subito me debia acresere in denanci e piglare la sua spada a questo partito, per ferirlo taglo, o punta. Anchora gle posso guastare la gamba per lo modo che voi possete vedere aqui dipento a ferirlo cum pe sopra la schena della gamba, overo sotto lo zinochio.	[25v-c] ¶ Il mio magistro ch’è denanzi m’à insegnado che quando a meza spada io son cum uno incrosado che subito mi debia acresser inanci e pigliar la sua spada a questo partido per ferirlo taglio o punta. Anchora gli posso guastar la gamba per lo modo che possi vedere qui depento a ferirlo cum lo pe’ sopra la schena de la gamba overo sotto lo zenochio.	[20a-a] Anchora per quello proprio incrosare Tua spada per questo modo io ho a pigliare: E de inançi che tua spada me escha de mano De ferir te tractarò como croyo uillano.
		[32] There is no question of the saying of the earlier Master, And I make with intent the play that he has said. As the previous student told you, our Master taught us this technique. Here I show you how it’s done, and as you can see my opponent can do nothing to stop me.	The Scholar who came before me says of his Master and mine that he has taught this play, and I do it to crumple [my opponent]. Without a doubt, to do it is little trouble to me.	[14r-b] Lo scolar che m'e denanzi dise del suo magistro, e mio che llo gle ha insignado questo zogo, e per vezuda io lo fazo. A farlo senza dubio ello m'e pocho impazo.	[25v-d] ¶ Lo scholaro che m’è denanci dise del suo magistro e mio ch’ello gli ha insegnado questo zogho e per vizuda??? io lo fazo. A farlo senza dubio ello m’è pocho impazo.	[20a-b] Lo dito del magistro denançi de quello non nè questione, Che lo zogho che luy à dito io lo faço cum rasone.
		[33] I have uncovered you well by stepping out of the way And I will surely strike your arm while turning. This play is named “The Peasant’s Strike” and you do it like this: take a narrow stance with your left foot forward, and wait for the Peasant to attack first with his sword. When he launches his attack, immediately advance your left foot to the left off the line, and step diagonally off line to the left with your right foot, receiving his strike in the middle of your sword. Now let his sword slide off yours to the ground, and then quickly counter-attack with a downward strike to his head or arms, or a thrust into his chest as you see drawn in the next picture. This is also a good play if you are fighting sword versus poleaxe, or against a heavy or light staff. [In the Getty, the Master is missing his crown.]	This play is called the Villain's Strike, and is made in this way: that is, that one should await the villain in this way until he strikes with his sword. And he who awaits the blow should stand in a small stance with the left foot forward. And in that moment when the villain attacks to harm you, advance your left foot out of the way against the right side. And with your right foot step out of the way to the side, catching his blow at the mid-sword and allowing his sword to run off toward the ground, and then quickly respond with a downward blow (through the head or through the arms) or with your point in the chest as depicted here, this is also good. [In the Morgan, the Master is missing his crown.]	[14r-c] Questo zogo e chiamado lo colpo del vilano, e si fa per tal modo. Zoe che si de aspetare lo vilano ch'ello traga cum sua spada. E quello che aspeta lo colpo di stare in picolo passo cum lo pe stancho denanci. E in quello che lo vilano te tra per ferirte. Acrese lo pe stancho fora de strada inverso la parte dritta. E cum lo dritto pe passa ala traversa fora de strada, piglando lo suo colpo a meza spada e lassa discorere la sua spada a terra, e subito respondigli cum lo fendente per la testa overo per gli brazi overo cum la punta in lo petto come qui dipento. ancora questo e bono.	[26r-a] ¶ Questo zogho si è chiamado colpo di villano e s'fa in tal modo, zoè che si de’ aspettare lo villano che lo traga cum sua spada. E quello che lo colpo aspetta de’ stare in piccolo passo cum lo pe’ stancho denanzi. E subito che lo villano te tira per ferire acresse lo pe’ stancho fora de strada inverso la parte dritta. E cum lo dritto passa a la traversa fora de strada pigliando lo suo colpo a meza la tua spada. E lassa discorrer la sua spada a terra e subito respondegli cum lo fendente per la testa overo per gli brazi, overo cum la punta in lo petto come depinto. Anchora è questo zogho bon cum la spada contra la azza, contra un bastone grave o liziero.	[20a-c] Per passar fora de strada io t'ò ben discouerto E il braçi toy io si ferirò in lo uoltare per certo.
		[34] The strike to your arms, that play I make, And from the narrow play I will cause you other trouble. In the previous drawing you saw the Peasant’s Strike, in which you saw a thrust well-placed into the attacker’s chest. And alternatively he could have struck a downward blow to the opponent’s head or the arms, as I explained previously. Also, if the opponent seeks to counter me by striking back up with a rising blow to my arms from the left, I quickly advance my left foot and place my sword over his, and from this position he can do nothing to me.	This is the Villain's Strike which appeared here before me, so that I have put my point into his chest well. And so I could [also] have made a cut through the head and through the arms with a downward blow as was said before. Also, if the player wanted to come against me such that he would strike me with a backhand blow under my arms, I would immediately advance my left foot and thrust my sword over his, and then he cannot do anything to me.	[14r-d] Questo e lo colpo del vilano ch'e qui denanci de mi. Che bene gle ho posta la punta in lo petto. E cosi gle posseva fare uno colpo per la testa, e per gli brazi cum lo fendente como e ditto denanci. Ancora s'eio[!] volesse lo zugadore contra de mi fare che ello volesse ferirme cum lo riverso sotto gli mie brazi. Io subito acrescho lo pe stancho e meto la mia spada sopra la sua, e non mi po far niente.	[26r-b] ¶ Questo de mi denanci si è lo colpo del villano, che ben gli ò posta la punta in lo petto. E cusì gli posseva un colpo per la testa fare e per gli brazzi cum lo fendente come detto denanzi. Anchora se ‘l zogadore volesse contra de mi fare volendomi ferire cum lo riverso sotto gli miei brazzi, io subito acresco lo pe’ stancho e metto la mia spada sopra la sua e non mi po’ far niente.	[20a-d] Lo ferire de li braçi aquello zogho te faço, E dal zogho streto io te farò altro impazo.
		[35] When a sword flies for your leg Make a downward blow to his face or around to his throat: His arms will be wasted more quickly than his head, Because the distance is manifest for a shorter time. If your opponent strikes to your leg, withdraw your front foot, or pass backwards and strike downwards to his head, as shown in the drawing. With a two handed sword it is unwise to strike to the knee or below, because it is too dangerous for the one striking. If you attack your opponent’s leg, you leave yourself completely uncovered. Now, if you have fallen to the ground, then it is all right to strike at your opponent’s legs, but otherwise it is not a good idea, as you should generally oppose his sword with your sword.	When one strikes for your leg, withdraw the foot which is forward or return it behind, and throw a downward blow to his head as depicted here. Note that the sword in two hands should not attack from the knee down, because the danger to he that attacks is too great. He that attacks for the leg remains wholly uncovered, unless he would drop to the ground—then he could strike the leg well, but otherwise [he could] not when fighting sword to sword.	[14v-a] Quando uno te tra per la gamba, discrese lo pe ch'e denanci. O tu lo torna indredo e tra dello fendent per la sua testa. Come aqui dipento. Ben che cum spada a doe mane non se de trare dello genochio in zu, perche e tropo grande pericolo aquello che tra. Che lo romane tuto discoverto quello che tra per la gamba. Salvo che se uno fosse cazuto in terra, ben se poria trar per gamba. Ma altramente non stando spada contra spada.	[26r-c] ¶ Quando uno te tira per la gamba discresse lo pe’ ch’è denanzi o tu lo torna indredo e tira del fendente per sua testa come qui depento. Ben che cum spada de doy man non si de’ trare del zenochio in zù poi ch’è troppo pricolo a cholui che tira, ch’ello rimane tutto discoverto quello che tira per gamba. Salve che se uno fosse vig(n)udo in terra poriasi ben ferir la gamba che altramente no, stando spada contra spada.	[20b-a] Quando la spada per la gamba si uolla O fendent far per testa o tondo per la golla: Più tosto se guastaria li braçi che la testa; Per più curto tempo la mesura è manifesta.
		[36] When I am crossed with someone and come to the narrow, I strike his testicles with my right foot. This play, where I strike you with a kick to the groin, is made to hurt you so much that your cover will falter. When you make this play you should do it quickly, to prevent your opponent from being able to counter it. The counter to this play must be done quickly, and is made by the player grabbing the student’s right leg with his left hand, and then throwing him to the ground.	In this match I strike you with my foot in your testicles, and I do it to give you pain and to make your cover waver. Thus, in making this play I want to do it suddenly so that the counter is doubtful. The counter of this play wants to be made quickly, such that the player should catch the Scholar by the right leg with his left hand, and then he can throw him to the ground.	[14v-b] Aquesto partito che io te fiero cum lo pe in gli coglura el fazo per farte doia, e per farte svariarte la coverta che fazando questo zogo vole essere fato subito, per non aver dello contrario dubito. Lo contrario de questo zogo vole essere presto fatto zoe che lo zugadore de piglare per la gamba dritta lo scolaro, cum sua mane stancha e in terra lo po butare.	[26r-d] ¶ Questo partido che io ti fiero cum lo pe’ in gli coglioni el fazo per farte doglia e per farte svariare la coverta che fazando questo zogho vol esser fatto subito, per non avere del contrario dubito. Lo contrario di questo zogho vol esser presto fatto zoè che lo zugador de’ pigliare per la gamba dritta lo scolaro cum sua mano stancha, e in terra lo pò buttare.	[20b-b] Quando io me incroso cum uno e uegno al streto, Entro li chogiuni el fiero cum lo pe drito.
		[37] This is a cruel exchange of thrusts: In the art, a more deceptive thrust than this cannot be made. You attacked me with the point and I have given you this; And I can make more secure it by voiding out of the way. This play is named “The Exchange of Points”, and it is done like this: when your opponent thrusts at you, quickly advance your front foot off the line, and with the other foot step to the side, also moving off the line, crossing his sword with your hands low and with your point high into his face, or chest, as you see drawn here.	If, suddenly, we turn our sword by means of the play, Thus we have the strength to injure the head using the palm during the play. This play, which is called the Exchange of Thrusts, is made in this way: that is, that when he attacks with the point, quickly advance your forward foot out of the way and with your other foot step to the side (also out of the way), crossing his sword with your arms low and with the point of your sword up in his face or in his chest, as is depicted here.	[14v-c] Questo zogo che se chiama scambiare de punta, e se fa per tal modo zoe quando te tra una punta subito acrese lo tuo pe denanci fora de strada a cum l'altro pe passa ala traversa anchora fora de strada, atraversando la sua spada cum gli toii brazi bassi, E cum la punta dela spada erta in lo volto o in lo petto come e aqui dipento.	[26v-a] ¶ Questo zogho si chiama scambiar de punta e se fa per tal modo zoè: quando uno te tra' una punta subito acresse lo tuo pe’ ch’è denanzi fora de strada e cum l’altro pe’ passa a la traversa anchora fora de strada traversando la sua spada cum (cum) gli toi brazzi bassi e cum la punta de la tua spada erta in lo volto o in lo petto come depento.	[20b-c] A questo è de punta un crudelle schanbiar: In l'arte più falsa punta de questa non se pò far. Tu me trasisti de punta e questa io t'ò dada; E più seguro se pò far schiuando la strada.	[15r-a] ¶ Si subito n[ost]r[um] ludendo v[er]timus ense[m] / Sic capiti ut palmis lude[n]do nocere valem[us].
		[38] Because of your hilt, which I hold in my hand, I will make you bleed with my point in your face. This play comes from the exchange of points that came before me. If you make the thrust, and your opponent fails to immediately position his point either into your face or into your chest, perhaps because you are in armor, then you should quickly pass forward with your left foot, and seize his sword as shown here. Then strike him hard with your sword, since you have his sword gripped and he cannot escape.	Although you hold me with hands, anything is overthrown. I would Strike you in this way, [your] dripping face having been split with the point. From this exchange of thrusts that came before me comes this play. Given that the Scholar who came before me did not immediately thrust his point into the face of the player, or that he failed such that he could not thrust into [the player's] face nor into his chest, or that the player was armored, then immediately the Scholar should step with his left foot forward, and he should grab [the player] in this manner, and his sword should throw a good strike because the player has his sword caught and he cannot flee.	[14v-d] De questo scambiar de punta che m'e denanci essi aquesto zogo. Che subito lo che lo scolar che m'e denanci non metesse la punta in lo volto delo zugadore ch'ello la falasse ch'ello non la metesse in lo volto ne in lo petto, o perche fosse lo zugadore armato. Subito debia lo scolar cum lo pe stancho innanci passar. E per questo modo lo debia piglare, e la sua spada metero[!] a bon ferire, po che lo zugadore e presa sua spada non po fuzir.	[26v-b] ¶ De questo scambiar de punta che m’è denanzi, essi questo zogho, che subito che lo scolar che m’è denanzi non metesse la punta in lo volto del zugadore e lassasela sì che non la mettesse nè in lo volto né in lo petto, e perché fosse lo zugador armado, subito debia lo scolaro cum lo pe' stancho inanci passare e per questo modo lo debia pigliare. E la sua spada metter a bon ferire poy che lo zugador à presa sua spada e non pò fuzire.	[20b-d] Per tuo mantigner che io in mia man tegno Cum la punta in lo uolto io te faço segno.	[15r-c] ¶ Q[uam]vis me teneas manib[us] / quid p[ro]de[r]it[ur]. Hac te Cuspide p[er]cutia[m] vultu[m] scindendo madente[m].
		[39] Here we stand crossed near the ground: And more knowledge of plays will be given. This is another defense you can make against the thrust. When someone thrusts at you as described in the “Exchange of Thrusts”, two plays before me, then you must advance and step off the line. You should do the same thing in this play, except that in the “Exchange of Points” you thrust back with your hands low and your point high, as I explained earlier. But in this play, which is named “Breaking the Thrust”, you proceed with your hands high and as you advances and step off the line you strike downwards, crossing the opponent’s thrust at mid-sword, and driving it to the ground. Then you quickly close to grapple.	We remain in the form of the cross now in this playing. The knowledgeable one will always have more conquering plays. [The Paris resembles the Pisani Dossi image.]		[26v-c] ¶ Questa si è un'altra deffesa che se fa contra la punta zoè quando uno ti tra' una punta come t'ò detto in lo scambiar de punta in lo segondo zogo che m'è denanzi che se de' acresser e passare fora di strada. Chossì si die far in questo zogho salvo che lo scambiar de punta se va cum punta e cum gli brazzi bassi e cum la punta erta de la spada com’è detto denanzi. Ma questo se chiama rompere de punta che lo scolaro va cum gli brazzi erti e piglia lo fendente cum lo acresser e passare fora de strada e tra' per traverso la punta quasi a meza spada a rebaterla a terra. E subito vene a le strette.	[21a-b] Aqui stasemo noya terra incrosadi: A più sauer li zoghi serano donadi.	[15v-a] ¶ In forma crucis hic nos nu[n]c lucta[n]do manem[us]. Plura sciens ludos Victrices semp[er] h[ab]ebit.
		[40] I beat your point to the ground very quickly And in this way, I strike you without a doubt. The student who preceded me beat his opponent’s sword to the ground. Now I am going to complete his play, as follows: after I beat my opponent’s sword to the ground I stomp on it with my right foot. This will either break it or prevent him from being able to lift it. But wait—there’s more. As soon as I have pinned his sword to the ground with my foot, I strike him with the false edge of my sword under his beard or into his neck. And then immediately I will return with a downward strike of my sword to his arms or his hands, as you see drawn here. [In the Pisani Dossi, the Scholar stomps with his left foot and his opponent's right foot is forward; the Scholar's opponent is also left-handed.]	Now your wicked hand would suddenly drag the point through the Earth. Henceforth, I would strike you immediately with a high wound.		[26v-d] ¶ Lo scolaro che m'è denanzi à rebatuda la spada del zugador a tera, e io complisco lo suo zogho per questo modo. Che rebatuda la sua spada a terra io gli metto cum forza lo mio pe' dritto sopra la sua spada. Overo che io la rompo, o la pigio per modo che più non la porà curare. E questo non me basta, che subito quando gl’o posto lo pe' sopra la spada, io lo fiero cum lo falso de la mia spada sotto la barba in lo collo. E subito torno cum lo fendente de la mia spada per gli brazzi o per le man come depento.	[21a-a] Rebati tua punta in terra ben subito E per tal modo io te fiero sença dubito.	[15v-d] ¶ Nu[n]c tua p[er] t[er]ra[m] subito man[us] impia punta[m] Protrahat . hinc feria[m] te vulne[re] p[ro]tinus alto.
		[41] From the crossing at the ground which the Scholar makes I come to cut your face because of my swiftness; And your sword will end up bent or broken And it will no more be able to work or deal. Here is another drawing of the “Breaking the Thrust” play, that you saw first two drawings previously. After I have beaten his sword to the ground I quickly pin it to the ground with my right foot, and then strike him in the head, as you see shown here. [In the Pisani Dossi, the Scholar stomps with his left foot and his opponent's right foot is forward.]	So, of course, quickly I would tear open your face by means of this action. The student teaches [that] by means of this cross[ing], the leading sword [was] covered By the ground. But your sword will depart either bent Or broken, and never will you be able to wield that sword <by laboring>.		[27r-a] ¶ Anchora questo zogho del romper di punta ch'è lo segondo zogho che m'è denanzi, ch'è quando io ò rebatuda la spada a terra subito io fiero cum lo pe' dritto sopra la sua spada. E in quello ferire io lo fiero in la testa come voy vedete.	[21a-c] Per lo incrosar de terra che fa lo scolar Per mia prestisia lo uolto te uegno a taiar; E tua spada romagnerà piegada o rota E non la porà più ourar per negota.	[26r-b] ¶ Tam celer hoc actu facie[m] tibi ne[m]pe rescinda[m]. Discipulus docet hoc cruce ducens ensis [ ]ctum P[er] t[er]ram. S[ed] mucro tuus v[el] flexus abibit Vel fractus nu[m]q[uam] poteris op[er]arier p[er] op[re]arj illum.
		[42] From the play that came before, I enter into this one: I make it quickly and cut your face. This is another play that flows from the “Breaking of the Thrust” play. After I break his thrust, if he raises his sword to cover as I strike upwards, I quickly drop the hilt of my sword inside his right arm, near his right hand, then I grab my blade near the point with my left hand, and then strike him in his face. Or alternatively, if I chose, I could drive my sword edge into his neck, slicing him across his throat.			[27r-b] ¶ Questo è anchora un altro zogho del romper de punta, che si lo zugadore in lo rompere ch’i ò rotta la sua punta. leva la sua spada a la coverta d'la mia subito io gli metto l’elzo de la mia spada dentro parte del suo brazo dritto apresso la sua mane dritta e subito piglio la mia spada cum la mia man mancha a presso la punta e fiero lo zugadore in la testa. E se io volesse metteriala al collo per segargli la canna de la gola.	[21a-d] Del çogho ch' è denançi entro in questo: A taiarti el uolto el faço ben presto.
		[43] I will make you turn by pinching your elbow And with that, I will strike you without any delay. Also, after I have beaten aside or crossed my opponent’s sword, I can press my left hand to his right elbow and push strongly. This will turn him and leave him unprotected, after which I can strike him.			[27r-c] ¶ Anchora quando io ò rebatuda la la punta o vero che sia incrosado cum uno zugadore gli metto la mia mane dredo al suo cubito dritto e penzolo forte per modo che io lo farò voltare e discoprire, e poy lo fiero in quello voltare che io gli faço fare.	[21b-a] Per pinçer lo tuo cubito io te farò uoltar E in quello io te ferirò sença nessum tardar.
		[44] Because of the turn that I have given you by the elbow I have quickly struck your head from behind. The student who preceded me spoke truly when he told you that he could turn the opponent and cut to his head. In addition, before you could turn back to make cover I would give you a major wound in your back with the point of my sword.			[27r-d] ¶ Questo scolaro che m’è denanzi dise lo vero che per la volta ch’ello ti fa fare per questo modo dredo de ti la testa ti vegno a tagliare. Anchora inanzi che tu tornassi ala coverta io ti porìa fare in la schena cum la punta una piaga averta.	[21b-b] Per la uolta che t'ò dada per lo cubito La testa io t'ò ferida de dredo ben subito.
		[45] I appear to come from the right, but I enter on the left To give you this thrust with great pain and harm; I make myself called Deceitful Thrust by name; And I am so cruel as I exchange the point of the sword. This play is named “The False Point” or “The Short Point”, and I will explain how to do it. I make it look like I am making a powerful attack against my opponent with a crosswise strike to his head. As he makes cover I strike his sword but only lightly. Then I quickly turn my sword to the other side of his blade, gripping my sword with my left hand at about mid-sword. From there I can quickly make a thrust into his throat or chest. This play is however better in armor than without armor. [The Getty resembles the Pisani Dossi image.]	I steal in on [you] in the sly part from the honest part; Therefore, you will quit this sorrowful life by means of the point.		[27v-a] ¶ Questo zogo si chiama punta falsa e punta curta, e sì dirò come la fazzo: io mostro di venire cum grande forza per ferire lo zugadore cum colpo mezano in la testa. E subito ch’ello fa la coverta io fiero la sua spada lizeramente. E subito volto la spada mia de l’altra parte pigliando la mia spada cum la mane mia mancha quasi al mezo. E la punta gli metto subita in la gola o in lo petto. Ed è migliore questo zogo in arme che senza.	[21b-c] Mostray de uegner dal drito, in lo riuersso intray Per darte questa punta cum dolore e guay; Punta falssa per nome io me faço chiamar; Cussì son crudelle che de spada punta schanbiar.	[28v-c] ¶ Obliqua[m] i[n] parte[m] recta d[?] p[ar]te subruj. Hac igit[ur] vita[m] linques cu[m] cuspide triste[m].
		[46] To the Deceitful Thrust that you wanted to strike at me, I have struck the counter by turning myself and my sword Such that I have positioned my point in your face, In this way I have removed all of your plays. This play is the counter to the previous play, the False Point or the Short Point. And this counter is made like as follows: when the student strikes my sword lightly and then turns his sword around to the other side, I turn my sword around his in exactly the same way, stepping sideways to the left as I do so to gain his unprotected side. From here I can make a thrust into his face. And this counter is good both with or without armor.			[27v-b] ¶ Questo si è lo contrario del zogho che m’è denanzi, zoè de punta falsa overo di punta curta. E questo contrario si fa per tal modo: quando lo scolaro fiere in la mia spada, in la volta ch’ello dà a la sua spada subito io dò volta a la mia per quello modo che lui dà volta a la sua. Salvo che io passo a la traversa per trovar lo compagno più discoverto. E sì gli metto la punta in lo volto. E questo contrario è bono in arme e senza.	[21b-d] Per punta falssa che tu me uolisti ferir Voltando mi e la spada lo contrario ò fenir; Si che la punta t'ò posta in lo uolto Per modo che tuto lo zogho t'ò tolto.
	[No Image]	[47] Here ends the Wide Play of the sword in two hands, made up of plays that are all connected to each other, including remedies and counters from both the right and left sides, and counter-thrusts and counter-cuts to each situation, with breaks, covers, strikes and locks, all things that can be easily understood.			[27v-c] ¶ Qui finisse zogho largo de la spada a doy mani che sono zoghi uniti gli quali àno zoghi, zoè rimedi e contrari da parte dritta e de parte riversa e contrapunte e contratagli de zaschuna rasone cum roture coverte, ferire e ligadure che tutte queste chose lizerissimamente se ponno intendere.

Close Plays

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
	[No Image]	[48] Here we begin the Narrow Play of the two handed sword, in which you will see all manner of covers, strikes, locks, dislocations, sword disarms and throws to the ground. There will also be the remedies and the counters needed for each situation, whether you are attacking or defending.	Here begins the play of the sword in two hands, the narrow play, the method of breaking all thrusts and cuts, in the which will be every method of covering, striking, and binding, and dislocations, and grapples, and takings of the sword, and beating to the ground in diverse ways. And there will be remedies and counters of every category that should offend or defend.	[16r-t] E qui comenza zogo de spada a doi mane, zogo stretto. E'l modo de rompe tute punte e tagli. In lo quale serano d'ogni rasone, coverte, feride, e ligadure, e dislogadure, e prese, e tore de spada, e sbatere in terra, per diversi modi. E serano gli remedii, e gli contrarii de zaschuna rasone che bisogna a offendere e difendere.	[27v-d] ¶ Qui cominza zogho de spada a doy man zogo stretto in lo quale sarà d’ogni rasone coverte e feride e ligadure e dislegadure e prese e tore de spade e sbatter in terra per diversi modi. E sarano gli rimedi e gli contrari de zaschuna rasone che bisogna a offender e a defender.
		[49] Because of the way that we stand here crossed, The play is given to whoever knows more and is swifter: But since many plays are made from such a crossing, We will only be making the strongest counters. We stand with crossed swords, and from this crossing either one of us can make all of the plays that follow. And as I told you earlier, these plays will follow one after the other. [In the Pisani Dossi, the Scholar is wearing a crown.]	We stand here crossed and from this crossing that we make, all the plays that follow us can be made, and by one of us as easily as the other. And all of these plays will follow, one after the other, as was previously said. [In the Morgan, the Scholar is wearing a crown.]	[16r-a] Nui stasemo qui incrosadi e di questo incrosare che noii fazemo. Tuti gli zoghi che noii segueno fargle possemo. Acosi uno de noii, quale l'altro. E tuti gli zoghi seguirano uno l'altro como denanci e dito.	[28r-a] ¶ Noi stasemo qui incrosadi e di questo incrosar che noi faremo tutti gli zoghi che noy segueno fare gli possemo chosì uno di noi quale l’altro. E tutti gli zoghi seguiranno l’uno l’altro come denanzi è ditto.	[22a-a] Per modo che noy stasemo aqui incrosadi, A più sauer e presteça li zoghi sono dadi: Però che multi zoghi se fano per tal incrosar, Pur li più forti contrarij noy semo per far.
		[50] Because of your hilt which I hold in my hand, I will strike you and your sword will be forfeit to me.   Using the crossing my Master made with his right foot forward, I now complete the first play as follows: I pass forward with my left foot, and I reach over my right arm with my left hand, seizing his sword-grip in the middle, between his hands. And from here I can strike him with either my edge or my point. This grip can be made when fighting with the two-handed sword or the one-handed sword. And I can make this grip by reaching either under or over the crossed swords.	I would strike, and I will hold your sword; restrained by no Pledge, you conduct yourself so disgracefully By laws holding me, [which] pierced, you will now die. From the crossing that the Master has made with his right foot forward, I complete the first play—that is, I step with my left foot and I pass my left hand over my [right] arm and grasp the hilt of his sword in between his hands (in the middle of the hilt), and then I could strike with edge and point. And this catch can be made as easily with the sword in one hand as with the sword in two hands, and this catch can be made as easily crossing under the hands as over. [In the Paris, the Scholar's sword is in front of his arm.]	[16r-b] Per lo incrosar che a fatto lo magistro cum lo pe dritto denanci io comprischo lo primo zogo, zoe che io passo cum lo pe stancho, e cum la mia mane stancha passo di sopra lo mio dritto brazo, e piglo lo suo mantenir dela spada sua, in mezo le soe[!] mane zoe in mezo delo mantenir. E cum taio e punta, Io lo posso ferir, e questa presa se po fare cosi a spada de una mane, come a doe mane, e cosi a incrosar de sotto mane come di sopra se po far tal presa.	[28r-b] ¶ Per lo incrosare ch’à fatto lo magistro cum lo pe’ dritto denanci io complisco lo primo zogho: zoè che io passo cum lo pe’ stancho e cum la mia mane stancha passo di sopra lo mio dritto brazzo e piglio el suo mantenere di sua spada in mezo le soe mane, zoè in mezo delo mantenere. E cum taglio e punta io lo posso ferire. E questa presa si pò fare a spada d’una e de doy mane. Da incrosare tanto di sopra quanto di sotta mane si pò far tal presa.	[22a-b] Per lo mantigner tuo che in man io tegno E' te ferirò e tua spada serà mio pegno.	[26r-c] ¶ Percutia[m] nulloq[ue] tuu[m] p[ro]hibente tenebo Pignore mucrone[m] / ta[m] turpiter ip[s]e gub[er]nas Jura tenedo meum. quo nu[n]c traiect[us] obibis.
		[51] Because my sword has received a blow And because of this catch, my pommel strikes you in the face. This is another play that flows from the crossing of my Master. And from that crossing I can make this play and all of the others that follow. In this play I grip my opponent at the elbow as shown, and then strike him in the face with the pommel of my sword. After that I can also strike him in the head with a downward strike before he has a chance to make cover against me.	I strike to your face using this hilt, obviously ferocious. This because you had knocked the sword using the deepest touch. This is another play that comes from the crossing of my Master, and as he is crossed, he can make this play and the others that follow after—that is, he can make or grasp the player in this way to strike him in the face with the pommel of his sword. Also, he can strike him in the head with a downward blow before [the player] could make a cover ready.	[16r-c] Questo e uno altro zogo che vene delo incrosar dello mio magistro. E como ello e incrosado ello po fare questo zogo e lli altri po che segueno de dredo, zoe ch'ello po fare overo piglare lo çugadore a questo modo, e ferirlo in lo volto cum lo pomo de sua spada. Anchora po ferirlo de fendente in la testa. Innanci ch'ello fare coverta presta.	[28r-c] ¶ Questo è un altro zogho che vene del incrosar del mio magistro. E como ello è incrosado ello pò fare questo zogo e gl’altri che qui dredo segueno: zoè che lo zugadore pò pigliare a questo modo lo zugadore e ferirlo in lo volto cum lo pomo de la spada sua. Anchora pò ferirlo de fendente in la testa inanci ch’ello possa fare coverta presta.	[22a-c] Per la mia spada che à receuudo colpo E per la presa lo pomo te fier in lo uolto.	[26v-a] ¶ Hoc capulo vultu[m] ferio t[ibi] ne[m]pe feroci. Hoc / q[uea] mucrone[m] pulsasti tactib[us] imis.
		[52] This is another strike with my pommel, Following which the art and the Masters are ready. This is another pommel strike, which is effective against a man with or without armor. Make this strike quickly if his face is unprotected, and you will certainly hurt him. I can tell you from experience that with this strike you’ll have him spitting out four teeth. From here, if you wish, you can also throw your sword around his neck, as my fellow student will show you next.	This second blow is striking the companion in return using the hilt, While yet in this place [both] the art and master himself would be speeds. This is another strike of the pommel and it can be done quickly; if his face is uncovered then do it without fear, because it may be done armored or unarmored. You will bore four teeth from his mouth with this play (as has been proven), and if you wanted, you could throw the sword to his neck as does the Scholar who is after me.	[16r-d] Questo e uno altro ferir de pomo e se po far subito, se lo volto e discoverto fallo senza dubito, Che lo se po fare armado e disarmado. Quatro denti fora butta de boccha a uno cum tale zogo, che l'a provado. E lla spada se volesse al collo te poria butar come fa dredo da mi quello scolaro.	[28r-d] ¶ Questo è un altro ferir d’pomo. E se pò far subito si lo volto à discoperto falo senza dubito. Che ello si po’ fare armado e disarmado. Quatro denti butta fuor di bocha a uno cum tal zogo sì ch’el l'à provado. E la spada al collo se volesse te poria butare como fa dredo a mi quello scolare.	[22a-d] Aquesto è un altro ferir de mio pomo, Segondo che l'arte e magistri presti sono.	[26v-c] ¶ Ictus hic est alter capulo referire sodale[m] / Du[m]t[ame]n hic cel[er]es sint ars atq[ue] ip[s]e mag[iste]r.
		[53] I send you to the ground in this match; I have not failed to thrust my sword to your neck. As the student who preceded me told you, after doing the previous play I now put the sword-edge into your neck. And from here, if I discover that you have no neck armor, I will easily cut your throat.	I, the great one, throw you to the ground, you anticipating something, I am not cheating to put the sword to your neck using this action. From the play that came before me and as the Scholar has said, I have placed my sword at your neck and I could cut your throat well because I feel that you do not have an armored collar. [The Morgan and Paris resemble the Getty, but the Scholar's right foot is inside of (behind) his opponent's right foot.]	[16v-a] Per lo zogo che m'e denanci, e como lo scolar ha ditto io t'o posta la spada al collo. E lla gola te posso ben taglar. Per o ch'io sento che tu non ai punto di colaro.	[28v-a] ¶ Per lo zogho che m’è denanzi e como lo scolar à dito io t’ò posta la spada al collo e la gola te posso ben tagliare perché i’ sento che tu non hai punto de colare.	[22b-a] Io te mando in terra a questo partito; De meterte la spada al colo non ò falito.	[27r-c] ¶ Te iacio i[n] ter[r]am mango / que[m] p[re]cipis / actu Nec su[m] decetus ense[m] t[ibi] ponere collo.
		[54] From the right cover I have caught you so well, That I will lay you out on the ground.	A covering more on the right foretells when I will catch [you] by the throat; You, sad, are then laid out into the dark earth. This play is made in this fashion: that is, that one goes with a middle blow against a middle blow to his left side, and then quickly goes to the narrow with a cover. He throws his sword to the neck of his companion, at the same time grasping his right hand with his left (as you see depicted here). He can then throw him to the ground without fail, thrusting his right foot behind [the player's] right.	[15r-c] Questo zogo se fa per tal modo zoe che uno vada cum lo colpo mezano contra lo mezano de parte riversa e subito vada cum coverta ale strette. E buta la sua spada alo collo dello compagno, piglando la sua mane dritta cum la sua stancha de si in stesso come aqui dipento. Butarlo po in terra senza falimento metendo lo suo pe dritto dredo lo suo dritto.		[22b-c] Per drita couerta io t'ò cussì ben preso, Che te mandarò in tera longo disteso.	[30r-a] ¶ Dext[er]ior tectura monet / ut gutture p[re]nda[m]. In t[er]ram tu deinde miser st[er]neris opaca[m].
		[55] This play is performed as follows: against a crosswise strike from his left, you meet it with a crosswise strike of your own from your left. Then you quickly move to close range under cover, and then throw your sword around your opponent’s neck, as you see drawn here. From here you can easily throw him to the ground. [In the Pisani Dossi MS, the Scholar's right foot is outside (in front) of his opponent's right foot.]	During a similar play, we bring you down into the deep earth. I will accomplish this also; nevertheless I myself <I> remain on my feet. This is another catch to throw someone to the ground, sword and all—that is, that this Scholar crosses with the player on the right side and steps into the narrow; he pinches the right elbow of the player with his left hand, and then quickly he throws his sword to [the player's] neck, grasping his own sword at the middle (his right foot behind the right of the player). In this way, he throws [the player] to the ground with little honor.	[15r-d] Questa e una altra presa de butar uno in terra cum tuta la spada. Zoe che aquesto scolar incrosa cum lo zugadore della parte dritta e passa ale strete, e cum la mane sua stancha penze lo cubitto dritto del zugadore. E subito gle butta la spada al collo piglando la sua propia spada al mezo. Ello suo dritto pe dredo lo suo dritto dello zugadore. Acosi lo butta in terra cum pocho honore.	[30r-b] ¶ Questo zogho se fa per tal modo zoè che uno vada cum lo colpo mezano contra lo mezano de parte riversa e subito vada cum coverta ale strette e butti la spada al collo del compagno come qui è depento. Buttar lo pò in terra senzo fallimento.		[30r-c] ¶ Te similj i[n] te[r]ra[m] ludo [con]sternim[us] alta[m]. Hoc q[uo]q[ue] p[er]ficia[m]. pedib[us] t[ame]n ip[s]e ego manebo.
		[56] If he covers from his right side, seize his sword with your left hand as shown and strike him with a thrust or a cut. Then after striking him hard, if you wish, you can drop your own sword and cut his face or neck with his own sword, in the manner shown by the student in the next picture.	This is another method of throwing someone to the ground, and it is done in this fashion: the Scholar crosses with the player on the right side and comes to the narrow. He grasps the sword of the player with his left hand (passing the middle of the sword), … [Text accompanies subsequent image.]	[15v-a] Questo e uno altro modo de butar uno in terra. E si fa per tal modo lo scolar se incrosa cum lo zugadore dela parte dritta, e si vene ale strette. E cum la mane stancha pigla la spada delo zugadore passando la mezamento della spada, e subito butta la sua spada in terra, e quella del zugadore propia, gle mette al collo piglando lo mantenir al mezo zoe in mezo de la mane del zugadore. E cum lo suo pe dritto dredo lo suo dritto, e per tal modo lo butar in terra cum la sua spada propria.	[29r-d] ¶ Se uno se covra de la parte dritta, piglia cum la tua mane stancha la sua spada per questo modo e fierilo di punta voy cum lo taglio. E se tu voy tu gli tagli cum la sua spada lo volto o voy lo collo per lo modo ch’è depinto. Anchora quando io t’ò ben ferido io posso abandonar la mia spada e pigliar la tua per lo modo che fa lo scolaro che m’è di dredo.
		[57] I have in hand the catch that I have sought with you For throwing you to the ground with your sword. Following on from the play of the student before me, I cut my opponent’s face with his own sword, then force him to the ground. Here I am demonstrating just how effective this art really is.	I undertake with my hands the special taking for a Long time, so that I am able to pitch you, miserable one, into the earth. …and immediately he throws his sword to the ground and thrusts the player's own sword to his neck, grasping the hilt in the middle—that is, between the hands of the player—with his right foot behind [the player's] right. And in this fashion he throws him to the ground with his own sword.		[29v-a] ¶ Del zogho del scolaro che m’è denanzi si fazo questo zogho cum la sua spada gli taglio lo volto mandandolo in tera. Ben ti mostrarò che tal arte sia vera.	[22b-b] In mane ho la presa che tegho ò cerchada Per meterte in terra cum la tua spada.	[30v-a] ¶ Accipio manib[us] captura[m] t[em]p[o]re longo Quesita[m] ut possi[m] miseru[m] te st[er]ne[re] t[er]r[a]e.
		[58] This is the cover of the backhand For making plays of the greatest deceptiveness.				[23b-a] Questa è couerta de la riuerssa mano Per far zoghi de fortissimo ingano.
		[59] From the cover of the backhand have I enclosed you here: You will not be defended from the narrow play nor from strikes.				[23b-b] Per la couerta de la riuerssa mano aqui t'ò aserato: De zogho streto e de feride non sera' guardato.
		[60] This is a strong catch that comes from the backhand: You are finished striking and your sword is lost.				[23b-c] Questa è una forte presa che uen de man riuerssa: De feride tu e' fornido e la tua spada è perssa.
		[61] If he covers from his left side, grab his left hand including his pommel with your left hand, and pull it upwards and backwards. From there you will be able to strike him with thrusts and cuts.			[29r-c] ¶ Se uno se covra de la parte riversa piglia la sua mane stancha cum la man stancha, cum tutto lu pomo de la sua spada e penzilo in dredo e cum punta e taglio ben lo po' ferire.
		[62]	In order for you to be able to overthrow my sword, with the left hand You have come. But here also, you yourself will die by means of the counter. [This Master appears to be missing his crown.]				[28r-b] ¶ Ut m[ihi] tu posses ense[m] [con]velle[re] leva Venisti. hic tande[m] [con]trario at ip[s]e p[ro]rbis.
		[63] In this fashion I have bound you so well That you would be trapped in armor or without: And your sword will be useless against me; I make this counter of the taking of the sword with certainty. If I am crossed at Narrow Play with someone, I can quickly make this move to prevent him from attacking me by taking my sword, or a lock.	This is another counter against the taking of the sword, and it can be made readily and quickly in this fashion. When one comes to cross with you and steps or advances close with his left foot forward, then grasp his hand at the wrist with your left hand (from under his hilt) and turn his sword toward your left side in such fashion as is depicted here. And thus you strike him in the chest, or in the belly, or wherever he likes least.	[16v-d] Questo si e uno altro contrario che contra lo tore de spada e fe fa presto e subito per tale modo. Quando uno si vene tego a incrosare, o passa, o acrese stretto cum lo pe stancho denanci, e la tua mane stancha pigla la sua mane in la zuntura della sua mane per sotto lo so mantenir. E volta la sua spada in verso parte riversa per tale modo ch'e aqui dipento. E si lo fieri in lo petto, o in lo ventre o vero li che meio[!] gle piase.	[30r-a] ¶ Se io incroso ale strette cum uno subito fazo questa presa perché né cum tor di spada né cum ligadure non mi faza offerta. Anchora lo posso ferire de punta e de taglio senza mio periculo.	[23a-c] Per questo modo e' t'ò ben ligado, Che in arme e sença serissi inpresonado: Ella tua spada contra mi non ual nient; De tor de spada faço contra certament.
		[64] When I am crossed I move to the Narrow Game, and I place the hilt of my sword between your two hands. Then I push your two hands upwards so that your sword is high. From here I throw my left arm over your arms from the left, binding them with your sword pinned under my left arm. Then I will strike multiple times until I am exhausted. The student who follows me will show you what happens next.			[28v-d] ¶ Quando io son incrosado io vegno al zogho stretto. Ello elzo de la mia spada entra le toy mane metto. E levo le toy brazze cum la tua spada in erto. Ello mio brazo stancho buterò per sopra li toy a man riversa e fererò li toy brazi cum la tua spada sotto lo mio brazzo mancho. E de ferir non ti lassarò in fin che sarò stancho. Lo zogo che m’è dredo che fa lo scolaro, ello è mio zogo e quello te voglio fare.
		[65] I locked your arms with my left arm, And this play is better armored than unarmored: Also, I counter the taking of the sword, According to where Master Fiore put me. The student who is before me has completed the play which I said to do. Your arms have been bound in ligadura mezana (middle bind). Your sword is prisoner, and it can not help you. And with mine I can cause you a lot of injuries. Without doubt I can put my sword to your neck. I can immediately do the play which is after me.			[29r-a] ¶ Del scolaro che m’è denanzi io complisco’l zogho e quello che luy di far à ditto io l’ò fatto. Le braze t’ò ligade in ligadura mezana. La tua spada è in prisone e non ti po ‘iutare. E cum la mia feride asay te posso fare. La mia spada ti posso metter al collo senza dubito. El zogo che m’è dredo te posso far subito.	[23a-a] Toy braçi cum lo mio stancho sono seradi E mior zogho è armadi che disarmadi: Anchora de tor de spada son contrafator, Segondo che me mete el magistro Fior.
		[66] This play follows on from the previous one, where the student struck his opponent multiple times while using his left arm to keep the opponent’s arms and sword pinned. Now I throw my sword at my opponent’s neck as depicted. Then I throw him to the ground to complete the play.			[29r-b] ¶ Del zogho che denanzi si fa questo zogho che quando lo scolaro à ben ferido lo zugadore tegnando gli brazzi cum la spada ben ligadi cum lo suo brazzo mancho la sua spada gli buta al collo e metilo in questo partito. Se io lo butto in terra lo zogho ò complito.
		[67] I have locked your hand with my sword, And I will give you a bargain with many strikes to your head; And I make the counter to the middle taking of the sword: This bind I have made which arises thus.	On my sword I enclose the palm. You, miserable, also endure many wounds To the crown of your head. But whatever I bring about Myself, I make the counter with the sword. And it has very much superior Power in the bind, because it furnishes very many deeds.			[23a-d] Serata t'ò la mane cum mia spada E de molte feride in la testa te farò derada: E del meçano tor de spada faço contra; Questa ligadura ò fata che asay monta.	[28v-a] ¶ Ense meo clausi palma[m]. tu v[er]tice tande[m] Vulnera multa muser patieris. Quicq[uo]d at ip[s]e Efficio / [con]tra facio mucrone. et p[re]valet ista Nexio p[er]multu[m]. q[uia] pl[ur]ima facta mi[ni]strat.
		[68] I have hindered your sword with my arm, And I have fixed the point of mine in your face: And I make the counter to the takings of the sword And all the various other narrow plays. When I am crossed, I pass with a cover, and I injure you in your arms in this part. And this thrust you get in the face. And if I advance the left foot, both your arms will be bound. Or, that in the other play after me of grabbing you, you are bound at the sword by the hilt's retention.	From the crossed swords I pass with cover and bind your arms as shown, then I thrust my sword into your face. And if I advance the left foot forward I can bind both your arms. Or alternately I can do the play shown next, where I bind your sword by gripping your cross-guard. [In the Paris, the Master is missing his crown. In the Morgan and Paris, the Master has his hand in position but hasn't grabbed his opponent's arm.]	[16v-b] Quando io sono incrosado io passo cum coverta E fiero in gli toii brazi a questo partito. E questa punta pogno in lo to[!] volto. E si lo pe stancho io acresco trambe le brazi ti ligaro. Overo che in questo zogo che m'e dredo te pigliro zoe che te ligaro la spada, e per l'elzo la tegnero.	[28v-b] ¶ Quando io son incrosado io passo cum coverta e fiero in gli toy brazzi in questo partito. E questa punta ti metto in lo volto e si lo pe' stancho io acresco ‘trambe le brazze te ligarò. Overo che in altro zogho che m'è dredo ti piglirò, zoè che ti ligarò la spada e per l’elço la tignirò.	[22b-d] La tua spada cum lo mio braço ò intardada, E la punta de la mia in lo uolto t'ò ficada: E de tor de spada io si faço contrario E li altri zoghi striti sempre suario.
		[69] I have trapped your sword by the hilt, And I will make you a great bargain with my edge and my point: Also, I am the counter to the sword in the raised hand; I can strike you and you are not able to touch me with the sword. This is the grip that the student before me said to do to you. I can injure you without danger. I retain your sword's hilt, I will give you cuts and thrusts cheaply (with no risk?). And this play breaks all sword-disarms, and doing it immediately spoils the narrow play. [In the Getty, the Master is missing his crown.]	I, the very strong, seize your sword in the cross[ing]. From here I would pierce you, already gloomy, with the Cutting point. And I am called “counter of the sword”, raising The hand higher. And I prevail to strike a bargain openly with your limb. You will not be able to touch the sword with any violations. Here I am making the bind that the previous student told you about, and from this position I can strike you with impunity. I have your sword bound by its cross-guard, and from here I can strike you with both cuts and thrusts. In addition, if done quickly this play can defeat all attempts to take my sword, and if it is done quickly enough it will defeat the opponent’s Narrow Game. [In the Paris, the Master is missing his crown.]	[16v-c] La presa che dise lo scolar che m'e denanci quella ti fazo, ferir te posso senza impazo e tegno l'elzo de tua spada, de punte e tagli ti faro derada. E questo zogo rompe ogni tore de spada e llo zogo stretto subito farlo quello guasta.	[28v-c] ¶ Questa presa che dise lo scolar che m’è denanzi quella ti fazo, ferir ti posso senza impazo. Ello elzo tegno di tua spada, de punte e tagli ti farò derada. E questo zogho rompe ogni tore di spada e lo zogho streto a farlo subito [a farlo subito] quello guasta.	[23a-b] La tua spada per l'elço si ò inpresonada, De tagli e de punte te farò grande derada: Anche contrario son de spada de man leuar ; Ferir io te posso e non me la po' tochar.	[27r-b] ¶ In cruce p[re]validus p[ro]prui tibi carpo mucrone[m]. Hinc te iam mestu[m] cesura cuspide sive P[er]cutia[m]. spät[a]eq[ue] manus attolle[re] dicor Conträriu[m]. et valeo tua m[em]bra ferire patent[er]. Tange[re] nec pot[er]is ullis violatib[us] ense[m].
		[70] This play is taken from the first play of the First Dagger Remedy Master, who places his left hand over the opponent’s wrist to take the dagger from his hand. In similar fashion the student here places his left hand over the opponent’s right forearm, rotating it outwards to remove the sword from his right hand…	Using the sword to strike back, I become acquainted with your very own shoulder, Or I would pierce you, or even at once I would confine this <that> arms.		[29v-b] ¶ Questo zogho è tolto del zogho de la daga zoè del primo magistro rimedio che come ello mette la mane stancha sotto la daga per torgella di mane, per lo simile questo scolaro egli mette la mano stancha sotta la mane dritta del zugadore per trargli la spada di mano. Overo ch’ello metterà in ligadura mezana come lo secondo zogho ch'è dredo lo primo magistro rimedio di daga ch’è ditto denanzi. E quella ligadura si è di questo scolaro.		[27v-a] ¶ Ense tuo p[ro]prios disco referire lacertos. Aut te p[er]cutia[m]. simul hoc eu[m] ve[l][ter] brachia clauda[m].
		[71] …Or from here he can transition to a middle bind, as shown in the second play of the above-mentioned First Dagger Remedy Master. And that bind belongs to this student.	How prudently I drive your very own shoulder and sword by means of [their being] Joined together. And soon I am able to strike a bargain with you.				[27v-c] ¶ Q[uam?] prudent[er] ago spata[m] p[ro]priu[m]q[ue] lac[er]tu[m] Co[n]nectendo tuu[m]. pot[er]o te na[m]q[ue] ferire.
		[72] You wanted to lock my sword under your arm But the counter makes evil come to you here. I am the counter to the student who preceded me, if he tries to use the second play of the First Dagger Remedy Master against me that you heard about previously, and this is how I am done. And when I do this play I doubt you will be able to remain on your feet holding your sword.	You wanted to confine the sword under your very own deceptive Shoulder. I am the counter, and this overthrows you to the greatest extent.		[29v-c] ¶ Io son lo contrario e sì fazo contra lo scolaro che m’è denanzi che vol far zoghi de daga zoè del primo magistro rimedio lo suo segondo zogho che gl’è dredo. Se cum tua spada remarà in piè quello non te credo.	[23b-d] Soto tuo braço mia spada uolisti serar Ello contrario te fa aqui male ariuar.	[28r-d] ¶ Claudere sub [pre]prio voluisti false lacerto Ense[m]. [con]trariu[m] s[um] et hoc te v[er]tet i[n] imu[m].
		[73] I am also a counter to the student who tried to use the second play of the First Dagger Remedy Master against me. From the previous picture, if I now start to cut into his throat, he will stand up a little, and then if I move quickly, I can throw him backwards to the ground.			[29v-d] ¶ Anchora son contrario de quello scolaro che vol fare zogi de daga zoè lo segondo zogho che m’è denanci di quello scolaro fazo contra. Si io gli sego la gola pocho monta. E in terra lo posso buttare se voglio tosto lo posso fare.
		[74] From the cover on the right side, thus have I caught you: My sword will be in your face, and you will be laid out on the ground.	You will be on your back again on the earth, and my sword will hold Your face. This thoroughly teaches the covering of the powerful right.			[24a-a] Per la couerta de man drita acossì io t'ò preso: La mia spada in tuo uolto in terra serà disteso.	[30v-c] ¶ In t[er]ram respinus ibis. vultu[m]q[ue] tenebit Ensis. hoc edocuit dextr[a]e tectura potentis.
		[75] This taking of the sword is called Above; Which was made a thousand times and more by Fiore Furlano. This is a high sword disarm. With my left hand I pin his hands, while at the same time I press forwards against his blade with the grip of my sword so that he loses his grip on his sword. Then I will deal him several good strikes. The student who comes after me will show how this play finishes with the opponent’s sword lying on the ground.	That movement by which I rob the man during the playing with the sword Is called by nearly all “the high on the right” in close fighting weapons, Which I, Florius, myself demonstrated by many exchanges. This is the taking of the sword from above: with the hilt of my sword I push forward and with my left hand I grasp his arms in such a way that it would serve him well to lose his sword. And then the Scholar who is after will make a bargain with great strikes. This play he demonstrates as the sword of the player is positioned on the ground. [In the Paris, the Scholar reaches in front of his opponent's sword, and his foot is outside of (behind) his opponent's.]	[15r-a] Questo e lo tore de spada lo sovrano cum lo mantenir de mia spada io penzo innanci, e cum la man mancha io stringo li suoii brazi per modo ch'ello conven perdere la spada. E poi de grandi feride gle faro derada lo scolar che m'e dredo, aquesto zogo mostra como la spada dello zugadore e in terra posta	[30r-c] ¶ Questo è’l tor di spada lo sovrano cum lo mantenir de mia spada io penzo inanci e cum la mia man mancha te stringo gli soi brazi per modo ch’ello conviene perder la spada. E poy de grande feride glie farò derada. Lo scolaro che m'è dredo a questo zogo mostra como la spada del zugadore è in terra posta.	[24a-b] Questo tor de spada è chiamato lo soprano; Che mille uolte e più l'à fato Fior furlano.	[29r-a] ¶ Iste mo[t]us q[uo] privo viru[m] ludendo mucrone Dicit[ur] a cun[c]tis sopranus dexter i[n] armis. Que[m] multis vicib[us] ego Florius ip[s]e p[re]bavj.
		[76] Following the disarm performed by the student who came before me, you will feel your sword fall to the ground. And now there is no question as to whether I can strike you.	Because of the catch of the Scholar who came before me which I have made, your sword has fallen to the ground. You can feel that I could thus make you truly wounded.	[15r-b] Per la presa dello scolar che m'e denanci de mi a fata la spada in terra t'e caduda. Tu lo poii sentir Asai feride te posso fare senza mentire.	[30r-d] ¶ Per la presa del scolaro che denanzi mi à fatta, la spada in terra t’è caduta tu lo poy sentire. Asai feride te posso fare senza mentire.
		[77] Here I make the taking of the sword in the middle, And I will give you grief with my sword or yours.   This is how you do the middle sword disarm. The rotation of the opponent’s sword is the same as in the first disarm, but the grip on his arm is not the same. [In the Getty, the Scholar's left foot is outside (in front) of his opponent's.]	I immediately execute the “middle sword taking” Blow, pressing your limbs using a raging sword, Either with my own, or by chance yours, which you rely on to be present. This is the taking of the sword from the middle: whoever knows how to make such turnings of the sword makes this one just as the first is made, save only that the catch is not the same. The first taking of the sword binds both of the arms, but I do not want to have such trouble so I separate one arm and hand from the other. He is not so strong that he could hold [his sword] and keep it from falling. As was said above, I am the taking of the sword from the middle, which was made a thousand times by Fiore Furlano. [In the Morgan, the Scholar's left foot is outside (in front) of his opponent's.]	[15v-b] Questo e lo mezano tor de spada, chi lo sa far tal voltar de spada se fa ad aquesto come se fa allo primar, Salvo che le prese non sono inguali. Lo primo tore de spada liga tr'ambedui gli brazi. Io non voio avere quigli impazi. Io sepero uno brazo e le mane una via dall'altra. El non e si forte che me la possa tegnir, che'l non gle la faza delle mane cadere. Come e ditto de sovra, Io son lo tore de spada mezano, che mille volte l'a fatto Fior furlano.	[30v-a] ¶ Questo e'l mezano tor de spada chi lo sa fare. Tal voltar di spada si fa in questo, qual al primo. Salvo che le prese non sono eguale.	[24a-c] Lo meçano tor de spada aqui io faço, E cum mia spada o tua te farò impaço.	[29r-d] ¶ Accipiens ense[m] | medianu[m] p[er]tinus ictu[m] Efficio / mucrone p[re]mens tua m[em]bra furentj Vel p[ro]prio / ul[ter] forte tuo que[m] credis adesse.
		[78] This is the taking of the sword from below: It will be made well by whoever is a gifted Master in the art. This is another sword disarm, named the low disarm. The low disarm is performed in a similar way to the high disarm, with the same rotation of the opponent’s sword, following the same path. With your right hand you press his blade forwards, making his sword handle rotate upwards, and you must keep your left hand on his handle as it turns.	The sharp sword is seized thus in the lower position, Because a skilled person in this art would make anything endure. This is another taking of the sword, called Below: make this one in the same way as you do those from above and from [the middle]—that is, with a turn of the sword. This one follows the way of the others, with the right hand carrying forward a full rotation with the hilt, and the left hand should follow with a full turn.	[15v-c] Questo e uno altro tor de spada, chiamado sottano per tal modo se to aquesta, como fa lo soprano, e sotano zoe cum tal voltar de spada. Per lo camino de le altre aquesta vada. Cum la mane dritta cargando innanci volta tonda cum lo mantenir. E lla mane stancha la volta tonda debia seguir.	[30v-b] ¶ Questo è un altro tor de spada chiamado sottano. Per simile modo se tole questa como fa lo sottano e ‘l soprano zoè cum tale voltar de spada per lo camino de le altre questa vada. Cum la mane dritta cargando inanci una volta tonda cum lo mantenir. E la mane stancha la volta tonda debia seguir.	[24a-d] Aquesto è lo tor de spada de soto: Ben lo farà chi è magistro in l'arte doto.	[29v-b] ¶ Inferio[r]e loco capit[ur] sic ensis acutus. Q[uo]d face[re]t quicu[n]q[ue] manet scilicet ac arte p[ro]it[ur].
		[79] I take this sword for my own: I will do you villainy with a rotation and a taking.   Here’s another way you can take his sword if you are crossed at close range: put your right hand above his and grab his sword at mid-blade keeping it upright, then immediately drop your sword to the ground. Now with your left hand you grab your opponent’s sword under the pommel, and turn it to his left. Then immediately your opponent will be forced to release his sword.	I consider the sword to be mine, which you certainly see. And by means of turning, I would certainly provide shame for you. And also I would draw back using my very own hands, unless the fates disagree. This is another taking of the sword, and it is done in this way: that when one is crossed in the narrow, the Scholar should thrust his right hand under his [sword] and grasp that of the player at the middle or above, immediately releasing his own sword to hit the ground, and with his left hand he should grasp under the pommel of the player's sword and give it a full rotation to the right, and then suddenly the player will have his sword lost and the Scholar, righting [the stolen] sword with a half turn, can strike the player.	[15v-d] Questo e uno altro tore de spada ch'e acosi fatto. Che quando uno e ale strette incrosado lo scolar de meter la sua mane dritta per sotto la sua de si insteso. E piglar quella del zugadore quasi al mezo o ben erto. E subito lasar la sua spada andare in terra, e cum la man stancha de piglare sotto lo pomo la spada dello zugadore e dargle la volta tonda a man dritta. E subito lo zugadore avera la sua spada persa. E llo scolar cum meza volta toglandoie la spada po ferir lo zugadore.	[30v-c] ¶ Uno altro così fatto tor di spada che quando uno è ale strette incrosado lu scolaro de' mettere la sua mane dritta per sotto la sua de si instesso e piglar quella del zugadore quasi al m(e)zo o ben erto e subito lassar la sua andar in tera. E cum la man stancha de’ pigliar sotto lo pomo la spada del zugadore e dargli la volta tonda a man riversa. E subito lo zugadore avarà la sua spada persa.	[24b-a] Questa spada io la tegno per mia: In lo uoltar e tor io te farò uilania.	[29v-d] ¶ Esse meu[m] reputo que[m] cernis ne[m]pe mucrone[m] Et volvendo / t[ibi] facia[m] p[re]fecto pudo[r]e[m]. Ac manib[us] retraha[m] p[ro]prijs ni fata repugne[n]t

Sword vs. Spear

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[1] Here are three friends who seek to kill this Master, who is waiting for them with his two handed sword. The first intends to throw his sword at the Master like a spear. The second aims to strike him with a cut or a thrust. The third intends to throw two spears he has made ready, as you see drawn here.			[31r-a] ¶ Questi sono tre compagni che voleno alcider questo magistro che aspetta cum la spada a doy mane. Lo primo di questi tre vole lanzare la sua spada contra lo magistro. Lo segondo vole ferire lo detto magistro d'taglio o de punta. Lo terzo vole lanzare doy lanze ch'ello à aparechiado come qui depento.
		[2] I wait in this guard—the Boar’s Tusk—for these three to attack, but I could also wait in other guards, for example, left side Guard of the Lady or left side Window Guard, and with any of these I would be able to defend just as well as I can with the Boar’s Tusk. Each of these guards uses the same method of defense. I wait unperturbed for them to come at me one after the other, and my defense will not fail against cuts, thrusts, nor any handheld weapon they throw at me. I advance my right front foot off the line and with my left I step obliquely, beating the incoming weapon aside towards my opponent’s left side. And in this way I make my defense, first by making cover and then quickly counter attacking.			[31r-b] ¶ Io 'spetto questi tre in tal posta, zoè in dente di zengiaro e in altre guardie poria 'spettare, zoè in posta de donna la senestra, anchora in posta di finestra sinestra, cum quello modo, e deffesa che farò in dente di zenghiaro. Tal modo è tal deffesa le ditte guardie debian fare. Senza paura io 'spetto uno a uno, e non posso fallire nè taglio nè punta nè arma manuale che mi sia lanzada, lo pe' dricto ch'i ò denançi acresco fora de strada, e cum lo pe' stancho passo ala traversa del arma che me incontra rebatendola in parte riversa. E per questo modo fazo mia deffesa, fatta la coverta subito farò l'offesa.
		[3] We are two Masters that await the throw We have little care of lances, darts, and swords. And the defense that we make with our swords We could similarly [use to] defend ourselves with staffs With the step and the beat that we make; In the narrow, the edge and the point we use. And even if it were Pulicano, who was a great thrower, Against us he would not have honor.	I wait here in the Boar's Tusk for I know all cuts and thrusts, and I know how to turn away thrown lances, and swords, and darts, and I know how to recover from everything. And that which I do, the Stance of the Long Tail (Posta de Coda Longa) could also do: I step out of the way to the side, beating aside that which comes thrown toward me. When I have deflected the point I am doubtful of the advance of the weapon; so that the person doesn't strike me through another turn, it is best that I beat [his weapon] quickly.	[18r-b] Io aspetto aqui in dente de zenghiar, tuti tagli e punte io so riversar, lanzi lance, e spade, e dardi chi lo sa fare, che de tuti me savero reparare. E zo che io faro, la posta de coda longa lo po fare altre tal. Io passo fora de strada alla traversa rebatendo, zo che me vene alanzado, e quando io hoe rebatuda la punta delo avanzo de l'arma io dubito. Che non me fiera la persona per un'altra volta me lla conviene rebater subito.		[16b-b] Noy semo duy magistri che spetamo lo lançare: De lançe dardi e spade pocho auemo curare. E la deffesa che cum le spade nor façemo Cum bastoni similemente si deffenderemo Cum passo e rebater che noy faremo; A le strete tagli e punte noy usaremo. E se fosse Pulicano che fo bon lançadore, Contra de noy non poria auere honore.

Sword in Armor

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] Open for editing	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
	[No Image]	[1] We are six guards for armored fencing, Which art we know how to perform in its completeness. And this art concludes everything in the right truth: It applies poleax, sword, and dagger to great extremes. And here we'll explain how the art can come: Masters and students will do it without lying. We are 6 masters who are very knowledgeable in the art of armed fighting, and each one of us is an expert in this art. Hand-held weapons do not worry us, because we know how to defend against any cuts and thrusts that may come our way.	We are in deeds of arms six greatly skillful acts. Whatever master of arms will acquire these, He will surpass sword or dagger and then two-edged ax. Here begins the sword in armor, and great will be the Master who can make these plays. These Masters are six and each one is in guard; they will not delay in covering and striking. And whoever knows most in this, their art, will have a part in all of the following plays.	[10r] Aqui comenza la spada de armizare. Ben sera magistro chi tali zoghi sara fare. Gli magistri sono sie e zaschuno in guarda. De covrir e ferir non farano niente tarda. E chi piu savera in questa lor arte, de tuti lor zoghi che segueno avera parte.	[32v-a] ¶ Noy semo VI Magistri che savemo ben armezare, e zaschuno de noy quell'arte sa ben fare. E de arme manuale curamo ben pocho de tagli e de punte se defendemo s'el zi fa loco.	[25a] Noy semo sei guardie in fato de armiçar, Che quella arte integrament sauemo far: E questa arte conclude in tuto la drita ueritade; Aça spada e daga mete in grande stremitade. E qui parlaremo como l'arte pò uenir: Magistri e scolari lo farano a non mentir.	[19v] ¶ Sex sumus i[n] factis armor[um] valde p[er]iti Actus. Quos faciet quicu[m]q[ue] mag[iste]r i[n] armis Ense[m] seu daga[m] sup[er]abit et inde bipen[n]e[m].
		[2] The Shortened Stance, the Serpent I am the Shortened Stance, the Serpent, And I have a fine point for passing through armor. I am the Short Serpent Guard, and I consider myself superior to the other guards. And when I thrust those I strike will be well-marked.	I am the Short Position itself. I am called by the proper name Serpentinus; I am skilled at penetrating with a point. In the Shortened Stance, the Serpent, do I want to come. If you are not well-armored, I will make you feel it! I hold myself better than any other guard for striking with the point. Because of my edges, I sign myself with the cross, and nothing can you do to me. In armor and without I want to prove it.	[10r-a] In posta breve la serpentina io voio venire. Se tu non e bene armato ben te lo faro sentire per ferir de punta meior delle altre guardie mi tegno. Perche delli tagli cum la crose mi segno e niente mi pon fare. In arme e senza arme lo voio provare.	- Posta breve la serpentina - Io son posta breve la serpentina meglior de le altre mi tegno. A chi darò una punta ben gli pararà lo segno.	[25a-a] Io son posta breue la serpentina Che per passare arme ò la punta fina.	[19v-a] ¶ Su[m] situs ip[s]e brevis. vocor et sub no[m]i[n]e recto Serpentinus adhuc penetra[n]do cuspide doctus.
		[3] The Stance of the True Cross I am the stance called the True Cross And cuts and thrusts mean nothing to me. I choose to use the True Cross Guard against you. And your thrust will fail to strike me. I will make cover to your attack as I make my step, and my thrust will strike you without fail. Neither you or the other guards concern me, because I am so well versed in the art of armed fighting that my crossing cannot fail me. Step, cross and strike, and this art will never fail you.	In this Position of the Leopard, I truly observe the Serene One, And always checking the deepest cuttings of the point. I am the Stance of the True Cross which I want to make to counter you. Your thrusts will not enter into me. I cover myself from you in the step that I make and my thrust will injure you without fail, so that you and the other guards can do little to me. I know armored fencing so well that I can never fail in the crossing (for stepping, crossing, and striking, the art wants these things without fail), and I break all your thrusts and I certainly will not fail: I come over and through, I go under the point and upward.	[10r-b] Io son posta de vera crose che contra ti voio fare. In mi la tue punte non pon entrar. De ti me covriro in lo passare che faro. E de punta te feriro senza falo. Che ti e lle altre guardie pocho me pono fare. Tanto so bene lo armizare. Che non posso falire lo incrosare. Che in lo passare e in lo incrosar, e in lo ferire, l'arte vole a questo non falir. E rompo tute tue punte, e non faliro per certo vene oltre, e tra voii basso, la punta voi erto.	- Posta de vera crose - [32v-b] ¶ Posta di vera crose ch'è contra ti voglio fare. In mi le tue punte no pon entrare. De ti me covrirò in lo passare che farò, e de punta te ferirò senza fallo che ti e le altre guardie pocho mi pon fare tanto so bene lo armizare che non posso fallire lo incrosare, che in lo passar e in lo incrosar e in lo ferire, l'arte vole questo a non fallire.	[25a-b] Io son posta chiamata uera crose Che a mi tagli e punte niente nose.	[18r-b] ¶ Inq[ue] situ aspecto leopardi ne[m]pe s[er]enum Cesuras se[m]p[er] et cuspidis ima refrena[n]s
		[4] The Raised Serpent I am the Raised Serpent, I shoot great thrusts down low. I also cover against cuts and thrusts, Those strikes are little trouble to me. I am the High Serpent and I am well positioned to give great underhand thrusts, since I begin high but end low. I will throw a great thrust into you as I step. That is my skill and I do it well. Your cuts do not concern me in the slightest, because when it is time to hand out great thrusts, you’ll get a large portion from me.	I am called Serpentinus, and Raised. And, point high, I put my members below the lowest flat [of the sword]. I am the Serpent and I am High and well-armored. I quickly make great underhand thrusts because I am high and return down low. I'll drive a strong thrust to you with a step: this is my art and I know how to do it well. I have not a care for your edges, for I know the art and I will give you the better part of my point.	[10r-c] Sompuo[!] serpentino son lo soprano, e ben armado grande punte butto subito sotto mane, che son in erto e torno al piano. Una forte punta te butiro cum la passare. Ella e mia arte che lo so ben fare, delli tuoi tagli non me curo niente tanto so in l'arte. Che de grande punte io te daro grande parte.	- Sonno serpentino lo soprano - [32v-c] ¶ Sompno??? serpentino son lo soprano e ben armado grande punte zetto sotto mano che son in erto e torno al piano. Una forte punta ti buterò cum lo passare. Ella è mia arte che la so ben fare. Di toi tagli non me curo niente tanto so in l'arte che de grande punte io ti darò gran parte.	[25a-c] E' sono serpentino lo sourano: Cum grande punte me meto al piano. Anchora per courir de taglio e de punta Aquilli colpi a mi pocho si monta.	[18r-a] ¶ Serpentinus ego vocor / et sopranus, et alta Cuspide planitie[m] pono mea membra [sub] ima[m].
		[5] The Middle Iron Gate I am the Iron Gate in the Middle: And I am always ready to throw great thrusts. My name is Middle iron Gate, and whether you are armoured or unarmored I make strong thrusts. I step offline with my left foot and I put a thrust into your face. I can also place my point and blade between your arms in such a way that I will put you into the middle bind, as depicted and identified earlier.	I am the guard in the formerly established Middle Iron Gate. I do not do much harm with the point, and I am always frightful. Of Iron, I am called the Middle Gate, because in armor or out I give strong thrusts. And I will step out of the way with my left foot and thrust my point in your face, or I will enter [with] my point and with the edge between your arms and force you into the Middle Bind (which was previously depicted and named).	[10r-d] De ferro son chiamada mezana porta perché in arme e senza e fazo le punte forte. E passaro fuora de strada cum lo pe stancho, e ti mezo una punta in lo volto. Overo che la punta e cum lo taglo enfra gli toii braçi intrero per modo che io te metiro in la ligadura mezana. In quella ch'e denanci dipenta e nominada.	- Porta de ferro la mezana - [32v-d] ¶ Porta di ferro la mezana son chiamata perché in arme e senza e' fazo le punte forte, e passarò fora d'strada cum lo pe' stancho e te meterò una punta in lo volto, overo che cum la punta e cum lo taglio enfra li toi brazi à intrado per modo che io te meterò in ligadura mezana in quella ch'è denanzi penta e nomenada.	[25a-d] In porta de fero io son la meçana: A butar grande punte sempre son uana.	[19v-d] ¶ Sum mediana q[uon]de[m] fer[r]i stans [con]dita porta. Cuspide nec noceo nimis. At su[m] se[m]p[er] i[mm]anis.
		[6] The Archer's Stance I am the Archer's Stance, the sentinel, And I am always ready to strike and cover. I am known as the Archer’s Guard, and I throw great thrusts as I step offline. And if strikes or thrusts come against me, I make a strong cover, and then immediately I strike with my counter. This is my skill, and I never vary from it. [The Getty resembles the Pisani Dossi image.]	Here the sword will shift into a Malignant Position by penetrating; Now I cover with my arm, for I hold my limb strongly upright. The Archer's Stance, by this name I am called. Great thrusts I give while stepping out of the way. And if you come against me with a blow of the edge, I make a good cover and quickly I strike my counter. This is my art and it does not change.	[10v-a] Posta sagittaria son per nome chiamata, grande punte io zeto passando fora de strada, e si me ven contra colpo o taglio io fazo bona coverta, e subito io fiero lo mio contrario. Aquesta e mia arte che non svario.	- Posta Sagittaria - [33r-a] ¶ Posta sagittaria son per nome chiamada, grandi punte e' zetto passando fora de strada. E si me ven contra colpo o taglio io fazzo bona coverta e subito io fiero lo mio contrario. Questa si è mia arte in la qual non svario.	[25b-a] Io son posta sagitaria la çentille, Per ferir e courir non son nient uille.	[19v-c] ¶ Hic mucro mutabit statu[m] penetra[n]do malignu[m]. Nam mea membra tego validis erect[us] in p[ro] cu[m] armis
		[7] The Stance of the Bastard Cross Of the Stance of the Cross, I am the Bastard, And I will not delay in making her plays. I am the Hybrid Cross Guard, and I am related to the True Cross Guard, in that anything it can do, I can do also. I make strong covers, thrusts or cuts, usually avoiding your strike by stepping offline, and my strikes are my greatest asset.	I am the Position consecrated as the True Cross by many masters. The point is not a nuisance to me, nor will the cutting edge harm [me]. Of the True Cross I am the Bastard Stance (Posta di Crose Bastarda); that which she can do, I also choose to do. For my strategy, I make good covers, thrusts, and cuts, always while voiding blows out of the way, and with my blows I make my greatest bargain.	[10v-b] Di vera crose son bastarda posta. Zo che ella po far voluntiera lo fazo. Bone coverte e punte e tagli fazo per usanza. Sempre schivando gli colpi fora de strada. E deli mie colpi io fazo grandissima derada.	- Posta de crose bastarda - [33r-b] ¶ Posta di crose bastarda son di vera crose, zò che la pò fare volontiera lo fazzo. Bone coverte e punte e tagli fazo per usança sempre schivando gli colpi fora di strada. E di miei colpi fazzo grandissima derada.	[25b-b] De posta de crose io son bastarda, De far soy zoghi non son nient tarda.	[19v-b] ¶ Sum situs, et dicor crux multis v[er]a mag[ist]ris. Nec m[ihi] cuspis obest, cesura n[ec] ip[s]a nocebit.
		[8] With this cover I believe that I can waste anyone, Following that which you see the Scholar do. This cover is made from the True Cross Guard, when I step diagonally offline. And so that you can see what can be done from this cover, my students will show the plays that follow it, and since they are experienced in mortal combat, they will show these skills without hesitation. [In the Pisani Dossi, the Master is missing his crown.]	By using this covering, you would now be sure to repel whomsoever, Just as you will see the students play at any time. I come with this cover from the Stance of the True Cross, stepping out of the way to the side. And you will see what I can do from this cover; through my Scholars I can show it, because they make my complimentary plays (those that are for combat to the death). The art they will show without a doubt.	[10v-c] De posta de vera crose io son ensudo cum questa coverta passando fora de strada ala traversa. E di questa coverta si vedera quello aquello ch'io posso fare. Per gli mie scolari lo posso mostrare. Che li fazano li miei zoghi in complimento. Aqui gli che son da combater ha oltranza, l'arte monstrarano senza dubitanza.	[33r-c] ¶ De posta di vera crose io son ensudo cum questa coverta passando fora de strada ala traversa. E di questa coverta si vederà quello ch'io posso fare, per gli miei scolari lo posso mostrare, ch'elli farano gli miei zoghi in complimento quegli che sono de combatter a oltrança. L'arte mostrarano senza dubitanza.	[25b-c] Per questa couerta crederia çaschun guastar, Segondo che uoy uederiti far li scholar.	[18r-c] ¶ Hac nu[n]c tectura que[m]cu[m]q[ue] refelle[re] credas / Lude[re] discipulos veluti quandoq[ue] videbis.
		[9] This thrust exits from the Master's cover, And the other plays hereafter may well arise. I am the first student of the Master who came before me, and I make this thrust from his cover. You should also know that you can make this thrust from the True Cross Guard and from the Hybrid Cross Guard. As the opponent makes his thrust, the Master or his student who is waiting in one of these guards (or posts) keeps his body low and steps offline crossing the opponent's sword, with his point high into the opponent's face or chest, and with the hilt of his sword kept low, as shown here. [In the Getty, the Scholar's opponent's right foot is forward.]	I would do other plays if ever it will be pleasing; This point escapes from the deepest covering of the master. I am the first Scholar of the Master that came before me, and I make this thrust because it is from his cover. Also, I say that this thrust could quickly be made from the Stance of the True Cross and from the Stance of the Bastard Cross, and I say that immediately as the player throws a thrust to the Master (or Scholar) who was in the aforesaid guards (or stances), the Master (or Scholar) should move lower with his body and step out of the way, crossing the way and thrusting upwards to his face or chest (the cross of the sword held low) as is depicted here.	[10v-d] E son lo primo scolar delo magistro che m'e denanci, e aquesta punta fazo che la ese della sua coverta. Anchora digo che della posta de vera crose, a de posta de crose bastarda po se fare aquesta punta e digo de subito zoe come lo zugadore tra una punta alo magistro o scolar che fosse in le dite guardie, overo poste, lo magistro overo scolar de andare basso cum la persona e pasar fora de strada atraversando la strada, E cum la punta erta al volto overo al petto cum lo mantenir della spada a basso come dipento aqui.	[33r-d] ¶ E' son lo primo scolaro del magistro che m'è denançi. Questa punta fazo perché ella esse di sua coverta. Anchora digo che de la posta di vera crose e de posta de crose bastarda se pò fare questa punta e digo de subito zoè come lo zugadore tra' una punta a lo magistro o scolar che fosse in le ditte guardie overo poste lo magistro (lo magistro) overo scolar de' andar basso cum la persona e passar fora de strada traversando la spada del scolaro e cum la punta erta al volto overo al petto, e cum lo mantenir dela spada basso come qui depento.	[25b-d] De la couerta de lo magistro ese questa punta, E li altri zoghi dredo che asay ben monta.	[18v-a] ¶ A tectura exit cuspis haec una mag[ist]ri. Atq[ue] alios facia[m] ludos si q[ua]n[do] libebit.
		[10] If I see my thrust cannot penetrate his chest, or his face due to his visor, I can lift his visor in order to thrust into his face. And if this does not satisfy me, I can apply other stronger plays.			[33v-a] ¶ Quando io vezo che la mia punta no pò intrare in lo petto nè in lo volto per la visera, io levo la visera e sì gli metto la puna in lo volto. E se questo no me basta io mi metto alli altri zoghi più forti.
		[11] When I closed with this opponent, his armor prevented me from striking him as shown in the previous play. So instead I push strongly against his elbow and make him turn away. Let’s see now if his armor is strong enough when he is attacked from behind.			[33v-b] ¶ Quando io veni a le strette cum questo zugadore a far lo ferido di denançi e per le arme niente me zova, ma per lo cubito lo penzerò forte che lo farò voltare. Se le suoy arme sarano di dredo forte vorò lo provare.
		[12] When I saw that my sword was ineffective against you, I quickly applied this grappling technique. I believe, see and feel that your armor will be useless to you when I put you in this strong lower bind, which is shown further in the next picture.	Indeed, by means of this lower bind you will depart on your face. And moreover, I strike deadly wounds in your chest.		[33v-c] ¶ Quando io vidi che cum la spada niente ti posseva fare, subito io presi questa presa d'abrazare, che io creço e vezo e sento che le arme non te valerano niente che ti meterò in la forte ligadura de sotto in questa che m'è dredo posta, io ti farò fare subito la mostra.		[17v-c] ¶ Inferiore quide[m] nexura stratus abibis, Atq[ue] tuu[m] feriam letali vulne[re] pectus.
		[13] I have you locked in the lower bind or “strong key”, and from this position you cannot escape regardless of how strong you are. I could hurt you or even kill you. I could stop to write a letter and you would not even be able to see what I was doing. You have lost your sword and your helmet, you have been humiliated and you’ll soon be hurting.			[33v-d] ¶ In la ligadura de sotto e chiave forte t'ò serado per sifatto modo che tu no poy ensire e forza non ti val niente. Stentar ti posso e la morte ti posso dare, una lettera scriveria che no me llo porissi vedare. Tu non ài spada nè armadura di testa, tu ài pocho honore e farai breve festa.
		[14] You go to the ground because of the point of the sword, And if I do not do you worse you will have a bargain. This play flows from the first Master who showed the True Cross Guard or the Hybrid Cross Guard, as follows: when the opponent makes a thrust at the Student who is waiting in guard, the student quickly steps off line to make cover, and counters with a thrust to the opponent’s face. Then the student advances his left foot behind his opponent’s lead foot as shown, in order to throw him to the ground, using the point of his sword to hook around the opponent’s neck.	You will depart on your face, with the point of the sword in the ground, And then I would make the unluckier thing itself settle in your mind. When the Scholar that came before me [9] cannot finish the player with a thrust, he advances his left foot behind [the player's] right. And the point of his sword he thrusts under [the player's] throat to throw him to the ground as is depicted here.	[11r-a] Quando lo scolar che m'e denanci non po fare lo zugadore cum la punta, e llo acrese lo suo pe stancho dredo lo suo dritto. E lla punta de sua spada gle mette sotto, la gola per butarlo in terra como aqui dipento.	[34r-a] ¶ Questo zogo esse del primo nostro magistro d'posta di vera crose e dela bastarda zoè quando uno gli tra' una punta ello scolaro l'aspetta in la guardia sua, e subito passa ala coverta fora de strada e tragli una punta in lo volto e cum lo pe' stancho acresse de fora del suo pe' ch'è denanzi per questo modo ch'è depento per butarlo in terra che la punta dela spada gl'avança oltra lo collo.	[26a-a] Tu ua in terra per la punta de la spada, E se peço non te faço hay bona derada.	[18v-c] ¶ Cuspide mucronis i[n] t[er]ram stratus abibis. Et pejora tibi faciam si[bi] mente sedebit.
		[15] You feel the sword that I have set at your neck And I will show you death on the ground. Also let me point out that if the Student has moved to close range, and finds himself unable to destroy his opponent with his sword, then he should use his sword to grapple as shown, that is, he should cast his sword to his opponent’s neck, then step with his right foot behind the opponent’s left foot, and throw him to the ground to the right.	I hold the point above the neck, and you feel that. Now you will suffer the labor of death, the fates do not deny. This Scholar that came before me [14], if he cannot throw the player to the ground with the point of his sword and with his left foot outside of [the player's] right, he steps with his right foot in front of [the player's] left and throws his sword to his neck. And this play I make on his behalf.	[11r-b] Aquesto scolar ch'e denanci de mi s'ello non po butar lo zugadore in terra cum la punta de sua spada, e cum lo suo pe stancho dredo lo suo dritto, ello passa cum lo pe dritto dredo lo suo stancho, e la spada gle butta al collo. E aquesto zogo io lo fazo icon in suo scambio.	[34v-b] ¶ Anchora digo che quando un scolaro è venudo ale strette che vezando ch'ello non pò guastare lo compagno cum sua spada ch'ello si de' metter all'abrazare cum sua spada in questo modo zoè che lo scolaro debia buttar la spada sua al collo del zugadore e lo suo pe' dritto debia metter dredo lo pe' stancho del zugadore e butarlo in terra a man dritta.	[26a-b] Tu senti che la spada al collo t'ò posta E de morte in tera io te farò mostra.	[16r-b] ¶ Colla sup[er] teneo mucrone[m]. sentis et istud. Nu[n]c mortis patieris op[us]. nec fata negabu[n]t.
		[16] When I move from my guard to a close range cover and am unable to strike you with a cut, I strike you with a thrust. If I cannot strike you with either, I strike you with the cross guard or with the pommel, depending on my preference. And when I choose to play at close range, and my opponent believes I intend to use my sword, I switch to grappling when this gives me an advantage, or, if not, I can strike him in the face with my cross guard as I told you before, whichever I like.			[34r-b] ¶ Quando io vegno de la guardia in la coverta stretta se non posso ferir de taglio, io fiero de punta e se de questi doi non posso ferire, io fiero del elzo, o del pomo, e questo si fa segondo che gl'intelletti sono. E quando io son chossì ale strette, e llo zugador crede pur dela spada voglio zugare, io mi metto all'abrazare se io vezo che mi sia avantazo, e se non, io lo fiero del elzo in lo volto come denançi detto segondo che a mi pare che meglio sia.
		[17] As you saw, the student who preceded me struck his opponent in the face with the crossguard of his sword. Thereafter he can quickly strike him in the face with his pommel, as you see depicted below.			[34r-c] ¶ Come voy vedeti che lo scolaro che m'è denançi fieri lo zugadore in lo volto cum lo elzo di sua spada et??? prestamente apresso lo pò ferire cum lo pomo in lo volto come veder potete qui di sotto.
		[18] Also let me tell you that the student immediately before me who struck his opponent in the face with the pommel of his sword, could also have done what I do, that is, step with his right foot behind his opponent’s left leg, and then hook his opponent’s neck with his sword handle, in order to throw him to the ground as I do.			[34r-d] ¶ Anchora dico che questo scolaro che m'è denanzi che fieri lo zugadore cum lo pomo dela spada in lo volto, che ello avarave possudo fare come io fazo, zoè acresser lo pe' dritto dredo lo suo stancho, e lo mantenir de sua spada meterlo al suo collo per butarlo in terra come io fazo.
		[19] If I turn myself close on your left side, Your sword will be lost from your right hand. This student is unable to strike his opponent effectively, so he transitions to grappling as follows: he places his sword point to the inside of his opponent’s right arm. Then the student slides his sword and his left arm under the opponent’s right arm, so as to throw him to the ground, or lock him in the lower bind, known as the “strong key”.	The sword will fall on your right side. I travel around quickly to the left, the limb having been drawn tight, if I am in front. Again I, who am the fourth Scholar, say that our Master can make this play from the cover which he has made—that is, that he should step with his right foot forward, and he should thrust the point of his sword under [the player's] right arm, and then follow the sword with his left arm. And when he has passed the [player's] right arm with his left arm behind the [player's] elbow, he will twist him into the Under Bind without a doubt. That which he has not done, I do for him—he will have the honor, and I the trouble.	[11r-c] Anchora digo io che son lo quarto scolaro che lo nostro magistro po fare aquesto zogo per la coverta che ello ha fatta zoe che ello de passar cum lo pe dritto innanci. E lla punta della sua spada debia meter sotto lo suo dritto brazo. E cum lo brazo stancho seguisca la spada. E quando ello e passato cum lo suo brazo br stancho, lo suo dritto per sotto lo cubito. Ello revolta in la ligadura sottana senza dubito. Quelo che non a fatto per lui lo fazo. Ello porta lo honore e mi lo impazo.	[34v-c] ¶ Questo scolaro no possando ferire lo zugadore cum danno si vole metter a l'abrazare per questo modo zoè, che lo scolar mette la sua spada dentro parte della man dritta dello zugadore . E qui fa lo scolaro per intrar cum sua spada e cum lo suo brazzo stancho sotto lo brazzo dritto del zugadore per sbaterlo in terra, overo per metterlo in ligadura de sotto zoè in la chiave forte.	[26a-c] Si io me uolto streto de la parte riuerssa De la drita man la spada tua serà perssa.	[16r-d] ¶ Dexteriore tui cadet ensis parte / sinistra Si me voluo celer [/] s[u]m strictis artib[us] ante.
		[20] This play also flows from the True Cross Guard, as follows when a student is in that guard, and an opponent comes against him and suddenly attacks him, then the student should step off the line and thrust his sword point into his face as you see me do here.			[34v-a] ¶ Anchora questo zogho esse de posta di vera crose per tal modo, zoè che quando uno scolaro è in quella posta, e uno gli ven incontra che subito in lo suo trar del zugadore, che lo scolar debia fora de strada passare e la punta gli metta in lo volto chome vedeti aquì fare.
		[21] I have wasted your hand, you can feel it well, And I could strike your face with my pommel. [In the Pisani Dossi, the player is wearing the garter.]	You can perceive that I have beaten your hand with great wounds. I would be able to make a bargain at the same time using the hilt. My Master has shown me that when I am armored and someone wants to thrust his point in my face in this way, I should thrust the edge of my sword under his left hand and I should step with my right foot behind his left, and in this fashion I can strike his face with my pommel or with my elbow, as can do this Scholar who is after me. If I can perform such a play, it would not fail me. [In the Morgan, both figures wear garters. It's unclear if this Scholar should also wear a Master's crown.]	[11r-d] Lo mio magistro m'a mostrado che quando io son armado. E uno mi vole metere per tale modo la punta in lo volto. Che io debia meter lo taio della mia spada sotto la sua man stancha. E debia passar cum lo pe dritto dredo lo suo stancho, e per tal modo gle poro ferire cum lo pomo overo cum l'elzo in lo volto. Come po questo scolar che m'e dredo far. S'io lo passo fazo tale zogo non me po falire.		[26a-d] La man t'ò guasta, tu lo por ben sentir; E cum lo pomo in lo uolto te poria ferir.	[16v-b] ¶ To sentire potes [.] q[uam] magno vulne[re] palma[m] scilicet manu[m] Contude[r]i[m]. capulo posse[m] simul atq[ue] ferire.
		[22] Here I waste your hand by coming to a bind Which is so strong that I care nothing for your armor.	Here I strike you truly in the hand; the thing I sought out with great pains will henceforth be bound to me, because he expresses contempt for grand weapons. Again, as the Scholar who came before [21] said, I will not fail in that I could make these two plays that are after me—that is, the first play strikes with the pommel to the face and slams you to the ground; the other (which is the second) follows, that if I can advance my right foot and the cross of my sword, then with that I strike you in the ear and in the cheek, and in that way you will go to the ground without fail.	[11v-a] Aquello che dise lo scolaro ch'e denanci non falla che io ti posso fare aquesti dui zoghi che dredo me stano, zoe lo primo ferire cum lo pomo in lo volto, e sbaterti in terra. L'altro che segue ch'e lo segondo, quello se po fare acresere lo pe dritto e lo mantenir dela spada, e cum quello lo fiera in la orechia, e in la guanza, per tal modo andera in terra senza dubitanza.		[26b-a] Aqui te guasto le man per uegner a ligadura, Aquella ch'è sì forte che de arme niente cura.	[16v-d] ¶ Hic ferio te ne[m]pe in manu ut nexura sit inde Conquisita m[ihi] / q[uo] grandia despiat arma.
		[23] I will send you to the ground with my hilt, And I will then waste you with my point.	Learned in my art, I will turn your body face-up onto the ground. Henceforth, I will penetrate your gloomy self with my point. The previous Scholar of the Master [22] is well-informed. With my pommel, I strike you in the face and then I throw you to the ground, in such a way that neither your breastplate nor your helmet will save you. [In the Morgan, the Scholar's sword is behind his opponent's.]	[11v-b] Lo scolaro ch'e denanzi dello magistro, e bene informado che delo pomo te fiero in lo volto e ti sbatero riverso in terra, per tale modo che non ti zovara pancirone ne cervilera.		[26b-b] Cum lo mantiner in terra io te mando E cum la punta mia te andarò guastando.	[17r-b] ¶ Doctus i[n] arte mea resupi[n]o pecto[r]e verta[m] In t[er]ram. dehinc te penetrabo cuspide mestu[m].
		[24] You will either lose the sword from your left hand, Or you will go to the ground because of this entry I make.	Either you will leave your very own sword from the left part, Or you, gloomy one, are going into the ground. You cannot deny this. This play has not failed, as said the second scholar that came before [22], because I could come to this play and strike you in the ear and in the cheek, and I hold myself certain of sending you to the ground. You will go to the ground and I will remain upright. [In the Morgan, the player faces away from the scholar as in the previous play.]	[11v-c] Aquesto zogo non ho falato, come ha ditto lo segondo scolaro ch'e denanci che io posseva venire ad aquesto zogo che te fiero in la orechia e in la guanza, de mandarte in terra io mi tegno certo. Tu andarai al piano e mi staro in erto.		[26b-c] O de la man mancha tu lassara' la spada O tu andara' in terra cum si fata intrada.	[17r-d] ¶ Vel linques ense[m] p[ro]priu[m] de p[ar]te sinistra. In t[er]ra[m] ut mestus eas. nec posse negabis.
		[25] This catch makes me safe from your sword: Mine is free and yours is imprisoned. And the fourth play which is in the art of the poleax, Troubles the sword in armor with this play.	This taking makes <me> safe from your sword. Therefore it happens that Truly my <sword> is free. On the other hand, yours remains imprisoned. And moreover, the sword brings about the play which is considered the fourth. In the art of the two-edged axe, [the reader] will easily see the same kind of thing. I have little concern for the Master nor for his Scholars. I do this counter against him with good measure: that is, when he comes with the cover, I beat the elbow of his left arm with my left arm, and because of this he cannot make a defensive grapple and he can be harmed. Again another counter I could make: I could turn his elbow with my left hand. Such a play is done well both armored and unarmored.	[11v-d] Dello magistro ne de suoii scolari pocho fazo cura. Questo contrario fazo contra lu cum bona misura, zoe quando ello vene cum la coverta, e io cum lo mio stancho brazo rebato lo suo stancho brazo cubito. E per tal mo cosi preso defesa non po fare e po essere offeso. Anchora altro contrario poseva fare. Cum la mia mane stancha per lo suo cubito lo posseva voltar. Che tal zogo in arme e senza arme ben se po fare.		[26b-d] Questa presa me fa seguro de tua spada; La mia si è libera, la tua si è inpresonada: E lo quarto çogho ch'è in l'arte de la aça La spada in arme de quello zogho se impaça.	[17v-b] ¶ Ense tuo tutu[m] scilicet me facit hec captura. fit ergo Nempe meus scilicet ensis liber. tuus at s[u]b carce[re] restat. Efficit atq[ue] ensis ludu[m] qui quartus h[ab]etur. Arte bipe[n]nifera / facile ceu quisq[ue] videbit.
		[26] This is a good strong grapple: as he makes his grip on the opponent’s right arm, the student steps with his left foot behind opponent’s left foot, and thrusts the point of his sword into his face. He can also throw him to the ground to the student’s right.			[34v-d] ¶ Questa si è una presa forte e bona che fatta la presa lo scolar mette allo zugadore lo suo pe' stancho dredo lo pe' stancho del zugadore. E lla punta de la sua spada gli mette in lo volto. Anchora lo pò buttar in terra inverso man dritta.
		[27] This is the counter to the Remedy Master and all of his students. It is the case that every counter you use against a Remedy Master will also break the plays of all of that Remedy Master’s students. And this is true for the spear, poleaxe, sword, dagger, and grappling, that is, for the entire art. Let me return to address the Remedy Master: when he is making his cover, the Counter-Remedy Master places his left hand behind his opponent’s right elbow and gives it a powerful push, turning him in order to strike him from behind as you see drawn next.			[35r-a] ¶ Questo si è lo contrario dello magistro ch'è rimedio e di tutti gli soi scolari che vera cosa si è che zaschun contrario che ven fatto allo magistro rimedio quello contrario rompe lo zogo dello magistro rimedio e di tutti soy scolari. E questo dico di lanza azza spada daga e abrazzare e di tutta l'arte. Tornemo a dire dello magistro rimedio. questo magistro contrario si mette la sua mano mancha dredo lo cubito dritto dello zugadore che fa la coverta de lo magistro remedio, e sì gli dà volta per forza per ferirelo de dredo como vedreti qui dredo.
		[28] I am the student of the Counter-Remedy Master who came before me and I complete his play as follows: when I have turned my opponent, I immediately strike him from behind, either under his right arm, or under his coif into the back of his head, or into his buttocks (excuse my language), or into the back of his knee, or in any other place where he is unprotected.			[35r-b] ¶ Io son scolaro dello magistro contrario che m'è denanzi e complisco lo suo zogho. quando lo zugadore è voltado subito io lo fiero di dredo sotto lo brazzo suo dritto. E per sotto lo camaglio in la coppa della testa, overo in le nadeghe del culo cum riverencia, overo sotto gli zinochi, overo in altro logo che trovo discoverto.
		[29] This sword can be used as a sword or a poleaxe, and should not be sharpened from the guard down to one hand’s-width from the point. The point should be sharp and the sharp edge should be about a hand’s-width in length. The roundel below the hilt should be able to slide down the blade to a hand’s-width from the point and no further. The hilt needs to be strongly made with a heavy pommel with well-tempered spikes. The spikes should be well-tempered and sharp. The front of the sword should be as heavy as the back, and the weight should be from three and a half to five and a half pounds, depending on how big and strong the man is and how he chooses to be armed.			[35r-c] ¶ Questa spada scusa per spada e per azza e non de' tagliare del elço in fin uno somesso apresso la punta e de llì inanze vol tagliare e aver fina punta e lo taglio vol esser di lungeza un somesso. E lla rodeletta ch'è sotto lo elzo vol posser corere infin uno somesso apresso la punta e non più, e llo elzo vol essere ben temprado e aver bona punta e llo pomo vol esser grave. E quelle punte volen esser ben temprade e ben agude. E la spada vole eserì grave di dredo che era denanzi. E vole esser di peso de V a VII libre. E segondo che l'omo è grande e forte segondo quello vole armare.
		[30] This other sword is fully sharpened from the hilt all the way to the point, except there is an unsharpened section in the middle about a hand’s width, big enough for a gloved hand to be able to hold it there. Just like the previous sword, this sword should be sharp with a fine point. And the hilt should be strong with a heavy pommel and a sharp well-tempered spike.			[35r-d] ¶ Questa altra spada si vole tagliar per tutto. Salvo che dello elzo in fin ala punta a le doe parte in mezzo la terza de la punta non de' taglier niente a tanto spano che una mano cum uno guanto largamente gli possa intrare. E similemente vole esser fina di taglio e de punta. E llo elzo vole esser forte e aguzzo e ben temperado e llo pomo vole esser cum bona punta e vole esser grave.

Axe in Armor

[]   Images	Images	PD by Michael Chidester Getty by Colin Hatcher	Paris by Kendra Brown and Rebecca Garber Morgan by Michael Chidester	Morgan Transcription [edit] by Michael Chidester	Getty Transcription [edit] Open for editing	Pisani Dossi Transcription [edit] by Francesco Novati	Paris Transcription [edit] by Kendra Brown and Rebecca Garber
		[1] The Stance of the Shortened Serpent I am the Shortened Stance, the Serpent, with axe in hand; If my thrust does not miss, I will made trouble for you.   I am the Short Serpent Guard and I consider myself better than the other guards. And whoever receives one of my thrusts will bear the scars. This guard delivers a powerful thrust that can penetrate cuirasses and breastplates. Fight with me if you want to see the proof.	Behold, with grasping hands I am called the Short Spear Position Among mortals. And if the spear point would not try to deceive, Perhaps I will deceive you, Man. Jupiter is near on a mountain.		- Posta breve serpentina - [35v-a] ¶ Io son posta breve la Serpentina che megliore d'le altre me tegno. A chi darò mia punta ben gli parerà lo segno. Questa punta si è forte per passare coraze e panceroni, deffendeti che voglio far la prova.	[27a-a] Posta breue son la serpentina cum la aça in mano; Se la punta non me mancha e' ti farò ingano.	[8v-c] ¶ Manib[us] astringe[n]s Jaculu[m] / brevis: en vocor int[er] Mortales / situs:. et ni cuspis fallere tentet Decipia[m] te forte Viru[m]. mo[do?] [Jupiter] adsit.
		[2] The Stance of the True Cross I am the strong stance called the Cross: Neither blows of the axe nor thrusts can bother me. I am named the Guard of the True Cross, since I defend myself by crossing weapons, and the entire art of fencing and armed combat is based on defending yourself with the covers of crossed weapons. Strike as you wish, I’ll be waiting for you. And just as the student of the First Remedy Master of the sword in armor does, so I can do with a step and a thrust with my poleaxe.	Behold, I am a Position of strength, and I am called the Cross. No blow is Bothersome to me, nor as yet the point of the poleaxe at any time.		- Posta de vera crose - [35v-b] ¶ Io son posta di vera crose però che cum crose me defendo e tutta l'arte di scarmir e de armizar se defende cum coverte dello armizare incrosare, tra' pur che ben t'aspetto, che zò che fa lo scolar primo dello magistro remedio della spada in arme cum lo modo e cum lo passar tale punta cum la azza mia ti posso far.	[27a-b] Io son posta forte chiamada la crose: Colpi de azza nè punte niente mi nose.	[8v-d] ¶ Sum situs en fortis. vocor et crux. n[ec?] m[ihi] [quisquem?] quisq…? Ictus obest. nec adhuc cuspis[que] tricuspidis un[?q?].
		[3] [The Stance of the Queen] I am the Stance of the Queen, of pure loyalty: I make great blows from a different measure. I am the Guard of the Lady, and I go against the Boar’s Tusk guard. If he waits for me, I will make a powerful strike at him, in which I move my left foot off the line, and then I pass forwards, striking downwards at his head. And if he blocks strongly under my poleaxe with his, then even if I can’t strike him in his head I will not fail to strike his arms or hands.	Behold, I am pure of faith standing in the Position of the Woman. And I work deadly things by doubling a strike of strikes.		[35v-c] ¶ Posta de donna son contra dente zengiaro. Si ello mi aspetta uno grande colpo gli voglio fare, zoè che passarò lo pe' stancho acressando fora de strada e intrarò in lo fendente per la testa. E si ello vene cum forza sotto la mia azza cum la sua, se non gli posso ferire la testa ello no me mancha a ferirlo o in li brazzi o en le man.	[27a-c] Posta de dona son de lieltà pura: Grandi colpi io faço altra mesura.	[9r-a] ¶ Sum fidei sincerus ego situs en con ecce muliebris. Letiferos[que] op[er]or geminatis ictib[us] ictus.
		[4] [The Wild Boar's Tusk/Middle Iron Gate] I am the Boar's Tusk, full of daring: Blows of the axe can do nothing to me. If my Middle Iron Gate is opposed by the Guard of the Lady, we both know each other’s game, for we have faced each other many, many times in battle with swords and with poleaxes. And let me tell you, what she claims she can do to me, I can do better against her. Also let me tell you that if I had a sword instead of a poleaxe, then I would thrust it into my opponent’s face as follows: when I am waiting in the Middle Iron Gate with my two-handed sword, if he attacked me with his poleaxe with a powerful downward strike from the Guard of the Lady, then I quickly advance forward striking him strongly under his poleaxe as I step off the line, and then I quickly grasp my sword in the middle with my left hand and make the thrust into his face. While there is little difference between we two guards, I am the more deceptive.	I am the strong Boar’s Tooth and, horribly daring, By no means do I fear those strikes you make. It cannot be believed. [The Paris image resembles the Pisani Dossi.]		[35v-d] ¶ Si posta di donna a mi porta di ferro mezana è contraria io cognosco lo suo zogo e llo mio. E più e più volte semo stade ale bataglie e cum spada e cum azza. E sì digo che quello ch'ella dise de poder fare più lo posso far a lei ch'ella lo pò far a mi. Anchora digo che se io avesse spada e non aza che una punta gli metteria in la fazza, zoè, che in lo trar che posta di donna fa cum lo fendente e io son in porta d'ferro mezana a doy mane cum la spada, che subito in lo suo venire, io acresco e passo fora de strada sotto la sua azza per forza io entro e subito cum la mia man stancha piglio mia spada al mezo e la punta gli metto in volto. Sì che tra noy altro che d'malicia è pocha comparacione.	[27a-d] Dent de zenchiar son pieno de ardiment: Colpi de aça a mi non pò fare nient.	[9r-b] ¶ Dens aprinus ego su[m] fortis et ho[r]ridus audax. Quos facis [haud?] vereor ictus[.] nec posse fate[re?]m
		[5] [The Stance of the Long Tail] I am the Long Tail, used against the Window Guard, and I can strike at any time. With my downward strikes I can beat every poleaxe or sword to the ground, setting me up nicely for close play. As you see the plays that follow, please consider each one in sequence.			[36r-a] ¶ Coda longa io son, contra posta de fenestra voglio fare de tutto tempo??? posso ferire. E cum mio colpo di fendente ogni azza e spada in terra sbateria, e al zogo stretto forte me faria. Come voy troverete qui gli zoghi di dredo de guardagli a uno a uno che ven prego.
		[6] [The Stance of the Casement Window on the Left] I am named Window Guard on the left, and I am made with the right arm pulled back. This is not a good guard to wait in. Everything I do is deceptive. You think that I am going to strike a downward strike, but I pass backwards and switch guards. So while I began on the left, I actually enter on the right. And I can quickly transition to the plays that follow.			[36r-b] ¶ Posta de fenestra son chiamada la sinestra, uno picolo brazo se fa de mi ala destra. Noy non avemo stabilità. Una e l'altra cerca la falsità, tu crederà che io vegna cum lo fendente e io tornerò un pe' indredo e mi muderò di posta. Li che era in la sinestra, io entrerò in la destra. E crezo entrare in gli zoghi che vegneno dredo ben presta.
		[7] I have beaten your axe to the ground; And mine will quickly be thrust in your face. These are the plays that these guards put to the test. Each guard can do them, and each guard believes it will prevail. As is drawn here, whoever beats his opponent’s poleaxe to the ground can do these plays, and will succeed as long as the opponent fails to counter him. [In the Getty and Pisani Dossi, the Master is missing his crown.]	I will certainly throw your poleaxe down to the earth, But mine will strike the face with listless wounds.		[36v-a] ¶ Questi sono gli zoghi delli quali le guardie fano questione. Zaschuna le vol pigliare, e crede aver rasone. Quello che pò sbatter la azza dello compagno a terra come è qui depento questi zoghi quello fazza, tutti gli farà se lo contrario non lo impaza.	[27b-a] La tua aça in terra ò rebatuda; Tosto la mia in lo uolto ti serà metuda.	[9r-c] ¶ In t[er]ram projecta fuit tua ne[m]pe tricuspis. Sed mea p[er]cutiet langue[n]ti vulne[re] vulnu[m].
		[8] This student puts his axe between his opponent’s legs, and covers his eyes with his left hand. When the opponent, who cannot see, tries to turn, he will surely fall to the ground.			[36v-b] ¶ Lo scolaro chazza alo zugadore la sua azza enfra le gambe, e cum la man stancha ello gli covra la vista. E quando lo zugador non vede e se vole voltare tosto va in terra senza fallare.
		[9] I have come from the Boar's Tusk with my axe, And with that I have wounded you in the face. The previous student can also do this play when he is at close range, as you can see here. He steps with his left foot on top of his opponent’s poleaxe head, and draws back his own poleaxe, then thrusts it into his opponent’s face. [In the Getty, the Scholar's right foot is on his opponent's poleax.]	Now from the Boar’s Tooth and the particular poleaxe, ready I immediately sprang forth. And I pierced the face using that thing with the strength of oak. [In the Paris, the Scholar wears a crown.]		[36v-c] ¶ Anche lo scolaro che m'è denanzi pò fare questo zogho quando ello è ale strette come veder possete. Lo pe' stancho pogna sopra la sua azza e tra' la sua indredo e la punta metta allo zugadore in la fazza.	[27b-b] De dent de zenchiar son ensudo cum mia aza. E cum quella io t'ò ferido in la tua faça.	[9v-a] ¶ Dente ab aprino nu[n]c [pro]pria[que] t[ri]cuspide p[ro?]sito scilicet subito Erupi. at[que] illa p[er]cussi robora vultus.
		[10] I have lifted your visor—you can feel it— And I will bore out your teeth with my axe. The previous student saw that it was not possible to strike his opponent in the face with his poleaxe, because his opponent’s visor is too strong. So he advances his left foot forward and lifts the opponent’s visor, and drives his point into his face with as much force as he can give to his poleaxe. You can add on this play to any of the previous plays, as well as to any of the plays which follow.	Lo, I press your very own face with the strong hand, and you feel that. My sacred poleaxe will now extract these, your very own teeth. [In the Paris, the Scholar wears a crown.]		[36v-d] ¶ Lo scolaro ch'è denançi vede che cum la punta d'la azza non à possudo far niente a lo zugadore in lo volto per la visera ch'è forte. Ello acresse lo pe' stancho, e levagli la visera e la punta gli mette in la fazza cum tanta forza ch'ello pò dare a la sua azza. Questo zogho che fazo seguisse quelli ch'è denançi e poy quelli de dredo tutti quanti.	[27b-c] La tua visera t'ò leuada, tu lo senti, E cum mia aça te chauarò li denti.	[9v-d] ¶ En premo forte manu t[ibi] vultu[m]. sentis et istud Extrahet ac dentes h[a]ec nu[n]c mea + tibi sacra t[ri]cuspis.
		[11] Because of my hand which I have under your arm I will cause you trouble in the strong key. With this hold I can strike you in the head with my poleaxe, and with my left arm I will put you in the Strong Lower Bind, which is more deadly than any other lock. [These two images seem to show the beginning and end of the technique.]			[37r-a] ¶ Per questa presa che io chosì te tegno cum mia azza te ferirò in la testa, e cum mio brazzo mancho ti metterò in ligadura de sotto la forte, che più che le altre è pricolosa di morte.	[27b-d] Per mia mane che ò soto el tuo braço In la forte chiaue ti farò impaço.
		[12] I will make a quick rotation from this catch: Your axe will be lost, and mine will strike you in the face.   With a half-turn of this poleaxe I will take it from your hands. And once I have taken it from you with this particular turn, I will strike you in the head with it, as the next student shows. And I do not believe you will survive this.	By means of this taking, I will possibly have made a whirling around. From here yours will be plundered, but my poleaxe will strike your forehead. In this way fate wants the strong to survive. [In the Paris, the Scholar's right foot is forward and he wears a crown.]		[37r-b] ¶ Cum meza volta ti cavarò questa Azza de le mane. E tolta che io te lla averò, in quello proprio voltare, io ti ferirò in la tua testa come fa questo scolar che m'è dredo, tu cazerà morto come io credo.	[28a-a] Per questa presa io farò una uolta presta: Tua aça perderai, la mia te ferirà in la testa.	[10r-b] ¶ Hac ego captura faciam fortasse rotatu[m]. Hinc tua p[rae]detur [/?] mea s[um] te fronte tricuspis [Per]cutiet mo[do] fata velit[?] su[per]esse potenti
		[13] This play follows on from the student before me. As he clearly told you, you will likely drop to the ground dead after being struck in the head like this. And if this blow is not enough then I can give you another. If I choose I can also drag you to the ground by your visor, which is drawn next.			[37r-c] ¶ Questo zoghi è dello scolaro che m'è denançi che fazo quello ch'ello à ditto ben lo crezo che in terra cazerai morto per lo colpo che in la testa io t'ò fatto. E se questo colpo non ti basta uno altro ten posso dare e poy per la visera in terra te vorò tirare. Chome qui dredo depento, e quello ti farò se non mi pento.