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| principal manuscript(s)=
 
| principal manuscript(s)=
 
| first printed edition= Porzio and Mele, 2002
 
| first printed edition= Porzio and Mele, 2002
| wiktenauer compilation by=[[Michael Chidester]]
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| translations        = {{English translation|File:The Knightly Art of Combat of Filippo Vadi.pdf|local=1}}
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| translations        = {{plainlist
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| {{english translation|File:The Knightly Art of Combat of Filippo Vadi.pdf|local=1}}
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| {{english translation|http://www.thearma.org/Manuals/Vadi.htm}}
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'''Philippo di Vadi Pisano''' was a [[century::15th century]] [[nationality::Italian]] [[fencing master]]. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.<ref>For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "[http://hemaalliance.com/discussion/viewtopic.php?p=29181#p29181 Interesting information on the Vadi family (Philippo Vadi)]". [[HEMA Alliance|HEMA Alliance Forum]]. 06 June 2012. Retrieved 09 October 2012.</ref> Some time after this, Vadi composed a treatise on fencing entitled ''[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|De Arte Gladiatoria Dimicandi]]'' ("On the Art of Swordsmanship"); it was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,<ref name=Vadi>'''Vadi, Philippo di'''. ''De Arte Gladiatoria Dimicandi'' [manuscript]. [[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|MS Vitt. Em. 1324]]. Rome, Italy: [[Biblioteca Nazionale Centrale di Roma]], 1480s.</ref> and gifted to him between 1482 and 1487,<ref name=Rubboli>[[Marco Rubboli|Rubboli, Marco]] and [[Luca Cesari|Cesari, Luca]]. ''[[:File:The_Knightly_Art_of_Combat_of_Filippo_Vadi.pdf‎|The Knightly Art of Combat of Filippo Vadi]]''. Document circulated online.</ref> but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.
+
'''Philippo di Vadi Pisano''' was a [[century::15th century]] [[nationality::Italian]] [[fencing master]]. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.<ref>For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "[http://hemaalliance.com/discussion/viewtopic.php?p=29181#p29181 Interesting information on the Vadi family (Philippo Vadi)]". [[HEMA Alliance|HEMA Alliance Forum]]. 06 June 2012. Retrieved 09 October 2012.</ref> Some time after this, Vadi composed a treatise on fencing entitled ''[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|De Arte Gladiatoria Dimicandi]]'' ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,<ref name=Vadi>'''Vadi, Philippo di'''. ''De Arte Gladiatoria Dimicandi'' [manuscript]. [[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|MS Vitt. Em. 1324]]. Rome, Italy: [[Biblioteca Nazionale Centrale di Roma]], 1480s.</ref> and gifted to him between 1482 and 1487,<ref name=Rubboli>[[Marco Rubboli|Rubboli, Marco]] and [[Luca Cesari|Cesari, Luca]]. ''[[:File:The_Knightly_Art_of_Combat_of_Filippo_Vadi.pdf‎|The Knightly Art of Combat of Filippo Vadi]]''. Document circulated online.</ref> but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.
  
 
Vadi was probably an initiate of the tradition of [[Fiore de’i Liberi]], as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise ''Fior di Battaglia'', Vadi would have had ample opportunity to study his writings.
 
Vadi was probably an initiate of the tradition of [[Fiore de’i Liberi]], as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise ''Fior di Battaglia'', Vadi would have had ample opportunity to study his writings.
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  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="4" | [[File:Cod.1324 Iv.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_Iv.jpg]]
+
| rowspan="5" | [[File:Cod.1324 IIv.png|300px|center]]
 +
|  
 +
| {{section|Page:Cod.1324 IIv.jpg|1|lbl=IIv}}
 +
 
 +
|-
 
| <p>'''To my most illustrious Prince Guido di Montefeltro Duke of Urbino'''</p>
 
| <p>'''To my most illustrious Prince Guido di Montefeltro Duke of Urbino'''</p>
 
| {{section|Page:Cod.1324 01r.jpg|1r.1}}
 
| {{section|Page:Cod.1324 01r.jpg|1r.1}}
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|-  
 
|-  
|  
+
| class="noline" |  
| <p>And if this little work of mine finds its way into the hands of anyone versed in the art, and appears to him to have anything redundant or wrong, may it please him to cut, take away or add to it as he pleases. Because in the end I place myself under his correction and judgement.</p>
+
| class="noline" | <p>And if this little work of mine finds its way into the hands of anyone versed in the art, and appears to him to have anything redundant or wrong, may it please him to cut, take away or add to it as he pleases. Because in the end I place myself under his correction and judgement.</p>
| {{section|Page:Cod.1324 03v.jpg|3v.3}}
+
| class="noline" | {{section|Page:Cod.1324 03v.jpg|3v.3}}
  
 
|}
 
|}
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  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>{{red|b=1|Chapter I begins}}</p>
+
| class="noline" | <p>{{red|b=1|Chapter I begins}}</p>
  
 
<p>If you wish to truly know<br/>
 
<p>If you wish to truly know<br/>
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As every backhand finds its fore,<br/>
 
As every backhand finds its fore,<br/>
 
Counter by counter without end.</p>
 
Counter by counter without end.</p>
| {{section|Page:Cod.1324 03v.jpg|3v.4}}
+
| class="noline" | {{section|Page:Cod.1324 03v.jpg|3v.4}}
  
 
{{paget|Page:Cod.1324|04r|jpg|p=1}}<br/>{{section|Page:Cod.1324 04v.jpg|4v.1|p=1}}
 
{{paget|Page:Cod.1324|04r|jpg|p=1}}<br/>{{section|Page:Cod.1324 04v.jpg|4v.1|p=1}}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 2
+
  | title = Chapter 2 - Measure of the two-handed sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>{{red|b=1|Chapter II. Measure of the two-handed sword.}}</p>
+
| class="noline" | <p>{{red|b=1|Chapter II. Measure of the two-handed sword.}}</p>
  
 
<p>The sword should be of the correct size,<br/>
 
<p>The sword should be of the correct size,<br/>
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<p>With pointed crossguard, and note well the text.</p>
 
<p>With pointed crossguard, and note well the text.</p>
| {{section|Page:Cod.1324 04v.jpg|4v.2}}
+
| class="noline" | {{section|Page:Cod.1324 04v.jpg|4v.2}}
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 3
+
  | title = Chapter 3 - Theory of the sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>{{red|b=1|Chapter III. Theory of the sword.}}</p>
+
| class="noline" | <p>{{red|b=1|Chapter III. Theory of the sword.}}</p>
  
 
<p>Grasp the sword manfully,<br/>
 
<p>Grasp the sword manfully,<br/>
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She gives me wealth, and as it happened to me,<br/>
 
She gives me wealth, and as it happened to me,<br/>
 
So it happens to those in whom virtue is found.</p>
 
So it happens to those in whom virtue is found.</p>
|  
+
| class="noline" |  
 
{{section|Page:Cod.1324 04v.jpg|4v.3|p=1}}<br/>{{paget|Page:Cod.1324|05r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|05v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|07r|jpg|p=1}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1|p=1}}
 
{{section|Page:Cod.1324 04v.jpg|4v.3|p=1}}<br/>{{paget|Page:Cod.1324|05r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|05v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|06v|jpg|p=1}}<br/>{{paget|Page:Cod.1324|07r|jpg|p=1}}<br/>{{section|Page:Cod.1324 07v.jpg|7v.1|p=1}}
  
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  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>{{red|b=1|Fourth Chapter}}<ref>This number is written out (''quarto''), and does not have a roman numeral in the ms, so I have written it out here.</ref></p>
+
| class="noline" | <p>{{red|b=1|Fourth Chapter}}<ref>This number is written out (''quarto''), and does not have a roman numeral in the ms, so I have written it out here.</ref></p>
  
 
<p>This art is so noble and refined,<br/>
 
<p>This art is so noble and refined,<br/>
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<p>As you will hear in my text.</p>
 
<p>As you will hear in my text.</p>
| {{section|Page:Cod.1324 07v.jpg|7v.2}}
+
| class="noline" | {{section|Page:Cod.1324 07v.jpg|7v.2}}
  
 
{{paget|Page:Cod.1324|08r|jpg}}
 
{{paget|Page:Cod.1324|08r|jpg}}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 5
+
  | title = Chapter 5 - Of thrusts and cuts
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter V. Of thrusts and cuts}}</p>
'''Chapter V Of Thrusts and Cuts'''
+
 
<p>The sword has a point and two edges,
+
<p>The sword has a point and two edges,<br/>
But note well and understand this text,
+
But note well and understand this text,<br/>
That memory will not fail you.</p>
+
That memory will not bamboozle you:</p>
  
<p>One is the false, and the other the true,  
+
<p>One [edge] is the false, and the other the true,<br/>
And reason commands and desires,
+
And reason commands and desires<br/>
That this is fixed in your brain.</p>
+
That you keep this fixed in your brain.</p>
  
<p>Forehand and true edge go together,
+
<p>Forehand and true edge go together,<br/>
Backhand and false edge stay together,
+
Backhand and false edge stay together,<br/>
Except the fendente which wants the true.</p>
+
Except the fendente which calls for the true.</p>
  
<p>Understand my text well,
+
<p>Understand my text well,<br/>
The sword goes with seven blows
+
Seven are the blows that the sword delivers<br/>
Six cuts with the thrust that strikes.</p>
+
That would be six cuts, with the thrust.</p>
  
<p>So that you will find this seam,
+
<p>SSo that you will find this vein,<br/>
Two from above and below and two in the middle,
+
Two from above and below and two in the middle,<br/>
The thrust up the middle with deceit and suffering,
+
The thrust up the middle with deceit and pain,<br/>
That our Air is often calm.</p>
+
That often gets us out of trouble.<ref>''Che l’aer nostro fa spesso serena'', lit. “that often makes our skies serene”.</ref></p>
| {{section|Page:Cod.1324 09r.jpg|9r.2}}
+
| class="noline" | {{section|Page:Cod.1324 09r.jpg|9r.2}}
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 6
+
  | title = Chapter 6 - The seven blows of the sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter VI. The seven blows of the sword}}</p>
'''Chapter VI The seven blows of the sword.'''
+
 
<p>We are the fendenti and we make quarrels,
+
<p>We are the ''fendenti'' and we make quarrels,<br/>
To strike and cut often with grief,
+
To strike and cut often, with pain,<br/>
The head and the teeth with the right reason.</p>
+
The head and the teeth in a direct way.</p>
  
<p>And all guards that are made low to the ground,
+
<p>And all guards that are made low to the ground,<br/>
We break often with our cunning,
+
We break often with our cunning,<br/>
 
Passing from one to the other without trouble.</p>
 
Passing from one to the other without trouble.</p>
  
<p>The blows make a bloody mark,
+
<p>The blows make a bloody mark,<br/>
When we mix them with the rota
+
When we mix them with the rota<br/>
We support the entire art.</p>
+
We make the entire Art our support.</p>
  
<p>Fendente for striking we are well endowed,
+
<p>''Fendente'', for striking we are well endowed,<br/>
Returning to guard from pass to pass,
+
Returning to guard from pass to pass,<br/>
Note we are not slow to strike.</p>
+
Note: we are not slow to strike.</p>
  
<p>I am the rota and I have in me such a load,
+
<p>I am the ''rota'' and I have in me such a load,<br/>
That you want to mix me with the other blows,
+
If you want to mix me with the other blows,<br/>
I place a thrust often at a bow.</p>
+
I will often place a thrust in an arc.<ref>This line reads “''io metterò la punta spesso a l’archo''”. “I will place the thrust” is clear. ''Spesso a l’archo'' is literally “often at a bow”. But just as ''bistecca alla fiorentina'' is steak in the manner of Florence, so ''a l’archo'' can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.</ref></p>
  
<p>I cannot be courteous or loyal
+
<p>I cannot be courteous or loyal,<br/>
Turning I pass through forehand fendente
+
Turning I pass through the forehand fendente<br/>
 
And destroy arms and hands without delay.</p>
 
And destroy arms and hands without delay.</p>
  
<p>People call me Rota by name,
+
<p>People call me ''rota'' by name,<br/>
I seek the false of the sword
+
I seek the deception of the sword<br/>
I please the mind of he who uses me.</p>
+
I hone the mind of he who uses me.</p>
  
<p>We are volanti, always crossing
+
<p>We are ''volanti'', always crossing<br/>
And from the knee up we go,
+
And striking from the knee up,<br/>
 
Fendente and thrusts we often banish.</p>
 
Fendente and thrusts we often banish.</p>
  
<p>By crossing us pass without fail,
+
<p>The ''rota'' that come up from below<br/>
The Rota that come up from below,
+
Pass us obliquely without fail<br/>
And with the fendente warms our cheeks.</p>
+
And with the ''fendente'' warm the cheeks.<ref>This means the ''fendente'' strike us. In this last stanza, ''rota'' blows are defeating ''volante'' blows; they are parrying them and returning with a fendente to the face.</ref></p>
|  
+
| class="noline" |  
 
{{section|Page:Cod.1324 09r.jpg|9r.3|p=1}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1|p=1}}
 
{{section|Page:Cod.1324 09r.jpg|9r.3|p=1}}<br/>{{section|Page:Cod.1324 09v.jpg|9v.1|p=1}}
  
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 7
+
  | title = Chapter 7 - Of the thrust
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter VII. Of the thrust}}</p>
'''Chapter 7 Of the thrust.'''
+
 
<p>I am he that quarrels with
+
<p>I am she that quarrels with<br/>
All the other blows, and I am called the thrust.
+
All the other blows, and I am called the thrust.<br/>
 
I carry venom like the scorpion.</p>
 
I carry venom like the scorpion.</p>
  
<p>I feel so strong, bold and quick,
+
<p>I feel so strong, bold and ready,<br/>
Often I make the guards plough again
+
Often I make the guards waver<br/>
When I am thrown at others and confront them</p>
+
When I am thrown at others and confront them,</p>
  
By my harmful touch, when I join them.
+
<p>And when I am joined, I harm nobody with my touch.</p>
| {{section|Page:Cod.1324 09v.jpg|9v.2}}
+
| class="noline" | {{section|Page:Cod.1324 09v.jpg|9v.2}}
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 8
+
  | title = Chapter 8 - The dispute of the cuts and thrusts
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter VIII. The dispute of the cuts and thrusts}}</p>
'''Chapter VIII The quarrel of the cuts and thrusts.'''
+
 
<p>The rota with the fendente and the volante
+
<p>The ''rota'' with the ''fendente'' and the ''volante''<br/>
Say to the thrusts “we will show
+
Argue with the thrusts and show them<br/>
That you are not so dangerous”.</p>
+
That they are not so dangerous.</p>
  
<p>And when they come to us,
+
<p>And when they come to us,<br/>
All the blows can make them lose their way
+
All the blows can make them lose their way<br/>
 
Losing in this joust the chance to strike.</p>
 
Losing in this joust the chance to strike.</p>
  
<p>The blow of the sword does not lose its turn,
+
<p>The blow of the sword does not lose its turn,<br/>
Little worth the thrust to him the quick turn,
+
The thrust is worth little against he who turns quickly<br/>
It makes it go very wide, the blows going that way.</p>
+
The blows clear the way for the one who is going.<ref>As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.</ref></p>
  
<p>If you don’t have a slack memory,
+
<p>If you don’t have a quick memory,<br/>
If the thrust doesn’t strike it loses the strike
+
If the thrust doesn’t wound it loses its turn,<br/>
All the others deem it weak.</p>
+
All the other [blows] deem it weak.</p>
  
<p>Against just one the thrust finds its place,
+
<p>Against just one [opponent] the thrust finds its place,<br/>
Against more it doesn’t do its duty,
+
Against more it doesn’t do its duty,<br/>
This is found in the text and the act.</p>
+
This is found in the text and the act.<ref>That is, in theory and in practice.</ref></p>
  
<p>If the thrust throws a rota do not fear
+
<p>If the thrust throws a ''rota'' do not fear,<br/>
If it does not immediately take a good fendente,
+
If it does not immediately take a good ''fendente'',<br/>
It remains fruitless against my parry.</p>
+
It remains fruitless, it seems to me. </p>
  
<p>Keep in mind here,
+
<p>Keep in mind a little here,<br/>
If the thrust enters but does not swiftly exit,
+
If the thrust enters but does not swiftly exit,<br/>
It lets the companion strike back hard.</p>
+
It lets the companion hurt you with a strike.</p>
  
<p>Your sword is expert at slicing a blow,
+
<p>Cutting a blow, your sword is lost,<br/>
The thrust will lose its way to the strike,
+
If the point loses its way in the strike,<br/>
It is mocked with the help of the low cross.</p>
+
Or the right cross from below helps you.<ref> I read this to mean that when cutting, your point should remain in line (in the ''strada''), unless you deliberately allow it to fall, to parry up from below.</ref></p>
  
<p>I make a straight fendente at you with the sword,
+
<p>I make a forehand ''fendente'' at you with the sword,<br/>
And break you out of that guard.
+
And break you out of that guard,<br/>
 
So that you are forced into a bad spot.</p>
 
So that you are forced into a bad spot.</p>
  
<p>Do not lose a single hour of learning.
+
<p>Do not lose even an hour of learning:<br/>
The great blows with a serene hand,
+
The great motions with a serene hand,<ref>''Tempi'' here is clearly ‘motions’, rather than ‘times’.</ref><br/>
 
Will place you above the others and give you honour.</p>
 
Will place you above the others and give you honour.</p>
  
<p>Break all low guards
+
<p>Break all low guards,<br/>
Low guards await small loads,
+
Low guards await small loads,<br/>
 
And so heavy ones pass without difficulty.</p>
 
And so heavy ones pass without difficulty.</p>
  
<p>Heavy arms do not go quickly to the step,
+
<p>A heavy weapon does not pass quickly to the step,<br/>
Light ones go and come like an arrow in a bow.</p>
+
Light ones come and go like an arrow from a bow.</p>
| <p>{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}</p>
+
| class="noline" |
 +
{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 9
+
  | title = Chapter 9 - Of the Cross
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter IX. Of the Cross}}</p>
'''Chapter IX Of the Cross.'''
+
 
<p>I am the Cross with the name of Jesus
+
<p>I am the Cross with the name of Jesus<br/>
My sign is made both in front and behind
+
My sign is made both in front and behind<br/>
 
To find many more defences.</p>
 
To find many more defences.</p>
  
<p>If I find myself against a different weapon,
+
<p>If I confront a different weapon,<br/>
I do not lose my way, this has been proven
+
I do not lose my way, I have been proven;<br/>
This I often go looking for.</p>
+
This often happens because I go looking for it.</p>
  
<p>And when I find a long weapon,
+
<p>And when a long weapon finds me,<ref>This line is ambiguous; it could also read “And when a weapon finds me extended”.</ref><br/>
Then with reason I make my defence,
+
He who with reason makes my defence,<br/>
To gain the honour in every venture.</p>
+
Will gain the honour in every venture.<ref>The word Vadi uses here is ‘''inprexa''’. It is the same word as the French ‘''emprise''’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.</ref></p>
| {{section|Page:Cod.1324 10v.jpg|10v.2}}
+
| class="noline" | {{section|Page:Cod.1324 10v.jpg|10v.2}}
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 10
+
  | title = Chapter 10 - Theory of the half sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter X. Theory of the half sword}}</p>
'''Chapter X Discussion of the half sword.'''
+
 
<p>Wanting to follow in this great work,
+
<p>Wanting to follow in this great work,<br/>
It is necessary to explain bit by bit,
+
It is necessary to explain bit by bit,<br/>
 
All the strikes of the art.</p>
 
All the strikes of the art.</p>
  
<p>So that you will understand and use
+
<p>So that it is well understood and put into practice,<ref>This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.</ref><br/>
The system well, I wish to first make clear
+
Reason demands that I first explain<br/>
 
The turning principle of the sword.</p>
 
The turning principle of the sword.</p>
  
<p>And with arms extended
+
<p>And with arms extended go,<ref> At this point there ''menando'', (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).</ref><br/>
Bring the edge to the middle of the companion.</p>
+
Driving the edge to the middle of the companion.</p>
  
<p>And if you wish to appear great in the art,
+
<p>And if you wish to appear great in the art,<br/>
You should go from guard to guard,
+
You can go from guard to guard,<br/>
With a slow and serene hand,
+
With a slow and serene hand,<ref>A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.</ref><br/>
 
With steps that are not out of the ordinary.</p>
 
With steps that are not out of the ordinary.</p>
  
<p>If you wish to make a stramazone at someone
+
<p>If you wish to make some kind of ''stramazone'',<ref>This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The ''stramazzone'' is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)</ref><br/>
Do it with a small turn to the face
+
Do it with a small turn in front of the face,<br/>
Don’t make a very wide turn
+
Don’t make a very wide motion,<br/>
Because all long movements are for nothing.</p>
+
Because all wide motions<ref>''Largo tempo'', literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.</ref> are for nothing.</p>
  
<p>Making the roverso you will be helped,
+
<p>Making the ''roverso'' you will be helped,<br/>
Passing out of the way with the left foot,
+
Passing out of the way with the left foot,<br/>
Following with the right foot too,
+
Drawing forwards with the right foot too,<br/>
 
Keeping an eye out for a good parry.</p>
 
Keeping an eye out for a good parry.</p>
  
<p>When you wish to enter in to half sword
+
<p>When you wish to enter into half sword<br/>
As the companion lifts his sword,
+
As the companion lifts his sword,<br/>
Then don’t hold back,
+
Then don’t hold back,<br/>
Grab the tempo or it will cost you dear.</p>
+
Grab the tempo<ref>Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.</ref> or it will cost you dear.</p>
  
<p>Place yourself in the guard of the boar,
+
<p>Place yourself in the guard of the boar,<br/>
When you enter with the thrust at the face
+
When you enter with the thrust at the face<br/>
Do not leave your point in the face,
+
Do not be divided at all [from the companion],<ref>''punto divixo'': lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say ''poco e punto'' to say “a few and not at all”. So ''punto'' could be intended as ''affatto'' that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”</ref><br/>
Turn quickly a roverso fendente.</p>
+
Turn quickly a ''roverso fendente''.</p>
  
<p>And draw a mandritto, and keep this in mind.
+
<p>And strike a ''dritto''. Keep this in mind,<br/>
So that you understand my intention,
+
So that you understand my intention,<br/>
With clear reasoning,
+
With clear reasoning,<br/>
I hope to show you the way.</p>
+
I hope to thoroughly show you the way.</p>
  
<p>I don’t want your blows to be solely roverso,
+
<p>I don’t want your blows to be solely ''roverso'',<br/>
Nor just fendente, but between one and the other,
+
Nor just ''fendente'', but between one and the other,<br/>
If between is the common one.
+
Both between the common one,<ref>This is indicating a vertical downwards blow.</ref><br/>
 
Hammering the head on all sides.</p>
 
Hammering the head on all sides.</p>
  
<p>Also I advise you when you have entered,
+
<p>Also I advise you when you have entered,<br/>
Be with the legs paired with his
+
Be with the legs not too far apart,<br/>
You will be lord, and clear,
+
You will be the lord, and clear<br/>
 
To constrain and strike valiantly.</p>
 
To constrain and strike valiantly.</p>
  
<p>And when you strike a roverso fendente,
+
<p>And when you strike a ''roverso fendente'',<br/>
Bend the left knee, and note the text,
+
Bend the left knee, and note the text,<br/>
Extend the right foot,
+
Extend the right foot,<br/>
Without changing it, i.e. to the other side.</p>
+
Without changing it, i.e. to either side.</p>
  
<p>Also, if you see you are going to be attacked,
+
<p>Also, the left foot and the head are understood<br/>
The left foot and the head now,
+
To be connected now,<br/>
Because they are closer together,
+
Because the head is closer to the left foot,<ref>This line actually reads “Because it is closer to it”; I have expanded on it for clarity.</ref><br/>
So don’t use the direct line, but remain on the diagonal.</p>
+
Than to the right one, that remains sideways.</p>
  
<p>So you will be safe from every side,
+
<p>So you will be safe from every side,<br/>
So you want the fendente, strike from the right,
+
If you want to strike a forehand fendente,<br/>
You need to bend
+
You need to bend<ref>There appears to be a correction to the text: ''pigliare'' (to grab) has been modified to ''pighare'' (to bend). Rubboli has it as the former. (51)</ref><br/>
 
The right knee: and extend well the left.</p>
 
The right knee: and extend well the left.</p>
  
<p>Clearly the head will also be attacked,
+
<p>You will consider that the head is now connected,<br/>
With the right foot that is closest.
+
To the right foot that is closest.<br/>
This is the better way.
+
This is a better way<br/>
This is not the footwork of our ancestors.</p>
+
Than the footwork of our ancestors.<ref> This detailed explanation of mechanics, with the head being “connected” (''atacata'') to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.</ref></p>
  
<p>It is not necessary that anyone contradict this,
+
<p>It is necessary that no one contradicts this,<br/>
Because you will be stronger, and more secure,
+
Because you will be stronger, and more secure,<br/>
Hard in defence,
+
Hard in defence,<br/>
And make war with shorter movements.
+
And make war with the shortest motion,<br/>
And neither can anyone throw you to the ground.</p>
+
And neither can anyone make you fall.</p>
|  
+
| class="noline" |  
 
{{section|Page:Cod.1324 10v.jpg|10v.3|p=1}}<br/>{{paget|Page:Cod.1324|11r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|11v|jpg|p=1}}
 
{{section|Page:Cod.1324 10v.jpg|10v.3|p=1}}<br/>{{paget|Page:Cod.1324|11r|jpg|p=1}}<br/>{{paget|Page:Cod.1324|11v|jpg|p=1}}
  
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 11
+
  | title = Chapter 11 - Theory of swordplay
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XI. Theory of swordplay}}</p>
'''Chapter XI Principles of Swordplay.
+
 
<p>When you are joined at the half sword,
+
<p>When you have arrived at the half sword,<br/>
Make a mandritto or roverso,
+
Making a ''mandritto'' or ''roverso'',<br/>
Be sure to grasp the sense
+
Be sure to grasp the sense<br/>
 
Of what I say, because it is to the point.</p>
 
Of what I say, because it is to the point.</p>
  
<p>If you are there, keep a sharp eye out,
+
<p>When you feint keep a sharp eye out,<ref>The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: ''Della finta dichiaratione'' (“Explanation of the feints”), which is subtitled ''Far vista di cavar la Spada con il nodo della mano''. (“Make a feint of disengaging the sword with the wrist.”)</ref><br/>
And look quickly with the cover,
+
And make the feint short, with the cover,<br/>
And hold the sword up,
+
And hold the sword up,<br/>
 
So your arms play above your head.</p>
 
So your arms play above your head.</p>
  
<p>I cannot say in a few words,
+
<p>I cannot say in a few words,<br/>
Because the matter is of the half sword,
+
Because the actions are of the half sword,<br/>
So that you will be better pleased,
+
Where you go as you please.<ref>The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.</ref><br/>
When you parry, parry with a fendente.</p>
+
When you parry, parry with a ''fendente''.</p>
  
<p>Brush aside the sword, a little shortened,
+
<p>Brush aside the sword, a little away from you, cautiously,<br/>
Treading on that of the companion,
+
Pressing that of the companion,<br/>
You will make a good deal,
+
You will make a good deal,<br/>
Parrying well however many blows.</p>
+
Parrying well whichever blows.</p>
  
<p>When you parry the roverso, keep in front,
+
<p>When you parry the ''roverso'' do so with<br/>
The right foot, and parry as I have said.
+
The right foot forwards, and parry as I have said.<br/>
Parrying the mandritto,
+
Parrying the ''mandritto'',<br/>
Keep in front your left foot.</p>
+
Put your left foot forwards instead.</p>
  
<p>You should also keep in mind,
+
<p>You should also keep in mind,<br/>
When you strike a roverso fendente,
+
When you strike a ''roverso fendente'',<br/>
To keep a careful eye out,
+
To keep a careful eye out,<br/>
So that a mandritto doesn’t come from underneath.</p>
+
So that a ''mandritto'' doesn’t come from underneath.</p>
  
<p>And if the companion strikes and you all of a sudden
+
<p>And if the companion strikes, and you all of a sudden<br/>
Parry, making then to the head
+
Parry, making then to the head<br/>
A blow with the false edge
+
A blow with the false edge carefully,<br/>
And as he lifts it, strike a good roverso.</p>
+
And as he lifts it,<ref>“It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a ''roverso'' from below.</ref> strike a good ''roverso''</p>
  
<p>From below, through his arms,
+
<p>From below, across his arms,<br/>
Redoubling then with a quick mandritto,
+
Redoubling then with a quick ''mandritto'',<br/>
And note also this,
+
And note also this,<br/>
That you do not fail the Reason of the Art.</p>
+
That you do not fail the principles of the Art.</p>
  
<p>If you strike a mandritto, then beware,
+
<p>If you strike a ''mandritto'', then beware,<br/>
His roverso so he doesn’t strike you,
+
The ''roverso'' that he might strike.<br/>
Make it that your sword
+
Make it so that your sword also<br/>
Parries with a fendente, so you are not caught.</p>
+
Parries with a ''fendente'', so that you are not hit.</p>
  
<p>And if it comes to you then to want
+
<p>And if it comes to you then to want<br/>
To enter underneath and grab his handle.
+
To enter underneath and grab his handle,<br/>
And then do your duty,
+
And then do your duty,<br/>
Hammering his moustache with your pommel,
+
Hammering his moustache with your pommel,<ref>''Mustaccio'' is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.</ref><br/>
Being very wary that hindrance does not grab you.</p>
+
Watching out that you do not get stuck.</p>
|  
+
| class="noline" |  
 
{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}
 
{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}
  
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 12
+
  | title = Chapter 12 - Theory of the feints of the sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XII. Theory of the feints of the sword}}</p>
'''Chapter XII Discussion regarding the Feints of the Sword.'''
 
<p>Again I advise you, and note my words well,
 
That when you have entered into half sword</p>
 
  
<p>You then well from every side
+
<p>Again I advise you, and note my words well,<br/>
 +
That when you have entered into half sword<br/>
 +
You then [act] well from every side,<br/>
 
Following the art with good feinting.</p>
 
Following the art with good feinting.</p>
  
<p>Feints call out to obfuscate
+
<p>Feints are considered an obfuscation,<br/>
They hide from the other’s defence.
+
They confound the opponent in the defence.<br/>
Do not let him understand,
+
They do not let him understand,<br/>
What you want to do from one side or the other.</p>
+
What you want to do on one side or the other.</p>
  
<p>I cannot show you so well,
+
<p>I cannot show you so well<br/>
With my words how to do it with a sword,
+
With my words, as I could with a sword.<br/>
Make your mind go
+
Make your mind go<br/>
To investigate the art with my sayings.</p>
+
To investigate the art with my sayings,</p>
  
<p>And grasp valour with reason
+
<p>And grasp valour with reason,<br/>
As I admonish and as I teach you  
+
As I admonish and as I teach you.<br/>
And do it with cunning
+
And make it so that with cunning<br/>
You follow that which I have written in so many verses,
+
You will follow that which I write in so many verses,<br/>
 
To discover the depths and the banks of the Art.</p>
 
To discover the depths and the banks of the Art.</p>
|  
+
| class="noline" |  
 
{{section|Page:Cod.1324 12v.jpg|12v.2}}
 
{{section|Page:Cod.1324 12v.jpg|12v.2}}
  
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 13
+
  | title = Chapter 13 - Theory of the half sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XIII. Theory of the half sword}}</p>
'''Chapter XIII Principles of the half-sword.'''
+
 
<p>Being then joined at the half sword,
+
<p>Having then arrived at the half sword,<br/>
You can well hammer more and more times,
+
You can well hammer more and more times,<br/>
Striking on only one side,
+
Striking on only one side,<br/>
 
Your feints go on the other side.</p>
 
Your feints go on the other side.</p>
  
<p>And when he loses his way with parrying,
+
<p>And when he loses his way with parrying,<br/>
And you hammer then on the other side,
+
And you hammer then on the other side,<br/>
Then you should decide
+
Then you decide<br/>
If you need to finish by closing in.</p>
+
Which ''stretta'' you should finish with.</p>
  
<p>And if you want to throw blows,
+
<p>And if you want to throw blows,<br/>
Let a fendente roverso go,
+
Let a ''fendente roverso'' go,<br/>
<sup>Turning it across</sup>And a false edge with the point in his face.</p>
+
Turning a cross-wise<ref>The line “''voltandoli atraverso''” is inserted in the margin.</ref> false edge blow<br/>
 +
With the point in his face.</p>
  
<p>Do not be divided from his point,
+
<p>Do not be divided from him,<br/>
With roverso or mandritto
+
With ''roverso'' or ''mandritto''<br/>
With whichever you can work.
+
With whichever you can work,<br/>
Because the knees bend on every side.</p>
+
As long as the knees bend on every side.</p>
  
<p>Following that which I showed you above,
+
<p>Following that which I showed you above,<br/>
 
I repeat for you again this addition,</p>
 
I repeat for you again this addition,</p>
  
<p>Always enter with the point,
+
<p>Always enter with the point,<br/>
Forcing upwards from below, finishing in the face
+
Upwards from below, until you have skewered the face,<br/>
And you can strike just at the right time.</p>
+
Use your strikes in their appropriate times.</p>
| {{section|Page:Cod.1324 13r.jpg|13r.2}}
+
| class="noline" | {{section|Page:Cod.1324 13r.jpg|13r.2}}
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 14
+
  | title = Chapter 14 - Theory of the half tempo of the sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XIIII. Theory of the half tempo of the sword}}</p>
'''Chapter XIIII Theory of the half tempo of the sword'''
+
 
<p>I cannot show you in writing
+
<p>I cannot show you in writing<br/>
The theory and method of the half tempo
+
The theory and way of the half tempo<br/>
Because it remains in a knot
+
Because the shortness of the tempo and its strike<br/>
The shortness of the tempo of his strike.</p>
+
Reside in the wrist.</p>
  
<p>The half time is just one turn
+
<p>The half tempo is just one turn<br/>
Of the knot: quick and immediately striking,
+
Of the wrist: quick and immediately striking,<br/>
It can rarely fail
+
It can rarely fail<br/>
 
When it is done in good measure.</p>
 
When it is done in good measure.</p>
  
<p>If you note well my writing
+
<p>If you note well my text,<br/>
One who does not practice will parry badly
+
One who does not practice [the art] will get into trouble:<ref>Porzio and Mele (81) read this line as ''mal separa chi non na la praticha'', or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe ''separa'' as one word. I read it as ''mal se para'', or “will get into trouble”, which seems to me to fit the context better.</ref><br/>
Often the turning
+
Often the quick flight from one side to another<br/>
 
Breaks with a good edge the other’s brain.</p>
 
Breaks with a good edge the other’s brain.</p>
  
<p>Of all the art this is the jewel,
+
<p>Of all the art this is the jewel,<br/>
Because it treats as one the strike and the parry,
+
Because in one go it strikes and parries.<br/>
Oh what a valuable thing,
+
Oh what a valuable thing,<br/>
So practice it with good reason,
+
To practice it according to the good principles,<br/>
And it will let you carry the banner of the art.</p>
+
It will let you carry the banner of the Art.<ref>Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of ''gonfaloniere'', “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one ''gonfaloniere'' at a time. Guidobaldo’s father Federico was ''gonfaloniere'' from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.</ref></p>
| {{section|Page:Cod.1324 13v.jpg|13v.1}}
+
| class="noline" | {{section|Page:Cod.1324 13v.jpg|13v.1}}
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 15
+
  | title = Chapter 15 - Theory of the sword against the rising blow
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XV. Theory of the sword against the rising blow}}</p>
'''Chapter XV Theory of the sword against the rising blow
+
 
<p>There are many who make their base
+
<p>There are many who make their base<br/>
In turning strongly from every side
+
In turning strongly from every side<br/>
So be advised,  
+
So be advised,<br/>
As his sword turns, move</p>
+
As his sword is turning, move,</p>
  
<p>And you turn and you will win the test,
+
<p>And you turn and you will win the test,<br/>
Harmonise yourself with him and also with the strikes
+
Then harmonise yourself with his strikes,<br/>
And make your going thus
+
And make your going thus<br/>
With your sword directly to his.</p>
+
With your sword behind his.</p>
  
<p>To clear your mind of illusions,
+
<p>To better explain your design,<br/>
You can also go into boar’s tooth guard,
+
You can also go into boar’s tooth guard,<br/>
And if he with the turning,
+
And if he with the turning,<br/>
And you escaping from below up.</p>
+
And you ripping up from below.<ref>The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.</ref></p>
  
<p>Listen and understand my reasoning,
+
<p>Listen and understand my reasoning,<br/>
You who are new to the art, and experts too,
+
You who are new to the art, and experts too,<br/>
I want you to be sure,
+
I want you to be sure,<br/>
 
That this is the art and the true science.</p>
 
That this is the art and the true science.</p>
  
<p>Grasp this, that is a steelyard’s trace,
+
<p>Grasp this, that is a steelyard’s trace:<ref>This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.</ref><br/>
That if the companion is in the iron door guard,
+
The companion is in the iron door guard,<br/>
Lock this into your heart,
+
Lock this into your heart,<br/>
You should be in the archer’s guard,</p>
+
Make it so you are in the archer’s guard,</p>
  
<p>Watch out that your point does not waver,
+
<p>Watch out that your point does not waver,<br/>
That of the companion covers his sword;
+
And covers the companion’s sword;<br/>
Go a little out of the way
+
Go a little out of the way<br/>
 
Straightening the sword and the hand with the point.</p>
 
Straightening the sword and the hand with the point.</p>
  
<p>When your sword is joined at the crossing,
+
<p>When your sword is joined at the crossing,<br/>
Then do the thirteenth constrained action,
+
Then do the thirteenth stretta,<br/>
As is you can plainly see
+
As is you can plainly see<br/>
Pictured in our book of seven leaves.</p>
+
Pictured in our book on page seven.<ref> This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘''carta''’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.</ref></p>
  
<p>You can also use in this art
+
<p>You can also use in this art<br/>
Striking and closing that are more handy,
+
Strikes and strette that are handier to you,<br/>
Leave the more left-handed,
+
Leave the more clumsy,<ref>''Sinestre'' is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.</ref><br/>
Keep those that favour your hand,
+
Keep those that favour your hand,<br/>
 
So you will often have honour in the art.</p>
 
So you will often have honour in the art.</p>
| {{section|Page:Cod.1324 13v.jpg|13v.2}}
+
| class="noline" |
 
+
{{section|Page:Cod.1324 13v.jpg|13v.2|p=1}}<br/>{{section|Page:Cod.1324 14r.jpg|14r.1|p=1}}
{{section|Page:Cod.1324 14r.jpg|14r.1}}
 
  
 
|}
 
|}
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{{master subsection begin
 
{{master subsection begin
  | title = Chapter 16
+
  | title = Chapter 16 - Instruction of the sword
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>{{red|b=1|Chapter XVI. Instruction of the sword}}</p>
'''Chapter XVI Mastering the sword'''
+
 
<p>It is necessary that the sword should be
+
<p>It is necessary that the sword should be<br/>
A great shield that covers all,
+
A great shield that covers all of you,<br/>
And grasp this fruit,
+
And grasp this fruit,<br/>
That I give you for your mastery.</p>
+
That I give you for your instruction.</p>
  
<p>Be sure that your sword does not
+
<p>Be sure that your sword is never far away<br/>
Make guards or strike far away,
+
In making guards or striking<br/>
O how sensible this thing is,
+
Oh how sensible this thing is,<br/>
 
That your sword makes short movements.</p>
 
That your sword makes short movements.</p>
  
<p>Your point should watch the face,
+
<p>Make it so your point watches the face<br/>
Of the companion, in guard or striking,
+
Of the companion, in guard or striking,<br/>
You will take his courage,
+
You will take away his courage,<br/>
 
Seeing always the point staying in front of him.</p>
 
Seeing always the point staying in front of him.</p>
  
<p>And you will make your plays always forwards,
+
<p>And you will make your plays always forwards,<br/>
With your sword and with a small turn,
+
With your sword and with a small turn,<br/>
With a serene and nimble hand,
+
With a serene and relaxed hand,<br/>
Often breaking the tempo of the companion,
+
Often breaking the tempo of the companion,<br/>
You will weave a web different than spider’s.</p>
+
You will weave a web better than a spider’s.</p>
  
[END]
+
<p>'''The End.'''</p>
|  
+
| class="noline" |  
 
{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}
 
{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}
  
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  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| [[File:Cod.1324 15r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15r.jpg]]
+
| [[File:Cod.1324 15r.png|300px|center]]
| <p>I am callipers, that divide into parts,
+
| <p>I am callipers, that divide into parts,<br/>O fencer heed my principle,<br/>Thus [the callipers] measure the tempo similarly.<ref>This means that the tempo is measured by dividing it into parts.</ref></p>
O fencer heed my reason,
 
Thus measure the tempo similarly.</p>
 
  
<p>The nature of the bear is to turn,
+
<p>The nature of the bear is to turn<br/>
Going here, there, up and around
+
Here, there, up and down:<br/>
Thus your shoulder should move,
+
Thus your shoulder should move,<br/>
 
Sending your sword out to hunt.</p>
 
Sending your sword out to hunt.</p>
  
<p>I am a ram, always on the lookout,
+
<p>I am a ram, always on the lookout,<br/>
Naturally always looking to butt,
+
Naturally always looking to clash,<br/>
So your cut should be clever,
+
So your cut should be clever,<br/>
Always parry when there is an answer.</p>
+
Always parry when [your cut] is answered.</p>
  
<p>The right hand should be prudent,
+
<p>The right hand should be prudent,<br/>
 
Bold and deadly as a serpent.</p>
 
Bold and deadly as a serpent.</p>
  
<p>The eye with the heart should be alert,
+
<p>The eye with the heart should be alert,<br/>
 
Bold and full of foresight.</p>
 
Bold and full of foresight.</p>
  
<p>With the left hand, the sword is to thrust
+
<p>With the left hand I have the sword by the point,<br/>
Or to strike when it is joined
+
To strike already when it is joined<br/>
And if you want the strike to be complete
+
And if you want the strike to be complete<br/>
 
Make it as quick as a greyhound.</p>
 
Make it as quick as a greyhound.</p>
  
<p>And he who does not have these keys with him
+
<p>And he who does not have these keys with him<br/>
Will make little war with this play.</p>
+
Will make little war with this play.<ref>These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.</ref></p>
  
<p>The legs keys it is well said,
+
<p>The legs [are] keys it is well said,<br/>
Because you close them and also open them,</p>
+
Because you close them and also open them. </p>
  
<p>You see the sun, that makes great turns,
+
<p>You see the sun, that makes great turns,<br/>
And where it is born it returns.
+
And where it is born it returns.<br/>
The foot with the sun should return together,
+
The foot with the sun should return together,<br/>
 
If you want the play to adorn your person.</p>
 
If you want the play to adorn your person.</p>
  
<p>The left foot firm without fear,
+
<p>Plant the left foot without fear,<br/>
Make it constant like a rock
+
Make it firm like a castle,<br/>
 
And then your body will be completely safe.</p>
 
And then your body will be completely safe.</p>
  
<p>When one or other foot bothers you
+
<p>When one or other foot bothers you<br/>
Turn it quickly like a mill wheel,
+
Turn it quickly like a mill wheel,<br/>
The heart must be foresightful,
+
The heart must be foresightful,<br/>
That expects shame and honour.</p>
+
For on it depends shame and honour.<ref>This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”</ref></p>
 
| {{paget|Page:Cod.1324|15r|jpg}}
 
| {{paget|Page:Cod.1324|15r|jpg}}
  
 
|-  
 
|-  
| [[File:Cod.1324 15v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15v.jpg]]
+
| class="noline" | [[File:Cod.1324 15v.png|300px|center]]
| <p>These are the blows of the two-handed sword,
+
| class="noline" | <p>These are the blows of the two-handed sword,<br/>
Not those of the mezo tempo, they remain in a knot.</p>
+
Not the ''mezzo tempo'', which remains in the wrist.</p>
 +
 
 +
<p><br/></p>
 +
 
 +
<p>I am the ''rota'' and I am often turning,<br/>
 +
I go looking for the deception of the sword.</p>
  
<p>I am the rota and I often turn,
+
<p><br/></p>
Finding the falseness of the sword.</p>
 
  
<p>We are the volante, always crossing,
+
<p>We are the ''volante'', always crossing,<br/>
 
From the knee up we go destroying.</p>
 
From the knee up we go destroying.</p>
  
<p>We are the fendenti and we start the fight,
+
<p><br/></p>
Breaking the teeth in our direct way.</p>
 
  
<p>I am the thrust, dangerous and quick,
+
<p>We are the ''fendenti'' and we dispute,<br/>
Mistress of the other blows.</p>
+
And we break the teeth with full right.</p>
| {{paget|Page:Cod.1324|15v|jpg}}
+
 
 +
<p>I am the thrust, dangerous and quick,<br/>
 +
Great teacher of the other blows.</p>
 +
| class="noline" | {{paget|Page:Cod.1324|15v|jpg}}
  
 
|}
 
|}
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{{master begin
 
{{master begin
 
  | title = Sword
 
  | title = Sword
  | width = 84em
+
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 16r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 16r.png|300px|center]]
| <p>Here are the guards with their names,
+
| <p>[1] You are guards with your names<br/>Each of you, show yourself from the side.<ref>I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.</ref></p>
Each of your sides is shown.</p>
 
 
| {{section|Page:Cod.1324 16r.jpg|16r-a}}
 
| {{section|Page:Cod.1324 16r.jpg|16r-a}}
  
 
|-  
 
|-  
| <p>I am the strong middle iron gate
+
| <p>[2] I am the strong middle iron gate<br/>To give death with thrust and ''fendente''.</p>
Dealing death with thrust and fendente.</p>
+
 
<p>::I am the guard of the woman, and I am not vain,
+
:[3] I am the guard of the woman, and I am not useless,<br/>I often conceal the length of the sword.
::I conceal the length of the sword.</p>
 
 
| {{section|Page:Cod.1324 16r.jpg|16r-c}}
 
| {{section|Page:Cod.1324 16r.jpg|16r-c}}
 
{{section|Page:Cod.1324 16r.jpg|16r-d}}
 
{{section|Page:Cod.1324 16r.jpg|16r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 16v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_16v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 16v.png|300px|center]]
| <p>I am the flat ground iron door,
+
| <p>[4] I am the flat ground iron door,<br/>That always impedes cuts and thrusts.</p>
Always impeding cuts and thrusts.</p>
+
 
<p>::I am the guard of the falcon, high up above,
+
:[5] I am the guard of the falcon, excellent and high<br/>To make defences in all sorts of ways.
::To make defences in all sorts of ways.</p>
 
 
| {{section|Page:Cod.1324 16v.jpg|16v-a}}
 
| {{section|Page:Cod.1324 16v.jpg|16v-a}}
 
{{section|Page:Cod.1324 16v.jpg|16v-b}}
 
{{section|Page:Cod.1324 16v.jpg|16v-b}}
  
 
|-  
 
|-  
| <p>I am the short guard of the extended sword,
+
| <p>[6] I am the short guard of the extended sword,<br/>I often strike and recover into it quickly.<ref>‘It’ here refers to the guard, so having struck, you recover into this position.</ref></p>
I often strike with the turn back.</p>
+
 
<p>::I am the archer’s guard, to deceive
+
:[7] I am the archer’s guard, for deception,<br/>I use malice very much in my reign.
::I use malice very much in my reign.</p>
 
 
| {{section|Page:Cod.1324 16v.jpg|16v-c}}
 
| {{section|Page:Cod.1324 16v.jpg|16v-c}}
 
{{section|Page:Cod.1324 16v.jpg|16v-d}}
 
{{section|Page:Cod.1324 16v.jpg|16v-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 17r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 17r.png|300px|center]]
| <p>I am the guard of the true window
+
| <p>[8] I am the guard of the true window<br/>According to the art, raise your left leg.<ref>I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.</ref></p>
I raise from the art the thing from the left.</p>
+
 
<p>::I am the crown and I am made master
+
:[9] I am the crown and I am made master,<br/>I am found to be adept at binds.
::Of binds I am found to be adept.</p>
 
 
| {{section|Page:Cod.1324 17r.jpg|17r-a}}
 
| {{section|Page:Cod.1324 17r.jpg|17r-a}}
 
{{section|Page:Cod.1324 17r.jpg|17r-b}}
 
{{section|Page:Cod.1324 17r.jpg|17r-b}}
  
 
|-  
 
|-  
| <p>With the deadly guard of the boar’s tooth
+
| <p>[10] With the deadly guard of the boar’s tooth<br/>Anyone looking for trouble, I’ll give them plenty.</p>
Anyone looking for trouble, I’ll give them plenty.</p>
+
 
<p>::I am the long guard with the short(ened) sword,
+
:[11] I am the long guard with the shortened sword,<ref>''Con la spada curta'', lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the ''lanza curta''.</ref><br/>That with my cunning bashes the blows.
::That with my cunning defeats the blows.</p>
 
 
| {{section|Page:Cod.1324 17r.jpg|17r-c}}
 
| {{section|Page:Cod.1324 17r.jpg|17r-c}}
 
{{section|Page:Cod.1324 17r.jpg|17r-d}}
 
{{section|Page:Cod.1324 17r.jpg|17r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 17v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_17v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 17v.png|300px|center]]
| <p>I am the frontal guard, so secure
+
| <p>[12] I am the frontal guard, so reliable,<br/>I care nothing about cuts and thrusts.</p>
Of cuts and thrusts I have the solution.</p>
+
 
<p>::I am the guard of the boar and I am outside,
+
:[13] I am the guard of the boar and I am outside,<br/>I do not relent in striking.
::That of strikes I do not make a home.</p>
 
 
| {{section|Page:Cod.1324 17v.jpg|17v-a}}
 
| {{section|Page:Cod.1324 17v.jpg|17v-a}}
 
{{section|Page:Cod.1324 17v.jpg|17v-b}}
 
{{section|Page:Cod.1324 17v.jpg|17v-b}}
  
 
|-  
 
|-  
| <p>I have made a roverso fendente on the left foot,
+
| <p>[14] I have made a ''roverso fendente'' on the left foot,<br/>Without changing the foot, turning the hips,<br/>I will strike a ''dritto'' without further movement.</p>
Without changing the foot turning the hips
 
I strike a dritto without further movement.</p>
 
 
| {{section|Page:Cod.1324 17v.jpg|17v-c}}
 
| {{section|Page:Cod.1324 17v.jpg|17v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 18r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 18r.png|300px|center]]
| <p>By this grip of your arm that I have made,
+
| <p>[15] By this grip of your arm that I have made,<br/>I will hit you with a cut or pommel strike.</p>
I can hit you with a cut or pommel strike.</p>
 
 
| {{section|Page:Cod.1324 18r.jpg|18r-a}}
 
| {{section|Page:Cod.1324 18r.jpg|18r-a}}
  
 
|-  
 
|-  
| <p>By this turn that I quickly make to my sword
+
| <p>[16] By this turn that I quickly make to my sword<br/>I will not pause before I hit you with it.</p>
I will not pause with this strike.</p>
 
 
| {{section|Page:Cod.1324 18r.jpg|18r-c}}
 
| {{section|Page:Cod.1324 18r.jpg|18r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 18v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_18v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 18v.png|300px|center]]
| <p>I have bound you from the roverso side,
+
| <p>[17] I have bound you from the ''roverso'' side,<br/>You’ll be thrown to the ground by a blow of the sword.</p>
You’ll be thrown to the ground by a blow of the sword.</p>
 
 
| {{section|Page:Cod.1324 18v.jpg|18v-a}}
 
| {{section|Page:Cod.1324 18v.jpg|18v-a}}
  
 
|-  
 
|-  
| <p>In this way I have you with the left hand,
+
| <p>[18] In this way I hold you with my left hand,<br/>Cuts and thrusts will not be lacking.</p>
I will not hold back striking with cuts and thrusts.</p>
 
 
| {{section|Page:Cod.1324 18v.jpg|18v-c}}
 
| {{section|Page:Cod.1324 18v.jpg|18v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 19r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 19r.png|300px|center]]
| <p>By this turn that I have given to my sword
+
| <p>[19] By this turn that I have given to my sword<br/>I think I will have cut the halfway through your throat. </p>
I think I will have cut the middle of your throat.</p>
 
 
| {{section|Page:Cod.1324 19r.jpg|19r-a}}
 
| {{section|Page:Cod.1324 19r.jpg|19r-a}}
  
 
|-  
 
|-  
| <p>You will go to the ground with this technique
+
| <p>[20] You will go to the ground with this technique<br/>Because you have completely failed in your play.</p>
And your play has completely failed.</p>
 
 
| {{section|Page:Cod.1324 19r.jpg|19r-c}}
 
| {{section|Page:Cod.1324 19r.jpg|19r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 19v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_19v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 19v.png|300px|center]]
| <p>I do not wish to make war with my sword,
+
| <p>[21] I do not wish to make war with my sword,<br/>But with yours I’ll throw you to the ground.</p>
But with yours I’ll throw you to the ground.</p>
 
 
| {{section|Page:Cod.1324 19v.jpg|19v-a}}
 
| {{section|Page:Cod.1324 19v.jpg|19v-a}}
  
 
|-  
 
|-  
| <p>I have turned you with force and without difficulty
+
| <p>[22] I have turned you inevitably and without difficulty,<ref>''Per forza'' literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.</ref><br/>With my skill I will break your arm.</p>
With my skill I will break your arm.</p>
 
 
| {{section|Page:Cod.1324 19v.jpg|19v-c}}
 
| {{section|Page:Cod.1324 19v.jpg|19v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 20r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 20r.png|300px|center]]
| <p>With skill I have placed you in a similar position,
+
| <p>[23] With skill I have placed you in this position,<br/>I’ll make you go to the ground at the first go.</p>
I’ll make you go to the ground at the first blow.</p>
 
 
| {{section|Page:Cod.1324 20r.jpg|20r-a}}
 
| {{section|Page:Cod.1324 20r.jpg|20r-a}}
  
 
|-  
 
|-  
| <p>In this way I’ll put you in a lock
+
| <p>[24] In this way I’ll put you in the lock<br/>And I will break your arm while saying a Hail Mary.<ref>Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.</ref></p>
And break your arm (in the time it takes to) say “hello”.</p>
 
 
| {{section|Page:Cod.1324 20r.jpg|20r-c}}
 
| {{section|Page:Cod.1324 20r.jpg|20r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 20v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_20v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 20v.png|300px|center]]
| <p>By this turn of the pommel I have bound you,
+
| <p>[25] By this turn of the pommel I have bound you,<br/>Immediately if I want to I’ll throw you to the ground.</p>
Immediately If I want to I’ll throw you to the ground.</p>
 
 
| {{section|Page:Cod.1324 20v.jpg|20v-a}}
 
| {{section|Page:Cod.1324 20v.jpg|20v-a}}
  
 
|-  
 
|-  
| <p>By this turn of the blade that you have done,
+
| <p>[26] By this turn of the blade that you have done,<br/>I will break your arm at the first go.</p>
I will break your arm at the first attempt.</p>
 
 
| {{section|Page:Cod.1324 20v.jpg|20v-c}}
 
| {{section|Page:Cod.1324 20v.jpg|20v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 21r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 21r.png|300px|center]]
| <p>By the turn quick I have given my sword,
+
| <p>[27] By the turn given to my quick sword,<br/>I’ll strike your arms or your head.</p>
I’ll strike your arm or your head.</p>
 
 
| {{section|Page:Cod.1324 21r.jpg|21r-a}}
 
| {{section|Page:Cod.1324 21r.jpg|21r-a}}
  
 
|-  
 
|-  
| <p>If I put my hilt to your sword
+
| <p>[28] If I put my hilt to your sword<br/>I’ll make it fall, this time.<ref>''Per questa fiada'' – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”</ref></p>
I’ll make it fall with this action.</p>
 
 
| {{section|Page:Cod.1324 21r.jpg|21r-c}}
 
| {{section|Page:Cod.1324 21r.jpg|21r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 21v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_21v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 21v.png|300px|center]]
| <p>This is a grip that I do from below,
+
| <p>[29] This is a grip that I do from below,<ref>Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as ''fora'', which would be “outside”. Fora does not rhyme with ''botta'', and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “''Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.''”</ref><br/>I will make it fall at the first go.</p>
I will make it fall at the first go.</p>
 
 
| {{section|Page:Cod.1324 21v.jpg|21v-a}}
 
| {{section|Page:Cod.1324 21v.jpg|21v-a}}
  
 
|-  
 
|-  
| <p>You believed I would strike with a backhand blow,
+
| <p>[30] You believed I would strike with a roverso blow,<br/>[But] With my elbow I push your sword across.</p>
With the elbow I push your sword across.</p>
 
 
| {{section|Page:Cod.1324 21v.jpg|21v-c}}
 
| {{section|Page:Cod.1324 21v.jpg|21v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 22r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 22r.png|300px|center]]
| <p>Making the turn that my handle has given,
+
| <p>[31] By the turn that my handle has given,<br/>I make you fall to the ground flat on your back.</p>
I make you fall to the ground backwards.</p>
 
 
| {{section|Page:Cod.1324 22r.jpg|22r-a}}
 
| {{section|Page:Cod.1324 22r.jpg|22r-a}}
  
 
|-  
 
|-  
| <p>This is a disarm that is above,
+
| <p>[32] This is a disarm that is above,<ref>‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.</ref><br/>And if I want to I’ll lay you flat.</p>
And if I want to I’ll lay you flat.</p>
 
 
| {{section|Page:Cod.1324 22r.jpg|22r-c}}
 
| {{section|Page:Cod.1324 22r.jpg|22r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 22v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_22v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 22v.png|300px|center]]
| <p>The feint that I made to strike a fendente,
+
| <p>[33] I made a feint of striking a fendente,<br/>I will cut your jaw and teeth together.</p>
Cuts the jaw and teeth together.</p>
 
 
| {{section|Page:Cod.1324 22v.jpg|22v-a}}
 
| {{section|Page:Cod.1324 22v.jpg|22v-a}}
  
 
|-  
 
|-  
| <p>From the backhand strike that I have done,
+
| <p>[34] From the roverso strike that I have done,<br/>I’ll hit you with my pommel, and look good doing it.</p>
I’ll give you a good strike with my pommel.</p>
 
 
| {{section|Page:Cod.1324 22v.jpg|22v-c}}
 
| {{section|Page:Cod.1324 22v.jpg|22v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 23r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 23r.png|300px|center]]
| <p>This is a grip that I do on the inside,
+
| <p>[35] This is a grip that I do on the inside,<br/>You’re going to the ground as I feel.</p>
I feel that you’re going to the ground.</p>
 
 
| {{section|Page:Cod.1324 23r.jpg|23r-a}}
 
| {{section|Page:Cod.1324 23r.jpg|23r-a}}
  
 
|-  
 
|-  
| <p>I have given you my sword in the head,
+
| <p>[36] I have hit you with my sword in the head,<br/>Yours I’ll quickly take with my cunning.</p>
Yours I’ll take with my quick cunning.</p>
 
 
| {{section|Page:Cod.1324 23r.jpg|23r-c}}
 
| {{section|Page:Cod.1324 23r.jpg|23r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 23v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_23v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 23v.png|300px|center]]
| <p>I beat your sword aside with the middle of the blade,
+
| <p>[37] I beat your sword aside at the middle of the blade,<br/>You’ll get a good dose from my pommel.</p>
You’ll get a good deal from my pommel.</p>
 
 
| {{section|Page:Cod.1324 23v.jpg|23v-a}}
 
| {{section|Page:Cod.1324 23v.jpg|23v-a}}
  
 
|-  
 
|-  
| <p>Turning a roverso you parried badly,
+
| class="noline" | <p>[38] Turning a roverso you parried badly,<ref>The original text is ambiguous as to who is turning the ''roverso''; I believe it is the player who also parries badly.</ref><br/>At the middle of the blade you entered the bind.</p>
Entering into a bind at the middle of the blade</p>
+
| class="noline" | {{section|Page:Cod.1324 23v.jpg|23v-c}}
| {{section|Page:Cod.1324 23v.jpg|23v-c}}
 
  
 
|}
 
|}
Line 1,504: Line 1,482:
 
{{master begin
 
{{master begin
 
  | title = Ax in Armor
 
  | title = Ax in Armor
  | width = 84em
+
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 24r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 24r.png|300px|center]]
|  
+
| <p>'''Guards of the pollax in armour'''</p>
'''Guards of the Axe in Armour.'''
 
  
<p>I am the guard of the woman, of great offence,
+
<p>[1] I am the guard of the woman, of great offence,<br/>To respond to any situation.<ref>The word used here is ‘impresa’, which has the connotation of ''emprise d'armes'', or “feat of arms”.</ref></p>
To respond to any situation.</p>
 
  
<p>::I am in the guard of the boar, with its saying,
+
:[2] I am in the guard of the boar, as the saying goes,<br/>I’ll wreck your body for sure.
::I’ll destroy your body for sure.</p>
 
 
| {{section|Page:Cod.1324 24r.jpg|24r-t|lbl=24r}}
 
| {{section|Page:Cod.1324 24r.jpg|24r-t|lbl=24r}}
 
{{section|Page:Cod.1324 24r.jpg|24r-a}}
 
{{section|Page:Cod.1324 24r.jpg|24r-a}}
Line 1,527: Line 1,502:
  
 
|-  
 
|-  
| <p>I am called the Archer’s guard,
+
| <p>[3] I am called the archer’s guard,<br/>Always make sure to make every blow deviate. </p>
I always make blows deviate.</p>
+
 
<p>::I am the guard of the cross, so called,
+
:[4] I am the guard of the Cross, so called,<br/>No amount of cuts or thrusts can bother me.
::No cuts or thrusts can bother me.</p>
 
 
| {{section|Page:Cod.1324 24r.jpg|24r-c}}
 
| {{section|Page:Cod.1324 24r.jpg|24r-c}}
 
{{section|Page:Cod.1324 24r.jpg|24r-d}}
 
{{section|Page:Cod.1324 24r.jpg|24r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 24v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_24v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 24v.png|300px|center]]
| <p>I was in boar’s tooth with the axe,
+
| <p>[5] I was in boar’s tooth with the axe,<br/>Thus I have struck you in the face.</p>
In this way I have struck you in theface.</p>
 
 
| {{section|Page:Cod.1324 24v.jpg|24v-a}}
 
| {{section|Page:Cod.1324 24v.jpg|24v-a}}
  
 
|-  
 
|-  
| <p>Lifting the visor I strike your face,
+
| <p>[6] I have lifted the visor from your face,<br/>I have struck you, and taken away every defence from you.</p>
I struck you: all defences are gone.</p>
 
 
| {{section|Page:Cod.1324 24v.jpg|24v-c}}
 
| {{section|Page:Cod.1324 24v.jpg|24v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 25r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_25r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 25r.png|300px|center]]
| <p>I place my hand under the right arm
+
| <p>[7] I’ve got my hand under your right arm<br/>I’ll place you in the lock as is written.</p>
I’ll place you in the lock as is written.</p>
 
 
| {{section|Page:Cod.1324 25r.jpg|25r-a}}
 
| {{section|Page:Cod.1324 25r.jpg|25r-a}}
  
 
|-  
 
|-  
| <p>This is the grip that I do to you,
+
| class="noline" | <p>[8] This is the grip that I do to you,<br/>You’ll lose your axe and I’ll strike your head.</p>
You’ll lose your axe and I’ll strike your head.</p>
+
| class="noline" | {{section|Page:Cod.1324 25r.jpg|25r-c}}
| {{section|Page:Cod.1324 25r.jpg|25r-c}}
 
  
 
|}
 
|}
Line 1,561: Line 1,531:
 
{{master begin
 
{{master begin
 
  | title = Sword in Armor
 
  | title = Sword in Armor
  | width = 84em
+
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 26r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 26r.png|300px|center]]
|  
+
| <p>'''Guards of the sword in armour'''</p>
'''Guards of the Sword in Armour.'''
 
  
<p>I am the lower snake guard,
+
<p>[1] I am the lower snake guard,<br/>That is outstanding for striking with thrusts.<ref>“''Che de ferire de ponte son pur pina.''” Rubboli and Cesari transcribe the last word as ''purpina'', which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have ''purpurina'' (''porporino'' in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ''ne plus ultra'' of guards to thrust from.</ref></p>
That is good for striking with thrusts.</p>
 
  
<p>::I am the guard of the serene leopard,
+
:[2] I am the guard of the serene leopard,<br/>That with the tail will give you poison.
::That with the tail will give you poison.</p>
 
 
| {{section|Page:Cod.1324 26r.jpg|26r-t|lbl=26r}}
 
| {{section|Page:Cod.1324 26r.jpg|26r-t|lbl=26r}}
 
{{section|Page:Cod.1324 26r.jpg|26r-a}}
 
{{section|Page:Cod.1324 26r.jpg|26r-a}}
Line 1,584: Line 1,551:
  
 
|-  
 
|-  
| <p>I am the snake, held high,
+
| <p>[3] I am the snake, and am held high,<br/>Doing my work high and low.</p>
Above and below I do my work.</p>
+
 
<p>::I am the leopard’s tail over the arm,
+
:[4] I am the leopard’s tail over the arm,<br/>I remove and chase every sword away from me.  
::I will chase away any sword from me.</p>
 
 
| {{section|Page:Cod.1324 26r.jpg|26r-c}}
 
| {{section|Page:Cod.1324 26r.jpg|26r-c}}
 
{{section|Page:Cod.1324 26r.jpg|26r-d}}
 
{{section|Page:Cod.1324 26r.jpg|26r-d}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 26v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_26v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 26v.png|300px|center]]
| <p>I am the first wounder of the art,
+
| <p>[5] I am the first wounder of the art,<br/>To make defence on any side.</p>
To make defence on any side.</p>
 
 
| {{section|Page:Cod.1324 26v.jpg|26v-a}}
 
| {{section|Page:Cod.1324 26v.jpg|26v-a}}
  
 
|-  
 
|-  
| <p>I push my point into your face,
+
| <p>[6] I push my point into your face,<br/>You see my sword rising up and up.</p>
You see my sword rising upand up.</p>
 
 
| {{section|Page:Cod.1324 26v.jpg|26v-c}}
 
| {{section|Page:Cod.1324 26v.jpg|26v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 27r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 27r.png|300px|center]]
| <p>You will let go of your sword in spite of your wishes,
+
| <p>[7] I want you to drop your sword to your chagrin,<br/>I will do even worse to you, because of your failings.</p>
I will do even worse to you too.</p>
 
 
| {{section|Page:Cod.1324 27r.jpg|27r-a}}
 
| {{section|Page:Cod.1324 27r.jpg|27r-a}}
  
 
|-  
 
|-  
| <p>If I can’t stick a point in your face,
+
| <p>[8] If I can’t stick a point in your face,<br/>I’ll stick a pommel instead, as it’s right here.</p>
I’ll stick a pommel instead, as it is there.</p>
 
 
| {{section|Page:Cod.1324 27r.jpg|27r-c}}
 
| {{section|Page:Cod.1324 27r.jpg|27r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 27v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_27v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 27v.png|300px|center]]
| <p>By the pass I have made out of the way,
+
| <p>[9] By my pass out of the way,<br/>I’ll throw you to the ground with your sword.</p>
I’ll throw you to the ground with your sword.</p>
 
 
| {{section|Page:Cod.1324 27v.jpg|27v-a}}
 
| {{section|Page:Cod.1324 27v.jpg|27v-a}}
  
 
|-  
 
|-  
|  
+
| <p>[10] '''Shape of the sword in armour'''</p>
'''FORM OF THE SWORD IN ARMOUR'''
 
  
The sword for fighting in armour should have the form as written below, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. It’s handle should be of a span. The crossguard should be as long as the handle of the sword. And it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these parts.
+
<p>The sword for fighting in armour should be shaped as follows, thus: it should be of a length to come with the pommel under the arm, sharpened four fingers from the point. Its handle should be of a span.<ref>A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.</ref> The crossguard should be as long as the handle of the sword, and it should be pointed on every side. And similarly, the pommel should be pointed, so that you can strike with any of these [parts].</p>
 
| {{section|Page:Cod.1324 27v.jpg|27v-c}}
 
| {{section|Page:Cod.1324 27v.jpg|27v-c}}
  
Line 1,631: Line 1,591:
 
{{master begin
 
{{master begin
 
  | title = Spear
 
  | title = Spear
  | width = 84em
+
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 28r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 28r.png|300px|center]]
|  
+
| <p>'''Play of the long lance'''</p>
'''Play of the Long Lance'''
 
  
<p>With a short lance I’ll wait in this way,
+
<p>[1] With the shortened lance I’ll wait in this way,<ref>This section is called ''Gioco de Lanza Longa'', the play of the long lance. In this guard position, the lance is described as ''curta'', short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.</ref><br/>I invite you to come with long and short.</p>
I invite you to come with long and short.</p>
 
 
| {{section|Page:Cod.1324 28r.jpg|28r-t|lbl=28r}}
 
| {{section|Page:Cod.1324 28r.jpg|28r-t|lbl=28r}}
 
{{section|Page:Cod.1324 28r.jpg|28r-a}}
 
{{section|Page:Cod.1324 28r.jpg|28r-a}}
  
 
|-  
 
|-  
| <p>From the way I wait for you with a spear
+
| <p>[2] From the way I wait for you with a lance<br/>With a half turn I will strike you in the chest.</p>
I can strike you in the chest with a half turn.</p>
 
 
| {{section|Page:Cod.1324 28r.jpg|28r-c}}
 
| {{section|Page:Cod.1324 28r.jpg|28r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 28v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_28v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 28v.png|300px|center]]
| <p>By the half turn that I have made to my spear,
+
| <p>[3] By the half turn that my lance has made,<br/>I’ll strike you in the chest or side.</p>
I’ll strike you in the chest or side.</p>
 
 
| {{section|Page:Cod.1324 28v.jpg|28v-a}}
 
| {{section|Page:Cod.1324 28v.jpg|28v-a}}
  
 
|-  
 
|-  
| <p>Here end the blows of the spear,
+
| class="noline" | <p>[4] Here end the blows of the lance,<br/>They usually go to this technique.</p>
They usually go to this technique.</p>
+
| class="noline" | {{section|Page:Cod.1324 28v.jpg|28v-c}}
| {{section|Page:Cod.1324 28v.jpg|28v-c}}
 
  
 
|}
 
|}
Line 1,670: Line 1,625:
 
{{master begin
 
{{master begin
 
  | title = Dagger
 
  | title = Dagger
  | width = 84em
+
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 29r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_29r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 29r.png|300px|center]]
| <p>'''[1]''' <section begin="dagger 1"/>I do this counter to you,<br/>Turning you with the grip on your arm.<section end="dagger 1"/></p>
+
| <p>[1] This counter that I do to you,<br/>Is for turning you [with] the grip on your arm.</p>
 
| {{section|Page:Cod.1324 29r.jpg|29r-a}}
 
| {{section|Page:Cod.1324 29r.jpg|29r-a}}
  
 
|-  
 
|-  
| <p>'''[2]''' <section begin="dagger 2"/>With the hand that you have on my shoulder,<br/>You’ll go to the ground in a bad hour.<section end="dagger 2"/></p>
+
| <p>[2] With the hand that you have on my shoulder,<br/>You’ll go to the ground and have an awful time.</p>
 
| {{section|Page:Cod.1324 29r.jpg|29r-c}}
 
| {{section|Page:Cod.1324 29r.jpg|29r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 29v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_29v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 29v.png|300px|center]]
| <p>'''[3]''' <section begin="dagger 3"/>I can take the dagger and strike you<br/>With this grip, and I cannot fail.<section end="dagger 3"/></p>
+
| <p>[3] I can take the dagger from you and strike you<br/>With this grip, and it cannot fail.</p>
 
| {{section|Page:Cod.1324 29v.jpg|29v-a}}
 
| {{section|Page:Cod.1324 29v.jpg|29v-a}}
  
 
|-  
 
|-  
| <p>'''[4]''' <section begin="dagger 4"/>With the dagger on the ground I’ll make you fall<br/>With the turn that I do, and with my knowledge.<section end="dagger 4"/></p>
+
| <p>[4] I’ll make you drop the dagger on the ground<br/>With the turn that I’ll do, and with [my] knowledge.</p>
 
| {{section|Page:Cod.1324 29v.jpg|29v-c}}
 
| {{section|Page:Cod.1324 29v.jpg|29v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 30r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_30r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 30r.png|300px|center]]
| <p>'''[5]''' <section begin="dagger 5"/>This thrust is done immediately<br/>I make your dagger fall very fast.<section end="dagger 5"/></p>
+
| <p>[5] This thrust is done immediately<br/>I make your dagger fall very fast.</p>
 
| {{section|Page:Cod.1324 30r.jpg|30r-a}}
 
| {{section|Page:Cod.1324 30r.jpg|30r-a}}
  
 
|-  
 
|-  
| <p>'''[6]''' <section begin="dagger 6"/>This thrust that I have placed in your hand,<br/>Quickly you will drop your dagger.<section end="dagger 6"/></p>
+
| <p>[6] I have placed this thrust in your hand,<br/>Quickly your dagger will fall.</p>
 
| {{section|Page:Cod.1324 30r.jpg|30r-c}}
 
| {{section|Page:Cod.1324 30r.jpg|30r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 30v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_30v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 30v.png|300px|center]]
| <p>'''[7]''' <section begin="dagger 7"/>This cover I make very quickly,<br/>So you will be placed in the lock.<section end="dagger 7"/></p>
+
| <p>[7] I’ll make this cover very quickly,<br/>So you will be placed in the lock.</p>
 
| {{section|Page:Cod.1324 30v.jpg|30v-a}}
 
| {{section|Page:Cod.1324 30v.jpg|30v-a}}
  
 
|-  
 
|-  
| <p>'''[8]''' <section begin="dagger 8"/>I will leap to a play using this cover,<br/>And with my dagger I’ll open the way.<section end="dagger 8"/></p>
+
| <p>[8] I will leap to a play using my cover,<br/>And with my dagger I’ll open the way.</p>
 
| {{section|Page:Cod.1324 30v.jpg|30v-c}}
 
| {{section|Page:Cod.1324 30v.jpg|30v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 31r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_31r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 31r.png|300px|center]]
| <p>'''[9]''' <section begin="dagger 9"/>With this cover that you want to do,<br/>I’ll make you go into the lower lock.<section end="dagger 9"/></p>
+
| <p>[9] By this cover that you want to do,<br/>I’ll make you go into the lower lock.</p>
 
| {{section|Page:Cod.1324 31r.jpg|31r-a}}
 
| {{section|Page:Cod.1324 31r.jpg|31r-a}}
  
 
|-  
 
|-  
| <p>'''[10]''' <section begin="dagger 10"/>I can take the dagger or strike,<br/>If I don’t want to completely fail the art.<section end="dagger 10"/></p>
+
| <p>[10] Thus I can take the dagger from you and also strike,<br/>If I don’t want to completely fail the art.</p>
 
| {{section|Page:Cod.1324 31r.jpg|31r-c}}
 
| {{section|Page:Cod.1324 31r.jpg|31r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 31v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/Fie:Cod.1324_31v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 31v.png|300px|center|link=http://commons.wikimedia.org/wiki/Fie:Cod.1324_31v.jpg]]
| <p>'''[11]''' <section begin="dagger 11"/>If I push the dagger towards the ground,<br/>You will make no more war with it to me.<section end="dagger 11"/></p>
+
| <p>[11] If I push the dagger towards the ground,<br/>You will make no more war against me with it.</p>
 
| {{section|Page:Cod.1324 31v.jpg|31v-a}}
 
| {{section|Page:Cod.1324 31v.jpg|31v-a}}
  
 
|-  
 
|-  
| <p>'''[12]''' <section begin="dagger 12"/>Here I look for your hand to strike it<br/>I’ll make you come under the lock.<section end="dagger 12"/></p>
+
| <p>[12] Here I look for your hand to strike it<br/>I’ll make you enter the lower lock.</p>
 
| {{section|Page:Cod.1324 31v.jpg|31v-c}}
 
| {{section|Page:Cod.1324 31v.jpg|31v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 32r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_32r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 32r.png|300px|center]]
| <p>'''[13]''' <section begin="dagger 13"/>This crossing that I make against you<br/>I’ll place you in the lock without difficulty.<section end="dagger 13"/></p>
+
| <p>[13] With this crossing that I make against you<br/>I’ll place you in the lock, where you will be frustrated.</p>
 
| {{section|Page:Cod.1324 32r.jpg|32r-a}}
 
| {{section|Page:Cod.1324 32r.jpg|32r-a}}
  
 
|-  
 
|-  
| <p>'''[14]''' <section begin="dagger 14"/>This strike I make with the fist,<br/>I’ll stick your dagger into your body.<section end="dagger 14"/></p>
+
| <p>[14] I make this strike with my fist,<br/>I’ll stick your dagger into your body.</p>
 
| {{section|Page:Cod.1324 32r.jpg|32r-c}}
 
| {{section|Page:Cod.1324 32r.jpg|32r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 32v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_32v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 32v.png|300px|center]]
| <p>'''[15]''' <section begin="dagger 15"/>I make the cover of one hand,<br/>I make your dagger go to the ground.<section end="dagger 15"/></p>
+
| <p>[15] I make the cover with one hand,<br/>I’ll make your dagger go to the ground.</p>
 
| {{section|Page:Cod.1324 32v.jpg|32v-a}}
 
| {{section|Page:Cod.1324 32v.jpg|32v-a}}
  
 
|-  
 
|-  
| <p>'''[16]''' <section begin="dagger 16"/>From the way I have grabbed you I do not doubt<br/>That you’ll go to the ground, I say immediately!<section end="dagger 16"/></p>
+
| <p>[16] From the way I have grabbed you I do not doubt<br/>You’ll go to the ground, I mean now!</p>
 
| {{section|Page:Cod.1324 32v.jpg|32v-c}}
 
| {{section|Page:Cod.1324 32v.jpg|32v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 33r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_33r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 33r.png|300px|center]]
| <p>'''[17]''' <section begin="dagger 17"/>By the way that I have got you<br/>I’ll break the arm and the dagger very quickly.<section end="dagger 17"/></p>
+
| <p>[17] By the way that I have got you I’m ready<br/>To break your arm and the dagger very quickly.<ref>It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.</ref></p>
 
| {{section|Page:Cod.1324 33r.jpg|33r-a}}
 
| {{section|Page:Cod.1324 33r.jpg|33r-a}}
  
 
|-  
 
|-  
| <p>'''[18]''' <section begin="dagger 18"/>You see well the way that I have you,<br/>So you and your dagger will be my pawn.<section end="dagger 18"/></p>
+
| <p>[18] You clearly see by the way that I hold you,<br/>That you and your dagger will be my pawn.</p>
 
| {{section|Page:Cod.1324 33r.jpg|33r-c}}
 
| {{section|Page:Cod.1324 33r.jpg|33r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 33v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_33v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 33v.png|300px|center]]
| <p>'''[19]''' <section begin="dagger 19"/>I see that this play will not fail me.<br/>As I break your arm over my shoulder.<section end="dagger 19"/></p>
+
| <p>[19] I see this play does not fail me.<br/>As I break your arm over my shoulder.</p>
 
| {{section|Page:Cod.1324 33v.jpg|33v-a}}
 
| {{section|Page:Cod.1324 33v.jpg|33v-a}}
  
 
|-  
 
|-  
| <p>'''[20]''' <section begin="dagger 20"/>Because of this way that the arm is grabbed,<br/>I will lock you with this dagger.<section end="dagger 20"/></p>
+
| <p>[20] By this way that I want to grab the arm,<br/>I will use your dagger to lock you.</p>
 
| {{section|Page:Cod.1324 33v.jpg|33v-c}}
 
| {{section|Page:Cod.1324 33v.jpg|33v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 34r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_34r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 34r.png|300px|center]]
| <p>'''[21]''' <section begin="dagger 21"/>I saw that you are bound and going to the ground,<br/>I break the arm and you’ll lose the dagger.<section end="dagger 21"/></p>
+
| <p>[21] You saw that you are bound and going to the ground,<br/>break your arm and you will lose the dagger.</p>
 
| {{section|Page:Cod.1324 34r.jpg|34r-a}}
 
| {{section|Page:Cod.1324 34r.jpg|34r-a}}
  
 
|-  
 
|-  
| <p>'''[22]''' <section begin="dagger 22"/>In this way I have you, and I make a burden,<br/>And I can then follow the close and wide.<section end="dagger 22"/></p>
+
| <p>[22] In this way I hold [you] and press down,<br/>I can follow with the close and the wide.<ref>This is a reference to ''giocco largo'' and ''giocco stretto''. Vadi means that from here he can do whatever kind of technique he likes.</ref></p>
 
| {{section|Page:Cod.1324 34r.jpg|34r-c}}
 
| {{section|Page:Cod.1324 34r.jpg|34r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 34v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_34v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 34v.png|300px|center]]
| <p>'''[23]''' <section begin="dagger 23"/>I come at you with crossed arms,<br/>And I can do all the previous plays.<section end="dagger 23"/></p>
+
| <p>[23] I come at you with crossed arms,<br/>And I can do all the previous plays.</p>
 
| {{section|Page:Cod.1324 34v.jpg|34v-a}}
 
| {{section|Page:Cod.1324 34v.jpg|34v-a}}
  
 
|-  
 
|-  
| <p>'''[24]''' <section begin="dagger 24"/>You’ll go to the ground by the backhand,<br/>By this play your life is lost.<section end="dagger 24"/></p>
+
| <p>[24] You’ll go to the ground by the backhand,<br/>By this play you will lose your life.</p>
 
| {{section|Page:Cod.1324 34v.jpg|34v-c}}
 
| {{section|Page:Cod.1324 34v.jpg|34v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 35r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_35r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 35r.png|300px|center]]
| <p>'''[25]''' <section begin="dagger 25"/>I say you are badly taught in this art;<br/>You will find yourself suddenly on the ground.<section end="dagger 25"/></p>
+
| <p>[25] I say you are so poorly trained in this art;<br/>You will find yourself suddenly on the ground.</p>
 
| {{section|Page:Cod.1324 35r.jpg|35r-a}}
 
| {{section|Page:Cod.1324 35r.jpg|35r-a}}
  
 
|-  
 
|-  
| <p>'''[26]''' <section begin="dagger 26"/>By this grip I say I have you,<br/>I am certain you will go into the lock.<section end="dagger 26"/></p>
+
| <p>[20] By this grip I say I have you,<br/>I am certain that you will go into the lock.</p>
 
| {{section|Page:Cod.1324 35r.jpg|35r-c}}
 
| {{section|Page:Cod.1324 35r.jpg|35r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 35v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_35v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 35v.png|300px|center]]
| <p>'''[27]''' <section begin="dagger 27"/>I make a lock to this, your elbow;<br/>I’ll break your arm for you without doubt.<section end="dagger 27"/></p>
+
| <p>[27] I press down on this elbow of yours;<br/>I’ll break your arm without a doubt.</p>
 
| {{section|Page:Cod.1324 35v.jpg|35v-a}}
 
| {{section|Page:Cod.1324 35v.jpg|35v-a}}
  
 
|-  
 
|-  
| <p>'''[28]''' <section begin="dagger 28"/>This is a very strong destruction of the arm,<br/>The pain that you’ll have will ruin your composure.<section end="dagger 28"/></p>
+
| <p>[28] This is a very strong destruction of the arm,<br/>You’ll be unable to bear the pain.</p>
 
| {{section|Page:Cod.1324 35v.jpg|35v-c}}
 
| {{section|Page:Cod.1324 35v.jpg|35v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 36r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_36r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 36r.png|300px|center]]
| <p>'''[29]''' <section begin="dagger 29"/>I have put you in the lock, to your despite,<br/>Because you are not perfect in the Art.<section end="dagger 29"/></p>
+
| <p>[29] I have put you in the lock in spite of you,<br/>Because you are not so perfect in the Art.</p>
 
| {{section|Page:Cod.1324 36r.jpg|36r-a}}
 
| {{section|Page:Cod.1324 36r.jpg|36r-a}}
  
 
|-  
 
|-  
| <p>'''[30]''' <section begin="dagger 30"/>With my right hand I have made this move;<br/>I will stick the dagger in your thigh.<section end="dagger 30"/></p>
+
| <p>[30] With my right hand I have made this move;<br/>I will stick the dagger in your thigh.</p>
 
| {{section|Page:Cod.1324 36r.jpg|36r-c}}
 
| {{section|Page:Cod.1324 36r.jpg|36r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 36v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_36v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 36v.png|300px|center]]
| <p>'''[31]''' <section begin="dagger 31"/>When you’re on the ground you’ll say,<br/>“I didn’t believe it would come to this”.<section end="dagger 31"/></p>
+
| <p>[31] When you’re on the ground you will say,<br/>“I didn’t believe it would come to this.</p>
 
| {{section|Page:Cod.1324 36v.jpg|36v-a}}
 
| {{section|Page:Cod.1324 36v.jpg|36v-a}}
  
 
|-  
 
|-  
| <p>'''[32]''' <section begin="dagger 32"/>This is a strong way to throw someone to the ground;<br/>If I wish it, you will die.<section end="dagger 32"/></p>
+
| <p>[32] TThis is a way to throw someone to the ground that is quite strong;<br/>If I wish it, you will die.</p>
 
| {{section|Page:Cod.1324 36v.jpg|36v-c}}
 
| {{section|Page:Cod.1324 36v.jpg|36v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 37r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_37r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 37r.png|300px|center]]
| <p>'''[33]''' <section begin="dagger 33"/>I have you, by the way that I parried;<br/>You will go to the ground against your wishes.<section end="dagger 33"/></p>
+
| <p>[33] I have you, in the way that I like;<br/>You will go to the ground against your wishes.</p>
 
| {{section|Page:Cod.1324 37r.jpg|37r-a}}
 
| {{section|Page:Cod.1324 37r.jpg|37r-a}}
  
 
|-  
 
|-  
| <p>'''[34]''' <section begin="dagger 34"/>You must just go to the ground,<br/>And you’ll make no more war with the dagger.<section end="dagger 34"/></p>
+
| <p>[34] You must simply go to the ground,<br/>And you’ll make no more war with your dagger.</p>
 
| {{section|Page:Cod.1324 37r.jpg|37r-c}}
 
| {{section|Page:Cod.1324 37r.jpg|37r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 37v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_37v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 37v.png|300px|center]]
| <p>'''[35]''' <section begin="dagger 35"/>By the pass that I do under the arm,<br/>You’ll go to the ground with much trouble.<section end="dagger 35"/></p>
+
| <p>[35] By the pass that I do under the arm,<br/>You’ll go to the ground with much trouble.</p>
 
| {{section|Page:Cod.1324 37v.jpg|37v-a}}
 
| {{section|Page:Cod.1324 37v.jpg|37v-a}}
  
 
|-  
 
|-  
|  
+
| class="noline" |  
'''[36]''' <section begin="dagger 36"/>'''THE MEASURE OF THE DAGGER'''
+
[36] '''The measure of the dagger'''
  
<p>The length of the dagger should be just to the elbow, with an edge and two corners. The grip should be the length of the fist, as the shape is shown depicted here below.<section end="dagger 36"/></p>
+
The length of the dagger should reach the elbow, with an edge and two corners. The grip  
| {{section|Page:Cod.1324 37v.jpg|37v-c}}
+
should be the width of the fist,<ref>''Sommesso'' can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.</ref> as the shape is shown depicted here below.</p>
 +
| class="noline" | {{section|Page:Cod.1324 37v.jpg|37v-c}}
  
 
|}
 
|}
Line 1,848: Line 1,804:
 
{{master begin
 
{{master begin
 
  | title = Miscellaneous Plays
 
  | title = Miscellaneous Plays
  | width = 84em
+
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | <p>Images</p>
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>{{rating|B}}<br/>by [[Guy Windsor]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
 
! <p>[[De Arte Gladiatoria Dimicandi (MS Vitt.Em.1324)|Transcription]]<br/>by [[Marco Rubboli]] and [[Luca Cesari]]</p>
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 38r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 38r.png|300px|center]]
| <p>I defend myself just as well as I can,
+
| <p>[1] I defend myself just as much as I can,<br/>As you strike I will charge at you.</p>
As you strike I will overcome you.</p>
 
 
| {{section|Page:Cod.1324 38r.jpg|38r-a}}
 
| {{section|Page:Cod.1324 38r.jpg|38r-a}}
  
 
|-  
 
|-  
| <p>As you throw, your blow will be lost;
+
| <p>[2] As you throw, the blow will for naught;<br/>I’ll beat away your weapon with a ''roverso''.</p>
I’ll beat away your weapon with a backhand blow.</p>
 
 
| {{section|Page:Cod.1324 38r.jpg|38r-c}}
 
| {{section|Page:Cod.1324 38r.jpg|38r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 38v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_38v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 38v.png|300px|center]]
| <p>I am in guard with a good forehand blow,
+
| <p>[3] I am in guard with a good ''mandritto'',<br/>As you throw at me you’ll understand the text.</p>
As you throw at me you’ll understand the text.</p>
 
 
| {{section|Page:Cod.1324 38v.jpg|38v-a}}
 
| {{section|Page:Cod.1324 38v.jpg|38v-a}}
  
 
|-  
 
|-  
|  
+
| <p>[4] Continuing the work, some dagger techniques will follow. It is necessary to consider the act, the grip, the start and the finish in order to understand the way. Knowing how clever human nature is, everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, first of the sword, the axe, the spear and the dagger.</p>
Following the work are some dagger techniques as follows. You must consider the act, the grip, the principle and the finish to understand the way. Knowing how cunning human nature is, and for everyone who is practiced in the art can understand all the actions depicted and shown in this, my little work, mainly of the sword, the axe, the spear and the dagger.
 
 
| {{section|Page:Cod.1324 38v.jpg|38v-c}}
 
| {{section|Page:Cod.1324 38v.jpg|38v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 39r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_39r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 39r.png|300px|center]]
|  
+
| <p>[5] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 39r.jpg|39r-a}}
 
| {{section|Page:Cod.1324 39r.jpg|39r-a}}
  
 
|-  
 
|-  
|  
+
| <p>[6] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 39r.jpg|39r-c}}
 
| {{section|Page:Cod.1324 39r.jpg|39r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 39v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_39v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 39v.png|300px|center]]
|  
+
| <p>[7] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 39v.jpg|39v-a}}
 
| {{section|Page:Cod.1324 39v.jpg|39v-a}}
  
 
|-  
 
|-  
|  
+
| <p>[8] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 39v.jpg|39v-c}}
 
| {{section|Page:Cod.1324 39v.jpg|39v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 40r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_40r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 40r.png|300px|center]]
|  
+
| <p>[9] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 40r.jpg|40r-a}}
 
| {{section|Page:Cod.1324 40r.jpg|40r-a}}
  
 
|-  
 
|-  
|  
+
| <p>[10] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 40r.jpg|40r-c}}
 
| {{section|Page:Cod.1324 40r.jpg|40r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 40v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_40v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 40v.png|300px|center]]
|  
+
| <p>[11] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 40v.jpg|40v-a}}
 
| {{section|Page:Cod.1324 40v.jpg|40v-a}}
  
 
|-  
 
|-  
|  
+
| <p>[12] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 40v.jpg|40v-c}}
 
| {{section|Page:Cod.1324 40v.jpg|40v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 41r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_41r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 41r.png|300px|center]]
|  
+
| <p>[13] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 41r.jpg|41r-a}}
 
| {{section|Page:Cod.1324 41r.jpg|41r-a}}
  
 
|-  
 
|-  
|  
+
| <p>[14] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 41r.jpg|41r-c}}
 
| {{section|Page:Cod.1324 41r.jpg|41r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 41v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_41v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 41v.png|300px|center]]
|  
+
| <p>[15] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 41v.jpg|41v-a}}
 
| {{section|Page:Cod.1324 41v.jpg|41v-a}}
  
 
|-  
 
|-  
|  
+
| <p>[16] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 41v.jpg|41v-c}}
 
| {{section|Page:Cod.1324 41v.jpg|41v-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 42r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_42r.jpg]]
+
| rowspan="2" | [[File:Cod.1324 42r.png|300px|center]]
|  
+
| <p>[17] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 42r.jpg|42r-a}}
 
| {{section|Page:Cod.1324 42r.jpg|42r-a}}
  
 
|-  
 
|-  
|  
+
| <p>[18] End of technique.</p>
End of the technique
 
 
| {{section|Page:Cod.1324 42r.jpg|42r-c}}
 
| {{section|Page:Cod.1324 42r.jpg|42r-c}}
  
 
|-  
 
|-  
| rowspan="2" | [[File:Cod.1324 42v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_42v.jpg]]
+
| rowspan="2" | [[File:Cod.1324 42v.png|300px|center]]
|  
+
| <p>[19] Dagger technique.</p>
Dagger technique
 
 
| {{section|Page:Cod.1324 42v.jpg|42v-a}}
 
| {{section|Page:Cod.1324 42v.jpg|42v-a}}
  
 
|-  
 
|-  
|  
+
| class="noline" | <p>[20] End of technique.</p>
End of the technique
+
| class="noline" | {{section|Page:Cod.1324 42v.jpg|42v-c}}
| {{section|Page:Cod.1324 42v.jpg|42v-c}}
 
  
 
|}
 
|}
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<section begin="sourcebox"/>{{sourcebox header}}
 
<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
  | work        = Images
+
  | work        = Illustrations
 
  | authors    = [[Biblioteca Nazionale Centrale di Roma]]
 
  | authors    = [[Biblioteca Nazionale Centrale di Roma]]
  | source link = http://commons.wikimedia.org/wiki/Category:Cod.1324
+
  | source link = http://digitale.bnc.roma.sbn.it/tecadigitale/manoscrittoantico/BNCR_Ms_VE_1324/BNCR_Ms_VE_1324/1
  | source title= WikiMedia Commons
+
  | source title= Biblioteca Digitale
  | license    = default
+
  | license    = noncommercial
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
  | authors    = [[Guy Windsor]]
+
  | authors    = [[translator::Guy Windsor]]
 
  | source link = http://www.scribd.com/doc/141095594/De-Arte-Gladiatoria-translation
 
  | source link = http://www.scribd.com/doc/141095594/De-Arte-Gladiatoria-translation
 
  | source title= The School of European Swordsmanship
 
  | source title= The School of European Swordsmanship
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== Additional Resources ==
 
== Additional Resources ==
  
* [[Philippo di Vadi|Vadi, Filippo]]. ''Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi''. Trans. Luca Porzio and Gregory Mele. Union City, CA: [[Chivalry Bookshelf]], 2002. ISBN 978-1891448164
+
{{bibliography}}
* [[Philippo di Vadi|Vadi, Filippo]]; [[Marco Rubboli|Rubboli, Marco]]; and [[Luca Cesari|Cesari, Luca]]. ''L'arte Cavalleresca del Combattimento''. Rome: [[Il Cerchio Iniziative Editoriali]], 2005. ISBN 88-8474-079-7
 
* [[Guy Windsor|Windsor, Guy]]. ''Veni Vadi Vici. A Transcription, Translation and Commentary of Philippo Vadi's De Arte Gladiatoria Dimicandi.'' The School of European Swordsmanship, 2013. ISBN 978-952-93-1686-1
 
  
 
== References ==
 
== References ==
  
{{reflist}}
+
{{reflist|2}}
 
{{DEFAULTSORT:Vadi, Philippo di}}
 
{{DEFAULTSORT:Vadi, Philippo di}}
 
{{Early Italian masters}}
 
{{Early Italian masters}}
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[[Category:Pole Weapons]]
 
[[Category:Pole Weapons]]
 
[[Category:Staff Weapons]]
 
[[Category:Staff Weapons]]
 +
 +
[[Category:New format]]

Latest revision as of 19:59, 26 January 2024

Philippo di Vadi Pisano
Born 1425
Pisa, Italy
Died 1501
Urbino, Italy (?)
Occupation Fencing master
Nationality Pisa, Italy
Ethnicity Ligurian
Citizenship Pisan
Patron Guidobaldo da Montefeltro
Influences Fiore de'i Liberi
Genres Fencing manual
Language
Notable work(s) De Arte Gladiatoria Dimicandi
Manuscript(s)
First printed
english edition
Porzio and Mele, 2002
Translations

Philippo di Vadi Pisano was a 15th century Italian fencing master. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.[1] Some time after this, Vadi composed a treatise on fencing entitled De Arte Gladiatoria Dimicandi ("On the Art of Swordsmanship"), which currently exists in at least two manuscript copies. It was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,[2] and gifted to him between 1482 and 1487,[3] but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.

Vadi was probably an initiate of the tradition of Fiore de’i Liberi, as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise Fior di Battaglia, Vadi would have had ample opportunity to study his writings.

Treatise

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. For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "Interesting information on the Vadi family (Philippo Vadi)". HEMA Alliance Forum. 06 June 2012. Retrieved 09 October 2012.
  2. Vadi, Philippo di. De Arte Gladiatoria Dimicandi [manuscript]. MS Vitt. Em. 1324. Rome, Italy: Biblioteca Nazionale Centrale di Roma, 1480s.
  3. Rubboli, Marco and Cesari, Luca. The Knightly Art of Combat of Filippo Vadi. Document circulated online.
  4. The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.
  5. The title that the manuscript is known by comes from this line of the book: de arte gladiatoria dimicandi. Dimicare means to fight in earnest against your enemies; l’arte gladiatoria is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.
  6. I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.
  7. The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.
  8. I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. E mostrallo con breve eloquenza./La geometria che divide e parte. F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.
  9. Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.
  10. This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.
  11. si tu averai nel cervel tuo sale, lit. “if you have salt in your brain”.
  12. Passi o torni, lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing accrescere and discrescere, passare and torrnare, it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.
  13. This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.
  14. This number is written out (quarto), and does not have a roman numeral in the ms, so I have written it out here.
  15. The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.
  16. Advantage of the sword is presumably length, especially in a duelling context.
  17. Lit. “You will make everyone scratch their own mange”
  18. This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.
  19. Che l’aer nostro fa spesso serena, lit. “that often makes our skies serene”.
  20. This line reads “io metterò la punta spesso a l’archo”. “I will place the thrust” is clear. Spesso a l’archo is literally “often at a bow”. But just as bistecca alla fiorentina is steak in the manner of Florence, so a l’archo can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.
  21. This means the fendente strike us. In this last stanza, rota blows are defeating volante blows; they are parrying them and returning with a fendente to the face.
  22. As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.
  23. That is, in theory and in practice.
  24. I read this to mean that when cutting, your point should remain in line (in the strada), unless you deliberately allow it to fall, to parry up from below.
  25. Tempi here is clearly ‘motions’, rather than ‘times’.
  26. This line is ambiguous; it could also read “And when a weapon finds me extended”.
  27. The word Vadi uses here is ‘inprexa’. It is the same word as the French ‘emprise’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.
  28. This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.
  29. At this point there menando, (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).
  30. A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.
  31. This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The stramazzone is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)
  32. Largo tempo, literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.
  33. Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.
  34. punto divixo: lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say poco e punto to say “a few and not at all”. So punto could be intended as affatto that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”
  35. This is indicating a vertical downwards blow.
  36. This line actually reads “Because it is closer to it”; I have expanded on it for clarity.
  37. There appears to be a correction to the text: pigliare (to grab) has been modified to pighare (to bend). Rubboli has it as the former. (51)
  38. This detailed explanation of mechanics, with the head being “connected” (atacata) to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.
  39. The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: Della finta dichiaratione (“Explanation of the feints”), which is subtitled Far vista di cavar la Spada con il nodo della mano. (“Make a feint of disengaging the sword with the wrist.”)
  40. The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.
  41. “It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a roverso from below.
  42. Mustaccio is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.
  43. The line “voltandoli atraverso” is inserted in the margin.
  44. Porzio and Mele (81) read this line as mal separa chi non na la praticha, or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe separa as one word. I read it as mal se para, or “will get into trouble”, which seems to me to fit the context better.
  45. Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of gonfaloniere, “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one gonfaloniere at a time. Guidobaldo’s father Federico was gonfaloniere from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.
  46. The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.
  47. This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.
  48. This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘carta’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.
  49. Sinestre is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.
  50. This means that the tempo is measured by dividing it into parts.
  51. These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.
  52. This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”
  53. Erased.
  54. I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
  55. ‘It’ here refers to the guard, so having struck, you recover into this position.
  56. I’m indebted to Tom Leoni for assistance with this phrase. Personal correspondence, 20 September 2016.
  57. Con la spada curta, lit. “with the short sword”. This probably refers to the sword being withdrawn, rather than using a different, shorter weapon. Cf note 91 on page XXX re the lanza curta.
  58. Per forza literally means “by force”, but is usually used in the sense of being obliged, or being constrained by fate. Because Vadi states that this is done “without difficulty”, I’ve gone with the less literal translation.
  59. Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.
  60. Per questa fiada – this expression implies “just this once”; so, “I could kill you, but just this once, I’ll disarm you instead.”
  61. Mele and Porzio (117) and Rubboli and Cesari (66) have both transcribed the last word of the first line as fora, which would be “outside”. Fora does not rhyme with botta, and the play is illustrated on the inside, not the outside, so I am confident that this is an error. I read this couplet as “Questa e una presa ch’io facio de sota/Chascar te la faro a prima botta.
  62. ‘Above’ here is relative to the opponent’s sword arm. This is in contrast to, for example, the grip held “from below” on f21v.
  63. The original text is ambiguous as to who is turning the roverso; I believe it is the player who also parries badly.
  64. The word used here is ‘impresa’, which has the connotation of emprise d'armes, or “feat of arms”.
  65. Che de ferire de ponte son pur pina.” Rubboli and Cesari transcribe the last word as purpina, which as far as I can find out doesn’t mean anything. If we allow a missing abbreviation on the stem of the second ‘p’, we have purpurina (porporino in modern Italian), which is a particularly lustrous crimson dye. I think Vadi is using it here metaphorically, to imply that this guard is the ne plus ultra of guards to thrust from.
  66. A span is the maximum distance you can make between the tip of your little finger and the tip of your thumb on one hand.
  67. This section is called Gioco de Lanza Longa, the play of the long lance. In this guard position, the lance is described as curta, short, but it is apparent from the images that the lance itself is of the normal length. So this is an instance of the grip affecting the name of the weapon; the lance is shown held with one hand near the middle. My supposition is that when the lance is held near the end, it is ‘long’, and held near the middle it is ‘short’. This is quite common; we call a quarterstaff a quarterstaff because it is held at one end, and when it is held by the middle it is ‘halfstaff’. Likewise ‘half sword’, when you grip the sword by handle and blade. Hence I have translated this as ‘shortened’, rather than ‘short’. The second lines imply that you can do this however your opponent holds their lance.
  68. It is not clear how you would “break the dagger”, but it may mean disarming the opponent, which is easily done after breaking their arm.
  69. This is a reference to giocco largo and giocco stretto. Vadi means that from here he can do whatever kind of technique he likes.
  70. Sommesso can mean the width of the fist (edge of the hand to edge of the hand), or the width of the fist with the thumb pointing up. (The latter in English is a fistmele.) Given the illustrations, and the common sizes of rondel dagger hilts in the historical record, I’ve gone with the smaller measurement.