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| name                = Giovanni dall'Agocchie
 
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| [[Achille Marozzo]] (?)
 
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'''Giovanni dall'Agocchie di Bologna''' (dalle Agocchie, Agucchi, Agocchia; b. March 9, 1547) was a [[century::16th century]] [[nationality::Italian]] [[fencing master]]. Little is known about this master's life apart from that he was a citizen of Bologna. In 1572, dall'Agocchie wrote and published a treatise on warfare, including fencing with the [[side sword]], titled ''[[Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie)|Dell'Arte di Scrima Libri Tre]]'' ("Three Books on the Art of Defense"). He dedicated it to Fabio Pepoli, Count of Castiglione, but it's unclear if he was ever attached to the comital court.
 
'''Giovanni dall'Agocchie di Bologna''' (dalle Agocchie, Agucchi, Agocchia; b. March 9, 1547) was a [[century::16th century]] [[nationality::Italian]] [[fencing master]]. Little is known about this master's life apart from that he was a citizen of Bologna. In 1572, dall'Agocchie wrote and published a treatise on warfare, including fencing with the [[side sword]], titled ''[[Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie)|Dell'Arte di Scrima Libri Tre]]'' ("Three Books on the Art of Defense"). He dedicated it to Fabio Pepoli, Count of Castiglione, but it's unclear if he was ever attached to the comital court.
 
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{{TOC depth|3}}
 
== Treatise ==
 
== Treatise ==
  
{{ambox | text=This article includes a very early (2007) draft of Jherek Swanger's translation. An extensively-revised version of the translation was released in print in 2018 as ''The Art of Defense: on Fencing, the Joust, and Battle Formation, by Giovanni dall’Agocchie''. It can be purchased at the following links in [https://www.lulu.com/shop/giovanni-dallagocchie-and-jherek-swanger/the-art-of-defense-on-fencing-the-joust-and-battle-formation-by-giovanni-dallagocchie-hardback/hardcover/product-14q4dwjp.html hardcover] and [https://www.lulu.com/shop/giovanni-dallagocchie-and-jherek-swanger/the-art-of-defense-on-fencing-the-joust-and-battle-formation-by-giovanni-dallagocchie-paperback/paperback/product-16ykdzvv.html softcover].}}
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''Note: This article includes a very early (2007) draft of Jherek Swanger's translation. An extensively-revised version of the translation was released in print in 2018 as ''The Art of Defense: on Fencing, the Joust, and Battle Formation, by Giovanni dall’Agocchie''. It can be purchased at the following links in [https://www.lulu.com/shop/giovanni-dallagocchie-and-jherek-swanger/the-art-of-defense-on-fencing-the-joust-and-battle-formation-by-giovanni-dallagocchie-hardback/hardcover/product-14q4dwjp.html hardcover] and [https://www.lulu.com/shop/giovanni-dallagocchie-and-jherek-swanger/the-art-of-defense-on-fencing-the-joust-and-battle-formation-by-giovanni-dallagocchie-paperback/paperback/product-16ykdzvv.html softcover].''
  
 
{{master begin
 
{{master begin
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|-  
 
|-  
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Andrea Morassutto]]</p>
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! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Benjamin Conan]]</p>
  
 
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<p>''By Mr. Giovanni dall’Agocchie, Bolognese''</p>
 
<p>''By Mr. Giovanni dall’Agocchie, Bolognese''</p>
{|
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{| style="border-collapse: collapse;"
 
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| ''Which briefly deal with:
 
| ''Which briefly deal with:
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'''In Venice,''' Printed by Giulio Tamborino. 1572.
 
'''In Venice,''' Printed by Giulio Tamborino. 1572.
| {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|7|lbl=Ttl}}
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| {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|7|lbl=1r}}
  
 
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{{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|9|lbl=2|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|10|lbl=2v|p=1}}
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{{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|9|lbl=2r|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|10|lbl=2v|p=1}}
  
 
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<p>In consequence whereof I do not hold these discourses of mine to have turned out to be useless. I have composed them in the form of a dialogue for their more ready understanding by whomever in whose hands they arrive. In precisely that fashion did it pass that I had discussions thereof in Brescia, in the house of the very illustrious Signore Girolamo Martimenghi, with Mr. Lepido Ranieri, a youth of a sensible and virtuous bearing, who well understands the practice of fencing. After many discussions with him, both of us being led to the garden, he began to speak thus:</p>
 
<p>In consequence whereof I do not hold these discourses of mine to have turned out to be useless. I have composed them in the form of a dialogue for their more ready understanding by whomever in whose hands they arrive. In precisely that fashion did it pass that I had discussions thereof in Brescia, in the house of the very illustrious Signore Girolamo Martimenghi, with Mr. Lepido Ranieri, a youth of a sensible and virtuous bearing, who well understands the practice of fencing. After many discussions with him, both of us being led to the garden, he began to speak thus:</p>
 
| class="noline" |  
 
| class="noline" |  
{{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|11|lbl=3|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|12|lbl=3v|p=1}}
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{{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|11|lbl=3r|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|12|lbl=3v|p=1}}
  
 
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|-  
 
|-  
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Andrea Morassutto]]</p>
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! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Benjamin Conan]]</p>
  
 
|-  
 
|-  
 
| <p>'''The First Book of Dialogues''' by ''Mr. Giovanni dall’Agocchie, Bolognese:'' which deal with the art of Fencing; divided into five days.</p>
 
| <p>'''The First Book of Dialogues''' by ''Mr. Giovanni dall’Agocchie, Bolognese:'' which deal with the art of Fencing; divided into five days.</p>
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|1|lbl=4.1}}
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|1|lbl=4r.1}}
  
 
|-  
 
|-  
 
| <p>'''Interlocutors''': Mr. Lepido Ranieri and Mr. Giovanni dall’Agocchie.</p>
 
| <p>'''Interlocutors''': Mr. Lepido Ranieri and Mr. Giovanni dall’Agocchie.</p>
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|2|lbl=4.2}}
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|2|lbl=4r.2}}
  
 
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|-  
 
| <p>Lep: Mr. Giovanni, since this great heat is bothering us and will keep us from accomplishing anything for several hours, it would seem like a good idea to discuss the art of fencing to keep us from falling asleep, and so that I could derive some instruction from your speech. </p>
 
| <p>Lep: Mr. Giovanni, since this great heat is bothering us and will keep us from accomplishing anything for several hours, it would seem like a good idea to discuss the art of fencing to keep us from falling asleep, and so that I could derive some instruction from your speech. </p>
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|3|lbl=4.3}}
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|3|lbl=4r.3}}
  
 
|-  
 
|-  
 
| <p>Gio: Certainly, my Mr. Lepido. Since I see your wits to be awakened to virtue, I would fully satisfy you in that which you ask of me. And so that I may, don’t refrain from asking me freely, and I will strive to please you with all I know and value, so that I may satisfy you insofar as I can. </p>
 
| <p>Gio: Certainly, my Mr. Lepido. Since I see your wits to be awakened to virtue, I would fully satisfy you in that which you ask of me. And so that I may, don’t refrain from asking me freely, and I will strive to please you with all I know and value, so that I may satisfy you insofar as I can. </p>
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|4|lbl=4.4}}
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|4|lbl=4r.4}}
  
 
|-  
 
|-  
 
| <p>Lep: I truly had the same faith in you, and am endlessly very grateful to you for yours. And since you place it in me, by your leave I’ll speak of my ideas in order to arrive confidently at the truth. My desire would be for you to make me understand everything that you know about this exercise, and to clear up every doubt that may occur to me, since I know that you know how to do so, and can do it readily. </p>
 
| <p>Lep: I truly had the same faith in you, and am endlessly very grateful to you for yours. And since you place it in me, by your leave I’ll speak of my ideas in order to arrive confidently at the truth. My desire would be for you to make me understand everything that you know about this exercise, and to clear up every doubt that may occur to me, since I know that you know how to do so, and can do it readily. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|5|lbl=4.5|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/14|1|lbl=4v.1|p=1}}
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/13|5|lbl=4r.5|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/14|1|lbl=4v.1|p=1}}
  
 
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! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Andrea Morassutto]]</p>
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! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Benjamin Conan]]</p>
  
 
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| <p>Lep: I’ll report myself to you in this and in every other thing. </p>
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| class="noline" | <p>Lep: I’ll report myself to you in this and in every other thing. </p>
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/51|2|lbl=23r.2}}
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| class="noline" | {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/51|2|lbl=23r.2}}
  
 
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{{master subsection begin
 
{{master subsection begin
  | title = Day 3 - Attacking First
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  | title = Day 3 - Attacking
 
  | width = 60em
 
  | width = 60em
 
}}
 
}}
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|-  
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Andrea Morassutto]]</p>
+
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Benjamin Conan]]</p>
  
 
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|-  
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| <p>Gio: It’s true that there are few differences, since ultimately all the blows resolve only into a cut or a thrust. And the reason is that wounding with either the true edge or the false one, be it to the right or left side, either high or low, will always be a cut. Similarly, if you wound with either an ''imbroccata'', or a ''stoccata'', or a ''punta riversa'', it will always be a thrust. And therefore everything resolves into a cut or a thrust. But to continue with the counters in the third guard, when the enemy hits your sword with the ''falso'', you’ll immediately turn a ''dritto tramazzone'', drawing your right foot back a pace in that ''tempo'', and your sword will go into ''cinghiale porta di ferro''; and with this defense you’ll have interrupted his intention. But when he hits your sword with a ''riverso ridoppio'' in order to wound you with an overhand thrust, in the hitting of your sword you’ll pass forward with your left foot, but during the extension of the thrust, you’ll parry it with a ''riverso sgualimbro''; having done which you’ll advance forward with your right foot, sticking an ''imbroccata'' into his flank; or, during the advance of your right foot, you’ll adjoin the true edge of your sword onto that of your enemy’s, sticking your point in his face in that ''tempo''. But if he pretends to give you the ''dritto tramazzone'', you’ll go with your sword into ''guardia di faccia'', and as he throws the ''riverso'' to your thigh, immediately casting your right foot behind your left one, you’ll turn a ''riverso'' to his arm. But when he beats with a ''riverso'' on your sword, you won’t make any movement, but during his pushing of a ''punta riversa'', you’ll parry with the false edge, and if he turns the ''mandritto tondo'', you’ll draw back your right foot and give him a ''mezzo mandritto'' to his sword hand. Then, if he extends a thrust to give you a ''riverso ridoppio'', you’ll parry that with your true edge <n.b. the ''riverso ridoppio'' eliciting this counter is not mentioned among the provocations above>, and as he turns the ''ridoppio'', you’ll guide your right foot toward his left side, turning a ''riverso sgualimbro'' in that ''tempo'', which will go into ''coda lunga stretta''. But if he throws the two thrusts, in the extension of the first one you’ll hit it with your false edge, but during the stepping that he makes with his right foot in order to give you the second one, you’ll parry it with a ''mezzo mandritto'', wounding him in the chest with a ''punta riversa'', followed by a ''riverso sgualimbro'' with which you’ll fix yourself in ''coda lunga stretta''. But if he puts the true edge of his sword on yours in order to wound you in the chest, you’ll immediately turn your left side behind your right one, throwing a ''riverso'' from beneath upwards to his arm in that ''tempo'', and your sword will ascend into  ''guardia d’alicorno''. You could also step diagonally with your right foot while he extends the said thrust, and disengage your sword under his in the same ''tempo'' and stick the point into his chest. And these are the counters that can be done when you’re in the aforesaid guard of ''porta di ferro stretta''. </p>
+
| <p>Gio: It’s true that there are few differences, since ultimately all the blows resolve only into a cut or a thrust. And the reason is that wounding with either the true edge or the false one, be it to the right or left side, either high or low, will always be a cut. Similarly, if you wound with either an ''imbroccata'', or a ''stoccata'', or a ''punta riversa'', it will always be a thrust. And therefore everything resolves into a cut or a thrust. But to continue with the counters in the third guard, when the enemy hits your sword with the ''falso'', you’ll immediately turn a ''dritto tramazzone'', drawing your right foot back a pace in that ''tempo'', and your sword will go into ''cinghiale porta di ferro''; and with this defense you’ll have interrupted his intention. But when he hits your sword with a ''riverso ridoppio'' in order to wound you with an overhand thrust, in the hitting of your sword you’ll pass forward with your left foot, but during the extension of the thrust, you’ll parry it with a ''riverso sgualimbro''; having done which you’ll advance forward with your right foot, sticking an ''imbroccata'' into his flank; or, during the advance of your right foot, you’ll adjoin the true edge of your sword onto that of your enemy’s, sticking your point in his face in that ''tempo''. But if he pretends to give you the ''dritto tramazzone'', you’ll go with your sword into ''guardia di faccia'', and as he throws the ''riverso'' to your thigh, immediately casting your right foot behind your left one, you’ll turn a ''riverso'' to his arm. But when he beats with a ''riverso'' on your sword, you won’t make any movement, but during his pushing of a ''punta riversa'', you’ll parry with the false edge, and if he turns the ''mandritto tondo'', you’ll draw back your right foot and give him a ''mezzo mandritto'' to his sword hand. Then, if he extends a thrust to give you a ''riverso ridoppio'', you’ll parry that with your true edge,<ref>N.b., the ''riverso ridoppio'' eliciting this counter is not mentioned among the provocations above.</ref> and as he turns the ''ridoppio'', you’ll guide your right foot toward his left side, turning a ''riverso sgualimbro'' in that ''tempo'', which will go into ''coda lunga stretta''. But if he throws the two thrusts, in the extension of the first one you’ll hit it with your false edge, but during the stepping that he makes with his right foot in order to give you the second one, you’ll parry it with a ''mezzo mandritto'', wounding him in the chest with a ''punta riversa'', followed by a ''riverso sgualimbro'' with which you’ll fix yourself in ''coda lunga stretta''. But if he puts the true edge of his sword on yours in order to wound you in the chest, you’ll immediately turn your left side behind your right one, throwing a ''riverso'' from beneath upwards to his arm in that ''tempo'', and your sword will ascend into  ''guardia d’alicorno''. You could also step diagonally with your right foot while he extends the said thrust, and disengage your sword under his in the same ''tempo'' and stick the point into his chest. And these are the counters that can be done when you’re in the aforesaid guard of ''porta di ferro stretta''. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/57|3|lbl=26r.3|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|58|lbl=26v|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/59|1|lbl=27r.1|p=1}}
 
{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/57|3|lbl=26r.3|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|58|lbl=26v|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/59|1|lbl=27r.1|p=1}}
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| <p>Gio: In two tempi, one ''tempo'', and half a ''tempo''.<ref>I.e. “''mezzo tempo''”.</ref> The two tempi are when the sword parries, and then strikes. One ''tempo'' is when one attacks without parrying the blow, or when one parries and attacks in one instant. The half, and last, is when one attacks while the enemy is throwing his blow. But to return to the discussion of attacking outside of ''tempo'', someone who proceeds determinedly without any advantage to attack an enemy who is fixed in guard will proceed outside of ''tempo'', because in that case he’ll find him free to perform the counters as I described to you in the fifth heading. </p>
+
| <p>Gio: In two tempi, one ''tempo'', and half a ''tempo''.<ref>I.e., “''mezzo tempo''”.</ref> The two tempi are when the sword parries, and then strikes. One ''tempo'' is when one attacks without parrying the blow, or when one parries and attacks in one instant. The half, and last, is when one attacks while the enemy is throwing his blow. But to return to the discussion of attacking outside of ''tempo'', someone who proceeds determinedly without any advantage to attack an enemy who is fixed in guard will proceed outside of ''tempo'', because in that case he’ll find him free to perform the counters as I described to you in the fifth heading. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/63|9|lbl=29r.9|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/64|1|lbl=29v.1|p=1}}
 
{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/63|9|lbl=29r.9|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/64|1|lbl=29v.1|p=1}}
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|-  
 
|-  
| <p>Lep: I will follow your opinion and do as you like. </p>
+
| class="noline" | <p>Lep: I will follow your opinion and do as you like. </p>
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/74|4|lbl=34v.4}}
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| class="noline" | {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/74|4|lbl=34v.4}}
  
 
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|-  
 
|-  
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Andrea Morassutto]]</p>
+
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Benjamin Conan]]</p>
  
 
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| <p>''Way of putting oneself in guard with the sword and dagger.''</p>
 
| <p>''Way of putting oneself in guard with the sword and dagger.''</p>
  
<p>Gio: Then I’ll tell you that when you step in the guards, while your sword goes into ''coda lunga stretta'', in the same ''tempo'' you’ll go into ''cinghiale porta di ferro alta'' with your dagger. And when your sword is fixed in ''cinghiale porta di ferro'', you’ll fix your dagger in ''guardia di testa''. But when your sword falls into ''porta di ferro'' <i.e. ''stretta'', see p. 38recto>, you’ll lower your dagger into ''coda lunga alta''. And when you guide your sword into ''coda lunga alta'', you’ll also guide your dagger into ''porta di ferro alta''. Then when you raise your sword into  ''guardia d’alicorno'', you’ll lower your dagger into ''cinghiale porta di ferro''. And this is the manner that you’ll have to follow in adopting the guards whether stepping forward or back, and on the diagonal as well, which can be done similarly with the sword accompanied by the cape. As for the recommendations, when you happen to parry with the dagger and you knock the enemy’s sword to the outside, that is, toward his right side, and especially his thrusts, you’ll hit it either with the flat or with the true edge thereof, depending upon the need, turning your wrist outwards well, and holding your arm well extended; but in the same ''tempo'' you’ll turn your body behind your right side, because doing so you’ll push the enemy’s blows further away, and protect yourself from them greatly. But when you knock it toward his left side, always hit it with the true edge of the dagger, turning your body in the opposite manner. And this is the first recommendation. The second: as you move your dagger to parry, also move the sword to attack, always accompanying the foot with the hand together with rotations of the body, as I’ve said. Third: when you want to join both weapons together in order to defend yourself, put your dagger on the inside of your sword, in such a fashion that its true edge touches the false edge of the said sword. Conjoined together, they’ll come to make an “X”, and over all hold your arms extended directly toward your enemy’s face, for your greater safety. Fourth and last: Once you’ve wounded your enemy, if he responds to your upper body and you want to protect yourself from his response with accompanied arms, you’ll follow the same rule as above. And also, when I speak of defending and offending hereafter, and I make mention of accompanying the arms together, you’ll follow the same method told above, always making the dagger be on the inside of the sword, so that you’ll have a great advantage, since you’ll have your sword freer to be able to wound the enemy, and especially so with a ''riverso'', and also when parrying your sword will be stronger by virtue of being supported by the dagger. </p>
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<p>Gio: Then I’ll tell you that when you step in the guards, while your sword goes into ''coda lunga stretta'', in the same ''tempo'' you’ll go into ''cinghiale porta di ferro alta'' with your dagger. And when your sword is fixed in ''cinghiale porta di ferro'', you’ll fix your dagger in ''guardia di testa''. But when your sword falls into ''porta di ferro'',<ref>I.e., ''stretta'', see p. 38r</ref> you’ll lower your dagger into ''coda lunga alta''. And when you guide your sword into ''coda lunga alta'', you’ll also guide your dagger into ''porta di ferro alta''. Then when you raise your sword into  ''guardia d’alicorno'', you’ll lower your dagger into ''cinghiale porta di ferro''. And this is the manner that you’ll have to follow in adopting the guards whether stepping forward or back, and on the diagonal as well, which can be done similarly with the sword accompanied by the cape. As for the recommendations, when you happen to parry with the dagger and you knock the enemy’s sword to the outside, that is, toward his right side, and especially his thrusts, you’ll hit it either with the flat or with the true edge thereof, depending upon the need, turning your wrist outwards well, and holding your arm well extended; but in the same ''tempo'' you’ll turn your body behind your right side, because doing so you’ll push the enemy’s blows further away, and protect yourself from them greatly. But when you knock it toward his left side, always hit it with the true edge of the dagger, turning your body in the opposite manner. And this is the first recommendation. The second: as you move your dagger to parry, also move the sword to attack, always accompanying the foot with the hand together with rotations of the body, as I’ve said. Third: when you want to join both weapons together in order to defend yourself, put your dagger on the inside of your sword, in such a fashion that its true edge touches the false edge of the said sword. Conjoined together, they’ll come to make an “X”, and over all hold your arms extended directly toward your enemy’s face, for your greater safety. Fourth and last: Once you’ve wounded your enemy, if he responds to your upper body and you want to protect yourself from his response with accompanied arms, you’ll follow the same rule as above. And also, when I speak of defending and offending hereafter, and I make mention of accompanying the arms together, you’ll follow the same method told above, always making the dagger be on the inside of the sword, so that you’ll have a great advantage, since you’ll have your sword freer to be able to wound the enemy, and especially so with a ''riverso'', and also when parrying your sword will be stronger by virtue of being supported by the dagger. </p>
 
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| <p>''Defense and offense of the sword and dagger together.''</p>
 
| <p>''Defense and offense of the sword and dagger together.''</p>
  
<p>Gio: First we’ll present the case that you find yourself facing your enemy with your sword in ''coda lunga stretta'', and your dagger in ''cinghiale porta di ferro'' <''alta''>, and that he throws a ''mandritto'' to your head. You’ll step forward with your left foot and go into ''guardia di testa'' with your dagger in order to protect yourself, and thrust a ''punta riversa'' into his chest in the same ''tempo'', followed by a ''riverso'' to the leg; or, once you’ve parried with the dagger, you can cut him with a ''riverso'' to the thigh, or turn a ''mandritto'' to the head or leg as you wish, and then you’ll immediately withdraw your left foot back a pace, raising your weapons together into ''guardia di testa'' in order to secure yourself against the response that comes to your upper body, having done which, you’ll return into the aforesaid guard. You can also parry with your weapons united, drawing your left foot near your right one in that ''tempo'', knock the enemy’s sword outwards with your dagger, and immediately advance with your right foot and slice him in the leg with a ''riverso''; and for your protection, draw your right foot near to your left one, extending a thrust at him under your dagger, having done which, you’ll put yourself back into the aforesaid guard. In addition to which you can defend yourself from the said ''mandritto'' with your sword accompanied by your dagger in ''guardia di faccia'', advance with your right foot in that ''tempo'', and thrust the point into his face, having done which you’ll settle yourself back into the guard named above. But if he wants to wound you with a ''mandritto'' to your leg, you can defend yourself with the true edge of your dagger, lowering its point toward the ground, and gliding forward with your right foot all in one ''tempo'', making your left one follow behind the right one. You can also draw your right leg along side your left one, thrusting the point toward his face in the company of your dagger, and immediately return into the guard that we’re discussing. But if he turns a ''riverso'' to your head, you can parry it with the true edge of your sword, sticking an ''imbroccata'' in his flank, so that your left foot pushes your right one forward; or, after you’ve parried the blow with your sword, you can turn a ''riverso'', either high or low, whichever seems better. Moreover, you can parry the said blow with your sword accompanied by your dagger in ''guardia d’entrare'', stepping forward with your left foot, and advance and thrust the point in his chest all in one ''tempo''. One can also defend said ''riverso'' with the sword, advancing somewhat with the right foot, then immediately passing forward with the left one, and giving him a thrust in the flank with the dagger; but once this is done, you’ll return to the guards employed. Now if perchance he throws a ''riverso'' to your leg, you can defend yourself with a ''riverso ridoppio'', and immediately advance with your right foot and thrust an ''imbroccata'' into his face, making your dagger guard your head; having done which, you’ll settle into your guards. But if the enemy throws an overhand thrust, send your left foot forward and knock it toward your right side in that ''tempo'' with the true edge of your dagger, turning an overhand ''riverso'' to his head and making your right foot follow behind. You can also draw your left foot near to your right one, and parry with a ''mezzo mandritto'', then immediately advance with your right and thrust a ''punta riversa'', or cut him with a ''riverso tondo'', followed by another ''riverso'' with which you’ll go into your said guards along with your dagger. But if he throws a ''stoccata'', you can knock that outwards with your dagger and step forward with your right foot in that ''tempo'', thrusting the point into his chest, or giving him a ''mandritto'' to the leg. You can also withdraw you right foot back a pace and give him a ''mezzo mandritto'' to the sword hand in that ''tempo'', and having done so, return to the aforesaid guards. And this is the means you must follow in both defending yourself and offending the enemy when you’re fixed with your sword and dagger in these two guards named above. Now, coming to the second guards, when you have your sword in ''coda lunga alta'' and your dagger in ''porta di ferro alta'', and your enemy throws a ''mandritto'' to your head, you’ll raise your dagger into ''guardia di testa'', and then, protecting yourself from it, you’ll step forward with your right foot all in one ''tempo'', thrusting your point into his chest; or, in stepping forward, you can give him a ''mandritto sgualimbro'' across his sword arm, and immediately return back a pace with your right foot with both weapons together, and put yourself back into the said guards. Moreover, in stepping forward with your right foot, you can parry the said blow with your weapons accompanying each other, and cut him with a ''riverso'' to the leg, making your dagger remain in defense of your head. Additionally, in the advance of your feet you can proceed to protect yourself from the said ''mandritto'' with your sword in ''guardia di faccia'', together with your dagger, and thrust your point into his face in that ''tempo'', having done which, you’ll restore yourself into the aforesaid guards. But if he responds with a ''mandritto'' to your leg, you can parry it with the true edge of your dagger, lowering its point toward the ground, and in that instant you’ll step forward with your right foot and stick a ''stoccata'' into his face, followed by a ''mandritto'' to the leg; or draw your left leg back a pace, turning a ''riverso'' to his sword arm, and this accomplished, return into the guards named above. But if he turns a ''riverso'' to your head, you’ll parry it with the dagger, and immediately go forward with your right foot, thrusting a ''punta riversa'' to his chest, or cutting him with a ''riverso'' to the thigh. You could also parry the said blow with your sword in ''guardia d’entrare'', supported with your dagger, and step forward in the same ''tempo'' and thrust the point into his face, then immediately return your right foot back, accompanying yourself with a thrust with which you’ll settle into the aforesaid guards. But if perchance he responds with a ''riverso'' to your leg, you’ll draw your left foot near your right one, and thrust the point to his face in the same ''tempo''. Beyond which, you can pass forward with your right foot toward his left side, turning a ''riverso sgualimbro'' to his sword arm, having done which, you’ll return into the guards whereof we speak. But if the enemy wants to wound you with an ''imbroccata'' to the chest, you’ll knock that toward his left side with the true edge of your dagger, and turn an overhand ''riverso'' to his head in that ''tempo'', making your right foot follow behind your left one. Moreover, you could pass forward with your right foot, and in that passage parry the said thrust with a ''mandritto sgualimbro'', wounding his chest with a ''punta riversa'', and for your shelter you’ll return your right foot back a pace, raising both your weapons all in one ''tempo'' into ''guardia di testa'', and then you’ll settle yourself into the guards of which we speak. But if he throws an underhand thrust at you, you’ll knock that outwards with the dagger, that is, toward his right side, stepping forward with your right foot in that ''tempo'', and thrusting a ''stoccata'' to his flank, or turning a ''mandritto'' to his head or leg. Beyond which, while taking the step you could parry with the true edge of your sword and immediately cut him with a ''riverso'' to the face; or, while taking the step, you could adjoin the true edge of your sword with that of your enemy, and thrust the point into his chest. You could also draw your left foot back a pace, and wound him in the sword hand with a ''mezzo mandritto'' all in one ''tempo'', and immediately return into the aforesaid guards. And I believe that now you’ve heard well how to parry and attack when you’re facing your adversary arranged in them. </p>
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<p>Gio: First we’ll present the case that you find yourself facing your enemy with your sword in ''coda lunga stretta'', and your dagger in ''cinghiale porta di ferro'' [''alta''], and that he throws a ''mandritto'' to your head. You’ll step forward with your left foot and go into ''guardia di testa'' with your dagger in order to protect yourself, and thrust a ''punta riversa'' into his chest in the same ''tempo'', followed by a ''riverso'' to the leg; or, once you’ve parried with the dagger, you can cut him with a ''riverso'' to the thigh, or turn a ''mandritto'' to the head or leg as you wish, and then you’ll immediately withdraw your left foot back a pace, raising your weapons together into ''guardia di testa'' in order to secure yourself against the response that comes to your upper body, having done which, you’ll return into the aforesaid guard. You can also parry with your weapons united, drawing your left foot near your right one in that ''tempo'', knock the enemy’s sword outwards with your dagger, and immediately advance with your right foot and slice him in the leg with a ''riverso''; and for your protection, draw your right foot near to your left one, extending a thrust at him under your dagger, having done which, you’ll put yourself back into the aforesaid guard. In addition to which you can defend yourself from the said ''mandritto'' with your sword accompanied by your dagger in ''guardia di faccia'', advance with your right foot in that ''tempo'', and thrust the point into his face, having done which you’ll settle yourself back into the guard named above. But if he wants to wound you with a ''mandritto'' to your leg, you can defend yourself with the true edge of your dagger, lowering its point toward the ground, and gliding forward with your right foot all in one ''tempo'', making your left one follow behind the right one. You can also draw your right leg along side your left one, thrusting the point toward his face in the company of your dagger, and immediately return into the guard that we’re discussing. But if he turns a ''riverso'' to your head, you can parry it with the true edge of your sword, sticking an ''imbroccata'' in his flank, so that your left foot pushes your right one forward; or, after you’ve parried the blow with your sword, you can turn a ''riverso'', either high or low, whichever seems better. Moreover, you can parry the said blow with your sword accompanied by your dagger in ''guardia d’entrare'', stepping forward with your left foot, and advance and thrust the point in his chest all in one ''tempo''. One can also defend said ''riverso'' with the sword, advancing somewhat with the right foot, then immediately passing forward with the left one, and giving him a thrust in the flank with the dagger; but once this is done, you’ll return to the guards employed. Now if perchance he throws a ''riverso'' to your leg, you can defend yourself with a ''riverso ridoppio'', and immediately advance with your right foot and thrust an ''imbroccata'' into his face, making your dagger guard your head; having done which, you’ll settle into your guards. But if the enemy throws an overhand thrust, send your left foot forward and knock it toward your right side in that ''tempo'' with the true edge of your dagger, turning an overhand ''riverso'' to his head and making your right foot follow behind. You can also draw your left foot near to your right one, and parry with a ''mezzo mandritto'', then immediately advance with your right and thrust a ''punta riversa'', or cut him with a ''riverso tondo'', followed by another ''riverso'' with which you’ll go into your said guards along with your dagger. But if he throws a ''stoccata'', you can knock that outwards with your dagger and step forward with your right foot in that ''tempo'', thrusting the point into his chest, or giving him a ''mandritto'' to the leg. You can also withdraw you right foot back a pace and give him a ''mezzo mandritto'' to the sword hand in that ''tempo'', and having done so, return to the aforesaid guards. And this is the means you must follow in both defending yourself and offending the enemy when you’re fixed with your sword and dagger in these two guards named above. Now, coming to the second guards, when you have your sword in ''coda lunga alta'' and your dagger in ''porta di ferro alta'', and your enemy throws a ''mandritto'' to your head, you’ll raise your dagger into ''guardia di testa'', and then, protecting yourself from it, you’ll step forward with your right foot all in one ''tempo'', thrusting your point into his chest; or, in stepping forward, you can give him a ''mandritto sgualimbro'' across his sword arm, and immediately return back a pace with your right foot with both weapons together, and put yourself back into the said guards. Moreover, in stepping forward with your right foot, you can parry the said blow with your weapons accompanying each other, and cut him with a ''riverso'' to the leg, making your dagger remain in defense of your head. Additionally, in the advance of your feet you can proceed to protect yourself from the said ''mandritto'' with your sword in ''guardia di faccia'', together with your dagger, and thrust your point into his face in that ''tempo'', having done which, you’ll restore yourself into the aforesaid guards. But if he responds with a ''mandritto'' to your leg, you can parry it with the true edge of your dagger, lowering its point toward the ground, and in that instant you’ll step forward with your right foot and stick a ''stoccata'' into his face, followed by a ''mandritto'' to the leg; or draw your left leg back a pace, turning a ''riverso'' to his sword arm, and this accomplished, return into the guards named above. But if he turns a ''riverso'' to your head, you’ll parry it with the dagger, and immediately go forward with your right foot, thrusting a ''punta riversa'' to his chest, or cutting him with a ''riverso'' to the thigh. You could also parry the said blow with your sword in ''guardia d’entrare'', supported with your dagger, and step forward in the same ''tempo'' and thrust the point into his face, then immediately return your right foot back, accompanying yourself with a thrust with which you’ll settle into the aforesaid guards. But if perchance he responds with a ''riverso'' to your leg, you’ll draw your left foot near your right one, and thrust the point to his face in the same ''tempo''. Beyond which, you can pass forward with your right foot toward his left side, turning a ''riverso sgualimbro'' to his sword arm, having done which, you’ll return into the guards whereof we speak. But if the enemy wants to wound you with an ''imbroccata'' to the chest, you’ll knock that toward his left side with the true edge of your dagger, and turn an overhand ''riverso'' to his head in that ''tempo'', making your right foot follow behind your left one. Moreover, you could pass forward with your right foot, and in that passage parry the said thrust with a ''mandritto sgualimbro'', wounding his chest with a ''punta riversa'', and for your shelter you’ll return your right foot back a pace, raising both your weapons all in one ''tempo'' into ''guardia di testa'', and then you’ll settle yourself into the guards of which we speak. But if he throws an underhand thrust at you, you’ll knock that outwards with the dagger, that is, toward his right side, stepping forward with your right foot in that ''tempo'', and thrusting a ''stoccata'' to his flank, or turning a ''mandritto'' to his head or leg. Beyond which, while taking the step you could parry with the true edge of your sword and immediately cut him with a ''riverso'' to the face; or, while taking the step, you could adjoin the true edge of your sword with that of your enemy, and thrust the point into his chest. You could also draw your left foot back a pace, and wound him in the sword hand with a ''mezzo mandritto'' all in one ''tempo'', and immediately return into the aforesaid guards. And I believe that now you’ve heard well how to parry and attack when you’re facing your adversary arranged in them. </p>
 
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| <p>Gio: Because having already shown to you in the discussion of the unaccompanied sword how to defend yourself from all the blows that can be thrown by the enemy, and the way to injure him, which (as I told you) also applies to these arts, whereof you’ll be able to avail yourself at your ease, I won’t repeat them to you. So, continuing, instead, to discuss the guards, I’ll tell you that finding yourself with your sword in ''cinghiale porta di ferro'' and your dagger in ''guardia di testa'', if your enemy throws a ''mandritto'' to your head, you can pass forward with your right foot and parry with the dagger, and thrust a ''punta riversa'' into his chest all in one ''tempo'', or wound him in the head with an underhand ''riverso''. You can also parry with your weapons adjoined, passing forward immediately with your right foot, thrusting an ''imbroccata'' to his face. Next, you can pass forward with your right foot and parry the said blow with the true edge of your sword, and wound him in the flank with an overhand thrust, having done which, you’ll return back a pace with your right foot together with a ''dritto tramazzone'', and fix yourself in the said guards. But if he throws a ''mandritto'' to your leg, you’ll draw back your left foot somewhat, thrust your point into his face in that ''tempo'', and swiftly return into your guards. And if he responds with a ''riverso'' to your head, you can parry it with your sword in ''guardia d’entrare'', accompanied by your dagger, passing forward with your right foot in that instant and thrusting your point into his face. You can also step forward with your right foot, and defend against it with a ''riverso sgualimbro'', and then wound him with an ''imbroccata'' to the chest, or turn a ''riverso'' to his head or leg, promptly returning back with your right foot with your weapons adjoined in ''guardia di testa'', and having done so settle yourself into the aforesaid guards. But if perchance he throws a ''riverso'' to your leg, you can glide forward with your right foot and protect yourself with a ''riverso ridoppio'', and throw a thrust to his face. Moreover, you could draw your left leg back a pace, and turn a ''tramazzone'' to his sword arm in the same ''tempo'', having done which, you’ll settle yourself in to the aforesaid guards. But when the enemy throws an overhand thrust to your chest, you’ll hit it toward his left side with the true edge of your dagger without taking any step, turning an overhand ''riverso'' all in one ''tempo'', making your right foot follow behind your left one. You could also parry it with the false edge of your sword, and step forward with your right foot in the same ''tempo'', turning a ''riverso'' to his leg, and having done so, return your right foot back a pace together with a thrust accompanied by your dagger, with which you’ll return yourself into the guards whereof we speak. But if he thrusts a ''stoccata'' to your face, you’ll ward that with the true edge of your sword, stepping forward with your right foot, thrusting the point into his chest, or immediately upon having parried, you’ll turn a ''riverso'' to his leg. During the taking of a step you could, moreover, place the forte of the true edge of your sword along with that of your dagger upon the said ''stoccata'' and immediately thrust your point into his face all in one ''tempo''. Additionally, you can parry it with your dagger and cut his thigh with a ''riverso'', and immediately return into the guards employed. And these are the defenses that can be done when you’re in these guards of which we’ve now spoken. At present the  ''guardia d’alicorno'' with the right foot forward remains to be discussed. When your sword is fixed therein and your dagger is in ''cinghiale porta di ferro'', and your enemy wants to wound you with a ''mandritto'' to the head, you can pass forward with your left foot and raise your dagger into ''guardia di testa'', with which you’ll protect yourself from it. But in the same ''tempo'', turn a ''mandritto'' to his head or leg, or thrust the point into his chest. While he throws the said ''mandritto'', you can also step forward with your right foot and give him a ''mandritto sgualimbro'' to his sword hand, but having done so, you’ll put yourself back into the aforesaid guards. And if he throws a ''mandritto'' to your leg instead, you’ll draw your right foot back a pace, thrusting an ''imbroccata'' into his face, or turn a ''mandritto'' to his right arm, having done which, you’ll restore yourself into your guards. But if he responds to you with a ''riverso'' to the head, you’ll draw your left foot behind your right one <this should probably be “near your right one”>, and protect yourself in that ''tempo'' with your sword in the same guard, then immediately step forward with your right foot, thrusting the point into his chest and making your dagger lie in defense of your head. You can also step forward with your left foot and parry it with your dagger, and wound him with a ''mandritto'' to the leg, having done which, you’ll return into the guards that we’re speaking of. But if your enemy turns a ''riverso'' to your leg, you’ll draw your right foot back, throwing an ''imbroccata'' to his face, or turn a ''mandritto'' to his sword hand, and having done so, return into the said guards in use. But if he throws an overhand thrust, you can parry it with a ''mezzo mandritto'', and immediately cut him with a ''riverso tondo'', making your left foot push your right one forward, after which you’ll restore yourself similarly to the said guards. But if he throws a ''stoccata'' to your face, you’ll hit it toward his right side with your dagger, drawing your left foot near your right one in that ''tempo'', and immediately advance with your right foot, thrusting the point into his flank or turning a ''mandritto'' to his leg. Next, you can parry it with a ''mezzo mandritto sgualimbro'', and wound him in the chest with a ''punta riversa'', and after this you’ll return to the aforesaid guards. </p>
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| <p>Gio: Because having already shown to you in the discussion of the unaccompanied sword how to defend yourself from all the blows that can be thrown by the enemy, and the way to injure him, which (as I told you) also applies to these arts, whereof you’ll be able to avail yourself at your ease, I won’t repeat them to you. So, continuing, instead, to discuss the guards, I’ll tell you that finding yourself with your sword in ''cinghiale porta di ferro'' and your dagger in ''guardia di testa'', if your enemy throws a ''mandritto'' to your head, you can pass forward with your right foot and parry with the dagger, and thrust a ''punta riversa'' into his chest all in one ''tempo'', or wound him in the head with an underhand ''riverso''. You can also parry with your weapons adjoined, passing forward immediately with your right foot, thrusting an ''imbroccata'' to his face. Next, you can pass forward with your right foot and parry the said blow with the true edge of your sword, and wound him in the flank with an overhand thrust, having done which, you’ll return back a pace with your right foot together with a ''dritto tramazzone'', and fix yourself in the said guards. But if he throws a ''mandritto'' to your leg, you’ll draw back your left foot somewhat, thrust your point into his face in that ''tempo'', and swiftly return into your guards. And if he responds with a ''riverso'' to your head, you can parry it with your sword in ''guardia d’entrare'', accompanied by your dagger, passing forward with your right foot in that instant and thrusting your point into his face. You can also step forward with your right foot, and defend against it with a ''riverso sgualimbro'', and then wound him with an ''imbroccata'' to the chest, or turn a ''riverso'' to his head or leg, promptly returning back with your right foot with your weapons adjoined in ''guardia di testa'', and having done so settle yourself into the aforesaid guards. But if perchance he throws a ''riverso'' to your leg, you can glide forward with your right foot and protect yourself with a ''riverso ridoppio'', and throw a thrust to his face. Moreover, you could draw your left leg back a pace, and turn a ''tramazzone'' to his sword arm in the same ''tempo'', having done which, you’ll settle yourself in to the aforesaid guards. But when the enemy throws an overhand thrust to your chest, you’ll hit it toward his left side with the true edge of your dagger without taking any step, turning an overhand ''riverso'' all in one ''tempo'', making your right foot follow behind your left one. You could also parry it with the false edge of your sword, and step forward with your right foot in the same ''tempo'', turning a ''riverso'' to his leg, and having done so, return your right foot back a pace together with a thrust accompanied by your dagger, with which you’ll return yourself into the guards whereof we speak. But if he thrusts a ''stoccata'' to your face, you’ll ward that with the true edge of your sword, stepping forward with your right foot, thrusting the point into his chest, or immediately upon having parried, you’ll turn a ''riverso'' to his leg. During the taking of a step you could, moreover, place the forte of the true edge of your sword along with that of your dagger upon the said ''stoccata'' and immediately thrust your point into his face all in one ''tempo''. Additionally, you can parry it with your dagger and cut his thigh with a ''riverso'', and immediately return into the guards employed. And these are the defenses that can be done when you’re in these guards of which we’ve now spoken. At present the  ''guardia d’alicorno'' with the right foot forward remains to be discussed. When your sword is fixed therein and your dagger is in ''cinghiale porta di ferro'', and your enemy wants to wound you with a ''mandritto'' to the head, you can pass forward with your left foot and raise your dagger into ''guardia di testa'', with which you’ll protect yourself from it. But in the same ''tempo'', turn a ''mandritto'' to his head or leg, or thrust the point into his chest. While he throws the said ''mandritto'', you can also step forward with your right foot and give him a ''mandritto sgualimbro'' to his sword hand, but having done so, you’ll put yourself back into the aforesaid guards. And if he throws a ''mandritto'' to your leg instead, you’ll draw your right foot back a pace, thrusting an ''imbroccata'' into his face, or turn a ''mandritto'' to his right arm, having done which, you’ll restore yourself into your guards. But if he responds to you with a ''riverso'' to the head, you’ll draw your left foot behind your right one,<ref>This should probably be “near your right one”.</ref> and protect yourself in that ''tempo'' with your sword in the same guard, then immediately step forward with your right foot, thrusting the point into his chest and making your dagger lie in defense of your head. You can also step forward with your left foot and parry it with your dagger, and wound him with a ''mandritto'' to the leg, having done which, you’ll return into the guards that we’re speaking of. But if your enemy turns a ''riverso'' to your leg, you’ll draw your right foot back, throwing an ''imbroccata'' to his face, or turn a ''mandritto'' to his sword hand, and having done so, return into the said guards in use. But if he throws an overhand thrust, you can parry it with a ''mezzo mandritto'', and immediately cut him with a ''riverso tondo'', making your left foot push your right one forward, after which you’ll restore yourself similarly to the said guards. But if he throws a ''stoccata'' to your face, you’ll hit it toward his right side with your dagger, drawing your left foot near your right one in that ''tempo'', and immediately advance with your right foot, thrusting the point into his flank or turning a ''mandritto'' to his leg. Next, you can parry it with a ''mezzo mandritto sgualimbro'', and wound him in the chest with a ''punta riversa'', and after this you’ll return to the aforesaid guards. </p>
 
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| <p>Gio: Then, finding yourself with your sword in ''coda lunga stretta'' and your dagger in ''cinghiale porta di ferro'' <''alta''>, if your enemy thrusts a ''punta riversa'' to your face in order to give you a ''riverso'' to your leg, you’ll defend yourself from the said thrust with the false edge of your sword. But when he turns the ''riverso'', you’ll immediately draw your right foot back a pace and turn a ''dritto tramazzone'' in that ''tempo'' to his sword arm, which will fall into ''cinghiale porta di ferro'', and you’ll go into ''guardia di testa'' with your dagger. Now, if your enemy responds to you with a ''stoccata'' to your flank in order to give you a ''mandritto'' to your head, you’ll parry it with the true edge of your sword, but during the turning of the ''mandritto'' toward you, you’ll swiftly direct your right foot forward, and go into guard <not specified> with your sword all in one ''tempo'', thrusting the point into his face, followed by a ''dritto tramazzone'' with which you’ll fix yourself in ''porta di ferro stretta'' with your dagger in ''coda lunga alta''. But if he feints a ''riverso'' to your head for the purpose of wounding you with a similar one to the leg, to the first one you’ll raise your sword into ''guardia di testa'', but in the turning of the second one, you’ll draw your right foot back a pace and in one same ''tempo'' give him a ''riverso'' to his right arm, and thereby your sword will rest in ''coda lunga alta'' and your dagger in ''porta di ferro''. Now if he throws a ''mandritto'' to your head or leg (but we’ll posit that it’s to the head), you’ll go into ''guardia di testa'' with your dagger in order to defend yourself, stepping promptly forward with your right foot, thrusting a ''stoccata'' to his chest. And if he throws it to your leg, you’ll parry with the true edge of your dagger, lowering its point toward the ground, and you’ll pass forward with your right foot in that instant, giving him a ''mandritto'' to the head or the leg which will be followed by a ''riverso ridoppio'', and with it you’ll thereby go into  ''guardia d’alicorno'', and your dagger will rest in ''cinghiale porta di ferro''. But if he happens to give you a false thrust to the face in order to wound you with a ''mandritto'' to the leg, you’ll assure yourself against the said thrust with your dagger without moving your feet. And if he indeed wishes to wound you with the ''mandritto'', you’ll immediately draw your right foot back a pace, accompanied by a ''riverso'' from beneath upward, with which you’ll restore yourself to  ''guardia d’alicorno'' with the left foot forward, and with your dagger in ''porta di ferro alta''. Now if the enemy responds to you with a ''mandritto'', or a ''riverso'', or a thrust, you can parry with your dagger and immediately advance toward his left side with your right foot and thrust the point into his chest, and with this I’ll put an end to the variations of the guards, in which I’ve shown how they can be done. It is indeed true that they could be spoken of more extensively, but since we’re studying briefly we’ll refrain from discussing them more for now, especially since I want to show the method that you’ll have to follow in provoking your enemy, and also in wounding him, when he doesn’t want to throw any blows, so that you’ll be able to avail yourself of it when the occasion arises. </p>
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| <p>Gio: Then, finding yourself with your sword in ''coda lunga stretta'' and your dagger in ''cinghiale porta di ferro'' [''alta''], if your enemy thrusts a ''punta riversa'' to your face in order to give you a ''riverso'' to your leg, you’ll defend yourself from the said thrust with the false edge of your sword. But when he turns the ''riverso'', you’ll immediately draw your right foot back a pace and turn a ''dritto tramazzone'' in that ''tempo'' to his sword arm, which will fall into ''cinghiale porta di ferro'', and you’ll go into ''guardia di testa'' with your dagger. Now, if your enemy responds to you with a ''stoccata'' to your flank in order to give you a ''mandritto'' to your head, you’ll parry it with the true edge of your sword, but during the turning of the ''mandritto'' toward you, you’ll swiftly direct your right foot forward, and go into guard<ref>Not specified.</ref> with your sword all in one ''tempo'', thrusting the point into his face, followed by a ''dritto tramazzone'' with which you’ll fix yourself in ''porta di ferro stretta'' with your dagger in ''coda lunga alta''. But if he feints a ''riverso'' to your head for the purpose of wounding you with a similar one to the leg, to the first one you’ll raise your sword into ''guardia di testa'', but in the turning of the second one, you’ll draw your right foot back a pace and in one same ''tempo'' give him a ''riverso'' to his right arm, and thereby your sword will rest in ''coda lunga alta'' and your dagger in ''porta di ferro''. Now if he throws a ''mandritto'' to your head or leg (but we’ll posit that it’s to the head), you’ll go into ''guardia di testa'' with your dagger in order to defend yourself, stepping promptly forward with your right foot, thrusting a ''stoccata'' to his chest. And if he throws it to your leg, you’ll parry with the true edge of your dagger, lowering its point toward the ground, and you’ll pass forward with your right foot in that instant, giving him a ''mandritto'' to the head or the leg which will be followed by a ''riverso ridoppio'', and with it you’ll thereby go into  ''guardia d’alicorno'', and your dagger will rest in ''cinghiale porta di ferro''. But if he happens to give you a false thrust to the face in order to wound you with a ''mandritto'' to the leg, you’ll assure yourself against the said thrust with your dagger without moving your feet. And if he indeed wishes to wound you with the ''mandritto'', you’ll immediately draw your right foot back a pace, accompanied by a ''riverso'' from beneath upward, with which you’ll restore yourself to  ''guardia d’alicorno'' with the left foot forward, and with your dagger in ''porta di ferro alta''. Now if the enemy responds to you with a ''mandritto'', or a ''riverso'', or a thrust, you can parry with your dagger and immediately advance toward his left side with your right foot and thrust the point into his chest, and with this I’ll put an end to the variations of the guards, in which I’ve shown how they can be done. It is indeed true that they could be spoken of more extensively, but since we’re studying briefly we’ll refrain from discussing them more for now, especially since I want to show the method that you’ll have to follow in provoking your enemy, and also in wounding him, when he doesn’t want to throw any blows, so that you’ll be able to avail yourself of it when the occasion arises. </p>
 
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| <p>Gio: It can, but it needs to be done with great judgment, owing to it being less safe, which isn’t the case when done with the accompanied sword. Now note the counters to the aforesaid provocations, which are: when he performs the ''falso'' and ''mandritto'' on your sword, you’ll immediately step forward toward his left side with your right foot and turn a ''riverso tramazzone'' in that step, with which you’ll return into your guards. But if he turns the ''tramazzone'', draw back your hands and body somewhat, putting your weight on your back foot, letting his blow miss you, and immediately thrust your point into his face. But if he throws the ''falso'' to your hands from beneath upwards, you can drive it toward the ground with the true edge of your sword, swiftly slicing him in the face with a ''riverso''. But when he throws the false thrust to your left temple <above, the blow is “a false thrust to his face from under your dagger”> in order to give you a ''mandritto'' to the leg, you can parry the said thrust with your dagger, and when he turns the ''mandritto'', you’ll go forward with your right foot, hitting it with the false edge of your sword, accompanied by your dagger, making its <i.e. your sword’s—“di essa”> point go towards the ground, and immediately slice him in the thigh with a ''riverso'', or draw back your right foot a pace and give him a ''mezzo mandritto'' to his sword hand in that ''tempo''. But if after the aforesaid thrust <possibly the ''punta riversa'' feinted to the face, above; if so, the counter to the ''mandritto tondo'' to the head appears to have been omitted> he turns a ''riverso'' to your leg, you can parry it with a ''riverso ridoppio'', thrusting an ''imbroccata'' to his chest, or draw back your right foot, hitting his right arm with a ''riverso sgualimbro'' all in one ''tempo''. But if he throws the ''stoccata'' to your chest, you’ll immediately turn a ''riverso tramazzone'' to his sword arm, stepping diagonally with your right foot in that ''tempo'', making your left foot follow behind it, and your sword will lie in ''coda lunga stretta'' and dagger in ''cinghiale porta di ferro''. Then if your enemy advances forward to press you, you can direct your right foot along the diagonal, turning your body behind your right side and turning a ''riverso tramazzone'' to his arms in the same ''tempo'', or giving him a ''mezzo mandritto'' to the hands instead. And these are the counters to the aforesaid provocations. </p>
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| <p>Gio: It can, but it needs to be done with great judgment, owing to it being less safe, which isn’t the case when done with the accompanied sword. Now note the counters to the aforesaid provocations, which are: when he performs the ''falso'' and ''mandritto'' on your sword, you’ll immediately step forward toward his left side with your right foot and turn a ''riverso tramazzone'' in that step, with which you’ll return into your guards. But if he turns the ''tramazzone'', draw back your hands and body somewhat, putting your weight on your back foot, letting his blow miss you, and immediately thrust your point into his face. But if he throws the ''falso'' to your hands from beneath upwards, you can drive it toward the ground with the true edge of your sword, swiftly slicing him in the face with a ''riverso''. But when he throws the false thrust to your left temple<ref>Above, the blow is “a false thrust to his face from under your dagger”.</ref> in order to give you a ''mandritto'' to the leg, you can parry the said thrust with your dagger, and when he turns the ''mandritto'', you’ll go forward with your right foot, hitting it with the false edge of your sword, accompanied by your dagger, making its<ref>I.e., your sword’s—“''di essa''”.</ref> point go towards the ground, and immediately slice him in the thigh with a ''riverso'', or draw back your right foot a pace and give him a ''mezzo mandritto'' to his sword hand in that ''tempo''. But if after the aforesaid thrust<ref>Possibly the ''punta riversa'' feinted to the face, above; if so, the counter to the ''mandritto tondo'' to the head appears to have been omitted.</ref> he turns a ''riverso'' to your leg, you can parry it with a ''riverso ridoppio'', thrusting an ''imbroccata'' to his chest, or draw back your right foot, hitting his right arm with a ''riverso sgualimbro'' all in one ''tempo''. But if he throws the ''stoccata'' to your chest, you’ll immediately turn a ''riverso tramazzone'' to his sword arm, stepping diagonally with your right foot in that ''tempo'', making your left foot follow behind it, and your sword will lie in ''coda lunga stretta'' and dagger in ''cinghiale porta di ferro''. Then if your enemy advances forward to press you, you can direct your right foot along the diagonal, turning your body behind your right side and turning a ''riverso tramazzone'' to his arms in the same ''tempo'', or giving him a ''mezzo mandritto'' to the hands instead. And these are the counters to the aforesaid provocations. </p>
 
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| <p>''Second manner of provoking and offending the enemy.''</p>
 
| <p>''Second manner of provoking and offending the enemy.''</p>
  
<p>Gio: Now, turning to the second manner of provoking the enemy, when both are lying with their swords in ''coda lunga alta'' and daggers in ''porta di ferro'' <i.e. ''alta'', see p. 35recto>, you can provoke him with a ''falso dritto'' or two directed toward his dagger hand, and then advance with your right foot all in one ''tempo'' and thrust a ''punta riversa'' into his chest from outside his right side, followed by a ''riverso'' to the leg. You can also advance with your right foot, throwing a ''mezzo mandritto'' to his dagger hand followed by a ''riverso sgualimbro'', or, during the advance, extend an overhand thrust with which you’ll fix yourself in ''porta di ferro stretta'' with your dagger in ''coda lunga alta''. Next, during the advance of your right foot you can extend a false thrust to his face, followed by a ''mandritto'' to his leg; or, after you’ve extended the said thrust, you can make a pretense of turning a ''mandritto'' to his head, but instead turn a ''riverso'' to his leg. And this is the second manner of provoking the enemy and also of wounding him, being in the two guards mentioned above. </p>
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<p>Gio: Now, turning to the second manner of provoking the enemy, when both are lying with their swords in ''coda lunga alta'' and daggers in ''porta di ferro''<ref>I.e., ''alta'', see p. 35r.</ref>, you can provoke him with a ''falso dritto'' or two directed toward his dagger hand, and then advance with your right foot all in one ''tempo'' and thrust a ''punta riversa'' into his chest from outside his right side, followed by a ''riverso'' to the leg. You can also advance with your right foot, throwing a ''mezzo mandritto'' to his dagger hand followed by a ''riverso sgualimbro'', or, during the advance, extend an overhand thrust with which you’ll fix yourself in ''porta di ferro stretta'' with your dagger in ''coda lunga alta''. Next, during the advance of your right foot you can extend a false thrust to his face, followed by a ''mandritto'' to his leg; or, after you’ve extended the said thrust, you can make a pretense of turning a ''mandritto'' to his head, but instead turn a ''riverso'' to his leg. And this is the second manner of provoking the enemy and also of wounding him, being in the two guards mentioned above. </p>
 
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| <p>''Third manner of provoking and attacking.''</p>
 
| <p>''Third manner of provoking and attacking.''</p>
  
<p>Now listen to the third manner of provoking and attacking the enemy, which is that when both of you have your swords in ''porta di ferro stretta'' and daggers in ''coda lunga alta'', you can hit the false edge of your sword against that of the enemy and slice him in the face with a ''mandritto'', making your left foot push the right one forward; or instead feint a ''dritto tramazzone'' to his head, nonetheless turning a ''riverso'' to his thigh. You can also thrust a ''punta riversa'' to his face, passing forward with your left foot and immediately advancing with your right one, turn a ''riverso'' to his leg, or wound him in the flank with an overhand thrust. Moreover, you can throw the said thrust with a step of your right foot, and immediately pass forward with your left one and beat his sword outwards under yours with your dagger, and give him a ''mandritto'' to the leg all in one ''tempo''. After this you can also extend two punte riverse; the first is done passing toward his right side with your left foot, extending it toward his face, and as he raises his sword in order to defend against it, you’ll immediately advance with your right foot and beat his sword outward with your dagger, sticking the second one into his chest. And this is the third manner of provoking the enemy in these two guards. Now listen to its counters. The first one will be that as he hits your sword with the false edge, you’ll draw back your right foot, turning a ''mandritto'' to his sword hand all in one ''tempo'', which will fall into ''cinghiale porta di ferro'', and your dagger will go into ''guardia di testa''. Second, during his feint of the ''tramazzone'', you’ll raise your dagger into ''guardia di testa'', and as he turns the ''riverso'' to your thigh, you’ll parry it with the true edge of your sword, lowering its point toward the ground, and immediately push an overhand thrust into his chest. Third, when he thrusts the ''imbroccata'', or turns the ''riverso'' instead <note that no counter to this provocation’s initial ''punta riversa'' to the face is described>, you’ll draw your right foot back a pace, turning a ''riverso sgualimbro'' to his sword arm in that ''tempo''. Fourth, during his extension of the aforesaid thrust with the right foot forward in order to give you a ''mandritto'' to the leg, you’ll parry it with your sword in ''guardia d’entrare''; but in the step forward that he takes with his left foot in order to beat with the dagger, in defense of it you’ll draw your right foot back a pace, together with a ''riverso'' with which you’ll go into ''coda lunga alta''. Fifth and last, when he extends the two thrusts, you’ll defend against the first one with the false edge of your sword, but as he steps with his right foot in order to throw the second one, you’ll immediately step toward his right side with your left foot, and hit him with your dagger, but in the same instant you’ll turn an overhand ''riverso'' to his head, making your right foot follow behind your left one. And with this I’ve brought the counters to these other provocations and attacks to an end.</p>
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<p>Now listen to the third manner of provoking and attacking the enemy, which is that when both of you have your swords in ''porta di ferro stretta'' and daggers in ''coda lunga alta'', you can hit the false edge of your sword against that of the enemy and slice him in the face with a ''mandritto'', making your left foot push the right one forward; or instead feint a ''dritto tramazzone'' to his head, nonetheless turning a ''riverso'' to his thigh. You can also thrust a ''punta riversa'' to his face, passing forward with your left foot and immediately advancing with your right one, turn a ''riverso'' to his leg, or wound him in the flank with an overhand thrust. Moreover, you can throw the said thrust with a step of your right foot, and immediately pass forward with your left one and beat his sword outwards under yours with your dagger, and give him a ''mandritto'' to the leg all in one ''tempo''. After this you can also extend two punte riverse; the first is done passing toward his right side with your left foot, extending it toward his face, and as he raises his sword in order to defend against it, you’ll immediately advance with your right foot and beat his sword outward with your dagger, sticking the second one into his chest. And this is the third manner of provoking the enemy in these two guards. Now listen to its counters. The first one will be that as he hits your sword with the false edge, you’ll draw back your right foot, turning a ''mandritto'' to his sword hand all in one ''tempo'', which will fall into ''cinghiale porta di ferro'', and your dagger will go into ''guardia di testa''. Second, during his feint of the ''tramazzone'', you’ll raise your dagger into ''guardia di testa'', and as he turns the ''riverso'' to your thigh, you’ll parry it with the true edge of your sword, lowering its point toward the ground, and immediately push an overhand thrust into his chest. Third, when he thrusts the ''imbroccata'', or turns the ''riverso'' instead,<ref>Note that no counter to this provocation’s initial ''punta riversa'' to the face is described.</ref> you’ll draw your right foot back a pace, turning a ''riverso sgualimbro'' to his sword arm in that ''tempo''. Fourth, during his extension of the aforesaid thrust with the right foot forward in order to give you a ''mandritto'' to the leg, you’ll parry it with your sword in ''guardia d’entrare''; but in the step forward that he takes with his left foot in order to beat with the dagger, in defense of it you’ll draw your right foot back a pace, together with a ''riverso'' with which you’ll go into ''coda lunga alta''. Fifth and last, when he extends the two thrusts, you’ll defend against the first one with the false edge of your sword, but as he steps with his right foot in order to throw the second one, you’ll immediately step toward his right side with your left foot, and hit him with your dagger, but in the same instant you’ll turn an overhand ''riverso'' to his head, making your right foot follow behind your left one. And with this I’ve brought the counters to these other provocations and attacks to an end.</p>
  
 
<p>Now listen to the fourth, in ''cinghiale porta di ferro'', which will be that when you and your enemy find yourselves lying with your swords in the said guard and your daggers in ''guardia di testa'', you can extend a thrust to his face, stepping forward with your right foot, and follow it with a ''riverso'' to his leg. Or, instead, once you’ve extended the said thrust, you can turn two ''mandritti'' to his head, making the last one fall into ''porta di ferro alta''. Next, you can step forward with your right foot, and immediately turn a ''dritto tramazzone'' to his sword arm, or, in the step with the said foot, you can make a sign of throwing a ''punta riversa'' to his face, but nonetheless make a half turn of your fist, immediately thrusting an ''imbroccata'' into his flank. And these are the ways that you can provoke your enemy, being in these two aforesaid guards; which provocations are performed more in order to incite the enemy to respond than for any other reason. </p>
 
<p>Now listen to the fourth, in ''cinghiale porta di ferro'', which will be that when you and your enemy find yourselves lying with your swords in the said guard and your daggers in ''guardia di testa'', you can extend a thrust to his face, stepping forward with your right foot, and follow it with a ''riverso'' to his leg. Or, instead, once you’ve extended the said thrust, you can turn two ''mandritti'' to his head, making the last one fall into ''porta di ferro alta''. Next, you can step forward with your right foot, and immediately turn a ''dritto tramazzone'' to his sword arm, or, in the step with the said foot, you can make a sign of throwing a ''punta riversa'' to his face, but nonetheless make a half turn of your fist, immediately thrusting an ''imbroccata'' into his flank. And these are the ways that you can provoke your enemy, being in these two aforesaid guards; which provocations are performed more in order to incite the enemy to respond than for any other reason. </p>
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| <p>Lep: Let’s go; and I accept your invitation for tomorrow, in order to understand how to avail myself of the sword and cape, something I greatly desire. </p>
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| class="noline" | <p>Lep: Let’s go; and I accept your invitation for tomorrow, in order to understand how to avail myself of the sword and cape, something I greatly desire. </p>
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/98|4|lbl=46v.4}}
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| class="noline" | {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/98|4|lbl=46v.4}}
  
 
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==Temp==
 
 
{{master subsection begin
 
{{master subsection begin
  | title = Day 5
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  | title = Day 5 - Sword and Cape
 
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! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
 
! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Andrea Morassutto]]</p>
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! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Benjamin Conan]]</p>
  
 
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| <p>'''The Fifth Day of the First Book:''' Which deals with the way to avail oneself of the sword and cape. </p>
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<p>Lep: What do you have to say, Mr. Giovanni, about the joust that those riders performed? </p>
 
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/99|1|lbl=47r.1}}
 
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/99|1|lbl=47r.1}}
  
 
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| <p>Gio: For being new jousters, they tilted with their lances quite well, but they would have tilted better if the ring had been positioned reasonably. </p>
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| <p>Lep: In what way was it positioned unreasonably? </p>
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| <p>Gio: I don’t want to discuss this now, because first I want to explain to you what can be done with the sword and the cape, and then tomorrow we’ll discuss tilting with the lance, of which I promise to tell you all that I understand. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/99|4|lbl=47r.4}}
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| <p>Lep: This will also be especially dear to me. So begin to discuss the sword and cape, to which I’ll attend. </p>
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| <p>Gio: First I want to tell you the method you have to use in embracing the cape, as well as in stepping with it. And then we’ll discuss defending yourself from all the blows that your enemy can throw, and attacking him, finding yourself in whatsoever of the six guards named above. And having always followed one firm rule in discussing them, for easier understanding, I’ll continue thus with these as well. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/99|6|lbl=47r.6}}
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|-
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| <p>''How the cape is wound about the arm.''</p>
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<p>So, when you have your cape about you, you’ll let it fall down from your right shoulder as far as the middle of your left arm, and then you’ll turn your left hand outwards, coiling the said cape upon your arm, putting yourself into ''cinghiale porta di ferro'' with it, and in ''coda lunga stretta'' with your sword. Then insofar as concerns stepping in the guards, you’ll follow that same rule that you followed with the sword and dagger, since this stepping, along with the placement of yourself in the guards is all one same procedure, except that in parrying there is a difference, because the cape can be cut and pierced, which the dagger cannot. Therefore I want to advise you that when you happen to parry either ''mandritti'' or ''riversi'' with your cape in defense of your upper body, you are to parry your enemy’s sword below its midpoint, before the blow has gained force. But when you happen to parry thrusts with the cape, you’ll beat them away either to the right or the left side with a turning of your body as you understand, so that you’ll render yourself safer thereby. Now, coming to the discussion of defending yourself from your enemy and offending him, when you find yourself facing your enemy with your sword in ''coda lunga stretta'' and your cape in ''cinghiale porta di ferro'', and he throws a ''mandritto'' to your head, you’ll step forward with your left foot and defend yourself from that with your cape, thrusting a ''punta riversa'' to his chest in that instant, followed by a ''riverso'' to his thigh; or, while you protect yourself with your cape, you can give him a ''mandritto'' to the leg, and for your defense you’ll draw back your left foot a pace, extending a thrust to his face in the company of your cape, and having done so, you’ll settle yourself into the said guard. You can also parry the said blow with your sword in ''guardia di testa'' accompanied by your cape, withdrawing your left foot near your right one in that ''tempo'', then immediately go forward with your right one, and turn a ''mandritto'' to his head or his leg, and having done so, return into the aforesaid guard. But if he throws a ''mandritto'' to your leg, you’ll draw back your right foot somewhat, wounding him with a ''riverso sgualimbro'' to his sword arm, and thrusting the point to his face in the company of the cape. You can moreover defend yourself from the said blow with the false edge of your sword and cut him with a ''riverso'' to his thigh, making your cape protect your head, and then immediately returning into the guard named above. But if he wants to wound you with a ''riverso'' to the head, you can pass toward his left side with your left foot and parry with the cape, and in the same ''tempo'' thrust a ''stoccata'' to his chest or give him a ''riverso'' to the leg. In addition to this, in your step with your left foot you could go into ''guardia d’entrare'' with your sword, accompanying it with your cape, and thrust your point into his face all in one ''tempo'', having done which you’ll restore yourself into the same aforesaid guard. And if instead he responds to you with a ''riverso'' to your leg, you can hit it with the true edge of your sword, and immediately advance with your right foot and thrust an ''imbroccata'', or draw back your right foot instead, wounding him with a ''dritto tramazzone'' to his sword arm, or giving him a thrust to the face, and having done so restore yourself into the same guard. But if perchance he throws an overhand thrust, you’ll parry it with a ''mezzo mandritto sgualimbro'', turning a ''riverso'' to his head in response, or a ''punta riversa'' to his chest, making your left foot follow behind your right one. You can also parry it with the false edge of your sword, and immediately cut him with a ''riverso'' to the leg, so that your left foot pushes your right one forward. In addition, you can step toward his right side with your left foot and beat it inward with your cape, turning an overhand ''riverso'' to his head in that ''tempo'', having done which you’ll arrange yourself into the guard whereof we speak. But if he throws a ''stoccata'' to your chest, you’ll beat it outwards with your cape, them immediately direct your right foot forward, extending a thrust to his flank all in one ''tempo'', or parry it with the true edge of your sword, and turn a ''riverso'' to his head, together with a ''mandritto'' to the leg. Moreover, by lowering the point of your sword well toward the ground, accompanying it with the cape, and then making it turn upwards in the manner of a wheel, you’ll repel the said ''stoccata''; but all in one ''tempo'' you’ll advance with your left foot, sticking your point in his face, and having done so you’ll return into the guard employed. And this is the manner of defending yourself form your enemy, and attacking him, finding yourself in the guard of ''coda lunga stretta''. </p>
 
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| <p>Lep: I understand this manner of parrying and striking when I’m in the aforesaid guard. Now speak on of the others. </p>
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| <p>Gio: The second guard will be ''coda lunga alta''. When you’re facing your enemy with your sword fixed in it and with your cape in ''porta di ferro alta'', if he throws a ''mandritto'' to your head, you can glide forward with your left foot and parry it with your cape, and immediately advance with your right foot, and thrust a ''stoccata'' to his flank, or give him a ''mandritto'' to his sword arm instead, following it with a ''riverso'', and having done so you’ll return into the said guard. You can also step forward with your right foot and parry with your sword in ''guardia di testa'', and immediately turn a ''mandritto'' to his head or leg, or in the step you can go into ''guardia di faccia'' with your sword accompanied by your cape, and thrust the point into his face in that ''tempo'', and having done so draw back your right foot a pace together with a ''mandritto'' which will go into ''cinghiale porta di ferro''; then you’ll turn your hand and body to find yourself in ''coda lunga alta''. But if he throws a ''mandritto'' to your leg, you’ll step forward toward his right side with your right foot, and ward against the said blow with the false edge of your sword, but you’ll slice his thigh with a ''riverso'' without delay, or turn a ''dritto tramazzone'' to his head instead, which will fall into ''porta di ferro'', with your cape in ''guardia di testa'', and you’ll promptly draw back your right foot, followed by a thrust with which you’ll return into the aforesaid guard. In addition, you could draw back your left leg and thrust your point into his face in that ''tempo'' in the company of your cape, having done which, you’ll settle yourself into the aforesaid guard. But when he wants to wound you with a ''riverso'' to the head, you’ll pass forward with your right foot and protect yourself with your cape, but in the same ''tempo'' you’ll throw a ''punta riversa'' to his chest, or cut him in the leg with a ''riverso''. It also works well as you take a step to parry with your sword in ''guardia di testa'', and thrust an ''imbroccata'' or turn a ''mandritto'' to his thigh, and having done so return into the same guard named above. And yet if he responds to you with a ''riverso'' to your leg, you’ll step forward with your right foot, but as you step you’ll hit it with a ''riverso ridoppio'', and in response you’ll throw an overhand thrust to his face; or go toward his left side with your right foot instead, and in that ''tempo'' you’ll turn a ''riverso'' to his head followed by another ''riverso'', with which you’ll return into the guard whereof we speak. But if the enemy throws an overhand thrust at you, passing forward with your right foot you’ll hit that with the true edge of your sword, and wound him in the chest with a ''punta riversa'', making your left foot follow behind your right one. You can also knock it inward with your cape, stepping diagonally somewhat with your left foot, turning an overhand ''riverso'' to his head in that instant, with which you’ll return into ''coda lunga alta''. And if perchance he wants to wound you with an underhand thrust, you’ll knock that outwards with your cape, and in that ''tempo'' you’ll advance with your right foot and throw a thrust to his face followed by a ''mandritto'' to his leg. Similarly, in the step forward with your foot, you can go into ''guardia di faccia'' with your sword and thrust the point into his face; or, once you’ve parried in ''guardia di faccia'', you can direct your left foot toward his right side, turning a ''riverso'' to his leg in that ''tempo'', in such a fashion that your right foot follows behind your left one, and for your defense you’ll thrust a ''stoccata'' to his face in the company of your cape, with which you’ll settle into the guard employed. And these are the defenses and offenses that you can perform in the said guard. But note these other defenses in the third guard, which will be ''porta di ferro stretta''. Finding yourself fixed in it with your sword, and with your cape in ''coda lunga alta'', if your enemy throws a ''mandritto'' to your upper body, you’ll step forward with your left foot, blocking the said blow with your cape, and thrust a ''punta riversa'' to his chest in the same ''tempo'' followed by a ''riverso'' to the thigh; or during the parry you’ll turn a ''mandritto'' to his leg and immediately draw back your foot with a thrust accompanied by your cape, having done which, lowering your hand, you’ll return into the aforesaid guard with your sword. Additionally, while you defend yourself with your cape, you could throw a ''stoccata'' to his flank. Moreover, you could parry the said ''mandritto'' with your sword in ''guardia di faccia'' in the company of your cape, thrusting the point to his face and following it with a ''dritto tramazzone'' with which you’ll go into ''porta di ferro stretta''. But if he throws a ''mandritto'' to your leg, you’ll draw your right foot near your left one, sticking the point in his face, and returning immediately into the aforesaid guard. But when your enemy wants to wound you with a ''riverso'' to your head, you’ll go forward with your left foot and protect yourself with your cape, but in that ''tempo'' you’ll give him a ''riverso'' to the leg, or thrust your point into his chest. Next, in the step you take with your foot, you can parry the said blow with your sword in ''guardia d’entrare'' accompanied by your cape, thrusting a ''stoccata'' to his face. Similarly, you could parry it with a ''riverso sgualimbro'', and then wound him with an ''imbroccata'' to the flank, or turn a ''riverso'' to his head, making your left foot push your right one forward, and immediately place yourself in the aforesaid guard. But if perchance he throws a ''riverso'' to your leg, you can parry it with a ''riverso ridoppio'' and thrust an ''imbroccata'' to his chest, or draw back your right foot, and throw the said ''imbroccata'' to his face, and having done so you’ll return into ''porta di ferro stretta''. And if he throws an overhand thrust at you, you’ll pass toward his right side with your left foot, knocking it inward with your cape, and in that ''tempo'' you’ll turn an overhand ''riverso'' to his head in such a way that your right foot follows behind your left one; then you’ll immediately return backward a pace with your left foot, together with a ''mandritto sgualimbro'' which will return into the aforesaid guard. In the step of your foot you can also hit it with the true edge of your sword, advance with your right foot, and wound him with an ''imbroccata'' to the flank which will end in ''porta di ferro''. But if the enemy throws a ''stoccata'' in order to give it to you in the chest, you can glide forward with your right foot, placing the forte of the true edge of your sword together with your cape upon that of your enemy, and thrust the point into his chest in that ''tempo'', making your left foot be the follower of your right one, and then with a ''dritto tramazzone'' you’ll return into the aforesaid guard. Next, you can also hit it toward your enemy’s left side with your cape, stepping forward with your left foot in the same ''tempo'', and giving him a ''riverso'' to the leg or a ''punta riversa'' to the chest; and this done, return into the guard whereof we speak. And this is the way to defend yourself from the aforesaid blows and harm the enemy, finding yourself in ''porta di ferro stretta''. Now listen to these others, in ''cinghiale porta di ferro''. If your sword is placed in it and your cape is in ''guardia di testa'', and your enemy throws a ''mandritto'' to your head, you’ll step forward with your right foot and defend yourself with your cape, but all in one ''tempo'' you’ll wound him with a ''riverso'' to the thigh or a thrust to the chest, having done which you’ll return your right foot back a pace, turning a ''mandritto'' to your enemy’s hand, and this will fix you into the said guard and your cape will return to the defense of your head. In the advance of your foot you can also parry with your sword in ''guardia di faccia'' in the company of your cape, and thrust the point into his face and immediately draw back your foot a pace, accompanying it with a ''dritto tramazzone'' which will end in the guard named above. Yet if he responds with a ''mandritto'' to the leg you can draw back your left foot and give him what ever seems most opportune to you in that ''tempo'', and having done so you’ll return into your guard. But if he throws a ''riverso'' to your head, you’ll advance toward his left side with your right foot, parrying the said blow with your cape, and in that ''tempo'' you’ll give him a ''riverso'' to the leg or a ''punta riversa'' to the chest, and for your defense you’ll draw your right foot back a pace and accompany it with a ''mandritto'' with which you’ll return into the guard whereof we speak. You can also hit it with a ''riverso sgualimbro'' in the advance of your foot and wound him with an ''imbroccata'' to the flank, or go into ''guardia d’entrare'' with your sword in the company of your cape, thrusting your point into his face, then immediately return back together with a ''mandritto tramazzone'', with which you’ll adopt the indicated guard. But if he wants to wound you with a ''riverso'' to the leg, you can defend yourself with a ''riverso ridoppio'', stepping with your right foot and turning a ''riverso'' to his head or thrusting the point into his face, and having done so restore yourself into the aforesaid guard. And if mayhap the enemy thrusts an ''imbroccata'' to your chest, you’ll hit it with the false edge of your sword, promptly passing forward with your right foot, and in that ''tempo'' you’ll turn a ''riverso'' to his thigh, making your cape defend your head; or you’ll parry it with the true edge of your sword, thrusting the point into his flank. Similarly, you can hit it toward his left side with your cape and turn an overhand ''riverso'' to his head, making your right foot follow behind your left one, and for your defense you’ll turn a ''mandritto sgualimbro'' which will end in ''cinghiale porta di ferro''. But if he throws an underhand thrust, you’ll pass forward with your right foot and parry it with the true edge of your sword in the company of your cape, and thrust the point into his chest in that ''tempo''. You can also hit it with the cape and turn a ''riverso'' to his sword arm, or parry it with a ''riverso sgualimbro'' instead, stepping forward and giving him a ''riverso'' to the head or throwing an overhand thrust to his face. Beyond which, in the step of your foot you could parry it with your false edge, and immediately turn your fist downward and thrust your point into his face, and having done so return into ''cinghiale porta di ferro'' with your sword and into ''guardia di testa'' with your cape. And these are the defenses that you can perform in this guard. Now hear that which can be done in the fifth guard, which will be that of alicorno with the right foot forward. Being fixed therein and finding yourself with your cape in ''cinghiale porta di ferro'', if your enemy wants to wound you with a ''mandritto'' to the head, you’ll step forward with your left foot and protect yourself with your cape in ''guardia di testa'', but you’ll immediately advance with your right foot and thrust an ''imbroccata'' to his chest, or turn a ''mandritto'' to his head or leg. Next, you can turn a ''mandritto'' to your enemy’s arm, or parry with your sword in ''guardia di testa'' accompanied by your cape, and immediately wound him however seems readiest, and having done so you’ll place yourself back in the guard named above. But if he throws a ''mandritto'' to your leg you’ll draw your right foot near your left one, and in that ''tempo'' you’ll turn a ''mandritto'' to his sword arm or thrust the point into his face, promptly returning into the aforesaid guard. And if he responds to you with a ''riverso'' to the head, you can pass forward with your left foot and parry the said blow in ''guardia d’entrare'' in the company of your cape, thrusting the point into his face; or in the step forward you can parry with your cape, giving him a ''mandritto'' to the leg in that ''tempo'', and having done so, you’ll settle yourself into the guard whereof we speak. But if he throws a ''riverso'' to your leg, you’ll draw back your right foot, throwing an ''imbroccata'' to his face in the same ''tempo'', and swiftly return into  ''guardia d’alicorno''. Now if perchance he throws an overhand thrust to your chest, you’ll draw your left foot near your right one and parry it with a ''mezzo mandritto sgualimbro'', then immediately advance with your right foot and slice his head with a ''riverso'', or throw a thrust to his chest. Moreover, you can pass toward his right side with your left foot and hit the said thrust with your cape, turning an overhand ''riverso'' to his head, having done which you’ll go into the aforesaid guard. But when the enemy throws a ''stoccata'' in order to give it to you in the chest, you’ll beat it outwards with the cape, drawing your left foot near your right one, then immediately advance with your right one, thrusting an ''imbroccata'' to the face, or turning a ''mandritto'' to his leg instead. And with this I’ve finished the explanation of the five guards named above. </p>
 
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| <p>Lep: Don’t you want to talk about the  ''guardia d’alicorno'' with the left foot forward as well? </p>
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| <p>Gio: I’ll speak about it in order to satisfy you, although there isn’t much difference between the one and the other. Finding yourself with your sword in the said guard and your cape in ''porta di ferro alta'', if your enemy throws a ''mandritto'' to your head, you’ll protect yourself with your cape, then immediately pass forward with your right foot, thrusting your point into his chest or turning a ''mandritto'' to his leg as you step, instead; and having done so you’ll return back a pace with your right foot together with a ''riverso ridoppio'', with which you’ll fix yourself in the said guard. But if he responds to you with a ''mandritto'' to your leg, you’ll pass toward his left side with your right foot and thrust an ''imbroccata'' to his face in that ''tempo'' or give him a ''riverso'' to his sword hand, so that that your left foot follows behind your right one, having done which you’ll return into the aforesaid guard. And if instead he throws a ''riverso'' to your head, you can parry with your cape, stepping forward promptly with your right foot and thrusting the point into his flank or turning a ''mandritto'' to his head or leg, and immediately place yourself back into the aforesaid guard. But if perchance he wants to wound you with a ''riverso'' to the leg, you’ll draw back your left foot and speedily advance with your right one, throwing an overhand thrust to his face, having done which you’ll restore yourself into the guard named above. Now when the enemy throws an ''imbroccata'' to your chest, you can hit it toward his left side with your cape and turn an overhand ''riverso'' to his head in the same ''tempo'', or thrust the point into his face, making your right foot push your left one forward. In the step with your right foot you can also parry with a ''mandritto sgualimbro'' and cut him with a ''riverso tondo'' in the same ''tempo'', or thrust a ''punta riversa'' to his chest, and having done so return into the aforesaid guard. But if he thrusts a ''stoccata'' to your face, you’ll hit it outwards with your cape and pass forward with your right foot in that ''tempo'', thrusting the point into his face, or turn a ''mandritto'' to his leg instead, having done which you’ll return into the guard whereof we speak. And here I’ll make an end to the explanation of the sixth and final guard, of which, along with the other aforesaid ones, I’ve shown you the manner that you have to follow in defending yourself from your enemy and in offending him, when he wants to wound you with a cut or a thrust, be it high or low, when you have your sword accompanied by the cape in whatsoever of the guards named above. But because I’ve always discussed the simple blows, for easier understanding, now I want to discuss feints, together with the variations of the guards, so that you’ll come to be more capable of them. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/109|3|lbl=52r.3|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/110|1|lbl=52v.1|p=1}}
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|-
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| <p>Lep: I would find this excellent as well. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/110|2|lbl=52v.2}}
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|-
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| <p>''The way in which feinted blows must be parried.''</p>
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<p>Gio: So then, when you are facing your enemy with your sword in ''coda lunga alta'' and your cape in ''cinghiale porta di ferro'', and he wants to throw two punte riverse, one at your face with his left foot forward, and the other to your chest with his right foot forward, you’ll parry the first one with your false edge, and as he throws the second one, you’ll pass immediately toward his right side with your left foot, and beat that one inward with your cape, turning an overhand ''riverso'' to his head all in one ''tempo'', with which you’ll restore yourself into ''coda lunga alta''. Now if the enemy thrusts a ''stoccata'' to your face in order to give you a ''mandritto'' to the leg, as he throws the thrust you’ll defend yourself from that with your cape; but in the turning of a ''mandritto'' at you, you’ll draw your left foot back, wounding your enemy’s hand with a ''mezzo mandritto'' with which you’ll fix yourself in ''porta di ferro stretta'', and with your cape in ''coda lunga alta''. And if he feints to thrust a ''punta riversa'' to your face in order to give you a ''riverso'' to the leg, you won’t move in response to the feint, but as he turns the ''riverso'', you’ll immediately draw back your right foot a pace, turning a ''dritto tramazzone'' to his sword arm in that ''tempo'', with which you’ll go into ''cinghiale porta di ferro'' with your cape in ''guardia di testa''. But if the enemy makes a show of giving you a ''dritto tramazzone'' to the head, you’ll raise your sword into ''guardia di testa'', and if he thrusts an ''imbroccata'' to your flank as you raise it, you’ll hit it with your cape and turn an overhand ''riverso'' to his head in the same ''tempo'', making your right foot follow behind your left one. And having done so, with a half turn upwards of your fist, you’ll rest with your left foot forward with your sword in  ''guardia d’alicorno'', and your cape in ''porta di ferro alta''. Now if he responds to you with a ''mandritto sgualimbro'' to your upper body, you’ll protect against that with your cape, and rapidly pass forward with your right foot, but in that passage you’ll throw an overhand thrust to his chest, followed by a ''riverso ridoppio'', with which you’ll fix yourself in  ''guardia d’alicorno'' with your right foot forward, and with your cape in ''cinghiale porta di ferro''. And if your enemy throws a thrust to your face, or a ''mandritto tondo'' to your head, you’ll step forward with your left foot and hit that with your cape, but in the same ''tempo'' you’ll turn a ''mandritto'' to his leg, and for your defense you’ll restore your left foot back a pace, accompanied with a ''riverso tramazzone'' with which you’ll return into ''coda lunga stretta''. I could also tell you many other defenses in this and the other guards, but in order to make it brief, for now we’ll let the discussion above suffice. Up until now I’ve spoken to you of defending yourself from the enemy and of offending him, but now I want to talk to you about how to provoke him and wound him, together with the way to protect yourself from the said provocations when he wants to do them against you, so that you’ll be able to avail yourself of them according to the occasions in which they can occur to you. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/110|3|lbl=52v.3|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|111|lbl=53r|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/112|1|lbl=53v.1|p=1}}
  
 
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| <p>Lep: This kindness of yours is such that I will be eternally grateful to you. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/112|2|lbl=53v.2}}
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|-
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| <p>''On provoking and wounding the enemy and defending oneself from his provocations in the guard coda lunga stretta.''</p>
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<p>Gio: Let’s leave this aside, and continue our discussion. You have to understand that when you find yourself with the swords in ''coda lunga stretta'' and the capes in ''cinghiale porta di ferro'', and you want to be the first one to provoke your enemy, you can pass forward with your left foot and thrust a ''punta riversa'' to the face; but if perchance he raises his sword in order to protect himself, in the raising you’ll immediately direct your right foot forward and hit that upward with your cape, and in the same ''tempo'' you’ll thrust a ''punta riversa'' to the chest, or cut him in the leg with a ''riverso'' instead. During the advance of his right foot you can also make a pretense of giving him a ''mandritto'' to the head, but turn a ''riverso'' to his thigh. Similarly, you can pass forward with your left foot and provoke him with a ''dritto tramazzone'' to his sword hand, with which you’ll fix yourself in ''cinghiale porta di ferro'', and with your cape in ''guardia di testa''. You can also provoke him if you throw either thrusts or mezzi ''riversi'' to his cape hand. Additionally, you can make a gesture of thrusting a ''stoccata'' to his face between his sword and his cape, and if he happens to move his sword in order to defend himself, you’ll immediately pass forward with your left foot, and in that passage you’ll toss the cape on his right arm and in the same ''tempo'' turn an overhand ''riverso'' to his head, or thrust a ''punta riversa'' to his flank instead. Next, in the step of your left foot, you can cast your cape into his face, keeping, however, that first part of the cape that you gripped in your hand firmly in your fist, and in that casting give him a ''mandritto'' to his leg, or a ''stoccata'' to his chest, and immediately embrace the said cape again. But if he hits the said thrust with his cape, you’ll promptly draw your right foot back a pace, together with a ''dritto tramazzone'' that will fall into ''cinghiale porta di ferro'', and you’ll proceed to defend your head with your cape. And these are the provocations and attacks that can be done in ''coda lunga stretta''. Now hear their counters. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/112|3|lbl=53v.3|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/113|1|lbl=54r.1|p=1}}
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| <p>Lep: Before you begin, I would first like you to tell me if there are other ways of casting the cape and of embracing it as well. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/113|2|lbl=54r.2}}
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|-
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| <p>''How the cape is embraced.''</p>
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<p>Gio: There are two other ways to embrace it. One is that having your cape about you, you’ll let it fall down from your right shoulder, beating it backward with your arm, and in the same ''tempo'' you’ll stick the thumb of your left hand on the other part of the cape, that’s on your left shoulder, making the pad of your thumb be turned upwards. And you’ll put yourself into ''porta di ferro'' with your sword; and this is one way to avail yourself of it for casting it at your enemy without embracing it: which is that being fixed in the said guard, if your enemy throws either a cut or thrust, you’ll hit the said blow toward his left side with the true edge of your sword, but all in one ''tempo'' you’ll step forward with your left foot, casting your cape in his face from off your shoulder, holding it tightly in your fist however, and in that casting you’ll thrust an ''imbroccata'' to his chest, or give him a ''mandritto'' to the legs; and having done so, wanting to embrace it again, you’ll turn your left hand toward the outside, recovering it onto your arm, and you’ll place yourself in ''cinghiale porta di ferro'' with it, and in ''coda lunga stretta'' with your sword. The other is, having it likewise about you, you’ll take that part that hangs down on your left side with your left hand, almost by the corner, and then with your other hand you’ll take the other side, likewise of the bottom of the cape, turning it back and redoubling it onto your left arm, holding both corners however in your left hand. Then, with your right hand, you’ll take all of that part of the said cape that remains below, and will turn it inward upon your arm, arranging it with lovely grace. Having done so, you’ll put yourself into ''porta di ferro'' with it, and in ''coda lunga alta'' with your sword. And then, wanting to avail yourself of it in order to cast it at your enemy, you’ll draw your left foot back a pace and in the same ''tempo'' you’ll extend your arm backwards, making a turn of your hand. By that turning you’ll make that last part that you turned onto your arm return to hanging low, and this is done so that you’ll have the cape free to be able to cast it, keeping that first part that you gripped firmly in hand, however. And cast it with your arm open, so that you’ll cover your enemy greatly thereby. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/113|3|lbl=54r.3|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/114|1|lbl=54v.1|p=1}}
  
 
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| <p>Lep: Now that I’ve heard the ways that I have to follow in embracing the cape and casting it as well, continue your discussion of the counters of the aforesaid provocations. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/114|2|lbl=54v.2}}
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|-
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| <p>Gio: These are the counters. As he throws the thrust with his left foot forward, you’ll parry that with your true edge, and as he raises his cape in order to thrust the other one, immediately going toward his left side with your left foot you’ll hit it with your cape, and in the same ''tempo'' you’ll turn an overhand ''riverso'' to his head. But if after he’s thrown the aforesaid thrust he wants to wound you with a ''riverso'' to the leg, in defense against the thrust you’ll hit that with your false edge; but in the turning of the ''riverso'', you’ll draw your right foot behind your left one, giving him a ''riverso sgualimbro'' to the sword arm in that ''tempo''. But if he feints a ''mandritto'' in order to give you a ''riverso'' to the head,<ref>The provocation specified a ''mandritto'' to the head followed by a ''riverso'' to the thigh.</ref> without stepping you’ll wound him in the sword hand with a ''mezzo mandritto'', and for defense from the ''riverso'' you’ll go into ''guardia d’entrare'' with your sword, thrusting your point into his face. Now as he steps with his left foot and turns the ''tramazzone'', you’ll immediately go into ''porta di ferro'' with your sword in order to render yourself secure. But if he throws the thrust to your cape hand, you’ll lift up your left arm somewhat, turning your body behind your right side, wounding your enemy’s hand with a ''mezzo mandritto'' in that ''tempo''. Then, when he wants to throw the thrust between your sword and your cape, you’ll knock that down with your true edge. But in the step that he takes with his left foot in order to enfold you in his cape or cast it into your face, you’ll promptly draw your right foot back a pace, slicing him in the leg with a ''riverso'' in that ''tempo'', making your cape protect your head. And these are the counters. Now note the second manner of provoking the enemy, when both of you have your swords in ''coda lunga alta'' and your capes in ''porta di ferro alta''. You can pass forward with your right foot and provoke him with a ''falso'' and a ''mandritto'', with which you’ll fix yourself in ''porta di ferro'', and with your cape in ''coda lunga alta''. After you’ve stepped with the aforesaid foot you can also feint a thrust to his face over your cape, and immediately turn a ''mandritto'' to his leg, or thrust a ''punta riversa'' instead, followed by a ''riverso'' to his leg with which you’ll go into ''coda lunga stretta'' with your cape in ''cinghiale porta di ferro'', and with these provocations he’ll be forced to respond to you. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/114|3|lbl=54v.3|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|115|lbl=55r|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/116|1|lbl=55v.1|p=1}}
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|-
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| <p>Lep: But what if he doesn’t respond? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/116|2|lbl=55v.2}}
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| <p>Gio: Resume provoking him again, or press him as I told you, thereby making him either throw a blow or retire back. But I want to tell you the counters to the aforesaid provocations in ''coda lunga alta'', which are: when your enemy passes forward with his right foot and does a ''falso'' and ''mandritto'' against your sword, moving your right foot along the diagonal you’ll go into ''cinghiale porta di ferro'' with your sword and your cape will see to the defense of your head. But when he feints the thrust in order to give you the ''mandritto'' to the leg, you’ll raise your cape in defense against the thrust. But in his turning of the ''mandritto'', you’ll pass forward with your right foot, and in that ''tempo'' your cape will accompany your sword, and with the false edge thereof you’ll dismiss the said blow, immediately cutting him with a ''riverso'' to the thigh. But in the thrusting of the ''punta riversa'', you’ll hit that with your cape, and in the turning of the ''riverso'' to the leg, you’ll immediately cast your left foot behind your right one and turn a ''riverso sgualimbro'' to his sword arm in that ''tempo''. And these are their counters. Now, continuing on with the provocations in ''porta di ferro stretta'', when you find yourself with the swords in the said guard, and the capes in ''coda lunga alta'', you can turn a ''dritto tramazzone'' on his sword, then immediately pass forward with your left foot and thrust a ''punta riversa'' to his face, followed by a ''riverso'' to his leg; or, after you’ve thrown the said thrust, you can advance with your right foot, and with a half turn of your fist thrust an ''imbroccata'' to his flank. You can also thrust the ''punta riversa'' with your right foot forward, and speedily make a feint of giving him a ''mandritto tondo'' to the head, nonetheless turning a ''riverso'' to his leg, raising your cape in that ''tempo'' in defense of your head; or, once you’ve thrown the said thrust, you’ll pass forward with your left foot, throwing your cape onto his right arm, and in that instant you’ll turn a ''riverso sgualimbro'' to his head with which you’ll fix yourself in ''coda lunga alta'', with your cape in ''porta di ferro alta''. In addition, you can make a pretense of moving yourself a pace, and all in one ''tempo'' go with the forte of your sword, accompanied by your cape, onto your enemy’s sword, and thrust your point into his chest. And these are the ways to provoke your enemy and wound him as well, both being in ''porta di ferro stretta''. The counters are: as your enemy turns the ''tramazzone'', you won’t move, but as he throws the thrust, you’ll hit that with your false edge, and then as he turns the ''riverso'', you’ll draw your right foot behind your left one, giving the enemy a ''riverso'' to the arm in that ''tempo''. But if after he throws the aforesaid thrust he turns his fist in order to wound you with the ''imbroccata'', you’ll parry that with the true edge of your sword, immediately sticking the point into his chest. And if he thrusts the point with his right foot forward, you’ll go into ''guardia d’entrare'' with your sword, thrusting your point into his face all in one ''tempo''. And if perchance he turns the ''mandritto'', you’ll immediately raise your sword into ''guardia di faccia''. But in his turning of the ''riverso'' to your leg, you’ll protect yourself from that with a ''riverso ridoppio'', and with a turn of your hand upwards you’ll slice him with a ''mandritto'' to the thigh. Then, when he steps with his left foot after having thrown the thrust in order to enfold your right arm with his cape, against his extension of the thrust you’ll hit it with your sword, but as he steps in order to enfold you, you’ll immediately draw back your right foot, turning a ''mandritto tramazzone'' in that ''tempo'' which will fall into ''cinghiale porta di ferro'', and you’ll put your cape in the defense of your head. And these are their counters. Now listen to the provocations in ''cinghiale porta di ferro''. When both have their swords fixed in that guard and their capes in ''guardia di testa'', you can pass forward with your right foot and thrust a ''punta riversa'' to the face followed by a ''riverso'' to the leg; or once you’ve thrown the said thrust you can turn a ''mandritto tondo'' to his head; or, in the throwing of the aforesaid thrust, as he raises his sword to defend himself, you can immediately step toward his right side with your left foot and put your cape under his right hand, but all in one ''tempo'' you’ll turn a ''mandritto'' to his legs, making your right foot follow behind your left one. In addition to this, you can throw two punte riverse, one to the face with your right foot forward, passing with your left one promptly toward his right side, hanging your cape on his sword arm, and in that ''tempo'' you’ll draw back your fist somewhat and thrust the other one into his chest. And these are the provocations and attacks from ''cinghiale porta di ferro''. Now I’ll continue by telling you their counters, which will be: as the enemy throws the thrust with his right foot forward, you’ll parry that with your true edge, but in his turning of a ''riverso'' to your thigh, you’ll draw your left foot behind your right one, and in the same ''tempo'' you’ll give him a ''mandritto'' to his sword arm. But if he throws the thrust in order to give you a ''mandritto'' to the head you’ll hit that with your false edge, but in the turning of the ''mandritto'' you’ll immediately pass forward with your right foot and defend yourself from that with your cape, giving him a ''mandritto'' to the leg in that instant. And if he extends the said thrust with his right foot forward, while stepping with your right foot you’ll parry that with the false edge of your sword, but in the step that he takes with his other foot in order to hit you in your right arm with his cape, you’ll immediately draw back your right foot behind your left one, turning a ''riverso'' to his head all in one ''tempo''. But if he throws the two punte riverse, the one while stepping forward with the right foot and the other with the left one, in his first thrust you’ll step forward with your right foot and beat it away with the false edge of your sword. But in the thrusting of the second one, you’ll advance forward with your left foot and hit that with your cape, and in the same ''tempo'' you’ll turn an overhand ''riverso'' to his head. And these are their counters. Now, coming to the provocations in  ''guardia d’alicorno'' with the right foot forward, when you find yourselves with your swords in the said guard and your capes in ''cinghiale porta di ferro alta'', you can thrust an ''imbroccata'' to his cape arm, or turn a ''mandritto'' to the same arm with which you’ll fix yourself in ''porta di ferro'' with your cape in ''guardia di testa''. You can also make a feint of extending a thrust, nonetheless turning a ''riverso'' to his cape hand, with which you’ll fix yourself in ''coda lunga stretta'' with your cape in ''cinghiale porta di ferro''. The counters are: as he thrusts the ''imbroccata'', draw your right foot back a pace, giving a ''mandritto sgualimbro'' to the enemy’s hand. But if he turns the ''mandritto'', pass forward with your left foot and defend yourself with the cape, throwing a ''mandritto'' to his leg in that ''tempo''. And if he feints the thrust of the ''imbroccata'', you won’t move in response to the feint, but as he turns the ''riverso'', draw your right foot near your left one, leaning your body back somewhat, and letting the blow go in vain; then immediately thrust an ''imbroccata'' to his chest. And these are the counters. Now note the provocations in the last guard, which is that of  ''guardia d’alicorno'' with the left foot forward. Both of you being fixed in it with your capes in ''porta di ferro alta'', in order to be the provocateur you can feint an ''imbroccata'' to the face from outside his cape, passing toward his left side with your right foot, and immediately turn a ''mandritto'' to his leg with which you’ll fix yourself in ''porta di ferro'' with your cape in defense of your head. The counter is: as he steps, feinting the ''imbroccata'' to give you the ''mandritto'' to the leg, you’ll promptly pass toward his left side with your right foot, turning a ''mandritto'' to his sword arm, which will fix you in ''porta di ferro larga'', making your cape defend your head. And here I’ll make an end, owing to the lateness of the hour, and because it seems to me that we’ve dealt with this quite amply. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/116|3|lbl=55v.3|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|117|lbl=56r|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|118|lbl=56v|p=1}} {{pagetb|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf|119|lbl=57r|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/120|1|lbl=57v.1|p=1}}
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| <p>Lep: I rest quite satisfied by you in every regard, and am infinitely grateful to you. There remains only, if you please, for us to meet here again tomorrow in order to discuss the joust, as you had promised me—so that my desire regarding this, as of the rest, will come to be fulfilled. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/120|2|lbl=57v.2}}
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| <p>Gio: We’ll do precisely this, and I will do everything in my power in order to please you. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/120|3|lbl=57v.3}}
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|-
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| class="noline" | <p>The end of the First Book. </p>
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| class="noline" | {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/120|4|lbl=57v.4}}
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|}
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{{master subsection end}}
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{{master end}}
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{{master begin
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| title = Second Book - The Art of Jousting
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| width = 60em
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}}
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{{master subsection begin
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| title = Day 6 - Jousting
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| width = 60em
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}}
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{| class="master"
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|-
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! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
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! <p>Transcription{{edit index|Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf}}<br/>by [[Benjamin Conan]]</p>
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|-
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| <p>'''The Second Book, And The Sixth Day Of Dialogues'''<p>
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<p>By Mr. Giovanni dall’Agocchie, Bolognese: Wherein is discussed the art of the joust. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/121|1|lbl=58r.1}}
  
 
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| <p>INTERLOCUTORS: Mr. Giovanni dall’Agocchie & Mr. Lepido Ranieri. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/121|2|lbl=58r.2}}
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| <p>I never enter into this garden, Mr. Lepido, without rejoicing, so much does this beautiful greenery delight me. Whence you’ve judiciously this place for our discussions, because you couldn’t have chosen a more beautiful nor more comfortable one, nor one wherein I would more willingly speak than this. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/121|3|lbl=58r.3}}
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|-
 +
| <p>Lep: You see that I was thinking of both your enjoyment and of the delight and utility that I derive from your discussion, having chosen a place conducive to the one and the other. Accordingly, let’s sit in our places, and please begin discussing tilting with the lance, so that I may attend you with the hope of being satisfied by you in this matter, as you’ve made me with respect to arms. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/121|4|lbl=58r.4}}
 +
 +
|-
 +
| <p>Gio: I’ll do everything in my power to recall to my memory all the observations and advice that must be employed in the art of the joust, so that you may be as satisfied by me as I can make you. So question me at your pleasure, and interrupt me whenever you wish, so that I can always reply to you with a glad spirit. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/121|5|lbl=58r.5}}
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 +
|-
 +
| <p>Lep: Since you permit me to ask you, I’d like you to explain to me the reason why the ring wasn’t placed reasonably. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/121|6|lbl=58r.6}}
 +
 +
|-
 +
| <p>Gio: Didn’t you see how low it was? And positioned almost in the middle of the course? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|1|lbl=58v.1}}
 +
 +
|-
 +
| <p>Lep: I saw it, although I thought that it was fine like that, since I’ve seen it positioned that way in many other places. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|2|lbl=58v.2}}
 +
 +
|-
 +
| <p>Gio: I believe you, but those who positioned it like that didn’t have knowledge of jousting, because if they had, then they would have placed it reasonably. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|3|lbl=58v.3}}
 +
 +
|-
 +
| <p>Lep: How should it be placed in order to be reasonable? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|4|lbl=58v.4}}
 +
 +
|-
 +
| <p>''How the ring must be placed when jousting.''</p>
 +
 +
<p>Gio: Outside the course, at least three feet of measure toward the left side of the one who is tilting, because just as the adversary always approaches on a rider’s left side when jousting in the encounter, so should the ring be placed on the same side as well, if one wants it to be placed reasonably. Regarding the height, it should be six feet of measure above the ground, as it’s a more reasonable and beautiful thing to accustom oneself to tilt with the lance high than low, because coming to tilt, either on the course or the open field, one will be able to strike the head more surely and with greater ease, this being the most notable blow that one may face. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|5|lbl=58v.5}}
 +
 +
|-
 +
| <p>Lep: I understand, but tell me the reason why tilting at the ring like so was invented. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|6|lbl=58v.6}}
 +
 +
|-
 +
| <p>Gio: It was invented in order to make it entertaining, and encourage youths who are still learning to tilt with the lance, as this is the easiest way that’s employed. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|7|lbl=58v.7}}
 +
 +
|-
 +
| <p>Lep: Yet it seems difficult to me to get it in that ring. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|8|lbl=58v.8}}
 +
 +
|-
 +
| <p>Gio: It’s true that it’s difficult, but it doesn’t consist so much of getting it in the ring as much as it does in seeing a rider carry his lance well, and tilting it reasonably. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|9|lbl=58v.9}}
 +
 +
|-
 +
| <p>Lep: What does tilting with the lance reasonably consist of? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|10|lbl=58v.10}}
 +
 +
|-
 +
| <p>''What tilting with the lance reasonably consists of.''</p>
 +
 +
<p>Gio: Of six chief headings. The first is in understanding how to be on horseback well. The second is in holding and carrying the lance on the thigh. The third is in knowing how to lift it from the thigh. The fourth is in placing it on the lance-rest. The fifth is in knowing how to couch it. The sixth and last is in knowing how to recover it. </p>
 
|  
 
|  
 +
{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/122|11|lbl=58v.11|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/123|1|lbl=59r.1|p=1}}
 +
 +
|-
 +
| <p>Lep: For my satisfaction, I’d like you to explain these six headings to me better, so that I can achieve understanding of this art as well with great ease. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/123|2|lbl=59r.2}}
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|-
 +
| <p>Gio: I’ll be glad to explain them to you. Beginning with the first one, I’ll say that since the art of riding belongs to riding masters, I won’t exert myself upon it at much length. I’ll only give you three necessary recommendations, of which the first is that being on horseback, a rider shouldn’t be seated much, because in addition to the discomfort that one receives thereby in tilting with the lance, it makes an ugly sight. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/123|3|lbl=59r.3}}
 +
 +
|-
 +
| <p>Lep: Perhaps you want him to stand up straight in the stirrups? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/123|4|lbl=59r.4}}
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 +
|-
 +
| <p>Gio: I didn’t say that, but I want to imply that one can arrange himself in sitting in the saddle in such a manner that he comes to be somewhat straighter than usual, so that doing so, he’ll be more beautiful on horseback, and also more comfortable and safer in tilting with the lance, and especially when tilting at the encounter. The second recommendation is, that in beginning on the course, he shouldn’t apply the spurs to the horse furiously, but send him slowly, so that he comes to the course more willingly. And it’s also done because by moving the horse with great impetus one can easily lose his lance, as has been seen many times. The third and last being that on the course, not to press him much with the left spur, because that way the horses won’t have a reason to flee the course, if they’re found to be among those that flee it too eagerly, either for fear of the blow, or through hearing the impact of the other horse as it comes to encounter them; and for this reason putting belled collars on them was devised, so that they wouldn’t hear the other’s impact. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/123|5|lbl=59r.5}}
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 +
|-
 +
| <p>Lep: Now that I’ve heard these recommendations, continue to discuss the other headings. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/123|6|lbl=59r.6}}
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 +
|-
 +
| <p>Gio: In the second heading there are three ways for you to hold and carry the lance on the thigh, that is, between the thigh and the saddle. The first one is to hold it inclined somewhat outward toward his right side. The second is to make it hang somewhat toward the left side. The third and last is holding the lance so that it hangs neither there nor there, but so that it remains fixed in the middle. </p>
 
|  
 
|  
 +
{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/123|7|lbl=59r.7|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|1|lbl=59v.1|p=1}}
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 +
|-
 +
| <p>Lep: For what reason do you want it that way, so that it’s held between the thigh and the saddle? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|2|lbl=59v.2}}
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|-
 +
| <p>Gio: Because when the jouster is armored, the harness would get in the way so that the butt of the lance couldn’t be fixed upon it except with difficulty, and given this, it’s held in the aforementioned fashion out of necessity. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|3|lbl=59v.3}}
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 +
|-
 +
| <p>Lep: That’s a good reason. But tell me, among these three ways of holding and carrying the lance on the thigh, which is the loveliest? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|4|lbl=59v.4}}
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|-
 +
| <p>Gio: To hold and carry it fixed in the middle, because in addition to avoiding extremes, one also makes a lovely sight, keeping, however, the point of the lance neither too high nor too low, but reasonably; and similarly one needs to keep the right elbow in such a manner that it doesn’t point either too far up nor down; but it has to have a lovely grace. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|5|lbl=59v.5}}
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 +
|-
 +
| <p>Lep: But if the lance has to hang to one of the two sides, which one would be better for it to decline toward? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|6|lbl=59v.6}}
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|-
 +
| <p>Gio: Toward the left side, but not much, because some have been seen who, in order to display their bravery, carried it so slanted that they made those who saw them laugh; but letting it hang it toward the right side is something I don’t praise in any way; on the contrary, I condemn it utterly, because beyond being very ugly to behold, many mistakes can occur to you that arise when lifting it from the thigh and placing it in the lance-rest; but in the other two ways this danger isn’t present. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|7|lbl=59v.7}}
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 +
|-
 +
| <p>Lep: Why do many fall into this error? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|8|lbl=59v.8}}
  
 
|-  
 
|-  
 +
| <p>Gio: Because they don’t have a rational understanding of jousting. But to continue with the discussion of the third heading, there are also three ways in it of lifting the lance from the thigh. One is, when lifting it from it while on the course, to immediately put it in the lance-rest. The next is, while you are placing yourself on the course, to lift it, and hold it outside the thigh with the wrist, with the arm extended downward. The third and last is, as one is sent to the course, to lift it upward from the thigh somewhat, holding it again with the wrist, but the arm must be a bit bent, making the point of the lance aim toward the adversary; and above all, one must be advised not to lean the lance upon oneself, because it looks too ugly; and these are the ways that are currently in use. </p>
 
|  
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/124|9|lbl=59v.9|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/125|1|lbl=60r.1|p=1}}
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 +
|-
 +
| <p>Lep: Which of these ways do you hold to be the best? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/125|2|lbl=60r.2}}
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|-
 +
| <p>Gio: All three are good, however I hold the last one to be the best and surest, because when the jouster holds his arm somewhat bent he supports the lance more easily, beyond which, there’s more surety when placing it in the lance-rest, owing to the hand being closer to it; and moreover holding it and carrying it by the wrist is useful in war, given that all things are more lovely and praiseworthy the nearer they come to the semblance of truth. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/125|3|lbl=60r.3}}
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|-
 +
| <p>Lep: So it is, but tell me, why is carrying the lance in the pouch<ref>''Borsetta''.</ref> almost never done anymore? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/125|4|lbl=60r.4}}
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|-
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| <p>Gio: Because the lances that are made these days are lighter and more maneuverable, and the saddlebows on the front of the saddles are smaller; and it’s also not done in order to avoid two errors which could arise from tilting if the lances were held in the pouch: of which the first is, that when tilting, the lance would be shaking; and the other is that it could break on the course, as has been seen many times among those who had wanted to tilt with light lances, holding them in the pouch. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/125|5|lbl=60r.5}}
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|-
 +
| <p>Lep: Then why was carrying the lance in the pouch invented? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/125|6|lbl=60r.6}}
 +
 +
|-
 +
| <p>''Why the lance was carried in the pouch.''</p>
 +
 +
<p>Gio: Because the lances that were in use then were so large and heavy that only awkwardly could they be carried by the wrist, and also the saddlebows on the front of the saddles that were in use were so wide that they impeded the gripping of it, and the carrying of it reasonably upon the thigh. And considering this, the pouch was invented. </p>
 
|  
 
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 +
{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/125|7|lbl=60r.7|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/126|1|lbl=60v.1|p=1}}
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|-
 +
| <p>Lep: How did it come to pass that such heavy lances are no longer used? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/126|2|lbl=60v.2}}
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|-
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| <p>Gio: Because riders are no longer interested in knocking each other from horseback, as they were then, given that this truly is a thing more likely to displease than to please, but today they care only to carry the lance well and to break it judiciously; because in truth, when doing it for entertainment, extremes should always be avoided. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/126|3|lbl=60v.3}}
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|-
 +
| <p>Lep: I understand that it’s as you say. Therefore, continue with the fourth heading. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/126|4|lbl=60v.4}}
  
 
|-  
 
|-  
 +
| <p>''In how many ways the lance can be placed in the lance-rest.''</p>
 +
 +
<p>Gio: Note then, that there are also three ways to place the lance in the lance-rest. The first one is, at the beginning of the course. The second one is when the horse has been dispatched. The third is when one draws near to his adversary. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/126|5|lbl=60v.5}}
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|-
 +
| <p>Lep: Which of these three ways do you hold to be the best and safest? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/126|6|lbl=60v.6}}
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|-
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| <p>Gio: The second one, that is, when he’s sent down the course. The reason is that if you want to place the lance in the lance-rest at the beginning of the course, it might go shaking up and down, which makes it very ugly to watch; and this arises sometimes not due to the rider, but due to the horse, who when setting off disturbs him in such a fashion that he can’t keep his lance steady. And then, wishing to steady it when he nears his adversary, one who hasn’t had a great deal of practice can easily give him the lance to the head, or pass him without hitting, or in lowering it too quickly could hit his lance into the barrier, as has been experienced many times. But by placing it in the lance-rest once the course is under way, these dangers are avoided, and so as well carrying the lance in the lance-rest somewhat fixed and with good judgment makes a very lovely sight. And for these reasons I hold that carrying the lance in the lance-rest when the course is under way is better and safer. But most of all, when arresting the lance, it’s necessary to put the hand forward, turning the hand inward in that ''tempo'' in such a fashion that the last joints of the fingers face upwards, so that by doing so the lance comes to be placed in the lance-rest more safely and with greater ease. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/126|7|lbl=60v.7|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/127|1|lbl=61r.1|p=1}}
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|-
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| <p>Lep: Do you wish, then, that the grapper should be immediately drawn near to the lance-rest? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/127|2|lbl=61r.2}}
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|-
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| <p>Gio: Not this, because one could upset the lance. Nonetheless, if the rider wanted to draw the grapper near the lance-rest for his satisfaction, it would be far better and safer for him to draw it there bit by bit while he was on the course; but take note of the fifth heading. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/127|3|lbl=61r.3}}
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|-
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| <p>Lep: Wait, please, because first I’d like you to clear up a doubt for me, which is that many people say that one shouldn’t hold the fist tight when the lance is in the lance-rest; they say that keeping the hand open instead is much better. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/127|4|lbl=61r.4}}
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|-
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| <p>Gio: Rather, it is entirely the opposite, because when one delivers the blow, the grapper hits into the lance-rest; and if the hand were open, the impact would make it slide over, where it might hit into the bulk of the lance, which is over the grip. And in consideration of this many have gauntleted their hands. But holding it somewhat tight, this danger doesn’t exist. And moreover, when the lances strike together, holding it in the said fashion easily causes the adversary’s (if he’s holding his hand open) not to hit, but the other one can hit more surely. And these are the reasons why it’s much better and surer to hold the hand as I’ve said above. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/127|5|lbl=61r.5}}
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|-
 +
| <p>Lep: I understand. Continue on to discuss the fifth heading. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/127|6|lbl=61r.6}}
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|-
 +
| <p>''In how many ways the lance is couched.''</p>
 +
 +
<p>Gio: In the fifth heading there are three ways to couch the lance. One is to lower it immediately upon placing it in the lance-rest. The next is to keep it high at the beginning of the course, and to lower it a little when one begins to draw near to the enemy. The third and last one is to lower it all in one ''tempo'' when one wishes to hit. </p>
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|
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/127|7|lbl=61r.7|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|1|lbl=61v.1|p=1}}
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|-
 +
| <p>Lep: Which of these three ways is the surest? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|2|lbl=61v.2}}
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|-
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| <p>Gio: Holding it high, and then lowering it a bit as I’ve said, because if a jouster wishes to couch his lance at the very beginning of the course, when he wishes to deliver the blow he is often forced either to raise his point or to hit the shoulder, and over all both of these ways are ugly to watch. As for wanting to lower it and immediately strike, beyond being difficult, this is not very sure. But by putting the lance high, and with advantage, and then lowering it a bit when one begins to near the enemy, that is, raising the elbow a bit, one can deliver the blow easily, and moreover this makes a very lovely sight. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|3|lbl=61v.3}}
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|-
 +
| <p>Lep: What do you mean by this “advantage”? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|4|lbl=61v.4}}
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|-
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| <p>Gio: I mean that in placing the lance in the lance-rest, it should be placed firmly and in such a manner that its point goes toward the left side, so much so that the outside of the adversary’s lance can be uncovered, always keeping the eyes fixed at the target of the eyeslit of the helm, so that by doing so it is almost impossible to pass the course without striking. And this is the surest method that can be employed. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|5|lbl=61v.5}}
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|-
 +
| <p>Lep: I like this very much, so continue with the other parts. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|6|lbl=61v.6}}
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 +
|-
 +
| <p>''In what fashion the lance is recovered.''</p>
 +
 +
<p>Gio: Now, coming to discuss the sixth, and final heading, I tell you that there are two ways to recover the lance. The first is to return it onto the thigh once past the enemy. The second is to cast the butt of the lance behind the right thigh, making its point face backward, and then once the horse has stopped, to return it onto the thigh. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|7|lbl=61v.7}}
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|-
 +
| <p>Lep: Which of these two ways is the better one? </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|8|lbl=61v.8}}
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|-
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| <p>Gio: The latter is better, because wanting to put the lance back on the thigh immediately is somewhat difficult when in armor, because the harness (as I’ve said) very often impedes one. But putting it behind the thigh, since it isn’t any impediment to you, is much surer. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|9|lbl=61v.9}}
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|-
 +
| <p>Lep: Why is it that many, as soon as they’ve passed the adversary, cast their lance to the ground or place it upon their shoulder? </p>
 +
|
 +
{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/128|10|lbl=61v.10|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/129|1|lbl=62r.1|p=1}}
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|-
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| <p>Gio: Because they don’t know how to recover the lance. If they did know the true way to do so, they wouldn’t place it upon their shoulder, since it truly is a very ugly thing to behold, nor should any such fashion be employed. And with this I’ll put an end to these headings, of which I’ve told you all the ways that must be observed when wishing to tilt the lance reasonably. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/129|2|lbl=62r.2}}
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|-
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| <p>Lep: I rest very satisfied by you thus far, nonetheless, I would also hold it very dear if you would tell me if there is anything else to know pertinent to jousting. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/129|3|lbl=62r.3}}
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|-
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| <p>Gio: There remains to understand the rule that must be held in acquiring experience, because what was contained in the five headings was the theory of jousting, which indicates the true way that has to be observed when wishing to tilt with the lance reasonably. Experience, then, is that which is acquired by a great deal of practice. There remains, then, for you to understand how the lance-rest must be, and where it should be placed; and also how all the body armor goes; and similarly how long the lance should be together with all of its armaments; and finally there remains for you to understand the measure with which the barrier is made, and with what rule the counterlist is placed, which are all things pertinent and very necessary to the jouster. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/129|4|lbl=62r.4}}
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|-
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| <p>Lep: I’d like for you to explain this to me as well, so that I can wholly fulfill my wishes. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/129|5|lbl=62r.5}}
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|-
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| <p>Gio: Because I take great care to satisfy your noble desire, and in order to complete our discussion, I’ll tell you everything. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/129|6|lbl=62r.6}}
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 +
|-
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| <p>''In what fashion the jouster must practice.''</p>
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 +
<p>And commencing, I say that when a jouster wishes to practice in order to acquire experience, he must first armor himself only with a cuirass, and then tilt either on foot or horse, according to which he prefers, in order to accustom himself to carrying the lance by the wrist, and also placing it surely upon the lance-rest without ever looking. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/129|7|lbl=62r.7}}
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|-
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| <p>Lep: Why don’t you want him to look at the lance-rest? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/130|1|lbl=62v.1}}
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|-
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| <p>Gio: Because in any case he wouldn’t be able to avail himself of it when at the task, given that the lance-rest can’t be seen when one has the buffe and helm on one’s head; and even if there weren’t this reason, it isn’t good in any fashion, but is rather a hideous defect in those who practice it. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/130|2|lbl=62v.2}}
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|-
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| <p>Lep: Then why did those who practice it come up with it? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/130|3|lbl=62v.3}}
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|-
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| <p>Gio: There are many who do so, and especially among those who make their livings on horseback. And this occurs because they don’t have an understanding of tilting with the lance, and they care less to learn it, like those who convince themselves so much that it seems to them that they understand a great deal. But if they considered well, and with clear judgment, how important it is to understand things with reason, they would take an example from artisans, who, when they want to begin to learn their arts, seek first to understand how they have to apply their instruments to their requirements. Then how much more should these, who make a trade of arms, seek with every study to understand how to tilt with the lance reasonably, given that this is their principal profession? But if I wanted to go on discussing this, it would take too long. Indeed, it would be necessary to spend an entire day on this subject. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/130|4|lbl=62v.4}}
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|-
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| <p>Lep: I believe you easily, because I too have known many who made a great profession of having the understanding of arms both afoot and on horseback, and then when they were put to the test, they knew very little of it. But I want to leave these to their opinions, and continue our discussion, because I’m sure that I will be very happy to understand why it is that you want a rider at the beginning of learning to tilt with the lance to do so on foot. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/130|5|lbl=62v.5}}
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|-
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| <p>Gio: This is because he’ll be able to learn how to carry the lance by the wrist more freely, and to accustom himself to doing so, and placing it in the lance-rest, and couching it with reason, without the horse impeding him, considering that once he’s had some practice in this exercise, he can then mount his horse with greater safety and tilt at a glove, or at another target, as he likes best, and once he’s had good practice in this, he can then begin to break lances. </p>
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|
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/130|6|lbl=62v.6|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/131|1|lbl=63r.1|p=1}}
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|-
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| <p>Lep: What would you like him to break these lances on? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/131|2|lbl=63r.2}}
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|-
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| <p>Gio: On a quintain, as is used, or he can use another method, much lovelier, and of greater utility in order to protect himself excellently, which is this: he can make himself a wooden man and armor it with a cuirass and a helmet on its head, and then put it on a horse, also made of wood, like those that are employed for vaulting; which horse then has to be put on a carriage made with four wheels beneath it, one foot above ground, although the two that are in front will be a bit lower than the other two, accommodating the said horse together with the wooden man, in such a fashion that it can’t fall, this being made with a double cord about six braccia in length attached to the front of the carriage. Then it will be drawn by someone running as fast as he can along the length of the course, which will have to be done in such a fashion that the wheels can turn easily, and thus by jousting at the said man, the rider will come to make himself sure, and acquire excellent practice, given that this is a method almost like tilting at the encounter. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/131|3|lbl=63r.3}}
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|-
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| <p>Lep: Could lances be broken on this armored man without the use of a lance-rest? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/131|4|lbl=63r.4}}
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|-
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| <p>Gio: They could, but as for me, I don’t praise it at all, because if a rider wants to break one without a lance-rest, it’s likely that he will tighten up on the lance when he wants to strike, and in that action the lance would become disturbed, and make an ugly sight. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/131|5|lbl=63r.5}}
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|-
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| <p>Lep: You’ve always satisfied me in every matter, and in this above all. But tell me, please, do you want there to be a barrier on the course? </p>
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|
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/131|6|lbl=63r.6|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/132|1|lbl=63v.1|p=1}}
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|-
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| <p>Gio: To whomever can afford it, it would be better, and even if it weren’t of boards it wouldn’t matter much, because they can be made in a variety of ways that don’t cost too much, all of which will serve for this purpose. And one can also make a lance in two pieces, which will be good for practicing, because in truth when a jouster wants to assure himself well and acquire excellent experience, before he tilts at the encounter he needs to break a lot of lances. Otherwise it could happen to him as occurs to many, who through excessive self-confidence have wanted to tilt at the encounter without practicing, and have then done themselves little honor. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/132|2|lbl=63v.2}}
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|-
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| <p>Lep: There are a lot of such people, but to return to our discussion, I’d like you to tell me how these lances in two pieces are made. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/132|3|lbl=63v.3}}
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|-
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| <p>''Lance in two pieces.''</p>
 +
 +
<p>Gio: One constructs the lance’s trunk, that is, the part from the middle downward, four feet of measure in length (which measure of a foot, and of an inch, will be shown by me in a diagram at the end of this discussion of ours), then on the end of said trunk is affixed a pipe made of good plate, welded well, at least nine inches long, which needs to be projected forward of the trunk by more than half, and the other part will be fixed on the tip of the said trunk. Then some pieces can be made that furnish the length of the lance, and are arranged so that they are attached inside the pipe, so that when the lance is entirely together, it really seems to be whole. And by painting the pipe the color of the wood, it almost won’t be recognized as a lance in two pieces; and this trunk will serve for breaking a lot of them, which is the most useful way, and of as little cost as can be had. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/132|4|lbl=63v.4}}
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|-
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| <p>Lep: These pieces, how long should they be? </p>
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|
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/132|5|lbl=63v.5|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/133|1|lbl=64r.1|p=1}}
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|-
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| <p>Gio: Six feet, because the lance is ordinarily ten feet long. But you need to be aware that from the butt to the grip shouldn’t be more than one and a quarter feet, that is, fifteen inches, because if it were longer it would prove a great inconvenience both in holding the lance and in lifting it from the thigh. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/133|2|lbl=64r.2}}
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|-
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| <p>Lep: What size should the butt of the lance be? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/133|3|lbl=64r.3}}
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|-
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| <p>Gio: It has to avoid extremes, nonetheless if its circumference near the grip were six and a half inches, it would seem good to me, and very comfortable. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/133|4|lbl=64r.4}}
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|-
 +
| <p>''Armaments of the lance.''</p>
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 +
<p>But since we’ve come to discussing the lance, I want to tell you how its armaments need to be, which are of no small importance. And beginning with the grapper, it should be placed about an inch from the grip; and that part of it that has to hit into the lance-rest shouldn’t be wider than two fifths of an inch, because if it were wider, when couching the lance it could easily touch the cuirass, whereby it would impede the blow. But being narrow, this danger wouldn’t occur. Now, coming to the coronel that goes on the head of the lance, it should be made of excellent steel, with six teeth on the tip which need to open well outwards, because by doing so it’ll break on the helm more safely; and it should be one inch long, not counting the teeth, or a bit longer, covered over in such a fashion that it can’t break through during the impact, and above all it should be well tempered so that it will bite into helms, which ordinarily are always very hard. And so that you understand, good coronels made with an excellent temper have very often won the prize of the joust. Then there is the vamplate which goes at least four inches above the grip of the lance, because if it were high<ref>I.e., too distal.</ref> it would fail to armor the right shoulder and could easily be damaged by the adversary’s lance, the said vamplate being that which defends the entire right arm. And therefore it should be arranged in a manner that is steady and placed with good judgment, because if it were too low instead, its edge could touch the cuirass when wishing to deliver the blow, whereby it would impede the breaking of the lance. But if it were positioned in the way that I’ve said, these perils would be avoided. </p>
 
|  
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/133|5|lbl=64r.5|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/134|1|lbl=64v.1|p=1}}
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|-
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| <p>Lep: What size should this vamplate be? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/134|2|lbl=64v.2}}
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|-
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| <p>Gio: There should be about three inches of bell, not counting the throat, and the diameter of its mouth should be eight and a half inches, and it should be neither too heavy nor too light, but if it’s two and a half pounds it would be good, and safe. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/134|3|lbl=64v.3}}
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|-
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| <p>''Body armor.''</p>
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 +
<p>Now, coming to speak of the armaments of the body, there are three pieces to be particularly considered out of all others. One is the helm, the next is the buffe, and the third is the lance-rest. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/134|4|lbl=64v.4}}
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|-
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| <p>''Helm.''</p>
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 +
<p>The helm shouldn’t have a very wide eyeslit; in any case, it will suffice only that one be able to see the adversary, because all the rest is done through practice anyway, since one can see neither the lance-rest, nor the horse’s left ear, nor the point of the lance once it’s been placed in the lance-rest, as many claim, all of which are thought to be visible, but rather it’s entirely the opposite, since upon placing the lance in the lance-rest the vamplate comes to occupy one’s view, nor is the adversary visible until such a point as the lance begins to be lowered. For this reason I’m of the opinion that the inside half, that is, the left side, of the helm’s eyeslit should be sealed, since by dong so the jouster’s life would be well protected, because the experience of many has been witnessed who have been wounded or killed in the joust by the lance’s entry into the same part. And therefore, if the said part were sealed, this danger would be avoided. And especially when one is tilting for fun or the enjoyment of others. </p>
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|
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/134|5|lbl=64v.5|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/135|1|lbl=65r.1|p=1}}
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|-
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| <p>Lep: I like this opinion of yours a lot, and may God will that it be put into use for the benefit of jousters. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/135|2|lbl=65r.2}}
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|-
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| <p>''Buffe.''</p>
 +
 +
<p>Gio: May it be as you say. But coming to discuss the buffe, it should properly be like the eyeslit of the helm, and as much as if faces outward and keeps the rider straighter, so much safer will it be. And above all else, the edge of the said buffe should be restrained in such a fashion that it doesn’t face toward the right side, so that it doesn’t result in making a target of the left temple. Because too many are seen who, when they tilt, immediately upon placing their lances in their lance-rests, turn their left sides toward the enemy, which, beyond making a very ugly sight, results in two errors: one is that they create a target, as I’ve said, and the other is that by misfortune the point of the lance may go wide toward the outside, so that if they want to deliver the blow they have to bump with the shoulder so that the lance will strike. And from this it arises that many times either they don’t break, or go on the diagonal, or the two make contact, as has been seen many times through experience. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/135|3|lbl=65r.3}}
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|-
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| <p>Lep: What you say is true. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/135|4|lbl=65r.4}}
  
 
|-  
 
|-  
 +
| <p>''Lance-rest.''</p>
 +
 +
<p>Gio: Now as for the jousting rest, it should be three inches long at most, because if it were longer it wouldn’t be reliable for putting the lance on, considering that your hand could easily go on the inside of it, or when lowering the lance your arm could bump into the lance-rest from it being too long, in consequence whereof you could only deliver the blow with great effort. On also has to be advised that the said lance-rest should be arched upward<ref>I.e., so that the concavity is upward.</ref> somewhat so that the lance goes on top of it with greater surety, and finally it’s necessary to recommend that in attaching it to the cuirass, it’s better to be higher than low, namely, on the right breast. But above all, arrange it in such a fashion that the forward edge of the said lance-rest faces somewhat upward, so that the butt of the lance is placed upon it when wanting to deliver the blow, because if it were placed on the rear edge, the lance would not be as sure to break, as it could slip out of it. And these are the things relevant to the lance-rest. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/135|5|lbl=65r.5|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|1|lbl=65v.1|p=1}}
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|-
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| <p>Lep: I understand. Continue, and I’ll pay attention to you. </p>
 +
| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|2|lbl=65v.2}}
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|-
 +
| <p>''How the jousting barrier should be.''</p>
 +
 +
<p>Gio: Now, coming to discuss the barrier, it should be at least two hundred feet long, because if it were shorter, the jousters would meet each other too soon to be able to do anything good. Regarding the height, it should rise five feet above the ground for greater safety. The counterlist should be one hundred fifty feet long and two and a half feet high, but it needs to lean toward the barrier a bit, that is the distance between the one and the other should be three and a half feet at the top, and four feet at the bottom, and this is the true measure that must be used. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|3|lbl=65v.3}}
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|-
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| <p>Lep: Why do you want the counterlist to lean toward the barrier? </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|4|lbl=65v.4}}
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|-
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| <p>Gio: So that there is no reason for the jouster to bump his feet into the poles that support the counterlist when he spurs the horse. And here I put the end, because this is over all as much as I have to tell you about this. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|5|lbl=65v.5}}
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|-
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| <p>Lep: Now I’ve understood all your advice that pertains to the art of the joust, whereby I am wholly satisfied, and will always be infinitely obliged to you. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|6|lbl=65v.6}}
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|-
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| <p>Gio: Let these words not be used between us, Mr. Lepido, because you know well how much I love you. So let’s go, and if there’s anything else in which you know that I can be of good service to you, command me happily, and I will always be very swift to please you. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|7|lbl=65v.7}}
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|-
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| <p>Lep: Since you give me the courage to command you (thanks to your kindness) I would also like, if it please you, for us to return here tomorrow in order to discuss some things relevant to the art of war, which I desire very much to understand. </p>
 
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{{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/136|8|lbl=65v.8|p=1}} {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/137|1|lbl=66r.1|p=1}}
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|-
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| <p>Gio: I’d be happy to return, and won’t fail to make plain to you what I know, as usual. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/137|2|lbl=66r.2}}
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|-
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| <p>Lep: I have faith that you will. But I recall that you’d promised to show me a diagram of the measures of a foot and of an inch. Therefore don’t refrain from fulfilling this promise to me. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/137|3|lbl=66r.3}}
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|-
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| <p>Gio: I have at once drawn from my pocket this card, whereon is the diagram, at the time to show it to you. So have a look at it. This measure is only half a foot, that is, six inches, which as you see are divided evenly, and can be doubled in order to make a whole foot.<ref>The diagram is reproduced along the right edge of the page of the original, labeled “This is the measure of the half foot, that is, six inches.”</ref></p>
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[[File:Agocchie 66r detail.png|400px|left]]
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/137|4|lbl=66r.4}}
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|-
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| <p>Lep: Now I’ve seen it, and liked it. So thank you for it, as for all your other courtesies. Let’s go. </p>
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| {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/137|5|lbl=66r.5}}
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|-
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| class="noline" | <p>The End of the Second Book. </p>
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| class="noline" | {{section|Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/137|6|lbl=66r.6}}
  
 
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{{master begin
 
{{master begin
  | title = Second Book - The Art of Jousting
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  | title = Third Book - The Art of Battle
 
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{{master subsection begin
 
{{master subsection begin
  | title = Day 6
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  | title = Day 7 - Battle
 
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  | width = 60em
 
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{| class="master"
 
{| class="master"
 
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! <p>{{rating|C}} (2007)<br/>by [[W. Jherek Swanger]]</p>
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! <p>{{rating}}<br/></p>
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Latest revision as of 05:30, 11 November 2023

Giovanni dall'Agocchie
Born March 9, 1547
Bologna, Italy
Died 16th century (?)
Occupation Fencing master
Patron Fabio Pepoli, Count of Castiglione (?)
Genres Fencing manual
Language Italian
Notable work(s) Dell'Arte di Scrima Libri Tre (1572)
Translations Traduction française

Giovanni dall'Agocchie di Bologna (dalle Agocchie, Agucchi, Agocchia; b. March 9, 1547) was a 16th century Italian fencing master. Little is known about this master's life apart from that he was a citizen of Bologna. In 1572, dall'Agocchie wrote and published a treatise on warfare, including fencing with the side sword, titled Dell'Arte di Scrima Libri Tre ("Three Books on the Art of Defense"). He dedicated it to Fabio Pepoli, Count of Castiglione, but it's unclear if he was ever attached to the comital court.

Treatise

Note: This article includes a very early (2007) draft of Jherek Swanger's translation. An extensively-revised version of the translation was released in print in 2018 as The Art of Defense: on Fencing, the Joust, and Battle Formation, by Giovanni dall’Agocchie. It can be purchased at the following links in hardcover and softcover.

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. NdT – Cette image de l’ange associé aux initiales F.P renvoie au Vénitien Francesco Portonari - Voir Giuseppina Zappella, p89, Le marche dei tipografi e degli editori italiani del Cinquecento. Repertorio di figure, simboli e soggetti e dei relativi motti. Milano, Editrice Bibliografica, 1986, 2 v. "Grandi Opere, 1”.
  2. N.b., the riverso ridoppio eliciting this counter is not mentioned among the provocations above.
  3. I.e., “mezzo tempo”.
  4. I.e., stretta, see p. 38r
  5. This should probably be “near your right one”.
  6. Not specified.
  7. Above, the blow is “a false thrust to his face from under your dagger”.
  8. I.e., your sword’s—“di essa”.
  9. Possibly the punta riversa feinted to the face, above; if so, the counter to the mandritto tondo to the head appears to have been omitted.
  10. I.e., alta, see p. 35r.
  11. Note that no counter to this provocation’s initial punta riversa to the face is described.
  12. The provocation specified a mandritto to the head followed by a riverso to the thigh.
  13. Borsetta.
  14. I.e., too distal.
  15. I.e., so that the concavity is upward.
  16. The diagram is reproduced along the right edge of the page of the original, labeled “This is the measure of the half foot, that is, six inches.”