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Fiore de'i Liberi
Fiore Furlano de’i Liberi | |
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![]() This man appears sporadically throughout both the Getty and Pisani Dossi MSS, and may be a representation of Fiore himself. | |
Born | Cividale del Friuli |
Relative(s) | Benedetto de’i Liberi (father) |
Occupation |
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Nationality | Friulian |
Patron |
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Influences | |
Influenced | Philippo di Vadi |
Genres | |
Language | |
Notable work(s) | The Flower of Battle |
Manuscript(s) |
Pisani Dossi MS (1409)
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Concordance by | Michael Chidester |
Translations |
Fiore Furlano de’i Liberi de Cividale d’Austria (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; fl. 1381 - 1410) 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.[1][2][3] 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.[4][5][6] 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,[7][8][9] but this has yet to be proven.[10]
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.[1][2][3] 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.[3] 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.[1][2][11]
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;[3] 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),[12] Niccolo Unricilino (Nikolo von Urslingen),[13] Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),[14] Lancillotto Beccaria di Pavia,[15] Giovannino da Baggio di Milano,[16] and Azzone di Castelbarco,[17] and also highlights some of their martial exploits.[1][2]
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.[18] 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).[5][19][20] 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.[21] 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,[5][22] 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.[23] 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.[24][20][14]
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.[16][25]
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.[26] 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.[20] 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;[3] as evidence suggests that at least two longer versions were composed some time before this,[27] 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.[28] 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.[25][20] 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.[29]
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.
Contents
- 1 Treatise
- 2 Additional Resources
- 3 References
Treatise
The d'Este family owned three manuscripts by Fiore during the 15th century,[30] and a total of four copies survive to the present. 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 different order, though each of these pairs contains 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" or "Contrary"), 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.
Illustrations |
Illustrations |
Completed Translation (from the Getty and PD) |
Draft Translation (from the Paris) |
Morgan Transcription [edit] |
Getty Transcription [edit] |
Paris Transcription [edit] | |
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[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. |
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[2] [The Long Guard] I am ready to show you how I win with my holds, |
Even if you capture me, I would win; I am truly prepared. |
[4a-a] Per guadagnar le prese e' son aparichiato, |
[38v-a] ¶ Vt m[ihi] prensuras lucrer, sum ne[m]pe p[ar]at[us]. | ||||
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. |
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[3] [The Boar's Tooth] I seek to reverse the fight, |
I seek to shift, <for> which reason I would be able to deceive you well. |
[4a-b] De pugna mutacion cercho de fare |
[38v-b] ¶ Querito mutare p[ro] quo te c[on]fall[er]e possim. | ||||
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. |
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[4] [The Iron Gate] If you fail to beat me with your skill, I believe 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] |
[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 |
[38v-c] ¶ Si no[n] ingenio vinces q[ui]d[em] cred[er]e possum | |||
[5] [The Guard of the Forehead] I advance upon you with my arms well forward 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, |
[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 |
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[6] With this move I will either force you to the ground 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. |
[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. |
[39r-b] ¶ Hac ego p[re]nsura, facia[m] te tang[er]e t[er]ram. | ||||
[7] Either I will make you kiss the ground with your mouth, 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; [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. |
[39r-d] ¶ Ore tuo t[er]ram te cogam lamb[er]e turpem.
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[8] And I will put you on the ground on your back, 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. |
[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 |
[39v-b] ¶ Renib[us] i[n] t[er]ram iaciam te protinus imam. | |||
[9] Even if you were a master of grappling, 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, [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, |
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[10] With the grips that I have on you above and below, 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 [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 |
[40r-b] ¶ Propt[er] p[re]nsura[re?], sup[er?] quaa[,?] luctor et i[nfra], | |||
[11] Your hand in my face is well placed, 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.[109] But still I cheerfully moved |
[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, |
[40r-c] ¶ Apposui palmas faciei. S[ed] t[ame]n illas | |||
[12] By putting my head under your arm, 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; |
[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 |
[40v-a] ¶ In ter[r]am tendes tristi [con]fusus honore. | |||
[13] Because of my thumb pressing under your left ear, 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 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 |
[40v-d] ¶ Aure [sed] hac digitu[m] teneo luctando sinistra | |||
[14] With great cunning you grabbed me from behind, 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, |
[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 |
[41r-a] ¶ situ Proditor arte tua carpsisti me q[uoque] retro. | |||
[15] This is a grappling move that involves the Gambarola, 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. |
[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, |
[41r-c] ¶ Ludusb hica interdu[m] celebrat[ur] crurad rotandic. | |||
[16] This is a good hold to practice, 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. |
[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: |
[41v-a] ¶ Concordi [con]cepta a[n]i[m]o, p[re]nsura vocat[ur] | |||
[17] I will strike you so hard in the groin 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 |
[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, |
[41v-d] ¶ Tal[ite]r ip[s]e ego tuos [con]fringa[m] poplite duro | |||
[18] I'll give you so much pain and suffering to your nose 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[110] pains which your nose is suffering |
[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, |
[42r-a] ¶ Tot t[ibi] congemi[n]o naso patiente dolo[r]es | |||
[19] No doubt about it, with this move I will free myself 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). [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 |
[42r-d] ¶ Destitutuj si[mi]li p[re]nsura (sicq[ue] fatemur) | |||
[20] I will hurt you under your chin so badly 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, |
[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, |
[42v-a] ¶ Subq[ue] tuo mento plures t[ibi] tracto dolo[r]es. | |||
[21] With your hands in my face you can cause me 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. [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, |
[42v-d] ¶ Cu[m] manib[us] facie[m] p[re]mis hic lude[n]do gemellis. |
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[1] With a short staff I bind your neck, 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: |
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[2] If this short staff play does not put you on the ground, 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, |
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[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. |
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[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. |
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[1] I know how to cover cuts and thrusts with my dagger. Here begin sword against dagger plays, and you will have a significant advantage if you know how to do these.[135] 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[136] 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.[137] |
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 guard |
[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. |
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[2] The proof is found depicted here: 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.[138] 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. 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: |
[20r-a] ¶ Hoc patet i[n] textu pictura teste docente. | ||
[3] The sword has won against the dagger here, If the attacker[139] 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.[140] |
Your dagger is not strong; I set your back in motion so that I have compelled [you] to turn 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, |
[20r-d] ¶ Nil valuit t[ibi] daga / cito ta[m] t[er]ga coegi | ||
[4] If someone would attack me with a sword to my head, 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.[141] You will also find this Middle Bind shown in the third play of the dagger,[142] which is made a hands-breadth from the face.[143] |
And whoever would have struck the sword into me and under the crown of the head, 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,[144] 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, |
[20v-b] ¶ Inijceret quicu[m]q[ue] m[ihi] [sub?] scilicet si u[r]tice spata[m] / | ||
[5] Because you have not struck me in the back, |
[35b-a] Perchè tu non m'abij a ferir in la schena |
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[6] This match is one of dagger to sword: This is one way to defeat[145] dagger against sword. The man with the dagger grabs the man with the sword by the collar[146] 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 |
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[7] In this fashion the sword defends against the dagger: 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,[147] or I could put him into the middle bind, using the third play of the First Dagger Remedy Master.[148] |
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: |
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[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.[149] |
That best moving of what will have been played, and [is] careful in the art. |
[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. | ||||
[9] This is another odd match: 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.[150] 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: |
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[10] I will strike the eye in your face with my scabbard 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 |
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[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[151] and avoid being killed, then God will have indeed blessed him with great skill.[152] |
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. |
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[2] Whether throwing the sword or striking cuts and thrusts, You are cowards[153] 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 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 |
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[3] With a step, I have made a cover with my sword …I will advance my front foot a little off the line, and with my left foot I will step crosswise,[155] 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[156] 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; …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 |
[10v-b] ¶ Ense me[?] / faciens passu[m] tego me[m]bra furentj. | ||||
[4] In order to wound you again with this, my point, 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; 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 |
[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 |
[10v-d] ¶ Ut[??] iteru[m] feriam nu[n]c te cu[m] cuspide mestu[m] / | ||
[5] Here I have struck you in your head |
Here I struck the forehead, causing a bloody wound, |
[13b-b] Aqui io t'ò ferido in la tua testa |
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[6] Again I have struck your head without stepping 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 |
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[7] In this way, I uncover you to strike you with my point I have done what my teacher[158] 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; 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 |
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[8] Because of the hand that I have put beneath your hilt, 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.[161] 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; |
[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, |
[11r-d] ¶ Derideas me voce tua / cecum[que] vocato / | |||
[9] With my left arm, I have bound your right 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 |
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[10] Because of the way in which I have caught your sword, 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; |
[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 |
[11v-d] ¶ Arbitror a manib[us] anse[m] t[ibi] carpere lentis / | |||
[11] I will make you turn with the left hand 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[163] 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. |
[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 |
[12r-d] ¶ Cum[que] manu volua[m] cubitu[m] voluendo aventu[m] | |||
[12] Because of the turn that I have given you by your elbow 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; |
[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 |
[12r-b] ¶ Nu[n]c ego p[re]pendo mediu[m] scidisse mucrone | |||
[13] This is a good break of the point on the ground You aimed[164] 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 |
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[14] I have sending you to the ground in my thoughts: 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: |
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[15] Either your sword is bent or it is broken 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[165] 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 |
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[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. |
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[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. |
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[3] We are two Masters that await the throw |
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: |
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[No Image] | [1] We are six guards for armored fencing, 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. 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, |
[19v] ¶ Sex sumus i[n] factis armor[um] valde p[er]iti | |
[2] The Shortened Stance, the Serpent I am the Shortened Stance, the Serpent, 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; 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 |
[19v-a] ¶ Su[m] situs ip[s]e brevis. vocor et sub no[m]i[n]e recto | ||
[3] The Stance of the True Cross I am the stance called the True Cross 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,[262] I truly observe the Serene One, 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 |
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[4] The Raised Serpent I am the Raised Serpent, 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 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: |
[18r-a] ¶ Serpentinus ego vocor / et sopranus, et alta | ||
[5] The Middle Iron Gate I am the Iron Gate in the Middle: 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. 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: |
[19v-d] ¶ Sum mediana q[uon]de[m] fer[r]i stans [con]dita porta. | ||
[6] The Archer's Stance I am the Archer's Stance, the sentinel, 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; 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, |
[19v-c] ¶ Hic mucro mutabit statu[m] penetra[n]do malignu[m]. | ||
[7] The Stance of the Bastard Cross Of the Stance of the Cross, I am the Bastard, 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[264] as the True Cross by many masters. 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, |
[19v-b] ¶ Sum situs, et dicor crux multis v[er]a mag[ist]ris. | ||
[8] With this cover I believe that I can waste anyone, 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, 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[265] 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, |
[18r-c] ¶ Hac nu[n]c tectura que[m]cu[m]q[ue] refelle[re] credas / | ||
[9] This thrust exits from the Master's cover, 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; 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, |
[18v-a] ¶ A tectura exit cuspis haec una mag[ist]ri. | ||
[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. |
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[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. |
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[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[266] picture. |
Indeed, by means of this lower bind you will depart on your face. |
[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, | ||||
[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[267] and you’ll soon be hurting.[268] |
[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. |
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[14] You go to the ground because of the point of the sword, 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[269] 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, 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, |
[18v-c] ¶ Cuspide mucronis i[n] t[er]ram stratus abibis. | ||
[15] You feel the sword that I have set at your neck 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. 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 |
[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 |
[16r-b] ¶ Colla sup[er] teneo mucrone[m]. sentis et istud. | ||
[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. |
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[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. |
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[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. |
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[19] If I turn myself close on your left side, This student is unable to strike his opponent effectively,[270] 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. 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 |
[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 |
[16r-d] ¶ Dexteriore tui cadet ensis parte / sinistra | ||
[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. |
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[21] I have wasted your hand, you can feel it well, [In the Pisani Dossi, the player is wearing the garter.] |
You can perceive that I have beaten[271] your hand[272] with great wounds. 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; |
[16v-b] ¶ To sentire potes [.] q[uam] magno vulne[re] palma[m] scilicet manu[m]
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[22] Here I waste your hand by coming to a bind |
Here I strike you truly in the hand; the thing 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, |
[16v-d] ¶ Hic ferio te ne[m]pe in manu ut nexura sit inde | |||
[23] I will send you to the ground with my hilt, |
Learned in my art, I will turn your body face-up onto the ground. 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 |
[17r-b] ¶ Doctus i[n] arte mea resupi[n]o pecto[r]e verta[m] | |||
[24] You will either lose the sword from your left hand, |
Either you will leave your very own sword from the left part, 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 |
[17r-d] ¶ Vel linques ense[m] p[ro]priu[m] de p[ar]te sinistra. | |||
[25] This catch makes me safe from your sword: |
This taking makes <me> safe from your sword. Therefore it happens that 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; |
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[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. |
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[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. |
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[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. |
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[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,[275] 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. |
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[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[276] 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. |
[ Images ] |
Images |
Paris |
Getty Transcription [edit] |
Paris Transcription [edit] | |||
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[1] The Stance of the Shortened Serpent I am the Shortened Stance, the Serpent, with axe in hand; 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.[277] This guard delivers a powerful thrust that can penetrate cuirasses and breastplates. Fight with me[278] if you want to see the proof. |
Behold, with grasping hands I am called the Short Spear Position |
- 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; |
[8v-c] ¶ Manib[us] astringe[n]s Jaculu[m] / brevis: en vocor int[er] | |||
[2] The Stance of the True Cross I am the strong stance called the Cross: 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 |
- 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: |
[8v-d] ¶ Sum situs en fortis. vocor et crux. n[ec?] m[ihi] [quisquem?] quisq…? | |||
[3] [The Stance of the Queen] I am the Stance of the Queen, of pure loyalty: 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. |
[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: |
[9r-a] ¶ Sum fidei sincerus ego situs en con ecce muliebris. | |||
[4] [The Wild Boar's Tusk/Middle Iron Gate] I am the Boar's Tusk, full of daring: 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, [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: |
[9r-b] ¶ Dens aprinus ego su[m] fortis et ho[r]ridus audax. | |||
[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. |
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[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.[280] This is not a good guard to wait in.[281] 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. |
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[7] I have beaten your axe to the ground; 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, |
[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; |
[9r-c] ¶ In t[er]ram projecta fuit tua ne[m]pe tricuspis. | |||
[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. |
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[9] I have come from the Boar's Tusk with my axe, 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. [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. |
[9v-a] ¶ Dente ab aprino nu[n]c [pro]pria[que] t[ri]cuspide p[ro?]sito scilicet subito | |||
[10] I have lifted your visor—you can feel it— 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. [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, |
[9v-d] ¶ En premo forte manu t[ibi] vultu[m]. sentis et istud | |||
[11] Because of my hand which I have under your arm With this hold[282] 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 |
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[12] I will make a quick rotation from this catch: 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. [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: |
[10r-b] ¶ Hac ego captura faciam fortasse rotatu[m]. | |||
[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. |
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[14] I am demonstrating what the student before m |