https://wiktenauer.com/api.php?action=feedcontributions&user=Stefan+Feichtinger&feedformat=atomWiktenauer - User contributions [en]2024-03-28T20:17:15ZUser contributionsMediaWiki 1.34.2https://wiktenauer.com/index.php?title=Barbasetti&diff=131051Barbasetti2022-01-14T00:09:15Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = File:Luigi Barbasetti (1900).jpg<br />
| imagesize = 250px<br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notableworks = {{plainlist<br />
|''[[Ehren-Codex]]'' (1898)<br />
|''[[Das Säbelfechten]]'' (1899)<br />
|''[[Das Stossfechten]]'' (1900)<br />
}}<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. He was educated in fencing in Rome and Milan, afterwards he was teaching in Trieste and finally opened his own fencing school in Vienna in 1894. Barbasetti established a very favourable school in the Austro-Hungarian Empire until he was expelled from Vienna in 1915 when Italy joined World War I. He continued his teaching in Paris and later on in Verona, where he died in 1948.<br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<ref>Stefan Feichtinger, 2021. "[https://historicalfencing.at/barbasetti-and-the-ideal-human/ BARBASETTI & THE IDEAL HUMAN]".</ref><br />
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<br />
== Treatise ==<br />
<br />
<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
<br />
[[Category:Sabre]]<br />
[[Category:Epee]]<br />
[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131050Barbasetti2022-01-14T00:00:52Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = File:Luigi Barbasetti (1900).jpg<br />
| imagesize = 250px<br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notableworks = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. He was educated in fencing in Rome and Milan, afterwards he was teaching in Trieste and finally opened his own fencing school in Vienna in 1894. Barbasetti established a very favourable school in the Austro-Hungarian Empire until he was expelled from Vienna in 1915 when Italy joined World War I. He continued his teaching in Paris and later on in Verona, where he died in 1948.<br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<ref>Stefan Feichtinger, 2021. "[https://historicalfencing.at/barbasetti-and-the-ideal-human/ BARBASETTI & THE IDEAL HUMAN]".</ref><br />
<br />
<br />
== Treatise ==<br />
<br />
<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
<br />
[[Category:Sabre]]<br />
[[Category:Epee]]<br />
[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131049Barbasetti2022-01-13T23:59:09Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = File:Luigi Barbasetti (1900).jpg<br />
| imagesize = 250px<br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notable works = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. He was educated in fencing in Rome and Milan, afterwards he was teaching in Trieste and finally opened his own fencing school in Vienna in 1894. Barbasetti established a very favourable school in the Austro-Hungarian Empire until he was expelled from Vienna in 1915 when Italy joined World War I. He continued his teaching in Paris and later on in Verona, where he died in 1948.<br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<ref>Stefan Feichtinger, 2021. "[https://historicalfencing.at/barbasetti-and-the-ideal-human/ BARBASETTI & THE IDEAL HUMAN]".</ref><br />
<br />
<br />
== Treatise ==<br />
<br />
<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
<br />
[[Category:Sabre]]<br />
[[Category:Epee]]<br />
[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131048Barbasetti2022-01-13T23:55:05Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notable works = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. He was educated in fencing in Rome and Milan, afterwards he was teaching in Trieste and finally opened his own fencing school in Vienna in 1894. Barbasetti established a very favourable school in the Austro-Hungarian Empire until he was expelled from Vienna in 1915 when Italy joined World War I. He continued his teaching in Paris and later on in Verona, where he died in 1948.<br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<ref>Stefan Feichtinger, 2021. "[https://historicalfencing.at/barbasetti-and-the-ideal-human/ BARBASETTI & THE IDEAL HUMAN]".</ref><br />
<br />
<br />
== Treatise ==<br />
<br />
<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
<br />
[[Category:Sabre]]<br />
[[Category:Epee]]<br />
[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131047Barbasetti2022-01-13T23:52:47Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notable works = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. He was educated in fencing in Rome and Milan, afterwards he was teaching in Trieste and finally opened his own fencing school in Vienna in 1894. Barbasetti established a very favourable school in the Austro-Hungarian Empire until he was expelled from Vienna in 1915 when Italy joined World War I. He continued his teaching in Paris and later on in Verona, where he died in 1948.<br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<ref>Stefan Feichtinger, 2021. "[https://historicalfencing.at/barbasetti-and-the-ideal-human/]BARBASETTI & THE IDEAL HUMAN".</ref><br />
<br />
== Treatise ==<br />
<br />
<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
<br />
[[Category:Sabre]]<br />
[[Category:Epee]]<br />
[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131046Barbasetti2022-01-13T23:49:55Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notable works = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. He was educated in fencing in Rome and Milan, afterwards he was teaching in Trieste and finally opened his own fencing school in Vienna in 1894. Barbasetti established a very favourable school in the Austro-Hungarian Empire until he was expelled from Vienna in 1915 when Italy joined World War I. He continued his teaching in Paris and later on in Verona, where he died in 1948.<br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<ref>Stefan Feichtinger, BARBASETTI & THE IDEAL HUMAN. "[https://historicalfencing.at/barbasetti-and-the-ideal-human/]".</ref><br />
<br />
== Treatise ==<br />
<br />
<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
<br />
[[Category:Sabre]]<br />
[[Category:Epee]]<br />
[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131045Barbasetti2022-01-13T23:45:12Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notable works = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. He was educated in fencing in Rome and Milan, afterwards he was teaching in Trieste and finally opened his own fencing school in Vienna in 1894. Barbasetti established a very favourable school in the Austro-Hungarian Empire until he was expelled from Vienna in 1915 when Italy joined World War I. He continued his teaching in Paris and later on in Verona, where he died in 1948.<br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<br />
<br />
== Treatise ==<br />
<br />
<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
<br />
[[Category:Sabre]]<br />
[[Category:Epee]]<br />
[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131044Barbasetti2022-01-13T23:38:11Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notable works = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. After his <br />
<br />
Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.<br />
<br />
The treatise discusses the sword alone and the sword and dagger, and appears to develop the ideas presented by [[Salvator Fabris]] and [[Ridolfo Capoferro]]. Specifically: Ceresa describes a passing play from out of measure, reminiscent of the ''andare di risolutione'' from Fabris’ Book II, although Ceresa employs ''quarta'' as opposed to the ''terza'' preferred by Fabris; and Ceresa nominates a fifth and sixth guard (in addition to the usual four) which appear to correspond to these guards as presented by Capoferro.<br />
== Treatise ==<br />
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== Additional Resources ==<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
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__FORCETOC__<br />
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[[Category:Masters]]<br />
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[[Category:Italian]]<br />
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[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Barbasetti&diff=131043Barbasetti2022-01-13T23:32:22Z<p>Stefan Feichtinger: Created page with "{{Infobox writer | name = name::Luigi Barbasetti | image = | imagesize = | caption = | pseudonym = |..."</p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Luigi Barbasetti]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 21.02.1859<br />
| birthplace = Cividale del Friuli<br />
| deathdate = 31.03.1948<br />
| deathplace = Verona<br />
| resting_place = <br />
| occupation = [[Fencing master]]{{#set:occupation=Fencing master}}<br />
| language = [[language::Italian]]<br />
| nationality = Italian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = Scuola Magistrale di Scherma<br />
| patron = <br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notable works = ''[[Das Säbelfechten]]'' (1899)<br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = {{plainlist<br />
| [[Guiseppe Radaelli]]<br />
| [[Masaniello Parise]]<br />
}}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = <br />
| below = <br />
}}<br />
'''Terenziano Ceresa''' was a [[century::17th century]] [[nationality::Italian]] [[fencing master]]. Little is known about his life, although he describes himself as a native of Parma, and was nicknamed “The Hermit”, apparently due to his disdain for social contact. He appears to have been active in Ancona, where his treatise was published and where his patron resided.<br />
<br />
In 1641, he published a treatise on fencing “more from the insistence of patrons than the impulse of my nature, inimical to the presses” entitled ''[[L'Esercizio della spada regolato con la perfetta idea della scherma (Terenziano Ceresa)| L'Esercizio della spada regolato con la perfetta idea della scherma]]'' ("The Practice of the Sword Governed by the Perfect Conception of Fencing"), dedicated to his patron and student Tommaso Palunci, a nobleman from Ancona.<br />
<br />
The treatise discusses the sword alone and the sword and dagger, and appears to develop the ideas presented by [[Salvator Fabris]] and [[Ridolfo Capoferro]]. Specifically: Ceresa describes a passing play from out of measure, reminiscent of the ''andare di risolutione'' from Fabris’ Book II, although Ceresa employs ''quarta'' as opposed to the ''terza'' preferred by Fabris; and Ceresa nominates a fifth and sixth guard (in addition to the usual four) which appear to correspond to these guards as presented by Capoferro.<br />
== Treatise ==<br />
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<br />
<br />
== Additional Resources ==<br />
<br />
<br />
== References ==<br />
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{{reflist}}<br />
{{DEFAULTSORT:Barbasetti, Luigi}}<br />
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__FORCETOC__<br />
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[[Category:Masters]]<br />
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[[Category:Italian]]<br />
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[[Category:Sabre]]<br />
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[[Category:Foil]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Salvator_Fabris&diff=131042Salvator Fabris2022-01-13T23:22:28Z<p>Stefan Feichtinger: </p>
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<div>{{Infobox writer<br />
| name = [[name::Salvator Fabris]]<br />
| image = File:Saltavor Fabris.jpg<br />
| imagesize = 200px<br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 1544<br />
| birthplace = Padua, Italy<br />
| deathdate = 11 Nov 1618 (aged 74)<br />
| deathplace = Padua, Italy<br />
| resting_place = <br />
| occupation = {{plainlist<br />
| [[occupation::Assassin]] (?)<br />
| [[Fencing master]]{{#set:occupation=Fencing master}}<br />
}}<br />
| language = [[Italian]]{{#set:language=Early New High German|language=French|language=Italian}}<br />
| nationality = [[Italian]]<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = University of Padua (?)<br />
| patron = {{plainlist<br />
| Christianus IV of Denmark<br />
| Johan Frederik of Schleswig-<br/>Holstein-Gottorp<br />
}}<br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notableworks = ''[[Scienza d’Arme (Salvator Fabris)|Scienza d’Arme]]'' (1606)<br />
| manuscript(s) = {{plainlist<br />
| [[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868.4040]] (1601)<br />
| [[La Scientia della Spada (MS KB.73.J.38)|MS KB.73.J.38]] (1600-1609)<br />
| [[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|MS Dresd.C.94a]] (ca. 1635)<br />
}}<br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = <br />
| influenced = {{plainlist<br />
| [[Sebastian Heußler]]<br />
| [[Hans Wilhelm Schöffer von Dietz]]<br />
}}<br />
| awards = ''Supremus Eques'' of the Order of the Seven Hearts<br />
| signature = <br />
| website = <br />
| translations = {{collapsible list<br />
| {{Czech translation|http://jentak.sandbox.cz/doku.php/knihy/fabris|1}}<br />
| {{Hungarian translation|http://www.middleages.hu/magyar/harcmuveszet/vivokonyvek/fabris.php|1}}<br />
}}<br />
| below = <br />
}}<br />
'''Salvator Fabris''' (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – [[century::17th century]] [[nationality::Italian]] knight and [[fencing master]]. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.{{cn}} The French master [[Henry de Sainct Didier]] recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s.<ref>[[Henry de Sainct Didier|Didier, Henry de Sainct]]. ''[[Les secrets du premier livre sur l'espée seule (Henry de Sainct Didier)|Les secrets du premier livre sur l'espée seule]]''. Paris, 1573. pp 5-8.</ref> In the 1580s, Fabris corresponded with Christian Barnekow, a Danish nobleman with ties to the royal court as well as an alumnus of the university.<ref name="Leoni">[[Salvator Fabris|Fabris, Salvator]] and Leoni, Tom. ''Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606''. Highland Village, TX: [[Chivalry Bookshelf]], 2005. pp XVIII-XIX.</ref> It seems likely that Fabris traveled a great deal during the 1570s and 80s, spending time in France, Germany, Spain, and possibly other regions before returning to teach at his alma mater.{{cn}} <br />
<br />
It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as ''Supremus Eques'' ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.<ref>[[Salvator Fabris|Fabris, Salvator]] and Leoni, Tom. ''Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606''. Highland Village, TX: [[Chivalry Bookshelf]], 2005. p XXIX.</ref> It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership.<br />
<br />
Fabris' whereabouts in the 1590s are uncertain, but there are rumors. In 1594, he may have been hired by King Sigismund of Poland to assassinate his uncle Karl, a Swedish duke and competitor for the Swedish crown. According to the story, Fabris participated in a sword dance (or possibly a dramatic play) with a sharp sword and was to slay Karl during the performance when the audience was distracted. (The duke was warned and avoided the event, saving his life.)<ref>Andersson, Henrik. ''[http://www.thearma.org/essays/Fabris_the_Assassin.htm Salvator Fabris as a Hired Assassin in Sweden].'' [[Association for Renaissance Martial Arts]]. Retrieved 2011-12-18.</ref> In ca. 1599, Fabris may have been invited to England by noted playwright William Shakespeare to choreograph the fight scenes in his premier of ''Hamlet''.<ref>[[Barbasetti]], Luigi. ''Fencing Through the Ages''.{{incomplete citation}}</ref><ref name="Leoni"/> He also presumably spent considerable time in the 1590s developing the [[fencing manual]] that would guarantee his lasting fame.<br />
<br />
What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled ''Scientia e Prattica dell'Arme'' ([[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|GI.kgl.Saml.1868 4040]]).<ref name="Leoni"/><br />
<br />
In 1601, Fabris was hired as chief [[rapier]] instructor to the court of Christianus IV, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title ''Sienza e Pratica d’Arme'' ("Science and Practice of Arms") or ''De lo Schermo, overo Scienza d’Arme'' ("On Defense, or the Science of Arms"). Christianus funded this first edition and placed his court artist, [[Jan van Halbeeck]], at Fabris' disposal to illustrate it; it was ultimately published in Copenhagen on 25 September 1606.<ref name="Leoni"/><br />
<br />
Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo.<br />
<br />
The importance of Fabris' work can hardly be overstated. Versions of his treatise were reprinted for over a hundred years, and translated into German at least four times as well as French and Latin. He is almost universally praised by later masters and fencing historians, and through the influence of his students and their students (most notably [[Hans Wilhelm Schöffer]]), he became the dominant figure in German fencing throughout the 17th century and into the 18th.<br />
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== Treatise ==<br />
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{{master begin<br />
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! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p><br />
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p><br />
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p><br />
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
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{{master subsection begin<br />
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{| class="master"<br />
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! <p>Illustrations<br/>from the 1601</p><br />
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! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p><br />
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p><br />
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p><br />
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}<br/>Transcribed by [[Alex Kiermayer]]</p><br />
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|}<br />
{{master subsection end}}<br />
<br />
{{master subsection begin<br />
| title = Second Part - Of Sword and Dagger<br />
| width = 100%<br />
}}<br />
{| class="master"<br />
|- <br />
! <p>Illustrations<br/>from the 1601</p><br />
! <p>Illustrations<br/>from the 1606</p><br />
! <p>{{rating}}<br/></p><br />
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p><br />
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p><br />
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p><br />
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p><br />
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| <p><small>[113r]</small> {{gold|b=1|V}}edeßi qui una ferita di seconda sopra il pugniale qual’è contra una mano voltata verso la quarta, & è avenuta, per’che quello che á ferito era nella terza sopra il piece manco & á finto di ferire sotto il braccio del’pugniale inemico, & questo abbaßato la mano di eßo per’parare, & si è cacciato nel’mezo delle arme á ferire di meza quarta, & quello che á fatto la finta appreßo quel’tempo cavando sopra detto pugniale voltando la mano in seconda, appoggiando il pugniale alla nemica ponta schorrendo il filo di eßa è paßato con il piede dritto tanto innanzi, Come si vede, per’che la detta quardia porta con se tal’ragione; potrebbe anchor’eßer’stato che questo, che era nel’piede manco sia andato á ritrovare, la nemica di dentro, la qual’doveva eßere in terza & quello averà cavato per’non lasciarsi occupare mà ferire in quel’tempo, & questo in quel’medesimo punta á cavato anchora lui di seconda, & posto il pugniale alla nemica che veniva á ferire & è paßato di piedi dritto dove è arrivato innanzi che quello, che aveva pri= <small>[114v]</small> ma fatto la distesa di terza abbi potuto fenire di voltare la mano in quarta.</p><br />
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{{master subsection end}}<br />
<br />
{{master subsection begin<br />
| title = Third Part - Of Sword and Cape<br />
| width = 100%<br />
}}<br />
{| class="master"<br />
|- <br />
! <p>Illustrations<br/>from the 1601</p><br />
! <p>Illustrations<br/>from the 1606</p><br />
! <p>{{rating}}<br/></p><br />
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p><br />
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p><br />
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p><br />
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p><br />
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{{master subsection end}}<br />
{{master end}}<br />
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{{master begin<br />
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{{master subsection begin<br />
| title = First Part - On Proceeding with Resolution<br />
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{| class="master"<br />
|- <br />
! <p>Illustrations<br/>from the 1601</p><br />
! <p>Illustrations<br/>from the 1606</p><br />
! <p>{{rating}}<br/></p><br />
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p><br />
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p><br />
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p><br />
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p><br />
! <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p><br />
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{{master subsection end}}<br />
<br />
{{master subsection begin<br />
| title = Second Part - On Proceeding with Resolution with Sword and Dagger<br />
| width = 100%<br />
}}<br />
{| class="master"<br />
|- <br />
! <p>Illustrations<br/>from the 1601</p><br />
! <p>Illustrations<br/>from the 1606</p><br />
! <p>{{rating}}<br/></p><br />
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p><br />
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p><br />
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p><br />
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p><br />
! <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p><br />
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{| class="master"<br />
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! <p>Illustrations<br/>from the 1601</p><br />
! <p>Illustrations<br/>from the 1606</p><br />
! <p>{{rating}}<br/></p><br />
! <p>[[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype]] (1601)<br/></p><br />
! <p>[[Scienza d’Arme (Salvator Fabris)|Archetype]] (1606){{edit index|Scienza d’Arme (Salvator Fabris) 1606.pdf}}<br/>Transcribed by [[Michael Chidester]]</p><br />
! <p>[[La Scientia della Spada (MS KB.73.J.38)|Copenhagen Version]] (1600-1609){{edit index|La Scientia della Spada (MS KB.73.J.38)}}<br/>Transcribed by [[Reinier van Noort]]</p><br />
! <p>[[Fechtkunst aus dem Italienischen (MS Dresd.C.94a)|Munich Version]] (ca. 1635){{edit index|Fechtkunst aus dem Italienischen (MS Dresd.C.94a)}}</p><br />
! <p>German Translation (1677){{edit index|Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf}}</p><br />
! <p>French Translation (1644){{edit index|Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf}}</p><br />
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{{master begin<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Illustrations<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = [[Scientia e Prattica dell'Arme (GI.kgl.Saml.1868.4040)|Prototype Transcription]] (1601)<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = [[Scienza d’Arme (Salvator Fabris)|Archetype Transcription]] (1606)<br />
| authors = [[Michael Chidester]]<br />
| source link = <br />
| source title= [[Index:Scienza d’Arme (Salvator Fabris) 1606.pdf|Index:Scienza d’Arme (Salvator Fabris) 1606]]<br />
| license = nonprofit<br />
}}<br />
{{sourcebox<br />
| work = {{nowrap|''[[La Scientia della Spada (MS KB.73.J.38)|La Scientia della Spada]]'' (1600-1609)}}<br />
| authors = [[Reinier van Noort]]<br />
| source link = http://www.bruchius.com/docs/La%20Scien%20della%20Spada%20-%20Transcription%20by%20RvN.pdf<br />
| source title= School voor Historische Schermkunsten<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = French Translation (1619)<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2 1619.pdf|Index:Escrime Novvelle ou Theatre (Salvator Fabris) Book 2]]<br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = German Translation (1677)<br />
| authors = [[Alex Kiermayer]]<br />
| source link = <br />
| source title= [[Index:Sienza e pratica d’arme (Johann Joachim Hynitzsch) 1677.pdf|Index:Sienza e pratica d’arme (Johann Joachim Hynitzsch)]]<br />
| license = copyrighted<br />
}}<br />
{{sourcebox footer}}<br />
<br />
'''Additional Transcription Note (MS KB.73.J.38):''' Copyright 2010 by Reinier van Noort. Subject to Fair Use. Users may, without further permission, display, save, and print this work for personal, non commercial use, provided that the copyright notice is not severed from the work. Libraries may store this material and non-commercially redistribute it to their patrons in electronic or printed form for personal, non-commercial use, provided that the copyright notice is not severed from the work.<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Additional Resources ==<br />
<br />
<br />
* [[Salvator Fabris|Fabris, Salvator]] and Leoni, Tom. ''Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606''. <br />
** First Edition: Highland Village, TX: [[Chivalry Bookshelf]], 2005. ISBN 1-891448-23-4<br />
** Second Edition: Self-published, 2016.<br />
* [[Salvator Fabris|Fabris, Salvator]] and [[Eugenio Garcia-Salmones|Garcia-Salmones, Eugenio]]. ''La esgrima o la ciencia de las armas: Libro primero, 1606''. [[Editorial Sacauntos]], 2010. ISBN 978-84-937207-8-0 <br />
* [[Salvator Fabris|Fabris, Salvator]] and [[Eugenio Garcia-Salmones|Garcia-Salmones, Eugenio]]. ''La esgrima o la ciencia de las armas: Libro segundo, 1606''. [[Editorial Edizer]], 2011. ISBN 978-84-938120-8-9<br />
<br />
== References ==<br />
<br />
{{reflist|2}}<br />
{{DEFAULTSORT:Fabris, Salvator}}<br />
{{Early Italian masters}}<br />
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[[Category:Masters]]<br />
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[[Category:Translation]]<br />
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[[Category:Dagger]]<br />
[[Category:Rapier]]<br />
[[Category:Rapier and Cloak]]<br />
[[Category:Rapier and Dagger]]<br />
[[Category:Staff Weapons]]<br />
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[[Category:New format]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Ragione_di_adoprar_sicuramente_l%27Arme_(Giacomo_di_Grassi)_1570.pdf/12&diff=126870Page:Ragione di adoprar sicuramente l'Arme (Giacomo di Grassi) 1570.pdf/122021-06-11T14:05:35Z<p>Stefan Feichtinger: /* Proofread */</p>
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<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude><section begin="1"/>sta mia opera, nella qual mi sforzo di insegnare il modo di adoprar tutte le forte d'armi con auantaggio & sicuramente: la qual, perche trouerà i cuori uostri pieni di ualore, produrrà tal frutto, essendo una uolta letta con attentione, che nelle Signorie Vostre si uedrà quello in fatto, che in altrui à gran pena con l'imaginatione si comprende. Et io che sono stato & son ardentissimo di seruirle, non mi essendo stato concesso per molti suoi affari, di affaticarmi in esercitarle come era il desiderio mio, haurò con quest’altra uia lasciato ne i nobilissimi animi uostri impresso tutto quello che può in quest'honorato essercitio ridurre un'huomo ualoroso a perfettione.<section end="1"/> <section begin="2"/>Supplico dunque le Signorie uostre, che con quell'animo liberale, che accettorono me, riceuano questa mia fatica, havendola in quella protettione che io ho sempre hauuto & haurò il chiarissimo honor delle Signorie uostre: che se io conoscerò questo mio primiero parto, si come io l'ho solamente per giouare & insegnare publicato, sia di uniuersale sodisfattione, mi sforzerò in un'altro, & fra poco tempo, insegnare il modo di adoprar a cauallo tutte quelle sorti d'armi, che qui s'insegnano a piede, & dell'altre ancora. Di Venetia, adi 8. Marzo. 1570.<br />
<br />
Di VV. SS. Seruitor Affettionatissimo<br />
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:Giacomo di Grassi<br/>da Modena.<section end="3"/><noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Ragione_di_adoprar_sicuramente_l%27Arme_(Giacomo_di_Grassi)_1570.pdf/11&diff=126869Page:Ragione di adoprar sicuramente l'Arme (Giacomo di Grassi) 1570.pdf/112021-06-11T13:45:10Z<p>Stefan Feichtinger: /* Proofread */</p>
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<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude><section begin="1"/>'''ALLI MOLTO MAG. SIGNORI''' ''Il Sig. Camillo, il Sig. Fabritio, il Sig. Girolamo, già del S. Luigi, il S. Liberale, l'uno & l'altro, S. Luigi Renaldi. Il S. Alberto Onigo, il S. Antonio Bressa, il S. Branca Scolari, il Sig. Lione Bosso, il Sig. Giacomo Sugana, il Sig. Bonsembiante, Onigo, già del Sig. Cavallier, il Sig. Ascanio Federici, il Sig. Agostino Bressa, miei Signori Osseruandissimi.''<section end="1"/><br />
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<section begin="2"/>'''F'''RA TVTTI i preghi che io per tut to il corso della mia uita ho chiesti a Dio maggiori, di quest'uno l'ho sempre caldamente supplicato. Che quan tunque io mi troui per hora in assai debbole & bassa fortuna, egli nondimeno mi conceda gratia di potermi mostrare grato & cortese de' fauori & beneficii riceuuti. Parendomi che fra tutte le brutture, nelle quali puote l'huomo incorrere in questo mondo, niuna ue ne sia, che piu odioso lo faccia, & inimico a' mortali, & a Dio istesso, che la ingratitudine. Onde essendo io stato dalle Signorie Vostre raccolto in Treuiso, & cortese & honora-tamente trattato da tutti, come che io poco o nulla mi a-doprassi in insegnarle la ragion dell'armi, a che ero da quel-le con honorato stipendio condotto, per dimostrar in parte la gratitudine dell'animo mio, ho deliberato donarle que-<section end="2"/><sub>sta mia</sub><noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Cod.Guelf.1.6.3_Aug.2%C2%BA_063r.png&diff=120649Page:Cod.Guelf.1.6.3 Aug.2º 063r.png2020-12-16T19:38:41Z<p>Stefan Feichtinger: /* Proofread */</p>
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<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /></noinclude>Turnierer zu, Roß Inn schimpf unnd Ernst, zu brauchenn.<noinclude></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:VAULT_Case_MS_Fol.U.423.792_14v.png&diff=120648Page:VAULT Case MS Fol.U.423.792 14v.png2020-12-16T19:37:11Z<p>Stefan Feichtinger: /* Proofread */</p>
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<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude><noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Cod.1324_31v.png&diff=120647Page:Cod.1324 31v.png2020-12-16T19:36:44Z<p>Stefan Feichtinger: /* Proofread */</p>
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<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude><section begin="31v-a"/>S’io carco la daga verso terra<br/>Con quella non me farai più guerra<section end="31v-a"/><br />
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<section begin="31v-c"/>Qui cerco la tua man per lei feri(ri)<br/>Sotto la chiave te farò veniri<section end="31v-c"/><noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107967Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:42:24Z<p>Stefan Feichtinger: /* Treatise */</p>
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<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
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== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
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== Treatise ==<br />
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{{master begin<br />
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{| class="floated master"<br />
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! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
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|- <br />
| <br />
| <p>[p. 2]<br/>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 3]<br/>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 4]<br/>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 5]<br/>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 6]<br/>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 7]<br/>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 8]<br/>Il tramazzon riuerso se ben scritto<br/><br />
Et fatto meglio poi sarà con l’arte<br/><br />
Col tempo l’un, e l’altro fan profitto.<br/><br />
Col taglio retto calasi alla parte<br/><br />
Vicina al piede, et poi di falso dritto<br/><br />
Sbiassio si monta, alla pur dritta parte<br/><br />
Facendo anco di sbiassio il suo man dritto<br/><br />
E perche questi ancor siano migliori<br/><br />
Voltisi il pugno, et lo braccio stia fitto.<br/><br />
Con questi si di dentro, et si di fuori<br/><br />
Se ne piglia il vantaggio dal qual poi<br/><br />
eNe vien gran frutti, se questi son fiori.<br/><br />
Dunque sonore Muse pare à voi.<br/><br />
Ch’habbiamo satisfatto alla proposta<br/><br />
Che dal principio fù già fatta a noi.<br/><br />
Et che gir ne possiamo à nostra posta<br/><br />
A ritrouar colei dal ner vestito<br/><br />
Qual tanto tempo ci è stata discosta<br/><br />
Calliopè posesi alla bocca il dito<br/><br />
Et diße poi à Tersicore, e à Thalia<br/><br />
O sian burlate, ò costui è stordito<br/><br />
Non si ricorda nella nella diceria<br/><br />
Fattaci’pria hauerci nominate<br/><br />
Il taglio, e’l falso con la punta ria.<br/><br />
Ond’io perdon chiedendo ingenochiato<br/><br />
Dißi che questo procedea da Amore<br/><br />
Che sol pensando in lui m’era scordato:<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 9]<br/>Et volendo allegar per autore<br/><br />
Della sacra scrittura quel bel paßo<br/><br />
Che mal si serue à piu d’vno Signore;<br/><br />
Dissero in bisbiglio con tuon baßo<br/><br />
Perdoniamo à costui con patto tale<br/><br />
Ch’egli ritorni al derelitto paßo,<br/><br />
Et che per penitenza di tal male<br/><br />
Creanza vsata, con gran giuramento<br/><br />
Lo facciamo obbligar in modo tale;<br/><br />
Che per l’adietro egli ogni auuertimento<br/><br />
Che sia importante in questa nobil arte<br/><br />
Farci in verso palese sia contento.<br/><br />
Tal ch’io piangendo trattomi da parte<br/><br />
Ne sapendo rimedio alcun pigliare<br/><br />
Sol mi ricomandauo allo Dio Marte.<br/><br />
Pregandol che mi fesse perdonare<br/><br />
(Promettendo per me) l’error commeßo<br/><br />
Che quanto à lor piacea volea oßeruare<br/><br />
Ond’egli vscito da quel cauo fesso<br/><br />
Della fucina del fabro Vulcano<br/><br />
Venere hauendo, et Cupido con esso.<br/><br />
Tutti tre mi pigliarono per mano<br/><br />
Et mi condußer doue eran le Muse<br/><br />
Al dolce mormorio suaue, et piano.<br/><br />
Allegando per me debite scuse<br/><br />
Venere bella, et suo figliuol Cupido<br/><br />
Restanodo tutte intente a bocche chiuse<br/><br />
''B Dicen-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 10]<br/>Dicendo questo è quel seruo sì fido<br/>Del caro amante mio qual già molt’anni<br />
L’hà seguitato per monte, et per lido.<br/><br />
Et s’io col mio figliuolo i primi vanni<br/><br />
Non li tarpauo già saria salito<br/><br />
Per l’opre sue vicino à gl’alti scanni.<br/><br />
Per le cui questo fatto tanto ardito<br/><br />
Voluto hà contrastar con mio figliolo<br/><br />
Per cinque lustri, e il sesto non finito.<br/><br />
Oprando l’arte di difesa solo<br/><br />
In tempo tal, et si saria difeso<br/><br />
Ancor di più, ond’io sdegnata il volo.<br/><br />
Feci drizzar à i dolci cigni, et teso<br/><br />
Ch’io gl’hebbi de capelli vn laccio carco<br/><br />
Mi ritirai, et viddi star sospeso<br/><br />
Cupido in man tenendo i Strali, e l’Arco<br/><br />
Fingendo di ferirlo hor alto, hor baßo<br/><br />
Hor dentro, hor fuor, ne mai trouaua il varco.<br/><br />
Perche costui s’era fermo con paßo<br/><br />
Non longo, o largo, et solo intento staua<br/><br />
Di non errar, et s’enpigliaua [s]passo.<br/><br />
Hor mentre il mio figliuol tondo il giraua<br/><br />
Et questo sol girando vn de suoi piedi<br/><br />
Diede nel laccio che nascosto staua.<br/><br />
E inuiluppato cadde, et io ti credi<br/><br />
Li dissi di poter meco contendere<br/><br />
Sai pur ch’io non son putto come vedi.<br/><br />
''Ond’egli''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 11]<br/>Ond’egli diße hor à te voglio cedere<br/><br />
Et al tuo sesso, ma non à tuo figlio<br/><br />
Ne meno à quelli che son del suo genere.<br/><br />
Cupido all’hor li volea dar di piglio<br/><br />
Et io li dißi non che è mio prigione,<br/><br />
Et cosi lo cauai d’vn tal periglio.<br/><br />
Onde di poi per tal occasione<br/><br />
Costui diuotamente m’hà seruito<br/><br />
Ponendo l’arte sua in obliuione.<br/><br />
Dunque Muse mie care s’hà fallito<br/><br />
Per questa volta vò gli perdoniate,<br/><br />
Et tanto più perch’egli n’è pentito.<br/><br />
Fatel vi prego, fatel se mi amate<br/><br />
Ch’io lo riceuerò per gran fauore<br/><br />
Et ne terrò memoria alle giornate.<br/><br />
Voglio che li facciate anco vn fauore<br/><br />
Che monti sopra il Pegaso Cauallo<br/><br />
Che far quest’arte ancor li dona il core.<br/><br />
Et vi aßicuro che non farà fallo<br/><br />
Sotto di lui che à tempo nol correga<br/><br />
Et poi l’aiuterà col suo interuallo.<br/><br />
Et in tal modo fatta fù la trega<br/><br />
Tra lui, e le Muse, et d’vn salto leggiero<br/><br />
Montò sopra il Caual che non si piega.<br/><br />
Ma pria vols veder come è douero<br/><br />
Se staua la sua briglia al proprio loco<br/><br />
Et se le cigne feano il suo douero.<br/><br />
''B 2 Marte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 12]<br/>Marte che volontier mira tal gioco<br/><br />
Gli mise di sua man gl’acuti sproni<br/><br />
Fatti, e temprati di Vulcano al foco,<br/><br />
Quai donati gli hauea perfetti, e buoni<br/><br />
Sua dolce amante, ch’al zoppo marito<br/><br />
Li hauea rubbati mentre facea i tuoni.<br/><br />
Cosi costui vedendosi fornito<br/><br />
Di ciò li fea mestier, ch’ancor Cupido<br/><br />
Per verga d’vn suo stral l’hauea seruito<br/><br />
Al cenno di colei che in Papho, e in Gnido<br/><br />
Era adorata, ch’ei sempre in eterno<br/><br />
L’hauria tenuto suo nemico infido<br/><br />
In ciò concorse anco il voler superno<br/><br />
Hauendo il nome d’vn suo figlio anch’esso<br/><br />
Et così questi due la pace ferno.<br/><br />
La qual poi fatta eßendosi d’appreßo<br/><br />
Ridutti in vn le Muse con li Dei<br/><br />
Dal lato destro in vn luogo rimeßo<br/><br />
All’hor Vener li disse hora se sei<br/><br />
Qual hò detto à costor facendo quanto<br/><br />
Dando principio à quel che tu far dei<br/><br />
Ond’ei per vbidir hauendo in tanto<br/><br />
Accomodate staffe, et i vestimenti<br/><br />
Si moße con l’andar suaue tanto.<br/><br />
Poi con passi eleuati, e più eminenti<br/><br />
Con un trotto disciolto, e con gagliardo<br/><br />
Galoppo, e al correr dietro laßa i venti.<br/><br />
''Indi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 13]<br/>Indi con salti fa vedere vn Pardo<br/><br />
Iusti agruppati, con i calci, ò senza<br/><br />
Facendolo parar leggiero ò tardo.<br/><br />
Et indi poi ch’à maneggiar comenza<br/><br />
Presto, et sicuro all’vna, et l’altra parte<br/><br />
Hor con la volta intiera, hor con la menza<br/><br />
Hor contra tempo, hor con tempo comparte.<br/><br />
Il mezo tempo, e à tempo le pesate<br/><br />
Con Capriol che ne stupisce Marte.<br/><br />
Et se tal volta fuor delle pedate<br/><br />
Per sorte scappa subito corretto<br/><br />
Iusto ne vien da contro speronate<br/><br />
[right edge: Le sei cosesono.<br/><br />
mano, voce, briglia, staffe, polpa, e speroni.]<br/><br />
Tal che l’animal docile è costretto<br/><br />
Sentendo anco l’aiuto della mano<br/><br />
Et d’altri cinque à giocar destro, e netto<br/><br />
Hor lo fa gir da vn lato con la mano<br/><br />
Destra se˜pre alta, et col sinistro sprone<br/><br />
A tempo il batte sino al cambiar mano.<br/><br />
Quale al sentir dello destro sprone<br/><br />
Subito vien ad alzar la man stanca<br/><br />
Verso doue si volta vdite come.<br/><br />
Inanzi indietro, à man dritta, à man manca<br/><br />
Lo fa si giusto andar piano, ò veloce<br/><br />
Hor basso, hor alto, che nulla le manca.<br/><br />
Poi si dispicca, et con voce più atroce<br/><br />
Lo fa leuar in aria à vn passo e vn salto<br/><br />
Con calci, ò senza ond’ei par più feroce.<br/><br />
''Indi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 14]<br/>Indi al galoppo lo fa gir pur alto<br/><br />
In giro tal dall’vna, et l’altra mano<br/><br />
Che lo fa rodoppiar di passo, et salto<br/><br />
Poi lo riduce cosi giusto, e piano<br/><br />
Che lo fa radoppiar, hor terra terra<br/><br />
Hor basso, hor alto à l’vna, e l’altra mano.<br/><br />
Ne pensate però che costui erra<br/><br />
In castigo, in aiuto, e à tempo ancora<br/><br />
Li fa carezze, et lo tien fermo in terra<br/><br />
Per farli racquistar tutte in vn hora<br/><br />
Le forze perse pel continuo moto<br/><br />
Li leua di sua mano il sudor fora.<br/><br />
Hora parendo à tutti eßerli noto<br/><br />
Il di costui valor lieti, e contenti<br/><br />
Li feron cenno ch’ei fermaße il moto.<br/><br />
Indi poi al mormorio con dolci accenti<br/><br />
Tutti tornaron verso la fontana<br/><br />
E al di costui smontar stauano intenti.<br/><br />
Quale arriuato con voce soprana<br/><br />
Diße; Signori, io son quel pouerello<br/><br />
Che sperso capitai à sta fontana.<br/><br />
Non più risposer tutti, tu sei quello<br/><br />
Ti cognosciamo tutte ad vna ad vna<br/><br />
E te accettiam per figlio, e per fratello.<br/><br />
E faremo per te fede ciascuna<br/><br />
A chi si sia, che lo voglia sapere,<br/><br />
Ch’vn’altro te non è sotto la luna.<br/><br />
''Per-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 15]<br/>Perche ambe due quest’arte poßedere<br/><br />
Ad altro fino à qui non habbiam visto<br/><br />
Et non crediam che si possa vedere.<br/><br />
Ma in vero tu ne fai si poco acquisto<br/><br />
Et si poco le stimi, e ne fai parte<br/><br />
Tanto ad vn buono, quanto che ad vn tristo.<br/><br />
Et perche tu non le insegni con arte<br/><br />
Come fan gl’altri, fingendo tal volta<br/><br />
Et bene speßo, non voglion pagarte.<br/><br />
Et cosi di arricchir la via t’è tolta,<br/><br />
Et sempre restarai vn poueretto<br/><br />
Vedi tua forza hormai ch’indietro è volta.<br/><br />
Rispose egli; cognosco con effetto<br/><br />
Eßer la verità più che non dite<br/><br />
E in ciò d’hauer il torto io mi rimetto.<br/><br />
Et dico per fuggir querele, e lite<br/><br />
Che sempre questa professione hò fatto<br/><br />
Di non prezzar ne Oro, ne Margarite.<br/><br />
E cosi liber son vissuto à fatto,<br/><br />
E tal spero morir, ne sono auaro,<br/><br />
Et godo di giocare à scacco matto<br/><br />
Più ch’altro gioco, et ho più presto à caro.<br/><br />
Di far seruitio ad altri, che riceuerlo,<br/><br />
Se bene speßo alle mie spese imparo.<br/><br />
Et se ben ciò par forte ad altri crederlo<br/><br />
A me poco m’importa chi m’el creda,<br/><br />
Et se piace ad alcuno io vò tacerlo;<br/><br />
''Basta''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 16]<br/>Bastami sol che in cortesia non ceda<br/><br />
Ad alcun se ben cedo di ricchezza<br/><br />
A tanti, e tanti, et so d’onde proceda.<br/><br />
Lo vò pur dir chi la virtù non prezza<br/><br />
Meno la paga, et chi la stima poi<br/><br />
La vende non, ma dà per gentilezza.<br/><br />
Et di qui vien che molti tra di noi<br/><br />
Poco ne impara, et ci consuma gl’anni<br/><br />
E li danari, et se ne penton poi<br/><br />
Dunque Cupido rendimi i miei vanni<br/><br />
Accio possa io salir con l’opra<br/><br />
Doue occupan color sublimi scanni.<br/><br />
Et tu madre d’Amor Venere pia<br/><br />
Poi che son tuo prigion libero fammi<br/><br />
O fà men cruda la Padrona mia.<br/><br />
O tu del quinto Ciel tal forza dammi<br/><br />
Che senza vanni, et senz’altra padrona<br/><br />
Quieti meni al fin miei deboli anni,<br/><br />
Ne ti pensar giamai ch’io t’abbandona<br/><br />
Se ben debil à piè seguir non posso<br/><br />
Et men non hò chi Caualli mi dona.<br/><br />
Non mai sarò si vil d’animo, et scosso<br/><br />
Che con la mente sempre io non procura<br/><br />
Di farti far quanto più honore posso<br/><br />
Et se ben altri mie virtù non cura<br/><br />
Et io curerò men li lor denari<br/><br />
Et pur viurommi con mia sorte dura<br/><br />
''Fammi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 17]<br/>Fammi gratia Signor che quei che auari<br/><br />
Saran verso di mè se ben li insegno<br/><br />
Con tanta pura fè, che meno impari,<br/><br />
Vemp’è hormai di ridur mio scorso legno<br/><br />
Nel port, et di tramar l’ordita tela<br/><br />
Hauendo data la mia fè per pegno.<br/><br />
Acciò falso io non paia con la vela<br/><br />
Gonfia di falsi vengo à riparlare<br/><br />
Poi che non vi è più cosa che mel cela.<br/><br />
Dunque Muse vi hauete à ricordare<br/><br />
Ch’io interlaßando le botte di falso<br/><br />
Falso tutte m’hauete à dimandare<br/><br />
Dirouui dunque le botte di falso<br/><br />
Eßer dodici pur come di taglio<br/><br />
Qual è il contrario del suo proprio falso.<br/><br />
Fate così tutt’elle che di taglio<br/><br />
Principiando van sino al lor fine<br/><br />
Tornando indietro fian falso, è non taglio.<br/><br />
Chi meglio intender vuol l’orecchie inchine<br/><br />
Ch’io lo voglio mostrar piû chiaro, e aperto<br/><br />
Che son come la rosa in su le spine<br/><br />
Che dal man dritto sbiaßio con effetto<br/><br />
Deriua il falso di rouerso sbiaßio<br/><br />
Tornando per sua strada quest’è certo<br/><br />
Et parimente dal riuerso sbiaßio<br/><br />
Tornando pur per la medesma via<br/><br />
Ne vien ancor di dritto vn falso sbiaßio<br/><br />
''C Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 18]<br/>Et per non farui lunga diceria<br/><br />
Col pugno fermo doue cala monta,<br/><br />
Et doue monta cala al loco pria<br/><br />
Hor mi resta il ferir sol di ponta<br/><br />
Ch’anch’egli dodici esser fia contato<br/><br />
Che in dui sol modi par che si raffronta<br/><br />
Col pugno chiuso, ò fermo, ò ver voltato<br/><br />
In dentro, in fuori, et trè s’en fan di dritto<br/><br />
Trè altre di rouerso al mio dettato<br/><br />
Vna da alto à basso, et gran profitto<br/><br />
Par ch’essa faccia, ma non riesce à ogn’vno<br/><br />
Io l’hò prouato, et però qui l’hò scritto<br/><br />
L’altra à mezz’aer vien vso communo<br/><br />
L’altra ne vien da basso in alto, et pare<br/><br />
Et è più presta, è commoda à ciascuno<br/><br />
Altre trè di rouerso si puon fare<br/><br />
Et l’vne, et l’altre di dentro, e di fuora<br/><br />
Ferme, et voltate à dodici arriuare.<br/><br />
Et di mia cortesia vò dirui ancora<br/><br />
Che sono botte trentasei com’odo<br/><br />
Con taglio, et falso, et con punta che fora.<br/><br />
Ne se ne posson fare in altro modo<br/><br />
Che non sian le medesime ch’hò detto<br/><br />
Se non voglion cacciar carote, à frodo.<br/><br />
Hora veniam vn poco più al ristretto<br/><br />
Dicendo qualche buono auertimento<br/><br />
Donde l’vtil si caua con effetto.<br/><br />
''Dando''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 19]<br/>Dando principio con buon fondamento<br/><br />
Dico che quella botta è la megliore<br/><br />
Ch’è più commoda e presta, ò che argumento<br/><br />
Che soluer con ragion nullo autore<br/><br />
Mai la potrà; perche è cosi in effetto<br/><br />
Dunque tientelo à mente ò buon lettore.<br/><br />
Appresso questo vò, che sappi certo<br/><br />
Che dua son gl’auantaggi, che natura<br/><br />
Dona à ciascun, ma non già per suo merto.<br/><br />
Vn esser grande, et forte; al cui più cura,<br/><br />
Et più stimar si deue al mio parere<br/><br />
Perche col star di sopra più si dura,<br/><br />
Et anco questo fia commun parere<br/><br />
Che d’arme sola l’auantaggio sia<br/><br />
Di star di sopra, et quando anco si fere.<br/><br />
Ma d’arme accompagnate meglio fia<br/><br />
Lo star di sotto perche quella spada<br/><br />
Più presto del ferir troua la via<br/><br />
Non però à nullo nell’animo cada<br/><br />
Che solo basti hauer questi auantaggi<br/><br />
Dalla natura che senz’arte es nada<br/><br />
E in ciò quest’arte è tenuta da i saggi<br/><br />
Che sol sia il tempo, et questo tempo è solo<br/><br />
L’offender, et schifar li suoi disaggi<br/><br />
In questo l’huom si dee leuar à volo<br/><br />
Quanto più puote in alto col giuditio<br/><br />
Ne mai far altro essendo questo solo<br/><br />
''C 2 Da''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 20]<br/>Da cui l’honor, et l’vtil hà l’initio<br/><br />
Essendo il resto vanità del mondo<br/><br />
Cioè guardie, e botte far senza giuditio.<br/><br />
Hora vi dico con parlar giocondo<br/><br />
Lasciate queste, e al tempo ritornate<br/><br />
Che di quest’arte vi può far fecondo.<br/><br />
E se tale essercitio punto amate<br/><br />
Mirate attentamente à i quattro errori<br/><br />
Che si fan dalle gente alle giornate<br/><br />
In alto, in basso son dentro, et di fuori<br/><br />
Come parmi di sopra hauer narrato<br/><br />
Ne in altro inuiluppate i vostri cuori,<br/><br />
S’il tempo d’alto in basso vi sia dato<br/><br />
Da alto tu lo douerai ferire<br/><br />
Se di basso alto, basso sia tarpato’.<br/><br />
Quando vn dentro di fuor vedrai venire<br/><br />
Falli di dentro la più presta offesa<br/><br />
Se di fuor dentro, fuor l’habbi à impedire<br/><br />
S’il vantaggio tu cerchi della presa<br/><br />
S’il nemico ti porge il destro lato<br/><br />
Valli adoßo col manco, et fia sospesa<br/><br />
La spada sua di sopra, et trauersato<br/><br />
Col manco piede tuo fia suo piè dritto<br/><br />
E’l arme tua <s>in</s> disotto, e al suo costato<br/><br />
[right edge: costato, o il fianco<br/><br />
destro del nemico.]<br/><br />
Hauendo prima con la manca dato<br/><br />
Di piglio à gl’elzi della spada sua<br/><br />
Acciò di tempo non si sia mutato<br/><br />
''Et se''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 21]<br/>E se per caso fesse vn passo, ò dua<br/><br />
In dietro, non mancar di seguitarlo<br/><br />
Acciò pur resti nè vantaggi tua.<br/><br />
Et se vorrai se ti gira fermarlo<br/><br />
Se va à man stanca, et tu sempre à man dritta,<br/><br />
E per contrario và sempre à incontrarlo<br/><br />
Quando si offende dalla parte dritta<br/><br />
Dentro si dice, all’hor vantaggio fia<br/><br />
A chi più alto hà il pugno, et chi ha deritta<br/><br />
La parte sua del taglio, et sopra stia<br/><br />
Voltata verso della punta aduersa<br/><br />
Ma che la punta alla sua spalla stia.<br/><br />
Quando di fuor l’offesa sia rouersa<br/><br />
L’avantaggio sarà il pugno più basso<br/><br />
Col detto modo, et non fia spesa persa.<br/><br />
Stiasi auertito nel mutar il paßo<br/><br />
O l’vno, ò l’altro à l’innanzi, ò à l’indietro<br/><br />
Ch’in dentro, ò in fuori si puo far fracaßo.<br/><br />
Se arriui, ò non quest’è vn bel secreto<br/><br />
Ch’importa aßai per non tirar in in vano,<br/><br />
S’arriui mena, et stà col paßo cheto.<br/><br />
Pon cura ancora al volger della mano<br/><br />
A tutti quattro i sopradeti modi,<br/><br />
E al steso braccio non fia il tempo in vano.<br/><br />
Queste son verità, non sono frodi;<br/><br />
Perche le frodi son come le finte<br/><br />
Che nuocono, e non giouano come odi<br/><br />
''Et se''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 22]<br/>Et se darai alle tue botte spinte<br/><br />
Di taglio, falso, ò ponta, et sia di dritto<br/><br />
Alta la stanca al viso che stia in te,<br/><br />
Se di riuerso fia il colpo prescritto.<br/><br />
Fa che distesa sia la tua man manca<br/><br />
Verso il nemico à cui fia gran dispitto<br/><br />
Quest’anco oßeruarai s’in la man stanca<br/><br />
Terrete altre armi da difesa, ò offesa<br/><br />
Perche l’habito buon cresce, e non manca<br/><br />
Et chi volesse ancor pigliar contesa<br/><br />
Con vn Mancino, fuor deue star sempre<br/><br />
Sopra con l’armi tue che è buona spesa.<br/><br />
Ma vno poi che non voleße sempre<br/><br />
Star aspettando, che si facci errore<br/><br />
Deue mutando voglie mutar tempre<br/><br />
Deue auertir se fa con vn ch’hà core,<br/><br />
S’è vile, ò sà, ò non sà così proceda<br/><br />
Cauto, e reprima, et soffra il suo valore.<br/><br />
Et stia alla lerta, quando che si veda<br/><br />
Menar con furia, et ben presto la mano<br/><br />
Fermo con la difesa, ò che li ceda<br/><br />
Sempre col suo auantaggio, et se lontano<br/><br />
Sempre all’indietro andaße, ouer da vn lato<br/><br />
Et tu lo segui sempre destro, e piano.<br/><br />
Sin tanto ch’vna volta fia incappato<br/><br />
In vno delli error fatti d’appreßo<br/><br />
Con taglio falso, ò punta li haurai dato.<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 23]<br/>Et se si ferma poi, et si fia meßo<br/><br />
O alto, ò baßo in modo strauagante<br/><br />
Non ti smarrir, che tel vò dire adeßo.<br/><br />
Proceder non si deue come auante<br/><br />
Che si chiama di tempo volontario<br/><br />
Detto da presi error che li fa innante.<br/><br />
Procederai di tempo neceßario<br/><br />
Qual con giuditio aßai molto maturo<br/><br />
Fà far per forza errore all’auuersario<br/><br />
Proceder d’esto tempo è più securo<br/><br />
Se bene è più difficile in effetto<br/><br />
Che star bisogna patiente, e duro.<br/><br />
E tentar il nemico circunspetto<br/><br />
Da tutti i lati, et se l’offesa prima<br/><br />
Fai, alla difesa subito t’aspetto<br/><br />
In questo tempo si fa molta stima<br/><br />
Del dritto, e del rouerso stramazzone<br/><br />
Per pigliar gl’auantaggi detti in prima<br/><br />
Bisogna anco che sappi con ragione<br/><br />
Qual sia la parte forte della spada<br/><br />
Et qual la fiacca sia per paragone<br/><br />
Te lo vò dir per non tenerti à bada<br/><br />
Dal mezzo in ver la punta il debil fia,<br/><br />
Più verso il pugno il forte par che vada;<br/><br />
E se vuoi fare alla mia fantasia<br/><br />
Nelle offese, et difese che farai<br/><br />
Fa che col forte sempre fatte sia<br/><br />
''E co-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 24]<br/>E cosi stando accorto non potrai<br/><br />
Se non far bene, et habbi patienza<br/><br />
Se d’esto tempo proceder vorrai.<br/><br />
Hora Signori miei in conscienza,<br/><br />
Dite vi par ch’io habbi sodisfatto<br/><br />
Et s’è tal cosa datemi licenza.<br/><br />
Ch’io son spettato, e in segno tutti à vn tratto<br/><br />
Fate con le man cenno, et plaudete<br/><br />
Ch’anch’io n’andrò contento, et satisfatto<br/><br />
A ritrouar colei che voi sapete.<br/><br />
IL FINE.</p><br />
<br />
|}<br />
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| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
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| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
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| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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[[Category:Treatises]]<br />
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[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107966Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:41:25Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 2]<br/>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 3]<br/>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 4]<br/>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 5]<br/>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 6]<br/>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 7]<br/>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 8]<br/>Il tramazzon riuerso se ben scritto<br/><br />
Et fatto meglio poi sarà con l’arte<br/><br />
Col tempo l’un, e l’altro fan profitto.<br/><br />
Col taglio retto calasi alla parte<br/><br />
Vicina al piede, et poi di falso dritto<br/><br />
Sbiassio si monta, alla pur dritta parte<br/><br />
Facendo anco di sbiassio il suo man dritto<br/><br />
E perche questi ancor siano migliori<br/><br />
Voltisi il pugno, et lo braccio stia fitto.<br/><br />
Con questi si di dentro, et si di fuori<br/><br />
Se ne piglia il vantaggio dal qual poi<br/><br />
eNe vien gran frutti, se questi son fiori.<br/><br />
Dunque sonore Muse pare à voi.<br/><br />
Ch’habbiamo satisfatto alla proposta<br/><br />
Che dal principio fù già fatta a noi.<br/><br />
Et che gir ne possiamo à nostra posta<br/><br />
A ritrouar colei dal ner vestito<br/><br />
Qual tanto tempo ci è stata discosta<br/><br />
Calliopè posesi alla bocca il dito<br/><br />
Et diße poi à Tersicore, e à Thalia<br/><br />
O sian burlate, ò costui è stordito<br/><br />
Non si ricorda nella nella diceria<br/><br />
Fattaci’pria hauerci nominate<br/><br />
Il taglio, e’l falso con la punta ria.<br/><br />
Ond’io perdon chiedendo ingenochiato<br/><br />
Dißi che questo procedea da Amore<br/><br />
Che sol pensando in lui m’era scordato:<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 9]<br/>Et volendo allegar per autore<br/><br />
Della sacra scrittura quel bel paßo<br/><br />
Che mal si serue à piu d’vno Signore;<br/><br />
Dissero in bisbiglio con tuon baßo<br/><br />
Perdoniamo à costui con patto tale<br/><br />
Ch’egli ritorni al derelitto paßo,<br/><br />
Et che per penitenza di tal male<br/><br />
Creanza vsata, con gran giuramento<br/><br />
Lo facciamo obbligar in modo tale;<br/><br />
Che per l’adietro egli ogni auuertimento<br/><br />
Che sia importante in questa nobil arte<br/><br />
Farci in verso palese sia contento.<br/><br />
Tal ch’io piangendo trattomi da parte<br/><br />
Ne sapendo rimedio alcun pigliare<br/><br />
Sol mi ricomandauo allo Dio Marte.<br/><br />
Pregandol che mi fesse perdonare<br/><br />
(Promettendo per me) l’error commeßo<br/><br />
Che quanto à lor piacea volea oßeruare<br/><br />
Ond’egli vscito da quel cauo fesso<br/><br />
Della fucina del fabro Vulcano<br/><br />
Venere hauendo, et Cupido con esso.<br/><br />
Tutti tre mi pigliarono per mano<br/><br />
Et mi condußer doue eran le Muse<br/><br />
Al dolce mormorio suaue, et piano.<br/><br />
Allegando per me debite scuse<br/><br />
Venere bella, et suo figliuol Cupido<br/><br />
Restanodo tutte intente a bocche chiuse<br/><br />
''B Dicen-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 10]<br/>Dicendo questo è quel seruo sì fido<br/>Del caro amante mio qual già molt’anni<br />
L’hà seguitato per monte, et per lido.<br/><br />
Et s’io col mio figliuolo i primi vanni<br/><br />
Non li tarpauo già saria salito<br/><br />
Per l’opre sue vicino à gl’alti scanni.<br/><br />
Per le cui questo fatto tanto ardito<br/><br />
Voluto hà contrastar con mio figliolo<br/><br />
Per cinque lustri, e il sesto non finito.<br/><br />
Oprando l’arte di difesa solo<br/><br />
In tempo tal, et si saria difeso<br/><br />
Ancor di più, ond’io sdegnata il volo.<br/><br />
Feci drizzar à i dolci cigni, et teso<br/><br />
Ch’io gl’hebbi de capelli vn laccio carco<br/><br />
Mi ritirai, et viddi star sospeso<br/><br />
Cupido in man tenendo i Strali, e l’Arco<br/><br />
Fingendo di ferirlo hor alto, hor baßo<br/><br />
Hor dentro, hor fuor, ne mai trouaua il varco.<br/><br />
Perche costui s’era fermo con paßo<br/><br />
Non longo, o largo, et solo intento staua<br/><br />
Di non errar, et s’enpigliaua [s]passo.<br/><br />
Hor mentre il mio figliuol tondo il giraua<br/><br />
Et questo sol girando vn de suoi piedi<br/><br />
Diede nel laccio che nascosto staua.<br/><br />
E inuiluppato cadde, et io ti credi<br/><br />
Li dissi di poter meco contendere<br/><br />
Sai pur ch’io non son putto come vedi.<br/><br />
''Ond’egli''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 11]<br/>Ond’egli diße hor à te voglio cedere<br/><br />
Et al tuo sesso, ma non à tuo figlio<br/><br />
Ne meno à quelli che son del suo genere.<br/><br />
Cupido all’hor li volea dar di piglio<br/><br />
Et io li dißi non che è mio prigione,<br/><br />
Et cosi lo cauai d’vn tal periglio.<br/><br />
Onde di poi per tal occasione<br/><br />
Costui diuotamente m’hà seruito<br/><br />
Ponendo l’arte sua in obliuione.<br/><br />
Dunque Muse mie care s’hà fallito<br/><br />
Per questa volta vò gli perdoniate,<br/><br />
Et tanto più perch’egli n’è pentito.<br/><br />
Fatel vi prego, fatel se mi amate<br/><br />
Ch’io lo riceuerò per gran fauore<br/><br />
Et ne terrò memoria alle giornate.<br/><br />
Voglio che li facciate anco vn fauore<br/><br />
Che monti sopra il Pegaso Cauallo<br/><br />
Che far quest’arte ancor li dona il core.<br/><br />
Et vi aßicuro che non farà fallo<br/><br />
Sotto di lui che à tempo nol correga<br/><br />
Et poi l’aiuterà col suo interuallo.<br/><br />
Et in tal modo fatta fù la trega<br/><br />
Tra lui, e le Muse, et d’vn salto leggiero<br/><br />
Montò sopra il Caual che non si piega.<br/><br />
Ma pria vols veder come è douero<br/><br />
Se staua la sua briglia al proprio loco<br/><br />
Et se le cigne feano il suo douero.<br/><br />
''B 2 Marte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 12]<br/>Marte che volontier mira tal gioco<br/><br />
Gli mise di sua man gl’acuti sproni<br/><br />
Fatti, e temprati di Vulcano al foco,<br/><br />
Quai donati gli hauea perfetti, e buoni<br/><br />
Sua dolce amante, ch’al zoppo marito<br/><br />
Li hauea rubbati mentre facea i tuoni.<br/><br />
Cosi costui vedendosi fornito<br/><br />
Di ciò li fea mestier, ch’ancor Cupido<br/><br />
Per verga d’vn suo stral l’hauea seruito<br/><br />
Al cenno di colei che in Papho, e in Gnido<br/><br />
Era adorata, ch’ei sempre in eterno<br/><br />
L’hauria tenuto suo nemico infido<br/><br />
In ciò concorse anco il voler superno<br/><br />
Hauendo il nome d’vn suo figlio anch’esso<br/><br />
Et così questi due la pace ferno.<br/><br />
La qual poi fatta eßendosi d’appreßo<br/><br />
Ridutti in vn le Muse con li Dei<br/><br />
Dal lato destro in vn luogo rimeßo<br/><br />
All’hor Vener li disse hora se sei<br/><br />
Qual hò detto à costor facendo quanto<br/><br />
Dando principio à quel che tu far dei<br/><br />
Ond’ei per vbidir hauendo in tanto<br/><br />
Accomodate staffe, et i vestimenti<br/><br />
Si moße con l’andar suaue tanto.<br/><br />
Poi con passi eleuati, e più eminenti<br/><br />
Con un trotto disciolto, e con gagliardo<br/><br />
Galoppo, e al correr dietro laßa i venti.<br/><br />
''Indi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 13]<br/>Indi con salti fa vedere vn Pardo<br/><br />
Iusti agruppati, con i calci, ò senza<br/><br />
Facendolo parar leggiero ò tardo.<br/><br />
Et indi poi ch’à maneggiar comenza<br/><br />
Presto, et sicuro all’vna, et l’altra parte<br/><br />
Hor con la volta intiera, hor con la menza<br/><br />
Hor contra tempo, hor con tempo comparte.<br/><br />
Il mezo tempo, e à tempo le pesate<br/><br />
Con Capriol che ne stupisce Marte.<br/><br />
Et se tal volta fuor delle pedate<br/><br />
Per sorte scappa subito corretto<br/><br />
Iusto ne vien da contro speronate<br/><br />
[right edge: Le sei cosesono.<br/><br />
mano, voce, briglia, staffe, polpa, e speroni.]<br/><br />
Tal che l’animal docile è costretto<br/><br />
Sentendo anco l’aiuto della mano<br/><br />
Et d’altri cinque à giocar destro, e netto<br/><br />
Hor lo fa gir da vn lato con la mano<br/><br />
Destra se˜pre alta, et col sinistro sprone<br/><br />
A tempo il batte sino al cambiar mano.<br/><br />
Quale al sentir dello destro sprone<br/><br />
Subito vien ad alzar la man stanca<br/><br />
Verso doue si volta vdite come.<br/><br />
Inanzi indietro, à man dritta, à man manca<br/><br />
Lo fa si giusto andar piano, ò veloce<br/><br />
Hor basso, hor alto, che nulla le manca.<br/><br />
Poi si dispicca, et con voce più atroce<br/><br />
Lo fa leuar in aria à vn passo e vn salto<br/><br />
Con calci, ò senza ond’ei par più feroce.<br/><br />
''Indi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 14]<br/>Indi al galoppo lo fa gir pur alto<br/><br />
In giro tal dall’vna, et l’altra mano<br/><br />
Che lo fa rodoppiar di passo, et salto<br/><br />
Poi lo riduce cosi giusto, e piano<br/><br />
Che lo fa radoppiar, hor terra terra<br/><br />
Hor basso, hor alto à l’vna, e l’altra mano.<br/><br />
Ne pensate però che costui erra<br/><br />
In castigo, in aiuto, e à tempo ancora<br/><br />
Li fa carezze, et lo tien fermo in terra<br/><br />
Per farli racquistar tutte in vn hora<br/><br />
Le forze perse pel continuo moto<br/><br />
Li leua di sua mano il sudor fora.<br/><br />
Hora parendo à tutti eßerli noto<br/><br />
Il di costui valor lieti, e contenti<br/><br />
Li feron cenno ch’ei fermaße il moto.<br/><br />
Indi poi al mormorio con dolci accenti<br/><br />
Tutti tornaron verso la fontana<br/><br />
E al di costui smontar stauano intenti.<br/><br />
Quale arriuato con voce soprana<br/><br />
Diße; Signori, io son quel pouerello<br/><br />
Che sperso capitai à sta fontana.<br/><br />
Non più risposer tutti, tu sei quello<br/><br />
Ti cognosciamo tutte ad vna ad vna<br/><br />
E te accettiam per figlio, e per fratello.<br/><br />
E faremo per te fede ciascuna<br/><br />
A chi si sia, che lo voglia sapere,<br/><br />
Ch’vn’altro te non è sotto la luna.<br/><br />
''Per-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 15]<br/>Perche ambe due quest’arte poßedere<br/><br />
Ad altro fino à qui non habbiam visto<br/><br />
Et non crediam che si possa vedere.<br/><br />
Ma in vero tu ne fai si poco acquisto<br/><br />
Et si poco le stimi, e ne fai parte<br/><br />
Tanto ad vn buono, quanto che ad vn tristo.<br/><br />
Et perche tu non le insegni con arte<br/><br />
Come fan gl’altri, fingendo tal volta<br/><br />
Et bene speßo, non voglion pagarte.<br/><br />
Et cosi di arricchir la via t’è tolta,<br/><br />
Et sempre restarai vn poueretto<br/><br />
Vedi tua forza hormai ch’indietro è volta.<br/><br />
Rispose egli; cognosco con effetto<br/><br />
Eßer la verità più che non dite<br/><br />
E in ciò d’hauer il torto io mi rimetto.<br/><br />
Et dico per fuggir querele, e lite<br/><br />
Che sempre questa professione hò fatto<br/><br />
Di non prezzar ne Oro, ne Margarite.<br/><br />
E cosi liber son vissuto à fatto,<br/><br />
E tal spero morir, ne sono auaro,<br/><br />
Et godo di giocare à scacco matto<br/><br />
Più ch’altro gioco, et ho più presto à caro.<br/><br />
Di far seruitio ad altri, che riceuerlo,<br/><br />
Se bene speßo alle mie spese imparo.<br/><br />
Et se ben ciò par forte ad altri crederlo<br/><br />
A me poco m’importa chi m’el creda,<br/><br />
Et se piace ad alcuno io vò tacerlo;<br/><br />
''Basta''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 16]<br/>Bastami sol che in cortesia non ceda<br/><br />
Ad alcun se ben cedo di ricchezza<br/><br />
A tanti, e tanti, et so d’onde proceda.<br/><br />
Lo vò pur dir chi la virtù non prezza<br/><br />
Meno la paga, et chi la stima poi<br/><br />
La vende non, ma dà per gentilezza.<br/><br />
Et di qui vien che molti tra di noi<br/><br />
Poco ne impara, et ci consuma gl’anni<br/><br />
E li danari, et se ne penton poi<br/><br />
Dunque Cupido rendimi i miei vanni<br/><br />
Accio possa io salir con l’opra<br/><br />
Doue occupan color sublimi scanni.<br/><br />
Et tu madre d’Amor Venere pia<br/><br />
Poi che son tuo prigion libero fammi<br/><br />
O fà men cruda la Padrona mia.<br/><br />
O tu del quinto Ciel tal forza dammi<br/><br />
Che senza vanni, et senz’altra padrona<br/><br />
Quieti meni al fin miei deboli anni,<br/><br />
Ne ti pensar giamai ch’io t’abbandona<br/><br />
Se ben debil à piè seguir non posso<br/><br />
Et men non hò chi Caualli mi dona.<br/><br />
Non mai sarò si vil d’animo, et scosso<br/><br />
Che con la mente sempre io non procura<br/><br />
Di farti far quanto più honore posso<br/><br />
Et se ben altri mie virtù non cura<br/><br />
Et io curerò men li lor denari<br/><br />
Et pur viurommi con mia sorte dura<br/><br />
''Fammi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 17]<br/>Fammi gratia Signor che quei che auari<br/><br />
Saran verso di mè se ben li insegno<br/><br />
Con tanta pura fè, che meno impari,<br/><br />
Vemp’è hormai di ridur mio scorso legno<br/><br />
Nel port, et di tramar l’ordita tela<br/><br />
Hauendo data la mia fè per pegno.<br/><br />
Acciò falso io non paia con la vela<br/><br />
Gonfia di falsi vengo à riparlare<br/><br />
Poi che non vi è più cosa che mel cela.<br/><br />
Dunque Muse vi hauete à ricordare<br/><br />
Ch’io interlaßando le botte di falso<br/><br />
Falso tutte m’hauete à dimandare<br/><br />
Dirouui dunque le botte di falso<br/><br />
Eßer dodici pur come di taglio<br/><br />
Qual è il contrario del suo proprio falso.<br/><br />
Fate così tutt’elle che di taglio<br/><br />
Principiando van sino al lor fine<br/><br />
Tornando indietro fian falso, è non taglio.<br/><br />
Chi meglio intender vuol l’orecchie inchine<br/><br />
Ch’io lo voglio mostrar piû chiaro, e aperto<br/><br />
Che son come la rosa in su le spine<br/><br />
Che dal man dritto sbiaßio con effetto<br/><br />
Deriua il falso di rouerso sbiaßio<br/><br />
Tornando per sua strada quest’è certo<br/><br />
Et parimente dal riuerso sbiaßio<br/><br />
Tornando pur per la medesma via<br/><br />
Ne vien ancor di dritto vn falso sbiaßio<br/><br />
''C Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 18]<br/>Et per non farui lunga diceria<br/><br />
Col pugno fermo doue cala monta,<br/><br />
Et doue monta cala al loco pria<br/><br />
Hor mi resta il ferir sol di ponta<br/><br />
Ch’anch’egli dodici esser fia contato<br/><br />
Che in dui sol modi par che si raffronta<br/><br />
Col pugno chiuso, ò fermo, ò ver voltato<br/><br />
In dentro, in fuori, et trè s’en fan di dritto<br/><br />
Trè altre di rouerso al mio dettato<br/><br />
Vna da alto à basso, et gran profitto<br/><br />
Par ch’essa faccia, ma non riesce à ogn’vno<br/><br />
Io l’hò prouato, et però qui l’hò scritto<br/><br />
L’altra à mezz’aer vien vso communo<br/><br />
L’altra ne vien da basso in alto, et pare<br/><br />
Et è più presta, è commoda à ciascuno<br/><br />
Altre trè di rouerso si puon fare<br/><br />
Et l’vne, et l’altre di dentro, e di fuora<br/><br />
Ferme, et voltate à dodici arriuare.<br/><br />
Et di mia cortesia vò dirui ancora<br/><br />
Che sono botte trentasei com’odo<br/><br />
Con taglio, et falso, et con punta che fora.<br/><br />
Ne se ne posson fare in altro modo<br/><br />
Che non sian le medesime ch’hò detto<br/><br />
Se non voglion cacciar carote, à frodo.<br/><br />
Hora veniam vn poco più al ristretto<br/><br />
Dicendo qualche buono auertimento<br/><br />
Donde l’vtil si caua con effetto.<br/><br />
''Dando''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 19]<br/>Dando principio con buon fondamento<br/><br />
Dico che quella botta è la megliore<br/><br />
Ch’è più commoda e presta, ò che argumento<br/><br />
Che soluer con ragion nullo autore<br/><br />
Mai la potrà; perche è cosi in effetto<br/><br />
Dunque tientelo à mente ò buon lettore.<br/><br />
Appresso questo vò, che sappi certo<br/><br />
Che dua son gl’auantaggi, che natura<br/><br />
Dona à ciascun, ma non già per suo merto.<br/><br />
Vn esser grande, et forte; al cui più cura,<br/><br />
Et più stimar si deue al mio parere<br/><br />
Perche col star di sopra più si dura,<br/><br />
Et anco questo fia commun parere<br/><br />
Che d’arme sola l’auantaggio sia<br/><br />
Di star di sopra, et quando anco si fere.<br/><br />
Ma d’arme accompagnate meglio fia<br/><br />
Lo star di sotto perche quella spada<br/><br />
Più presto del ferir troua la via<br/><br />
Non però à nullo nell’animo cada<br/><br />
Che solo basti hauer questi auantaggi<br/><br />
Dalla natura che senz’arte es nada<br/><br />
E in ciò quest’arte è tenuta da i saggi<br/><br />
Che sol sia il tempo, et questo tempo è solo<br/><br />
L’offender, et schifar li suoi disaggi<br/><br />
In questo l’huom si dee leuar à volo<br/><br />
Quanto più puote in alto col giuditio<br/><br />
Ne mai far altro essendo questo solo<br/><br />
''C 2 Da''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 20]<br/>Da cui l’honor, et l’vtil hà l’initio<br/><br />
Essendo il resto vanità del mondo<br/><br />
Cioè guardie, e botte far senza giuditio.<br/><br />
Hora vi dico con parlar giocondo<br/><br />
Lasciate queste, e al tempo ritornate<br/><br />
Che di quest’arte vi può far fecondo.<br/><br />
E se tale essercitio punto amate<br/><br />
Mirate attentamente à i quattro errori<br/><br />
Che si fan dalle gente alle giornate<br/><br />
In alto, in basso son dentro, et di fuori<br/><br />
Come parmi di sopra hauer narrato<br/><br />
Ne in altro inuiluppate i vostri cuori,<br/><br />
S’il tempo d’alto in basso vi sia dato<br/><br />
Da alto tu lo douerai ferire<br/><br />
Se di basso alto, basso sia tarpato’.<br/><br />
Quando vn dentro di fuor vedrai venire<br/><br />
Falli di dentro la più presta offesa<br/><br />
Se di fuor dentro, fuor l’habbi à impedire<br/><br />
S’il vantaggio tu cerchi della presa<br/><br />
S’il nemico ti porge il destro lato<br/><br />
Valli adoßo col manco, et fia sospesa<br/><br />
La spada sua di sopra, et trauersato<br/><br />
Col manco piede tuo fia suo piè dritto<br/><br />
E’l arme tua <s>in</s> disotto, e al suo costato<br/><br />
[right edge: costato, o il fianco<br/><br />
destro del nemico.]<br/><br />
Hauendo prima con la manca dato<br/><br />
Di piglio à gl’elzi della spada sua<br/><br />
Acciò di tempo non si sia mutato<br/><br />
''Et se''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 21]<br/>E se per caso fesse vn passo, ò dua<br/><br />
In dietro, non mancar di seguitarlo<br/><br />
Acciò pur resti nè vantaggi tua.<br/><br />
Et se vorrai se ti gira fermarlo<br/><br />
Se va à man stanca, et tu sempre à man dritta,<br/><br />
E per contrario và sempre à incontrarlo<br/><br />
Quando si offende dalla parte dritta<br/><br />
Dentro si dice, all’hor vantaggio fia<br/><br />
A chi più alto hà il pugno, et chi ha deritta<br/><br />
La parte sua del taglio, et sopra stia<br/><br />
Voltata verso della punta aduersa<br/><br />
Ma che la punta alla sua spalla stia.<br/><br />
Quando di fuor l’offesa sia rouersa<br/><br />
L’avantaggio sarà il pugno più basso<br/><br />
Col detto modo, et non fia spesa persa.<br/><br />
Stiasi auertito nel mutar il paßo<br/><br />
O l’vno, ò l’altro à l’innanzi, ò à l’indietro<br/><br />
Ch’in dentro, ò in fuori si puo far fracaßo.<br/><br />
Se arriui, ò non quest’è vn bel secreto<br/><br />
Ch’importa aßai per non tirar in in vano,<br/><br />
S’arriui mena, et stà col paßo cheto.<br/><br />
Pon cura ancora al volger della mano<br/><br />
A tutti quattro i sopradeti modi,<br/><br />
E al steso braccio non fia il tempo in vano.<br/><br />
Queste son verità, non sono frodi;<br/><br />
Perche le frodi son come le finte<br/><br />
Che nuocono, e non giouano come odi<br/><br />
''Et se''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 22]<br/>Et se darai alle tue botte spinte<br/><br />
Di taglio, falso, ò ponta, et sia di dritto<br/><br />
Alta la stanca al viso che stia in te,<br/><br />
Se di riuerso fia il colpo prescritto.<br/><br />
Fa che distesa sia la tua man manca<br/><br />
Verso il nemico à cui fia gran dispitto<br/><br />
Quest’anco oßeruarai s’in la man stanca<br/><br />
Terrete altre armi da difesa, ò offesa<br/><br />
Perche l’habito buon cresce, e non manca<br/><br />
Et chi volesse ancor pigliar contesa<br/><br />
Con vn Mancino, fuor deue star sempre<br/><br />
Sopra con l’armi tue che è buona spesa.<br/><br />
Ma vno poi che non voleße sempre<br/><br />
Star aspettando, che si facci errore<br/><br />
Deue mutando voglie mutar tempre<br/><br />
Deue auertir se fa con vn ch’hà core,<br/><br />
S’è vile, ò sà, ò non sà così proceda<br/><br />
Cauto, e reprima, et soffra il suo valore.<br/><br />
Et stia alla lerta, quando che si veda<br/><br />
Menar con furia, et ben presto la mano<br/><br />
Fermo con la difesa, ò che li ceda<br/><br />
Sempre col suo auantaggio, et se lontano<br/><br />
Sempre all’indietro andaße, ouer da vn lato<br/><br />
Et tu lo segui sempre destro, e piano.<br/><br />
Sin tanto ch’vna volta fia incappato<br/><br />
In vno delli error fatti d’appreßo<br/><br />
Con taglio falso, ò punta li haurai dato.<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 23]<br/>Et se si ferma poi, et si fia meßo<br/><br />
O alto, ò baßo in modo strauagante<br/><br />
Non ti smarrir, che tel vò dire adeßo.<br/><br />
Proceder non si deue come auante<br/><br />
Che si chiama di tempo volontario<br/><br />
Detto da presi error che li fa innante.<br/><br />
Procederai di tempo neceßario<br/><br />
Qual con giuditio aßai molto maturo<br/><br />
Fà far per forza errore all’auuersario<br/><br />
Proceder d’esto tempo è più securo<br/><br />
Se bene è più difficile in effetto<br/><br />
Che star bisogna patiente, e duro.<br/><br />
E tentar il nemico circunspetto<br/><br />
Da tutti i lati, et se l’offesa prima<br/><br />
Fai, alla difesa subito t’aspetto<br/><br />
In questo tempo si fa molta stima<br/><br />
Del dritto, e del rouerso stramazzone<br/><br />
Per pigliar gl’auantaggi detti in prima<br/><br />
Bisogna anco che sappi con ragione<br/><br />
Qual sia la parte forte della spada<br/><br />
Et qual la fiacca sia per paragone<br/><br />
Te lo vò dir per non tenerti à bada<br/><br />
Dal mezzo in ver la punta il debil fia,<br/><br />
Più verso il pugno il forte par che vada;<br/><br />
E se vuoi fare alla mia fantasia<br/><br />
Nelle offese, et difese che farai<br/><br />
Fa che col forte sempre fatte sia<br/><br />
''E co-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 24]<br/>E cosi stando accorto non potrai<br/><br />
Se non far bene, et habbi patienza<br/><br />
Se d’esto tempo proceder vorrai.<br/><br />
Hora Signori miei in conscienza,<br/><br />
Dite vi par ch’io habbi sodisfatto<br/><br />
Et s’è tal cosa datemi licenza.<br/><br />
Ch’io son spettato, e in segno tutti à vn tratto<br/><br />
Fate con le man cenno, et plaudete<br/><br />
Ch’anch’io n’andrò contento, et satisfatto<br/><br />
A ritrouar colei che voi sapete.<br/><br />
I L F I N E.</p><br />
<br />
|}<br />
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| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
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| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
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| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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[[Category:Treatises]]<br />
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[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107965Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:34:29Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 2]<br/>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 3]<br/>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 4]<br/>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 5]<br/>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 6]<br/>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 7]<br/>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 8]<br/>Il tramazzon riuerso se ben scritto<br/><br />
Et fatto meglio poi sarà con l’arte<br/><br />
Col tempo l’un, e l’altro fan profitto.<br/><br />
Col taglio retto calasi alla parte<br/><br />
Vicina al piede, et poi di falso dritto<br/><br />
Sbiassio si monta, alla pur dritta parte<br/><br />
Facendo anco di sbiassio il suo man dritto<br/><br />
E perche questi ancor siano migliori<br/><br />
Voltisi il pugno, et lo braccio stia fitto.<br/><br />
Con questi si di dentro, et si di fuori<br/><br />
Se ne piglia il vantaggio dal qual poi<br/><br />
eNe vien gran frutti, se questi son fiori.<br/><br />
Dunque sonore Muse pare à voi.<br/><br />
Ch’habbiamo satisfatto alla proposta<br/><br />
Che dal principio fù già fatta a noi.<br/><br />
Et che gir ne possiamo à nostra posta<br/><br />
A ritrouar colei dal ner vestito<br/><br />
Qual tanto tempo ci è stata discosta<br/><br />
Calliopè posesi alla bocca il dito<br/><br />
Et diße poi à Tersicore, e à Thalia<br/><br />
O sian burlate, ò costui è stordito<br/><br />
Non si ricorda nella nella diceria<br/><br />
Fattaci’pria hauerci nominate<br/><br />
Il taglio, e’l falso con la punta ria.<br/><br />
Ond’io perdon chiedendo ingenochiato<br/><br />
Dißi che questo procedea da Amore<br/><br />
Che sol pensando in lui m’era scordato:<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 9]<br/>Et volendo allegar per autore<br/><br />
Della sacra scrittura quel bel paßo<br/><br />
Che mal si serue à piu d’vno Signore;<br/><br />
Dissero in bisbiglio con tuon baßo<br/><br />
Perdoniamo à costui con patto tale<br/><br />
Ch’egli ritorni al derelitto paßo,<br/><br />
Et che per penitenza di tal male<br/><br />
Creanza vsata, con gran giuramento<br/><br />
Lo facciamo obbligar in modo tale;<br/><br />
Che per l’adietro egli ogni auuertimento<br/><br />
Che sia importante in questa nobil arte<br/><br />
Farci in verso palese sia contento.<br/><br />
Tal ch’io piangendo trattomi da parte<br/><br />
Ne sapendo rimedio alcun pigliare<br/><br />
Sol mi ricomandauo allo Dio Marte.<br/><br />
Pregandol che mi fesse perdonare<br/><br />
(Promettendo per me) l’error commeßo<br/><br />
Che quanto à lor piacea volea oßeruare<br/><br />
Ond’egli vscito da quel cauo fesso<br/><br />
Della fucina del fabro Vulcano<br/><br />
Venere hauendo, et Cupido con esso.<br/><br />
Tutti tre mi pigliarono per mano<br/><br />
Et mi condußer doue eran le Muse<br/><br />
Al dolce mormorio suaue, et piano.<br/><br />
Allegando per me debite scuse<br/><br />
Venere bella, et suo figliuol Cupido<br/><br />
Restanodo tutte intente a bocche chiuse<br/><br />
''B Dicen-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 10]<br/>Dicendo questo è quel seruo sì fido<br/>Del caro amante mio qual già molt’anni<br />
L’hà seguitato per monte, et per lido.<br/><br />
Et s’io col mio figliuolo i primi vanni<br/><br />
Non li tarpauo già saria salito<br/><br />
Per l’opre sue vicino à gl’alti scanni.<br/><br />
Per le cui questo fatto tanto ardito<br/><br />
Voluto hà contrastar con mio figliolo<br/><br />
Per cinque lustri, e il sesto non finito.<br/><br />
Oprando l’arte di difesa solo<br/><br />
In tempo tal, et si saria difeso<br/><br />
Ancor di più, ond’io sdegnata il volo.<br/><br />
Feci drizzar à i dolci cigni, et teso<br/><br />
Ch’io gl’hebbi de capelli vn laccio carco<br/><br />
Mi ritirai, et viddi star sospeso<br/><br />
Cupido in man tenendo i Strali, e l’Arco<br/><br />
Fingendo di ferirlo hor alto, hor baßo<br/><br />
Hor dentro, hor fuor, ne mai trouaua il varco.<br/><br />
Perche costui s’era fermo con paßo<br/><br />
Non longo, o largo, et solo intento staua<br/><br />
Di non errar, et s’enpigliaua [s]passo.<br/><br />
Hor mentre il mio figliuol tondo il giraua<br/><br />
Et questo sol girando vn de suoi piedi<br/><br />
Diede nel laccio che nascosto staua.<br/><br />
E inuiluppato cadde, et io ti credi<br/><br />
Li dissi di poter meco contendere<br/><br />
Sai pur ch’io non son putto come vedi.<br/><br />
''Ond’egli''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 11]<br/>Ond’egli diße hor à te voglio cedere<br/><br />
Et al tuo sesso, ma non à tuo figlio<br/><br />
Ne meno à quelli che son del suo genere.<br/><br />
Cupido all’hor li volea dar di piglio<br/><br />
Et io li dißi non che è mio prigione,<br/><br />
Et cosi lo cauai d’vn tal periglio.<br/><br />
Onde di poi per tal occasione<br/><br />
Costui diuotamente m’hà seruito<br/><br />
Ponendo l’arte sua in obliuione.<br/><br />
Dunque Muse mie care s’hà fallito<br/><br />
Per questa volta vò gli perdoniate,<br/><br />
Et tanto più perch’egli n’è pentito.<br/><br />
Fatel vi prego, fatel se mi amate<br/><br />
Ch’io lo riceuerò per gran fauore<br/><br />
Et ne terrò memoria alle giornate.<br/><br />
Voglio che li facciate anco vn fauore<br/><br />
Che monti sopra il Pegaso Cauallo<br/><br />
Che far quest’arte ancor li dona il core.<br/><br />
Et vi aßicuro che non farà fallo<br/><br />
Sotto di lui che à tempo nol correga<br/><br />
Et poi l’aiuterà col suo interuallo.<br/><br />
Et in tal modo fatta fù la trega<br/><br />
Tra lui, e le Muse, et d’vn salto leggiero<br/><br />
Montò sopra il Caual che non si piega.<br/><br />
Ma pria vols veder come è douero<br/><br />
Se staua la sua briglia al proprio loco<br/><br />
Et se le cigne feano il suo douero.<br/><br />
''B 2 Marte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 12]<br/>Marte che volontier mira tal gioco<br/><br />
Gli mise di sua man gl’acuti sproni<br/><br />
Fatti, e temprati di Vulcano al foco,<br/><br />
Quai donati gli hauea perfetti, e buoni<br/><br />
Sua dolce amante, ch’al zoppo marito<br/><br />
Li hauea rubbati mentre facea i tuoni.<br/><br />
Cosi costui vedendosi fornito<br/><br />
Di ciò li fea mestier, ch’ancor Cupido<br/><br />
Per verga d’vn suo stral l’hauea seruito<br/><br />
Al cenno di colei che in Papho, e in Gnido<br/><br />
Era adorata, ch’ei sempre in eterno<br/><br />
L’hauria tenuto suo nemico infido<br/><br />
In ciò concorse anco il voler superno<br/><br />
Hauendo il nome d’vn suo figlio anch’esso<br/><br />
Et così questi due la pace ferno.<br/><br />
La qual poi fatta eßendosi d’appreßo<br/><br />
Ridutti in vn le Muse con li Dei<br/><br />
Dal lato destro in vn luogo rimeßo<br/><br />
All’hor Vener li disse hora se sei<br/><br />
Qual hò detto à costor facendo quanto<br/><br />
Dando principio à quel che tu far dei<br/><br />
Ond’ei per vbidir hauendo in tanto<br/><br />
Accomodate staffe, et i vestimenti<br/><br />
Si moße con l’andar suaue tanto.<br/><br />
Poi con passi eleuati, e più eminenti<br/><br />
Con un trotto disciolto, e con gagliardo<br/><br />
Galoppo, e al correr dietro laßa i venti.<br/><br />
''Indi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 13]<br/>Indi con salti fa vedere vn Pardo<br/><br />
Iusti agruppati, con i calci, ò senza<br/><br />
Facendolo parar leggiero ò tardo.<br/><br />
Et indi poi ch’à maneggiar comenza<br/><br />
Presto, et sicuro all’vna, et l’altra parte<br/><br />
Hor con la volta intiera, hor con la menza<br/><br />
Hor contra tempo, hor con tempo comparte.<br/><br />
Il mezo tempo, e à tempo le pesate<br/><br />
Con Capriol che ne stupisce Marte.<br/><br />
Et se tal volta fuor delle pedate<br/><br />
Per sorte scappa subito corretto<br/><br />
Iusto ne vien da contro speronate<br/><br />
[right edge: Le sei cosesono.<br/><br />
mano, voce, briglia, staffe, polpa, e speroni.]<br/><br />
Tal che l’animal docile è costretto<br/><br />
Sentendo anco l’aiuto della mano<br/><br />
Et d’altri cinque à giocar destro, e netto<br/><br />
Hor lo fa gir da vn lato con la mano<br/><br />
Destra se˜pre alta, et col sinistro sprone<br/><br />
A tempo il batte sino al cambiar mano.<br/><br />
Quale al sentir dello destro sprone<br/><br />
Subito vien ad alzar la man stanca<br/><br />
Verso doue si volta vdite come.<br/><br />
Inanzi indietro, à man dritta, à man manca<br/><br />
Lo fa si giusto andar piano, ò veloce<br/><br />
Hor basso, hor alto, che nulla le manca.<br/><br />
Poi si dispicca, et con voce più atroce<br/><br />
Lo fa leuar in aria à vn passo e vn salto<br/><br />
Con calci, ò senza ond’ei par più feroce.<br/><br />
''Indi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 14]<br/>Indi al galoppo lo fa gir pur alto<br/><br />
In giro tal dall’vna, et l’altra mano<br/><br />
Che lo fa rodoppiar di passo, et salto<br/><br />
Poi lo riduce cosi giusto, e piano<br/><br />
Che lo fa radoppiar, hor terra terra<br/><br />
Hor basso, hor alto à l’vna, e l’altra mano.<br/><br />
Ne pensate però che costui erra<br/><br />
In castigo, in aiuto, e à tempo ancora<br/><br />
Li fa carezze, et lo tien fermo in terra<br/><br />
Per farli racquistar tutte in vn hora<br/><br />
Le forze perse pel continuo moto<br/><br />
Li leua di sua mano il sudor fora.<br/><br />
Hora parendo à tutti eßerli noto<br/><br />
Il di costui valor lieti, e contenti<br/><br />
Li feron cenno ch’ei fermaße il moto.<br/><br />
Indi poi al mormorio con dolci accenti<br/><br />
Tutti tornaron verso la fontana<br/><br />
E al di costui smontar stauano intenti.<br/><br />
Quale arriuato con voce soprana<br/><br />
Diße; Signori, io son quel pouerello<br/><br />
Che sperso capitai à sta fontana.<br/><br />
Non più risposer tutti, tu sei quello<br/><br />
Ti cognosciamo tutte ad vna ad vna<br/><br />
E te accettiam per figlio, e per fratello.<br/><br />
E faremo per te fede ciascuna<br/><br />
A chi si sia, che lo voglia sapere,<br/><br />
Ch’vn’altro te non è sotto la luna.<br/><br />
''Per-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 15]<br/>Perche ambe due quest’arte poßedere<br />
Ad altro fino à qui non habbiam visto<br />
Et non crediam che si possa vedere.<br />
Ma in vero tu ne fai si poco acquisto<br />
Et si poco le stimi, e ne fai parte<br />
Tanto ad vn buono, quanto che ad vn tristo.<br />
Et perche tu non le insegni con arte<br />
Come fan gl’altri, fingendo tal volta<br />
Et bene speßo, non voglion pagarte.<br />
Et cosi di arricchir la via t’è tolta,<br />
Et sempre restarai vn poueretto<br />
Vedi tua forza hormai ch’indietro è volta.<br />
Rispose egli; cognosco con effetto<br />
Eßer la verità più che non dite<br />
E in ciò d’hauer il torto io mi rimetto.<br />
Et dico per fuggir querele, e lite<br />
Che sempre questa professione hò fatto<br />
Di non prezzar ne Oro, ne Margarite.<br />
E cosi liber son vissuto à fatto,<br />
E tal spero morir, ne sono auaro,<br />
Et godo di giocare à scacco matto<br />
Più ch’altro gioco, et ho più presto à caro.<br />
Di far seruitio ad altri, che riceuerlo,<br />
Se bene speßo alle mie spese imparo.<br />
Et se ben ciò par forte ad altri crederlo<br />
A me poco m’importa chi m’el creda,<br />
Et se piace ad alcuno io vò tacerlo;<br />
''Basta''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 16]<br/>Bastami sol che in cortesia non ceda<br />
Ad alcun se ben cedo di ricchezza<br />
A tanti, e tanti, et so d’onde proceda.<br />
Lo vò pur dir chi la virtù non prezza<br />
Meno la paga, et chi la stima poi<br />
La vende non, ma dà per gentilezza.<br />
Et di qui vien che molti tra di noi<br />
Poco ne impara, et ci consuma gl’anni<br />
E li danari, et se ne penton poi<br />
Dunque Cupido rendimi i miei vanni<br />
Accio possa io salir con l’opra<br />
Doue occupan color sublimi scanni.<br />
Et tu madre d’Amor Venere pia<br />
Poi che son tuo prigion libero fammi<br />
O fà men cruda la Padrona mia.<br />
O tu del quinto Ciel tal forza dammi<br />
Che senza vanni, et senz’altra padrona<br />
Quieti meni al fin miei deboli anni,<br />
Ne ti pensar giamai ch’io t’abbandona<br />
Se ben debil à piè seguir non posso<br />
Et men non hò chi Caualli mi dona.<br />
Non mai sarò si vil d’animo, et scosso<br />
Che con la mente sempre io non procura<br />
Di farti far quanto più honore posso<br />
Et se ben altri mie virtù non cura<br />
Et io curerò men li lor denari<br />
Et pur viurommi con mia sorte dura<br />
''Fammi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 17]<br/>Fammi gratia Signor che quei che auari<br />
Saran verso di mè se ben li insegno<br />
Con tanta pura fè, che meno impari,<br />
Vemp’è hormai di ridur mio scorso legno<br />
Nel port, et di tramar l’ordita tela<br />
Hauendo data la mia fè per pegno.<br />
Acciò falso io non paia con la vela<br />
Gonfia di falsi vengo à riparlare<br />
Poi che non vi è più cosa che mel cela.<br />
Dunque Muse vi hauete à ricordare<br />
Ch’io interlaßando le botte di falso<br />
Falso tutte m’hauete à dimandare<br />
Dirouui dunque le botte di falso<br />
Eßer dodici pur come di taglio<br />
Qual è il contrario del suo proprio falso.<br />
Fate così tutt’elle che di taglio<br />
Principiando van sino al lor fine<br />
Tornando indietro fian falso, è non taglio.<br />
Chi meglio intender vuol l’orecchie inchine<br />
Ch’io lo voglio mostrar piû chiaro, e aperto<br />
Che son come la rosa in su le spine<br />
Che dal man dritto sbiaßio con effetto<br />
Deriua il falso di rouerso sbiaßio<br />
Tornando per sua strada quest’è certo<br />
Et parimente dal riuerso sbiaßio<br />
Tornando pur per la medesma via<br />
Ne vien ancor di dritto vn falso sbiaßio<br />
''C Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 18]<br/>Et per non farui lunga diceria<br />
Col pugno fermo doue cala monta,<br />
Et doue monta cala al loco pria<br />
Hor mi resta il ferir sol di ponta<br />
Ch’anch’egli dodici esser fia contato<br />
Che in dui sol modi par che si raffronta<br />
Col pugno chiuso, ò fermo, ò ver voltato<br />
In dentro, in fuori, et trè s’en fan di dritto<br />
Trè altre di rouerso al mio dettato<br />
Vna da alto à basso, et gran profitto<br />
Par ch’essa faccia, ma non riesce à ogn’vno<br />
Io l’hò prouato, et però qui l’hò scritto<br />
L’altra à mezz’aer vien vso communo<br />
L’altra ne vien da basso in alto, et pare<br />
Et è più presta, è commoda à ciascuno<br />
Altre trè di rouerso si puon fare<br />
Et l’vne, et l’altre di dentro, e di fuora<br />
Ferme, et voltate à dodici arriuare.<br />
Et di mia cortesia vò dirui ancora<br />
Che sono botte trentasei com’odo<br />
Con taglio, et falso, et con punta che fora.<br />
Ne se ne posson fare in altro modo<br />
Che non sian le medesime ch’hò detto<br />
Se non voglion cacciar carote, à frodo.<br />
Hora veniam vn poco più al ristretto<br />
Dicendo qualche buono auertimento<br />
Donde l’vtil si caua con effetto.<br />
''Dando''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 19]<br/>Dando principio con buon fondamento<br />
Dico che quella botta è la megliore<br />
Ch’è più commoda e presta, ò che argumento<br />
Che soluer con ragion nullo autore<br />
Mai la potrà; perche è cosi in effetto<br />
Dunque tientelo à mente ò buon lettore.<br />
Appresso questo vò, che sappi certo<br />
Che dua son gl’auantaggi, che natura<br />
Dona à ciascun, ma non già per suo merto.<br />
Vn esser grande, et forte; al cui più cura,<br />
Et più stimar si deue al mio parere<br />
Perche col star di sopra più si dura,<br />
Et anco questo fia commun parere<br />
Che d’arme sola l’auantaggio sia<br />
Di star di sopra, et quando anco si fere.<br />
Ma d’arme accompagnate meglio fia<br />
Lo star di sotto perche quella spada<br />
Più presto del ferir troua la via<br />
Non però à nullo nell’animo cada<br />
Che solo basti hauer questi auantaggi<br />
Dalla natura che senz’arte es nada<br />
E in ciò quest’arte è tenuta da i saggi<br />
Che sol sia il tempo, et questo tempo è solo<br />
L’offender, et schifar li suoi disaggi<br />
In questo l’huom si dee leuar à volo<br />
Quanto più puote in alto col giuditio<br />
Ne mai far altro essendo questo solo<br />
''C 2 Da''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 20]<br/>Da cui l’honor, et l’vtil hà l’initio<br />
Essendo il resto vanità del mondo<br />
Cioè guardie, e botte far senza giuditio.<br />
Hora vi dico con parlar giocondo<br />
Lasciate queste, e al tempo ritornate<br />
Che di quest’arte vi può far fecondo.<br />
E se tale essercitio punto amate<br />
Mirate attentamente à i quattro errori<br />
Che si fan dalle gente alle giornate<br />
In alto, in basso son dentro, et di fuori<br />
Come parmi di sopra hauer narrato<br />
Ne in altro inuiluppate i vostri cuori,<br />
S’il tempo d’alto in basso vi sia dato<br />
Da alto tu lo douerai ferire<br />
Se di basso alto, basso sia tarpato’.<br />
Quando vn dentro di fuor vedrai venire<br />
Falli di dentro la più presta offesa<br />
Se di fuor dentro, fuor l’habbi à impedire<br />
S’il vantaggio tu cerchi della presa<br />
S’il nemico ti porge il destro lato<br />
Valli adoßo col manco, et fia sospesa<br />
La spada sua di sopra, et trauersato<br />
Col manco piede tuo fia suo piè dritto<br />
E’l arme tua in disotto, e al suo costato<br />
[right edge: costato, o il fianco<br />
destro del nemico.]<br />
Hauendo prima con la manca dato<br />
Di piglio à gl’elzi della spada sua<br />
Acciò di tempo non si sia mutato<br />
''Et se''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 21]<br/>E se per caso fesse vn passo, ò dua<br />
In dietro, non mancar di seguitarlo<br />
Acciò pur resti nè vantaggi tua.<br />
Et se vorrai se ti gira fermarlo<br />
Se va à man stanca, et tu sempre à man dritta,<br />
E per contrario và sempre à incontrarlo<br />
Quando si offende dalla parte dritta<br />
Dentro si dice, all’hor vantaggio fia<br />
A chi più alto hà il pugno, et chi ha deritta<br />
La parte sua del taglio, et sopra stia<br />
Voltata verso della punta aduersa<br />
Ma che la punta alla sua spalla stia.<br />
Quando di fuor l’offesa sia rouersa<br />
L’avantaggio sarà il pugno più basso<br />
Col detto modo, et non fia spesa persa.<br />
Stiasi auertito nel mutar il paßo<br />
O l’vno, ò l’altro à l’innanzi, ò à l’indietro<br />
Ch’in dentro, ò in fuori si puo far fracaßo.<br />
Se arriui, ò non quest’è vn bel secreto<br />
Ch’importa aßai per non tirar in in vano,<br />
S’arriui mena, et stà col paßo cheto.<br />
Pon cura ancora al volger della mano<br />
A tutti quattro i sopradeti modi,<br />
E al steso braccio non fia il tempo in vano.<br />
Queste son verità, non sono frodi;<br />
Perche le frodi son come le finte<br />
Che nuocono, e non giouano come odi<br />
''Et se''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 22]<br/>Et se darai alle tue botte spinte<br />
Di taglio, falso, ò ponta, et sia di dritto<br />
Alta la stanca al viso che stia in te,<br />
Se di riuerso fia il colpo prescritto.<br />
Fa che distesa sia la tua man manca<br />
Verso il nemico à cui fia gran dispitto<br />
Quest’anco oßeruarai s’in la man stanca<br />
Terrete altre armi da difesa, ò offesa<br />
Perche l’habito buon cresce, e non manca<br />
Et chi volesse ancor pigliar contesa<br />
Con vn Mancino, fuor deue star sempre<br />
Sopra con l’armi tue che è buona spesa.<br />
Ma vno poi che non voleße sempre<br />
Star aspettando, che si facci errore<br />
Deue mutando voglie mutar tempre<br />
Deue auertir se fa con vn ch’hà core,<br />
S’è vile, ò sà, ò non sà così proceda<br />
Cauto, e reprima, et soffra il suo valore.<br />
Et stia alla lerta, quando che si veda<br />
Menar con furia, et ben presto la mano<br />
Fermo con la difesa, ò che li ceda<br />
Sempre col suo auantaggio, et se lontano<br />
Sempre all’indietro andaße, ouer da vn lato<br />
Et tu lo segui sempre destro, e piano.<br />
Sin tanto ch’vna volta fia incappato<br />
In vno delli error fatti d’appreßo<br />
Con taglio falso, ò punta li haurai dato.<br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 23]<br/>Et se si ferma poi, et si fia meßo<br />
O alto, ò baßo in modo strauagante<br />
Non ti smarrir, che tel vò dire adeßo.<br />
Proceder non si deue come auante<br />
Che si chiama di tempo volontario<br />
Detto da presi error che li fa innante.<br />
Procederai di tempo neceßario<br />
Qual con giuditio aßai molto maturo<br />
Fà far per forza errore all’auuersario<br />
Proceder d’esto tempo è più securo<br />
Se bene è più difficile in effetto<br />
Che star bisogna patiente, e duro.<br />
E tentar il nemico circunspetto<br />
Da tutti i lati, et se l’offesa prima<br />
Fai, alla difesa subito t’aspetto<br />
In questo tempo si fa molta stima<br />
Del dritto, e del rouerso stramazzone<br />
Per pigliar gl’auantaggi detti in prima<br />
Bisogna anco che sappi con ragione<br />
Qual sia la parte forte della spada<br />
Et qual la fiacca sia per paragone<br />
Te lo vò dir per non tenerti à bada<br />
Dal mezzo in ver la punta il debil fia,<br />
Più verso il pugno il forte par che vada;<br />
E se vuoi fare alla mia fantasia<br />
Nelle offese, et difese che farai<br />
Fa che col forte sempre fatte sia<br />
''E co-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 24]<br/>E cosi stando accorto non potrai<br />
Se non far bene, et habbi patienza<br />
Se d’esto tempo proceder vorrai.<br />
Hora Signori miei in conscienza,<br />
Dite vi par ch’io habbi sodisfatto<br />
Et s’è tal cosa datemi licenza.<br />
Ch’io son spettato, e in segno tutti à vn tratto<br />
Fate con le man cenno, et plaudete<br />
Ch’anch’io n’andrò contento, et satisfatto<br />
A ritrouar colei che voi sapete.<br />
I L F I N E.</p><br />
<br />
|}<br />
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| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107964Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:27:49Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 2]<br/>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 3]<br/>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 4]<br/>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 5]<br/>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 6]<br/>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 7]<br/>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 8]<br/>Il tramazzon riuerso se ben scritto<br/><br />
Et fatto meglio poi sarà con l’arte<br/><br />
Col tempo l’un, e l’altro fan profitto.<br/><br />
Col taglio retto calasi alla parte<br/><br />
Vicina al piede, et poi di falso dritto<br/><br />
Sbiassio si monta, alla pur dritta parte<br/><br />
Facendo anco di sbiassio il suo man dritto<br/><br />
E perche questi ancor siano migliori<br/><br />
Voltisi il pugno, et lo braccio stia fitto.<br/><br />
Con questi si di dentro, et si di fuori<br/><br />
Se ne piglia il vantaggio dal qual poi<br/><br />
eNe vien gran frutti, se questi son fiori.<br/><br />
Dunque sonore Muse pare à voi.<br/><br />
Ch’habbiamo satisfatto alla proposta<br/><br />
Che dal principio fù già fatta a noi.<br/><br />
Et che gir ne possiamo à nostra posta<br/><br />
A ritrouar colei dal ner vestito<br/><br />
Qual tanto tempo ci è stata discosta<br/><br />
Calliopè posesi alla bocca il dito<br/><br />
Et diße poi à Tersicore, e à Thalia<br/><br />
O sian burlate, ò costui è stordito<br/><br />
Non si ricorda nella nella diceria<br/><br />
Fattaci’pria hauerci nominate<br/><br />
Il taglio, e’l falso con la punta ria.<br/><br />
Ond’io perdon chiedendo ingenochiato<br/><br />
Dißi che questo procedea da Amore<br/><br />
Che sol pensando in lui m’era scordato:<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 9]<br/>Et volendo allegar per autore<br/><br />
Della sacra scrittura quel bel paßo<br/><br />
Che mal si serue à piu d’vno Signore;<br/><br />
Dissero in bisbiglio con tuon baßo<br/><br />
Perdoniamo à costui con patto tale<br/><br />
Ch’egli ritorni al derelitto paßo,<br/><br />
Et che per penitenza di tal male<br/><br />
Creanza vsata, con gran giuramento<br/><br />
Lo facciamo obbligar in modo tale;<br/><br />
Che per l’adietro egli ogni auuertimento<br/><br />
Che sia importante in questa nobil arte<br/><br />
Farci in verso palese sia contento.<br/><br />
Tal ch’io piangendo trattomi da parte<br/><br />
Ne sapendo rimedio alcun pigliare<br/><br />
Sol mi ricomandauo allo Dio Marte.<br/><br />
Pregandol che mi fesse perdonare<br/><br />
(Promettendo per me) l’error commeßo<br/><br />
Che quanto à lor piacea volea oßeruare<br/><br />
Ond’egli vscito da quel cauo fesso<br/><br />
Della fucina del fabro Vulcano<br/><br />
Venere hauendo, et Cupido con esso.<br/><br />
Tutti tre mi pigliarono per mano<br/><br />
Et mi condußer doue eran le Muse<br/><br />
Al dolce mormorio suaue, et piano.<br/><br />
Allegando per me debite scuse<br/><br />
Venere bella, et suo figliuol Cupido<br/><br />
Restanodo tutte intente a bocche chiuse<br/><br />
''B Dicen-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 10]<br/>Dicendo questo è quel seruo sì fido<br/>Del caro amante mio qual già molt’anni<br />
L’hà seguitato per monte, et per lido.<br/><br />
Et s’io col mio figliuolo i primi vanni<br/><br />
Non li tarpauo già saria salito<br/><br />
Per l’opre sue vicino à gl’alti scanni.<br/><br />
Per le cui questo fatto tanto ardito<br/><br />
Voluto hà contrastar con mio figliolo<br/><br />
Per cinque lustri, e il sesto non finito.<br/><br />
Oprando l’arte di difesa solo<br/><br />
In tempo tal, et si saria difeso<br/><br />
Ancor di più, ond’io sdegnata il volo.<br/><br />
Feci drizzar à i dolci cigni, et teso<br/><br />
Ch’io gl’hebbi de capelli vn laccio carco<br/><br />
Mi ritirai, et viddi star sospeso<br/><br />
Cupido in man tenendo i Strali, e l’Arco<br/><br />
Fingendo di ferirlo hor alto, hor baßo<br/><br />
Hor dentro, hor fuor, ne mai trouaua il varco.<br/><br />
Perche costui s’era fermo con paßo<br/><br />
Non longo, o largo, et solo intento staua<br/><br />
Di non errar, et s’enpigliaua [s]passo.<br/><br />
Hor mentre il mio figliuol tondo il giraua<br/><br />
Et questo sol girando vn de suoi piedi<br/><br />
Diede nel laccio che nascosto staua.<br/><br />
E inuiluppato cadde, et io ti credi<br/><br />
Li dissi di poter meco contendere<br/><br />
Sai pur ch’io non son putto come vedi.<br/><br />
''Ond’egli''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 11]<br/>Ond’egli diße hor à te voglio cedere<br/><br />
Et al tuo sesso, ma non à tuo figlio<br/><br />
Ne meno à quelli che son del suo genere.<br/><br />
Cupido all’hor li volea dar di piglio<br/><br />
Et io li dißi non che è mio prigione,<br/><br />
Et cosi lo cauai d’vn tal periglio.<br/><br />
Onde di poi per tal occasione<br/><br />
Costui diuotamente m’hà seruito<br/><br />
Ponendo l’arte sua in obliuione.<br/><br />
Dunque Muse mie care s’hà fallito<br/><br />
Per questa volta vò gli perdoniate,<br/><br />
Et tanto più perch’egli n’è pentito.<br/><br />
Fatel vi prego, fatel se mi amate<br/><br />
Ch’io lo riceuerò per gran fauore<br/><br />
Et ne terrò memoria alle giornate.<br/><br />
Voglio che li facciate anco vn fauore<br/><br />
Che monti sopra il Pegaso Cauallo<br/><br />
Che far quest’arte ancor li dona il core.<br/><br />
Et vi aßicuro che non farà fallo<br/><br />
Sotto di lui che à tempo nol correga<br/><br />
Et poi l’aiuterà col suo interuallo.<br/><br />
Et in tal modo fatta fù la trega<br/><br />
Tra lui, e le Muse, et d’vn salto leggiero<br/><br />
Montò sopra il Caual che non si piega.<br/><br />
Ma pria vols veder come è douero<br/><br />
Se staua la sua briglia al proprio loco<br/><br />
Et se le cigne feano il suo douero.<br/><br />
''B 2 Marte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 12]<br/>Marte che volontier mira tal gioco<br/><br />
Gli mise di sua man gl’acuti sproni<br/><br />
Fatti, e temprati di Vulcano al foco,<br/><br />
Quai donati gli hauea perfetti, e buoni<br/><br />
Sua dolce amante, ch’al zoppo marito<br/><br />
Li hauea rubbati mentre facea i tuoni.<br/><br />
Cosi costui vedendosi fornito<br/><br />
Di ciò li fea mestier, ch’ancor Cupido<br/><br />
Per verga d’vn suo stral l’hauea seruito<br/><br />
Al cenno di colei che in Papho, e in Gnido<br/><br />
Era adorata, ch’ei sempre in eterno<br/><br />
L’hauria tenuto suo nemico infido<br/><br />
In ciò concorse anco il voler superno<br/><br />
Hauendo il nome d’vn suo figlio anch’esso<br/><br />
Et così questi due la pace ferno.<br/><br />
La qual poi fatta eßendosi d’appreßo<br/><br />
Ridutti in vn le Muse con li Dei<br/><br />
Dal lato destro in vn luogo rimeßo<br/><br />
All’hor Vener li disse hora se sei<br/><br />
Qual hò detto à costor facendo quanto<br/><br />
Dando principio à quel che tu far dei<br/><br />
Ond’ei per vbidir hauendo in tanto<br/><br />
Accomodate staffe, et i vestimenti<br/><br />
Si moße con l’andar suaue tanto.<br/><br />
Poi con passi eleuati, e più eminenti<br/><br />
Con un trotto disciolto, e con gagliardo<br/><br />
Galoppo, e al correr dietro laßa i venti.<br/><br />
Indi</p><br />
<br />
|- <br />
| <br />
| <p>[p. 13]<br/>Indi con salti fa vedere vn Pardo<br/><br />
Iusti agruppati, con i calci, ò senza<br/><br />
Facendolo parar leggiero ò tardo.<br/><br />
Et indi poi ch’à maneggiar comenza<br/><br />
Presto, et sicuro all’vna, et l’altra parte<br/><br />
Hor con la volta intiera, hor con la menza<br/><br />
Hor contra tempo, hor con tempo comparte.<br/><br />
Il mezo tempo, e à tempo le pesate<br/><br />
Con Capriol che ne stupisce Marte.<br/><br />
Et se tal volta fuor delle pedate<br/><br />
Per sorte scappa subito corretto<br/><br />
Iusto ne vien da contro speronate<br/><br />
[right edge: Le sei cosesono.<br/><br />
mano, voce, briglia, staffe, polpa, e speroni.]<br/><br />
Tal che l’animal docile è costretto<br/><br />
Sentendo anco l’aiuto della mano<br/><br />
Et d’altri cinque à giocar destro, e netto<br/><br />
Hor lo fa gir da vn lato con la mano<br/><br />
Destra se˜pre alta, et col sinistro sprone<br/><br />
A tempo il batte sino al cambiar mano.<br/><br />
Quale al sentir dello destro sprone<br/><br />
Subito vien ad alzar la man stanca<br/><br />
Verso doue si volta vdite come.<br/><br />
Inanzi indietro, à man dritta, à man manca<br/><br />
Lo fa si giusto andar piano, ò veloce<br/><br />
Hor basso, hor alto, che nulla le manca.<br/><br />
Poi si dispicca, et con voce più atroce<br/><br />
Lo fa leuar in aria à vn passo e vn salto<br/><br />
Con calci, ò senza ond’ei par più feroce.<br/><br />
Indi</p><br />
<br />
|- <br />
| <br />
| <p>[p. 14]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 15]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 16]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 17]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 18]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 19]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 20]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 21]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 22]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 23]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 24]<br/></p><br />
<br />
|}<br />
{{master end}}<br />
<br />
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| title = Copyright and License Summary<br />
| width = 60em<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
| source title= <br />
| license = default<br />
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{{sourcebox footer}}<section end="sourcebox"/><br />
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<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
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== References ==<br />
<br />
{{reflist}}<br />
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== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
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<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107963Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:20:51Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 2]<br/>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 3]<br/>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 4]<br/>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 5]<br/>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 6]<br/>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 7]<br/>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 8]<br/>Il tramazzon riuerso se ben scritto<br/><br />
Et fatto meglio poi sarà con l’arte<br/><br />
Col tempo l’un, e l’altro fan profitto.<br/><br />
Col taglio retto calasi alla parte<br/><br />
Vicina al piede, et poi di falso dritto<br/><br />
Sbiassio si monta, alla pur dritta parte<br/><br />
Facendo anco di sbiassio il suo man dritto<br/><br />
E perche questi ancor siano migliori<br/><br />
Voltisi il pugno, et lo braccio stia fitto.<br/><br />
Con questi si di dentro, et si di fuori<br/><br />
Se ne piglia il vantaggio dal qual poi<br/><br />
eNe vien gran frutti, se questi son fiori.<br/><br />
Dunque sonore Muse pare à voi.<br/><br />
Ch’habbiamo satisfatto alla proposta<br/><br />
Che dal principio fù già fatta a noi.<br/><br />
Et che gir ne possiamo à nostra posta<br/><br />
A ritrouar colei dal ner vestito<br/><br />
Qual tanto tempo ci è stata discosta<br/><br />
Calliopè posesi alla bocca il dito<br/><br />
Et diße poi à Tersicore, e à Thalia<br/><br />
O sian burlate, ò costui è stordito<br/><br />
Non si ricorda nella nella diceria<br/><br />
Fattaci’pria hauerci nominate<br/><br />
Il taglio, e’l falso con la punta ria.<br/><br />
Ond’io perdon chiedendo ingenochiato<br/><br />
Dißi che questo procedea da Amore<br/><br />
Che sol pensando in lui m’era scordato:<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 9]<br/>Et volendo allegar per autore<br/><br />
Della sacra scrittura quel bel paßo<br/><br />
Che mal si serue à piu d’vno Signore;<br/><br />
Dissero in bisbiglio con tuon baßo<br/><br />
Perdoniamo à costui con patto tale<br/><br />
Ch’egli ritorni al derelitto paßo,<br/><br />
Et che per penitenza di tal male<br/><br />
Creanza vsata, con gran giuramento<br/><br />
Lo facciamo obbligar in modo tale;<br/><br />
Che per l’adietro egli ogni auuertimento<br/><br />
Che sia importante in questa nobil arte<br/><br />
Farci in verso palese sia contento.<br/><br />
Tal ch’io piangendo trattomi da parte<br/><br />
Ne sapendo rimedio alcun pigliare<br/><br />
Sol mi ricomandauo allo Dio Marte.<br/><br />
Pregandol che mi fesse perdonare<br/><br />
(Promettendo per me) l’error commeßo<br/><br />
Che quanto à lor piacea volea oßeruare<br/><br />
Ond’egli vscito da quel cauo fesso<br/><br />
Della fucina del fabro Vulcano<br/><br />
Venere hauendo, et Cupido con esso.<br/><br />
Tutti tre mi pigliarono per mano<br/><br />
Et mi condußer doue eran le Muse<br/><br />
Al dolce mormorio suaue, et piano.<br/><br />
Allegando per me debite scuse<br/><br />
Venere bella, et suo figliuol Cupido<br/><br />
Restanodo tutte intente a bocche chiuse<br/><br />
''B Dicen-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 10]<br/>Dicendo questo è quel seruo sì fido<br/>Del caro amante mio qual già molt’anni<br />
L’hà seguitato per monte, et per lido.<br/><br />
Et s’io col mio figliuolo i primi vanni<br/><br />
Non li tarpauo già saria salito<br/><br />
Per l’opre sue vicino à gl’alti scanni.<br/><br />
Per le cui questo fatto tanto ardito<br/><br />
Voluto hà contrastar con mio figliolo<br/><br />
Per cinque lustri, e il sesto non finito.<br/><br />
Oprando l’arte di difesa solo<br/><br />
In tempo tal, et si saria difeso<br/><br />
Ancor di più, ond’io sdegnata il volo.<br/><br />
Feci drizzar à i dolci cigni, et teso<br/><br />
Ch’io gl’hebbi de capelli vn laccio carco<br/><br />
Mi ritirai, et viddi star sospeso<br/><br />
Cupido in man tenendo i Strali, e l’Arco<br/><br />
Fingendo di ferirlo hor alto, hor baßo<br/><br />
Hor dentro, hor fuor, ne mai trouaua il varco.<br/><br />
Perche costui s’era fermo con paßo<br/><br />
Non longo, o largo, et solo intento staua<br/><br />
Di non errar, et s’enpigliaua [s]passo.<br/><br />
Hor mentre il mio figliuol tondo il giraua<br/><br />
Et questo sol girando vn de suoi piedi<br/><br />
Diede nel laccio che nascosto staua.<br/><br />
E inuiluppato cadde, et io ti credi<br/><br />
Li dissi di poter meco contendere<br/><br />
Sai pur ch’io non son putto come vedi.<br/><br />
''Ond’egli''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 11]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 12]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 13]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 14]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 15]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 16]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 17]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 18]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 19]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 20]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 21]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 22]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 23]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 24]<br/></p><br />
<br />
|}<br />
{{master end}}<br />
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| title = Copyright and License Summary<br />
| width = 60em<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
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| license = default<br />
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== Gallery ==<br />
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[Images available for import.]<br />
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{{reflist}}<br />
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== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
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{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107962Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:18:50Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 2]<br/>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 3]<br/>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 4]<br/>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 5]<br/>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 6]<br/>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 7]<br/>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 8]<br/>Il tramazzon riuerso se ben scritto<br/><br />
Et fatto meglio poi sarà con l’arte<br/><br />
Col tempo l’un, e l’altro fan profitto.<br/><br />
Col taglio retto calasi alla parte<br/><br />
Vicina al piede, et poi di falso dritto<br/><br />
Sbiassio si monta, alla pur dritta parte<br/><br />
Facendo anco di sbiassio il suo man dritto<br/><br />
E perche questi ancor siano migliori<br/><br />
Voltisi il pugno, et lo braccio stia fitto.<br/><br />
Con questi si di dentro, et si di fuori<br/><br />
Se ne piglia il vantaggio dal qual poi<br/><br />
eNe vien gran frutti, se questi son fiori.<br/><br />
Dunque sonore Muse pare à voi.<br/><br />
Ch’habbiamo satisfatto alla proposta<br/><br />
Che dal principio fù già fatta a noi.<br/><br />
Et che gir ne possiamo à nostra posta<br/><br />
A ritrouar colei dal ner vestito<br/><br />
Qual tanto tempo ci è stata discosta<br/><br />
Calliopè posesi alla bocca il dito<br/><br />
Et diße poi à Tersicore, e à Thalia<br/><br />
O sian burlate, ò costui è stordito<br/><br />
Non si ricorda nella nella diceria<br/><br />
Fattaci’pria hauerci nominate<br/><br />
Il taglio, e’l falso con la punta ria.<br/><br />
Ond’io perdon chiedendo ingenochiato<br/><br />
Dißi che questo procedea da Amore<br/><br />
Che sol pensando in lui m’era scordato:<br/><br />
''Et''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 9]<br/>Et volendo allegar per autore<br/><br />
Della sacra scrittura quel bel paßo<br/><br />
Che mal si serue à piu d’vno Signore;<br/><br />
Dissero in bisbiglio con tuon baßo<br/><br />
Perdoniamo à costui con patto tale<br/><br />
Ch’egli ritorni al derelitto paßo,<br/><br />
Et che per penitenza di tal male<br/><br />
Creanza vsata, con gran giuramento<br/><br />
Lo facciamo obbligar in modo tale;<br/><br />
Che per l’adietro egli ogni auuertimento<br/><br />
Che sia importante in questa nobil arte<br/><br />
Farci in verso palese sia contento.<br/><br />
Tal ch’io piangendo trattomi da parte<br/><br />
Ne sapendo rimedio alcun pigliare<br/><br />
Sol mi ricomandauo allo Dio Marte.<br/><br />
Pregandol che mi fesse perdonare<br/><br />
(Promettendo per me) l’error commeßo<br/><br />
Che quanto à lor piacea volea oßeruare<br/><br />
Ond’egli vscito da quel cauo fesso<br/><br />
Della fucina del fabro Vulcano<br/><br />
Venere hauendo, et Cupido con esso.<br/><br />
Tutti tre mi pigliarono per mano<br/><br />
Et mi condußer doue eran le Muse<br/><br />
Al dolce mormorio suaue, et piano.<br/><br />
Allegando per me debite scuse<br/><br />
Venere bella, et suo figliuol Cupido<br/><br />
Restanodo tutte intente a bocche chiuse<br/><br />
''B Dicen-''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 10]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 11]<br/></p><br />
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|- <br />
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<br />
|- <br />
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| <p>[p. 13]<br/></p><br />
<br />
|- <br />
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| <p>[p. 14]<br/></p><br />
<br />
|- <br />
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| <p>[p. 15]<br/></p><br />
<br />
|- <br />
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| <p>[p. 16]<br/></p><br />
<br />
|- <br />
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| <p>[p. 17]<br/></p><br />
<br />
|- <br />
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| <p>[p. 18]<br/></p><br />
<br />
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<br />
|- <br />
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<br />
|- <br />
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| <p>[p. 21]<br/></p><br />
<br />
|- <br />
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| <p>[p. 22]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 23]<br/></p><br />
<br />
|- <br />
| <br />
| <p>[p. 24]<br/></p><br />
<br />
|}<br />
{{master end}}<br />
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| width = 60em<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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| source title= Wiktenauer<br />
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{{sourcebox<br />
| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
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| license = default<br />
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== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
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{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107961Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:13:42Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 2]<br/>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>[p. 3]<br/>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 4]<br/>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 5]<br/>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 6]<br/>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>[p. 7]<br/>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
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|- <br />
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| <br />
| <p>[p. 24]<br/></p><br />
<br />
|}<br />
{{master end}}<br />
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| width = 60%<br />
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| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107960Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:10:05Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[<a href="User:Stefan_Feichtinger">Stefan Feichtinger</a>]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
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{{master begin<br />
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| width = 60%<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
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| authors = <br />
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{{sourcebox<br />
| work = Translation<br />
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| source link = <br />
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| license =<br />
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{{sourcebox<br />
| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
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== Gallery ==<br />
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== Copyright and License Summary ==<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107959Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T17:07:56Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>[p. 1]<br/>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
''A 2 A tal''</p><br />
<br />
|- <br />
| <br />
| <p>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
''Cosi''</p><br />
<br />
|- <br />
| <br />
| <p>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
''Botte''</p><br />
<br />
|- <br />
| <br />
| <p>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
''Di man''</p><br />
<br />
|- <br />
| <br />
| <p>Di man dritto fendente suol calare<br/><br />
Verso la terra, et poi di falso in su<br/><br />
Di rouerso di sbiascio, et poi à mancare.<br/><br />
Vien di rouerso sbiascio verso in giù<br/><br />
Mirate ben perche quest’è migliore<br/><br />
Dell’altre botte, et anco è vtil più.<br/><br />
Hor vò veder se ponto mi da il cuore<br/><br />
Di dir l’altre sei botte di riuerso<br/><br />
Che dal contrario vien dentro, il di fuore<br/><br />
Et si fa pur di sbiaßio vno rouerso<br/><br />
Che dalla dritta spalla del nemico<br/><br />
Principia, et và verso il ginocchio aduerso.<br/><br />
Si fa vn rouerso tondo il qual vi dico<br/><br />
Che da man dritta suol principiare<br/><br />
Terminando à man manca, et poi ridico<br/><br />
Che chi il rouerso fendente vuol fare,<br/><br />
Per mezzo della testa al dritto stile;<br/><br />
Ma pur di fuor conuien principiare,<br/><br />
Se non che l’vno, e l’altro del simile<br/><br />
Terrian nel far, ne differenza alcuna<br/><br />
Saria tra lor, fan moto consimile.<br/><br />
Montan rouerso sbiaßio vien da l’vna<br/><br />
Delle dritte ginocchia del contrario<br/><br />
Salendo à parte stanca in ver la Luna.<br/><br />
Montan fendente di fuor poco, e vario:<br/><br />
Perche comincia baßo, et poi và dritto,<br/><br />
Per mezz’il viso del contr’aduersario<br/><br />
''Il''</p><br />
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{{master begin<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
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| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
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| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
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| license = default<br />
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== Gallery ==<br />
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[Images available for import.]<br />
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== Additional Resources ==<br />
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== References ==<br />
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{{reflist}}<br />
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== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
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[[Category:Treatises]]<br />
[[Category:Books]]<br />
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[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107958Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:52:16Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
A 2 A tal</p><br />
<br />
|- <br />
| <br />
| <p>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
Cosi</p><br />
<br />
|- <br />
| <br />
| <p>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
Botte</p><br />
<br />
|- <br />
| <br />
| <p>Botte si fan, che di nulla non manca<br/><br />
Con punta, taglio, et con il falso ancora<br/><br />
Con la man destra, ò sia con la man manca.<br/><br />
Il di dritto ferir vò dirui hor hora<br/><br />
Offender anco di dentro si chiama<br/><br />
Quel di rouerso l’offender di fuora.<br/><br />
Hor do principio all’honorata trama<br/><br />
Dicendo che col taglio si pon fare<br/><br />
Dodici botte, et che queste si chiama.<br/><br />
Man dritto, sbiaßio, et dee principiare<br/><br />
Dell’auuersario nella spalla stanca<br/><br />
Et al ginocchio dritto terminare<br/><br />
Man dritto tondo pur dalla man manca<br/><br />
Và del nimico, et finisce alla dritta<br/><br />
Spalla di quello; vn’altro ce ne manca<br/><br />
Dritto fendente, che vien da man dritta<br/><br />
Per mezzo della testa, et tra li piedi<br/><br />
Dello nemico vien per linea dritta.<br/><br />
Montan di dritto sbiaßio nascer vedi<br/><br />
Dell’auuersario dal ginocchio stanco<br/><br />
Montando poi la parte dritta fiede<br/><br />
Vn’altro ve n’è poi che si dice anco<br/><br />
Montan dritto fendente, qual si fa<br/><br />
Pur da man destra, et l’vno et l’altro fianco,<br/><br />
Da i piè venendo alla testa sen, và<br/><br />
Poi il tramazzon di dritto si suol fare<br/><br />
Attendete hora qui come si fa<br/><br />
Di man</p><br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
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| authors = [[User:Stefan_Feichtinger]]<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107957Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:50:22Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
A 2 A tal</p><br />
<br />
|- <br />
| <br />
| <p>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
Cosi</p><br />
<br />
|- <br />
| <br />
| <p>Cosi facendo, non fia chi fallisca,<br/><br />
Et non fallendo, non potrà giamai<br/><br />
Dar tempo al suo nemico, che’l ferisca.<br/><br />
Hora di tutte l’arme intenderai,<br/><br />
La sustantia con che si suol ferire<br/><br />
Cioè taglio, falso, e punta, se nol sai.<br/><br />
Il taglio esser la parte si suol dire<br/><br />
De l’armi che sta volta verso i nodi<br/><br />
Del mezzo delle dita à non mentire.<br/><br />
Il falso è quella parte, che in più modi<br/><br />
In vano si ferisce, et stà riposta<br/><br />
Tra’l police, e tra l’indice più sodi.<br/><br />
La punta sempre in cima stà nascosta<br/><br />
Con che l’huomo dee far solo l’offesa<br/><br />
O sia la vita appreßo, ò sia discosta.<br/><br />
Col taglio, e il falso si fa la difesa,<br/><br />
Col taglio dalle parti più soprane,<br/><br />
Col falso quando fan le botte scesa.<br/><br />
E per non dir qualche parole vane<br/><br />
Solo in dui lati si potrà ferire<br/><br />
Di dritto, e di rouerso d’ambe mane.<br/><br />
Eßer di dritto quello si dee dire<br/><br />
Che suol principiar dal destro lato<br/><br />
Di chi lo fà non importa il finire.<br/><br />
Il ferir di rouerso muta stato<br/><br />
Principiando sempre da man manca<br/><br />
Di chi lo fa, ma tante d’ogni lato.<br/><br />
Botte</p><br />
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{{master begin<br />
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| width = 100%<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
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| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
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{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107956Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:47:32Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
A 2 A tal</p><br />
<br />
|- <br />
| <br />
| <p>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
Cosi</p><br />
<br />
|- <br />
| <br />
| <p></p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = [[User:Stefan_Feichtinger]]<br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107955Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:45:19Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br/><br />
DI SCHERMIRE, ET CAVALCARE.<br/><br/><br />
SIGNOR mio car la subita partita,<br/><br />
Ch’hauete fatta qui da San Marino;<br/><br />
Hà tutta trauagliata la mia vita.<br/><br />
Tal ch’io rimaso son qual pouerino,<br/><br />
Che per l’amor di Dio và domandando,<br/><br />
A questa Porta, e à quella il Pane, e’l Vino.<br/><br />
Donde col mio pensier tanto girando<br/><br />
Son capitato al Fonte d’Helicona.<br/><br />
Doue le Muse al fin m’han tolto il brando.<br/><br />
E ciascuna m’ha preso per la chioma,<br/><br />
Et detto m’hanno ci voglian chiarire<br/><br />
Se la tua arte d’arme è trista, ò buona:<br/><br />
Non sperar mai di qui poter partire,<br/><br />
Se prima non ci fai chiaro, et aperto,<br/><br />
In che consista l’arte del Scrimire;<br/><br />
Ma se ciò tu farai, noi à te per merto<br/><br />
Ti concediam, che poßi à spasso andare<br/><br />
Per ogni nostro luogo, ò in piano, ò in erto;<br/><br />
Senza Gabella alcuna mai pagare,<br/><br />
E vogliam ch’ogni cosa che dirai:<br/><br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
A 2 A tal</p><br />
<br />
|- <br />
| <br />
| <p>A tal che ‘tra me stesso guidicai<br/><br />
Che meglio era per mè d’ vscir d’impaccio<br/><br />
Ond’in cotal parole incominciai<br/><br />
Muse gentil poi che in ciò vi compiaccio<br/><br />
Sedete qui d’intorno in queste’herbette<br/><br />
Mentre io da Marte il fauor mi procaccio<br/><br />
Pregate anco voi Apollo ch’interdette<br/><br />
Non mi sian le parol potere vsare<br/><br />
Come verran, ò sian turbide, ò nette<br/><br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br/><br />
Che questo d’arme nobile esercitio,<br/><br />
Sol per due cose al mondo si dee fare;<br/><br />
Una sia per honor, et non vitio,<br/><br />
Per vtil l’altra, dal prima deriua<br/><br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br/><br />
Questo da prima, ch’in Roma fioriua,<br/><br />
Mestier di guerra, ch’ognuno imparaua<br/><br />
Quel ch’ad buon soldato conueniua.<br/><br />
Offender, et difender lo chiamaua,<br/><br />
Ma l’vn far senza l’altro non è buono;<br/><br />
Però chi più lo fea più dominaua.<br/><br />
Hora per imparar queste, che sono<br/><br />
Di tanto giouamento, si richiede<br/><br />
Quattro cose, ma pria che’l cuor sia buono<br/><br />
Iudicio, buon occhio, man, et buon piede,<br/><br />
Et far che l’occhio al giuditio obedisca,<br/><br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
Cosi</p><br />
<br />
|- <br />
| <br />
| <p></p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107954Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:42:55Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br />
DI SCHERMIRE, ET CAVALCARE.<br />
SIGNOR mio car la subita partita,<br />
Ch’hauete fatta qui da San Marino;<br />
Hà tutta trauagliata la mia vita.<br />
Tal ch’io rimaso son qual pouerino,<br />
Che per l’amor di Dio và domandando,<br />
A questa Porta, e à quella il Pane, e’l Vino.<br />
Donde col mio pensier tanto girando<br />
Son capitato al Fonte d’Helicona.<br />
Doue le Muse al fin m’han tolto il brando.<br />
E ciascuna m’ha preso per la chioma,<br />
Et detto m’hanno ci voglian chiarire<br />
Se la tua arte d’arme è trista, ò buona:<br />
Non sperar mai di qui poter partire,<br />
Se prima non ci fai chiaro, et aperto,<br />
In che consista l’arte del Scrimire;<br />
Ma se ciò tu farai, noi à te per merto<br />
Ti concediam, che poßi à spasso andare<br />
Per ogni nostro luogo, ò in piano, ò in erto;<br />
Senza Gabella alcuna mai pagare,<br />
E vogliam ch’ogni cosa che dirai:<br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
A 2 A tal</p><br />
<br />
|- <br />
| <br />
| <p>A tal che ‘tra me stesso guidicai<br />
Che meglio era per mè d’ vscir d’impaccio<br />
Ond’in cotal parole incominciai<br />
Muse gentil poi che in ciò vi compiaccio<br />
Sedete qui d’intorno in queste’herbette<br />
Mentre io da Marte il fauor mi procaccio<br />
Pregate anco voi Apollo ch’interdette<br />
Non mi sian le parol potere vsare<br />
Come verran, ò sian turbide, ò nette<br />
Quel ch’io vo dire,ogn’vn habbia à notare,<br />
Che questo d’arme nobile esercitio,<br />
Sol per due cose al mondo si dee fare;<br />
Una sia per honor, et non vitio,<br />
Per vtil l’altra, dal prima deriua<br />
La gloria, et l’altra à ogn’vn fà più seruitio.<br />
Questo da prima, ch’in Roma fioriua,<br />
Mestier di guerra, ch’ognuno imparaua<br />
Quel ch’ad buon soldato conueniua.<br />
Offender, et difender lo chiamaua,<br />
Ma l’vn far senza l’altro non è buono;<br />
Però chi più lo fea più dominaua.<br />
Hora per imparar queste, che sono<br />
Di tanto giouamento, si richiede<br />
Quattro cose, ma pria che’l cuor sia buono<br />
Iudicio, buon occhio, man, et buon piede,<br />
Et far che l’occhio al giuditio obedisca,<br />
La man pò all’occhio, et alla man po' il piede:<br/><br />
Cosi</p><br />
<br />
|- <br />
| <br />
| <p></p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
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{{sourcebox<br />
| work = Translation<br />
| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
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| work = Transcription<br />
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| source link = <br />
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== Gallery ==<br />
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{{reflist}}<br />
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== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107953Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:41:06Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|- <br />
| <br />
| <p>C A P I T O L O<br />
DI SCHERMIRE, ET CAVALCARE.<br />
SIGNOR "mio car la subita partita,<br />
Ch’hauete fatta qui da San Marino;<br />
Hà tutta trauagliata la mia vita.<br />
Tal ch’io rimaso son qual pouerino,<br />
Che per l’amor di Dio và domandando,<br />
A questa Porta, e à quella il Pane, e’l Vino.<br />
Donde col mio pensier tanto girando<br />
Son capitato al Fonte d’Helicona.<br />
Doue le Muse al fin m’han tolto il brando.<br />
E ciascuna m’ha preso per la chioma,<br />
Et detto m’hanno ci voglian chiarire<br />
Se la tua arte d’arme è trista, ò buona:<br />
Non sperar mai di qui poter partire,<br />
Se prima non ci fai chiaro, et aperto,<br />
In che consista l’arte del Scrimire;<br />
Ma se ciò tu farai, noi à te per merto<br />
Ti concediam, che poßi à spasso andare<br />
Per ogni nostro luogo, ò in piano, ò in erto;<br />
Senza Gabella alcuna mai pagare,<br />
E vogliam ch’ogni cosa che dirai:<br />
Non l’habbia alcun de nostri à sindicare.<br/><br />
A 2 A tal"</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107952Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:37:47Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <br />
| <p>ILLUSTRISS. ET ECCELLENTISS.<br/><br />
Signore, & Padron mio sempre<br/><br />
Colendissimo.<br/><br />
<br/><br />
ESSENDO io in Perugia già dui anni sono, doue era<br />
anco M. Mercurio Spetiolo F. M. mio amicissimo<br />
egli compose il seguente Capitolo, del modo di<br />
Schermire, & Caualcare, & auanti ch’io mi partissi<br />
di là hauendolo à pena finito, mi fauorì di darmene<br />
copia; hora essendo piaciuto à N. S. Dio chiamarlo à<br />
sè hò giudicato ben fatto di publicare al mondo<br />
questa sua fatica, si per benefitio di chi si diletta di<br />
tali Virtù, si anco per mantener viuo in quella parte<br />
che posso il nome di cosi Virtuoso, & caro amico. Et<br />
perche egli da quel tempo in quà è vissuto al seruitio<br />
di V. S. Illustriss. & Eccellentis. esercitando le<br />
sudette Virtù à lei m’è parso conueniente il<br />
presentarlo, & con questa occasione farle anco dono<br />
di me stesso, assicurandomi che si come il mare<br />
amplissimo d’acque non sisdegna accettar nel suo<br />
seno ogni Fiumicello per piccolo che sia, cosi lei nõ<br />
sdegnarà me per suo humiliss. Seruo ne hauerà<br />
discaro ch’io riuerente ammiri, & osserui le tante, &<br />
supreme Virtù, & doni di che l’hà ornata il Cielo,<br />
con che cõ ogni riuerenza le bascio le mani,<br />
pregando N. S. Dio che le conceda ogni felicità.<br/><br />
Di V. S. Illustriss. & Eccellentiss.<br/><br />
Humiliss. Ser.<br/><br />
Pietr’Antonio Cattaldi.</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = <br />
| source link = <br />
| source title= Wiktenauer<br />
| license =<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107951Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:35:43Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107950Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:35:08Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[User:Stefan_Feichtinger]][[Stefan Feichtinger https://wiktenauer.com/wiki/User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107949Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:33:49Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [Stefan Feichtinger[https://wiktenauer.com/wiki/User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107948Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:33:15Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[https://wiktenauer.com/wiki/User:Stefan_Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=User:Stefan_Feichtinger&diff=107947User:Stefan Feichtinger2020-04-27T16:30:52Z<p>Stefan Feichtinger: </p>
<hr />
<div>Co-Trainer for Italian Rapier at Fechtschule Klingenspiel in Vienna, also experienced in Smallsword, Sidesword and Longsword<br />
<br />
Studied German, History and Assyriology at University Vienna<br />
<br />
Founder of T.HEMA, project for creating professional photos and videos for HEMA and public relations of fencing clubs<br />
Co-founder of HEMATICS, project for creating high quality online HEMA tutorials</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107946Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:29:45Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Treatise<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[Stefan Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107945Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:27:57Z<p>Stefan Feichtinger: </p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Prologue<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>Translation</p><br />
! <p>Transcription<br/>by [[Stefan Feichtinger]]</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br/><br />
DI M. MERCVRIO<br/><br />
SPETIOLI DA FERMO,<br/><br />
Nel quale si mostra il modo di saper bene<br/><br />
Schermire, & Caualcare.<br/><br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br/><br />
BONCAMPAGNO Marchese di<br/><br />
Vignola, et Generale<br/><br />
Gouernatore di<br/><br />
S.Chiesa.<br/><br />
IN BOLOGNA.<br/><br />
Per Giouanni Rossi MDLXXVII.<br/><br />
Con licentia de’ Superiori.</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XV - The Sword<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The Prophet said: "Whoever moves the sword in the service of God, God will clothe him with the cloak of glory". For his part, ''Ali ibn Abi Talib'' states: "I heard the Prophet say that God adorns his angels by having them draw swords, and that they pray for Muhammad while he holds a sword."</p><br />
| <br />
<br />
|- <br />
| <p>According to ''al-Ahnaf ibn Qays'': "The Arabs will be Arabs as long as they continue wearing turbans and carrying swords, and while they do not understand magnanimity as a reproach".</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had many swords, among which is counted: "''Du I-faqar''", which he achieved in booty on the day of the Battle of Badr, and which had belonged to ''Munabbih ibn al-Hayyay''. "''Al-Adb''" that was given to him by ''Said ibn Ubada''. Also: "''Battar''", "''Mijdam''", "''Rasuf''" and "''Hatf''". He also had a ''qala'I'' sword, taken from the ''Banu Qaynuqa''. He had also inherited one from his father. Such are the swords of the Prophet which are known to him.</p><br />
| <br />
<br />
|- <br />
| <p>Tradition tells that ''Ukkasa ibn Mihsan'' fought, in the Battle of Badr, with his sword, until it was broken. Then the Prophet came and gave him a piece of tree branch, saying "fight with this, Ukkasa!". When he picked it up, he brandished it, and then it changed into a long sword, very solid, of white iron. And he fought with her until God granted the Muslims victory.</p><br />
| <br />
<br />
|- <br />
| <p>This sword was called "''Awn''". His owner continued to assist him with all the combats, together with the Prophet, until he perished, even in the time of the caliphate of ''Abu Bakr''.</p><br />
| <br />
<br />
|- <br />
| <p>It is also said that the sword of ''Abd Allah ibn Yahs'' broke the day of the Battle of Uhud. The Prophet then handed him a branch of palm tree, which upon taking it became a sword, whose grip formed the same piece with the rest. This sword was called "''Uryn''", and it continued to be owned, until it was bought by Baga the Turk.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs said: "The sword is the shadow of death and the game of Destiny", that's why they also called it "The Terrible".</p><br />
| <br />
<br />
|- <br />
| <p>Among the sayings that are said about it: "The sword draws more than reproach". "Everything that ''Ibn Dara'' has said is carried by the sword." "The sword is good companion and true friend and swift messenger".</p><br />
| <br />
<br />
|- <br />
| <p>That is what ''Abu Tammam al-Ta'i'' (verse 61) says:</p><br />
<br />
:''The sword gives more loyal news than writing,<br/>on its edge is the edge of mockery and you will see truth.<br/>It offers white blades and no black blades<br/>and their strokes dispel all doubt or error.''<br />
| <br />
<br />
|- <br />
| <p>The sword dispenses with other weapons, but almost no others can replace it. Does it not always accompany the employment of all others? So says ''Yami al-Muharibi'': "When a sword strikes with a sword, there is no other option."</p><br />
| <br />
<br />
|- <br />
| <p>A verse of the ''Mutanabbi'' (verse 62):</p><br />
<br />
:''Despised the spears and abandoned them,<br/>it would be said that the sword of the spear disowns.''<br />
| <br />
<br />
|- <br />
| <p>And it is that the Arabs drives the sword as if it were a spear; with it they beat, as if it were a rod; with it they cut, as if it were a knife; they used it as a whip and as a lash; it is his ornament in public; his light in the darkness; his company in solitude; his fellow in the desert; his comrade of sleep and the way, so they call it: "coat", "cape", "rod", "dress", "clothing". It is the "judge of combats", the "decision of human litigation".</p><br />
| <br />
<br />
|- <br />
| <p>All these facets have inspired poetry, and have cradled proverbs or histories.</p><br />
| <br />
<br />
|- <br />
| <p>This is how ''Utba ibn Abd al-Sulami'' referred: The prophet handed me a short sword, and warned me: "if you cannot wield it, spear with it".</p><br />
| <br />
<br />
|- <br />
| <p>And a Bedouin asked his two sons which sword was the best for them. The first replied: "The one of polished edge, the one of a sharp cut, resolute and long; that when brandishing, does not err; when it gives, it does not bounce." The other said: "A good sword you have described, but the one I prefer is another."</p><br />
| <br />
<br />
|- <br />
| <p>"And what is it?" They asked him. And he answered: "The one of a sharp edge, of a shining brightness, always hungry and thirsty, that to the swung, it cuts, and when finding, it kills".</p><br />
| <br />
<br />
|- <br />
| <p>He asked them now which sword was the worst. And one replied: "The one that eases and bounces and rejects the bones and the flesh, the one that when it hits, does not cut and to behead is useless".</p><br />
| <br />
<br />
|- <br />
| <p>Then I ask the other one who answered: "You have described a bad sword! But the worst one for me is not like that". Asked, then, how it was, he replied: "The blunt, the rusty, unsafe handle, and no matter how hard you try, you do not bleed."</p><br />
| <br />
<br />
|- <br />
| <p>They say that ''Umar ibn al-Khattab'' asked one day: "Who is the noblest of all Arabs?"</p><br />
<br />
<p>"''Hatim al-Ta'i''," they said.</p><br />
<br />
<p>"And who is your best poet?"</p><br />
<br />
<p>"''Imru al-Qays''," they told him.</p><br />
<br />
<p>"And which is the sharpest sword?"</p><br />
<br />
<p>"That of ''Amr ibn Ma'dikarib al-Zubaydi''," they told him. Umar then sent to ask for Amr's sword, which was called "the Samsama". So he did; but then, when he tasted it, he discovered that it was not such, and he told Amr, who answered: "The Emir of the Believers sends my sword, but do not send him the arm that was brandishing it".</p><br />
| <br />
<br />
|- <br />
| <p>''Al-Haytam ibn Adi telata'' states that when the sword of ''Amr ibn Ma'dikarib'', the famous "Samsama", happened to be of ''Musa al-Hadi'', he sent it to him, and when he placed it in front of him, unsheathed, he said to his chamberlain : "Call the poets!" When they were present, he ordered them to sing to the sword. I take Anas' word (verse. 63):</p><br />
<br />
:''Musa al-Amin, for himself, has allowed himself<br/>the sword "Samsama" of the Zubaydi.<br/>This Amr's steel, as we have heard,<br/>Is the best that ever was sheathed.<br/>The blade reverberates between its edges,<br/>with steely light that the eye follows.<br/>The thunder set him on fire<br/>then it gave him the fate of his Deadly Destiny.<br/>Function is almost the light of the sun,<br/>whose rays hardly resists the eye.<br/>That brightness and brilliance that runs through its blade seems to be the outbreak of a poison.<br/>It would be said that her fate depends,<br/>or that each of its edges that is Fatum.<br/>That I bet the warrior that in a full clash takes it close! What a great companion!<br/>The same can be given to whoever draws it,<br/>If he wield your hand grim or right!''<br />
| <br />
<br />
|- <br />
| <p>It is added that ''Musa'' gave the poet a fortune, or that he gave him the sword, and then bought it for fifty thousand dirhams.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that ''Urwa ibn al-Zubayr'' asked ''Abd al-Malik ibn Marwan'' to return the sword of his brother ''Abd Allah ibn al-Zubayr''. He presented her in a pile of drawn swords, but ''Urwa'' recognized her among all. ''Abd al-Malik'' asked him how he had met her, and the other answered him with the verse of ''al-Nabiga'' (verse 64):</p><br />
<br />
:''No defect they have, but their swords<br/>they have nicked its edge in the clash of the squadrons.<br/>Since the day of Halima they come inheriting,<br/>and since then all the avatars have tried.''<br />
| <br />
<br />
|- <br />
| <p>A Christian king sent ''Harun al-Rasid'' three swords, among many others present. In each one there was an inscription. In the first "Warrior, attack and you will achieve spoils, but do not think about the result, (otherwise) you will be defeated!" In the second: "If the cut of your sword does not reach its destination, lengthen it, after having thrown off your fear." In the third: "Prudence, when there is no fear that the occasion escapes, it is better than the urgency to achieve the desired."</p><br />
| <br />
<br />
|- <br />
| <p>The sword has in Arab appellative many and abundant denominations. Thus, for example, it is called "''yunti''", which according to ''Abu Ubayda'' qualifies that it is made of the best cast iron, although it is also indicated that ''Yunti'' was the name of the smith who made them. Those that were made in India had a special and allusive term called "''Hindi''" or "''Muhannad''" or "''Hun-Duwani''". Also those made in Yemen were called "''yemenies''" like the ''Qal'a'', "''qal'ies''", although it is also indicated that this designates their white colour.</p><br />
| <br />
<br />
|- <br />
| <p>The so-called "''qasusi''" comes from the mountain of Qasus, where there is an iron mine. The "Masrafi" comes from Masarif, Arab villages, near the Rif. Others are called "''surayyi''", from the smith who made them.</p><br />
| <br />
<br />
|- <br />
| <p>And according to its characteristics it also receives different names, so it is called "face" to the very wide one; "branch", if it is thin and well adjusted; the one that is not shored up is "driven", that applies so much to the one that is not smoothed, as to the one that is not very well finished or well-honed. If it is narrow, it is distinguished by the term "fine". If it shows grooves that undermine the blade it is called "furrowed" or "ribbed", that's why they were called the swords of the Prophet and of Ali, although it is said that this term of "scratched" is applied to the sharp sword only by one of its edges, while on the other it is blunt: this is how the sword "Samsama" of ''Amr ibn Ma'dikarib'' was characterized. When the edges are made of steel and the blade made of iron, it is called "steel", as are the Christian swords, which, according to the Arabs, were made by geniuses; The truth is that they are more resistant when used properly from the beginning, while Hindu swords tend to break when they are still cold; they are, therefore, better for strong attacks. If shining it is called "brilliant". If by its consistency, purity and perfect polish, no blood is adhered to it, it is called "polished". If it takes many years of use and has worn its edge, it is called "dented". If blunt and does not cut, it is called "dull". If its blade has any reflection, it is called "illuminated". If it is used to cut wood, or things like that, then it is "pruning tool", if it is used to chop meats or bones, it is "knife".</p><br />
| <br />
<br />
|- <br />
| <p>There are many qualifiers on its edge. To designate that it cuts very well the words used are: "acute", "incisive", "sharp", "voracious", "keen", light "," cutting"," pointed "and" sharpened ", all of which allude to the accuracy of the cut, if it goes through the bones, he is called "resolute." If it is very firm, if it never bends, "persistent."</p><br />
| <br />
<br />
|- <br />
| <p>Its different parts have their names: "pearl" and "glare" is a brightness that shows and gives the impression that water runs from it when it is brandished. "''Dubab''" is the tip; the part before her is "''zubatan''". "Turn" are the edges. "''Amud''" is the center. "''Matn''" is the whole blade. "spike" is the part that enters the hilt. "hilt" is the whole part that is not blade. "''Qabid''" ("grip") is the upper part of the hilt. "''Sa'ira''" is what holds her.</p><br />
| <br />
<br />
|- <br />
| <p>There is also a whole terminology of the scabbard, which is called "''yafn''", "''jilla''" or "''jilal''", although this last name says it applies to the inner skin of the scabbard. "''Hama'il''" or "''Kalb''" is a buckle through which the sword belt passes.</p><br />
| <br />
<br />
|- <br />
| <p>A poet says, taking advantage of the double meaning of "''kalb''" ("dog") (verse. 65)</p><br />
<br />
:''How many times I saw the face of the dog<br/>Straps that adorn the emir to be!''<br />
| <br />
<br />
|- <br />
| <p>Among the poems that name the sword, this one from ''Tarafa'' (verse. 66):</p><br />
<br />
:''Swear from my side do not remove<br/>the cutting edge of my Hindu sword,<br/>so faithful that no blow misses.<br/>He is told to "calm", and replies "already".<br/>It is enough to resort once to your cut,<br/>which is a spark and not a catana.''<ref>Indian sabre or cutlass</ref><br/>''Whenever the others go for their weapons,<br/>Just by holding it I was undefeated.''<br />
<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Mu'tazz'' (verse. 67):</p><br />
<br />
:''A steel I have and to my credit a thousand deaths,<br/>for never without blood has it been drawn,<br/>on top of your blades you can see glares,<br/>like a shred of clear cloud under the sky.''<br />
| <br />
<br />
|- <br />
| <p>And from ''al-Alawi'' (verse. 68):</p><br />
<br />
:''On its brightness it would be called a silver wave,<br/>which advances and returns between its two edges,<br/>as if they were eyes of small ants,<br/>among those who appear the eyes of crickets.<br/>It is steel that brings terror,<br/>as an envoy of God to take life.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn Abd Rabbihi'' (verse. 69):</p><br />
<br />
''Grooved sword that meets the law's destiny,<br/>and what Destiny decrees cannot be stopped!<br/>It is a radiance that when you see it, pierces your eyes,<br/>and it is a lightning that when wielding it explodes.<br/>With unsheathing it ends the life of heroes,<br/>and from it death is frightened, the terrible death.<br/>When in combat with another similar one that is found,<br/>It seems that one soul goes against another soul.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Zaqqaq'' (verse. 70):</p><br />
<br />
:''Thirsty steel that drinks in the spring of neck,<br/>without ever its thirst being quenched.<br/>We represent it, sparkling, open march,<br/>like a star, like a flaming torch.<br/>Like a ardent fire was owned by him, in the war,<br/>the valiant champion: to stir your spirits.<br/>Its blade rivals crystal clear water.<br/>and like fire burns in each pit.<br/>Because of its brightness it seems crowned with pearls,<br/>and steals lives, without letting itself be robbed.<br/>Until his sheath of his blade escapes,<br/>as the water drains from a web of algae.''<br />
| <br />
<br />
|- <br />
| <p>Another poet composes (verse 71):</p><br />
<br />
:''A hindu steel that a glint travels through,<br/>and the deadly fire on its edge burns.<br/>Its waters almost floods who is moving,<br/>and to whoever its burning almost sears.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Abu l-'Ala al-Ma'arri'' (verse. 72):</p><br />
<br />
:''And if it were not that your sword is thin,<br/>we would say that the dejection thins it.<br/>Daughter of the fire, is licked and faint,<br/>as if the consumption was inherited from her father.<br/>So ornate your sheath, you would say<br/>It's covered in stars and road of the moon.<br/>Straight is the blade, from end to end.<br/>so it is difficult to distinguish the result.<br/>The clearness of the water shines on it,<br/>and also you find the burning of the fire.<br/>When we see the emir brandishing it,<br/>you say a mirage over the air.<br/>Scale by her bloody destinations,<br/>that then in tingling it transforms.<br/>Any other sword melts in her fear,<br/>That without the hold of the sheath, it would be liquefied.<br/>And is that, if not the sword, a friend can be found<br/>of permanent affection?''<br />
| <br />
<br />
|- <br />
| <p>And from ''Abu l-Abbas al-Tutili'' (verse. 73):</p><br />
<br />
:''Swords red and thirsty: they make their blades, waters;<br/>more as if from them they run and fall, they are barren.<br/>It could be said that in them a Holocaust has been created,<br/>but they are never said they are idols or sacrificers.<br/>Unarmed, but they know that they are drawn,<br/>coats of mail of heroes are changed into shrouds.''<br />
| <br />
<br />
|- <br />
| <p>Among the most fortunate allusion to the sword is this verse by ''Habib ibn Aws'' (verse 74):</p><br />
<br />
:''Wielded like a sword, if a man's hands do not,<br/>his very thrust would have unsheathed.''<br />
| <br />
<br />
|- <br />
| <p>A description, emphasized, from ''al-Nabiga'' (verse. 75):</p><br />
<br />
:''Penetrates even the redoubled coat of Saluqa,<br/>and burns the loins with a spark of fire.''<br />
| <br />
<br />
|- <br />
| <p>Numerous are the verses that refer to the sword, but what we have brought to collation is a sufficient sample.</p><br />
| <br />
<br />
|- <br />
| <p>The basic condition of sword management is that it does not draw, but when fenced with. If it's been drawn before, it can provoke cowardice.</p><br />
| <br />
<br />
|- <br />
| <p>There is no other weapon that needs so much care when used as the sword; for many who do not exercise caution or dexterity often injure the horse's ear or arms, or even cut off their own ears or their own legs, or leave them marked. So when the knight goes to use the sword, he will rest only the toes on the stirrups, without anything protruding ahead, always in convenient measure for good support. Flourish vertically or horizontally.</p><br />
| <br />
<br />
|- <br />
| <p>When the attacking the front, take extreme care of oneself and the horse. Take the hand, when giving blows, the farthest possible. With all this, safety will be achieved.</p><br />
| <br />
<br />
|- <br />
| <p>Try to always have the adversary to the right, especially if it is a lancer.</p><br />
| <br />
<br />
|- <br />
| <p>Whoever wants to learn and train in their handling, take a tender cane or branch, kneel it on the ground, firmly. Move away then, leaving it to your right, gallop your horse, and, when close, unsheathe the sword, soon, careful and lightly. From a sideways cut, to the part of cane or branch that is at the height of your head, or deliver horizontally, with ease and lightness. Repeat this several times, cutting in each pass as much as you can, until the length of the stick is only the size of a cubit. Follow this practice until it becomes so habitual, that it is done with total dexterity, God willing.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVI - The Spear<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The prophet has said: "You have obligations with the spear and bow, because their triumph was given to your Prophet, and for them I achieved conquests".</p><br />
| <br />
<br />
|- <br />
| <p>Four spears were obtained by the Prophet. One was called ''Mutatanna''. The other three he had got with all the weapons of the ''Banu Qaynuqa''.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs used to say: "The spear is the rope of death". And a saying repeats this: "You have mentioned the spear, that I had forgotten".</p><br />
| <br />
<br />
|- <br />
| <p>A Bedouin asked his two sons which spear they preferred. The first answered: "The one that is hard and straight, the one that when brandishing it does not warp, nor does it camber, when it is thrown."</p><br />
| <br />
<br />
|- <br />
| <p>I ask the other then, who replied: "A good spear he has described, but I prefer another!"</p><br />
| <br />
<br />
|- <br />
| <p>When asked about it, he answered: "One which vibrates, thin and flexible and fast, sharp when it pierces and penetrates when it enters".</p><br />
| <br />
<br />
|- <br />
| <p>He then asked what was the spear that seemed worse to them, and the first answered: "the one that cambers when hitting, the one that dents, the one that when brandished it stoops, and when hitting it breaks". He asked the second his opinion and he said: "A bad spear has been described, but I still find another one worse!" Questioned as to what it was, he answered: "that which is flimsy or rigid: and when it is forced, fails, and when it is speared, it breaks".</p><br />
| <br />
<br />
|- <br />
| <p>An author describes: "They are lances, sublime, ornate of nobility, they are the horns of horses, the rope that penetrates to the bottom of the entrails, with them the blood is claimed, and you can access women and borders. They would say snakes to open throats. It is rare for them to escape. Whoever alternates with them, trembles with fear."</p><br />
| <br />
<br />
|- <br />
| <p>Another says: According to its category, the spears are called: "''anaza''", which is a stick, more ready than the "''harawa''", and with an iron tip. It enters within the weapon's category, because with it one can defend. The iron looks like a ''moharra''<ref>the point in which a flag staff terminates</ref>, but without it being whole. It is followed in length by the "''nayzak''", who carries a fine iron; it is the same as the "''mitrad''" and the "''mizraq''", which are used as javelins, for the lightness of its pole. The iron is usually slightly square, to better cross the coat of mail or whatever it takes. The very long spear with wide iron is called halberd and "there/yonder". "''Jurs''", on the other hand, is a short spear. If it is hard, it is called "''mi'das''", because with it you can bore. The longest spears are called "''rumh''" and "''qana''".</p><br />
| <br />
<br />
|- <br />
| <p>Names that refer to their qualities or origin: If the shaft of the spear is very straight and does not need any reinforcement, it is called ''sa'da'', otherwise it is "''mutaqqaf''".</p><br />
| <br />
<br />
|- <br />
| <p>If it vibrates it is "''asil''"; and if it vibrates a lot, "''assal''" or "''arras''". If it is ductile it is called "''ladn''", "''dabil''" and "''marin''". Very hard, "''samhari''". And so firm that it does not bend "''sadq''". If you have any split, "''talib''". The so-called "''jatti''" is from Persian cane native to the Jatt region of Persia in which it grows. The so-called "''yazani''" takes its name from Yazan, a king of Yemen. The "''rudayni''" is named after a woman, Radayna, who manufactured them or sold them.</p><br />
| <br />
<br />
|- <br />
| <p>Nomenclature of the parts of the spear: "''sinan''", "''nasl''" and "''qurun''" is the tip whose edge is called "''sa'iba''". "''Zuba''", "''Safra''" or "''gargar''" are the two ends. "''Ayr''" is the projecting part of the center. "''Yubba''" is the entry of wood into the iron. "''Mihwar''" is the nail that fixes it. "''Zafira''" is the upper part, followed by the "''sadr''", the "''aliya''" and the "''amil''", up to a third of its size. "''A'id''" and "''amud''" is the middle part, followed by "''saq''", "''safila''", "''aqib''", "''ka'b''" and "''zuyy''". If the lower iron is sharp, it is called "''markaz''", otherwise, "''halqa''". "''Anabib''" and "'''ku'ub''" in the hindu spear are the intervals of its joints.</p><br />
| <br />
<br />
|- <br />
| <p>How to be mounted with the spear: The rider has to take the spear with his right hand, taking the left with the reins removed off of the chair. He will then put the point of his spear on the ground and move away from it a distance. He will introduce the tip of his left foot in the left stirrup, and, leaning on the spear, will be driven on the horse. Then he will stand up and turn the spear behind the rump of the animal, towards the right side, being raised with speed. He will now carry the spear to his left hand, along with the reins, while sorting his clothes and gear with his right. He will immediately grab the spear with his right.</p><br />
| <br />
<br />
|- <br />
| <p>If you find yourself in a deserted place, without any human being that can be damaged or any tree to get hooked on, you can take the handle by the centre, if you want, and with the left hand, along with the reins and some mane, or hold of the saddle if there is no mane. With the right you can hold onto the back or the one before also if the left has already caught some mane already. Ground then to the chair.</p><br />
| <br />
<br />
|- <br />
| <p>It is not convenient for the rider to take the spear directly from the ground, when they are already mounted, because the horse can step on it or break it or kick it, carrying it away. Every time you please, you must go down, take the spear and mount with it, as it has been specified.</p><br />
| <br />
<br />
|- <br />
| <p>To dismount with a spear, it must be held with the left, placing the tip on the ground, next to the left front leg of the horse. The removal will be collected with the right and then lowered. When stepping on land hastily bring back the spear to the right, to prevent the animal from turning on it and breaking it, or letting go of the iron, injuring someone. All this has to be done.</p><br />
| <br />
<br />
|- <br />
| <p>Anyone who wants to learn how to handle the spear, and acquire dexterity it with it, must begin by placing a kind of target, like a piece of wood, or something like that, on the ground, at a height that corresponds to that of the knight. They must secure its bottom, placing itself strongly in its upper part an iron ring or a rolled-up rope, as if it were a ring. Now take distance, putting the horse at full gallop. When approaching the target, pass the spear under the armpits, letting a part protrude outwards that allows to be held more lightly. Then, with the iron, go through that ring, but turn right away, in a hurry, to get the spear out of the artifice. Sometimes it is necessary to twist the spear back, until crossing the ring completely, picking up the spear, with lightness, on the other side. The ring also rotates to where it want to turn.</p><br />
| <br />
<br />
|- <br />
| <p>We must persevere in this exercise as much as possible, until it is carried out with total ease, without missing the objective, with the help of God.</p><br />
| <br />
<br />
|- <br />
| <p>The way to grab the spear in the confrontation, to strike with it, and to get rid of it later, would require a lot of detail and even visualizations, due to a great variety of circumstances that they contain and the great diversity of their possibilities and methods.</p><br />
| <br />
<br />
|- <br />
| <p>The knight should have a spear as light as possible, because then he will obtain a greater strength, more success and firmness, always within the measure of his strength and ability to resist.</p><br />
| <br />
<br />
|- <br />
| <p>Before, the spears of the riders reached ten cubits, but it is more convenient that they reach a shorter length. It will not be too thick or too thin, or so that the hand cannot cover it, neither so that the fingers overtake. The middle end is the best, always counting on the dimensions of each hand and the possibilities that are offered.</p><br />
| <br />
<br />
|- <br />
| <p>Among the verses that have been said about the spear, these are told from ''al-Ma'arri'' (verse 76):</p><br />
<br />
:''Thirsty, although it has no life,<br/>He knows that he who carries it is great, and enlarges him.<br/>Imagine that every breastplate is a pool,<br/>and flutters, aim to the plaited coat.<br/>Flood with her breasts many men,<br/>and you get rid of malice, just by using it.''<br />
| <br />
<br />
|- <br />
| <p>One of the most notable things that has been said in this respect are the verses of our master and judge and sharif ''Abu I'Wasim al-Hasani'' (verse. 77):</p><br />
<br />
:''Solid spear, of forged joints, if you claim<br/>the blood of heroes, it does not delay your term.<br/>So shining, I wonder: Is it the spear that is wielded or is it a lit torch?<br/>If it were not that the flames of his blade that matured her,<br/>it would be green, because they irrigate and drink blood.<br/>Oh! wonder: the clots would be, for your eye, ash,<br/>and yet no vulnerable point escapes his sight.''<br />
| <br />
<br />
|- <br />
| <p>Very abundant also the poems that allude to the spear.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVII - The Bow and Arrows<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>God, exalted be, accorded and preferred the bow above any other weapon, and so he established that dealing with everything that relates to it was one of the most profitable acts and one of the most meritorious options.</p><br />
| <br />
<br />
|- <br />
| <p>It is transmitted that the Prophet said: "There has not been any weapon that man has grasped, and for which he has displayed as much preference as the bow." And also: "Whoever has a bow in his house, God will move him away from poverty, while this bow stays there."</p><br />
| <br />
<br />
|- <br />
| <p>And when the time came to fight, the Prophet took the word, supporting his bow. He once said: "All believers should aspire to have bow and arrows."</p><br />
| <br />
<br />
|- <br />
| <p>The exhortations on the purpose of the shot of the bow are very numerous. Thus from ''Uqba ibn Amir'': "I heard the Prophet," he says, "saying from his ''almimbar'', 'Arrange against them all the strength you can'", and ''Uqba'' commented that with "force" he wanted to allude to the bows.<p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had in great esteem the one who knew how to be a good archer, a good rider and a good swimmer. And he repeated: "Teach your children to shoot with bow, that this inflict great damage to the enemy". And one day, seeing a group of ''Ansar'' who were shooting the bow, he told them: "Shoot, descendants of Ishmael, your ancestor was a great archer."</p><br />
| <br />
<br />
|- <br />
| <p>These are also the words of the Prophet: "Whoever shoots an arrow in God's service, whether missing or hitting, will receive the same reward as if he had liberated a descendant of Ishmael." And: "God has to introduce into Paradise, by an arrow alone, three people: the one who made it, if he did it with a good purpose, the one who shoots it and the one that approaches who shot it".</p><br />
| <br />
<br />
|- <br />
| <p>''Ali ibn Abi Talib'' transmits that he never heard the Prophet tell anyone that "he was rescued", more than to ''Sa'id ibn Abi Waqqas'', to whom he said on the day of the Battle of Uhud: "my father and my mother will serve you as a rescue". And that day, in addition to ''Sa'id'' he told ''Abu Talha'' and ''Qatada'', among other archers: "Stand firm, that the victory will be ours as long as you resist." Fifteen were the archers that fought on that day.</p><br />
| <br />
<br />
|- <br />
| <p>The traditions that are preserved for us for this purpose are so numerous that it is impossible to collect them all.</p><br />
| <br />
<br />
|- <br />
| <p>What a happy expression the poet has achieved when he says! (verse. 78):</p><br />
<br />
:''If a man wants to walk a good path<br/>and achieve the honour to which he leads,<br/>and obtain the meritorious reward,<br/>never stop the practice of the bow,<br/>which is elevated in this low world,<br/>and triumph for the straight religion of the Prophet.''<br />
| <br />
<br />
|- <br />
| <p>The Prophet had a bow of nab wood and it was called "yellow" and another of ''sawhat'' wood, and it was called "big"; another, of the same wood as the latter, and was called "target", and finally another, called "''katum''", because it was made of a round branch.</p><br />
| <br />
<br />
|- <br />
| <p>There are two types of bow: one of hand, which is the Arabian bow and which in turn has many varieties, and another standing, which is the Christian, and which also includes different classes.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabian bow is the one that suits the rider, because it is faster and needs fewer resources, while the other is better for those who fight on foot, for its greater length and effectiveness, especially in the sieges, naval battles and other similar operations. The latter is the one used by the Anadalusies and with the hunting and shooting and competitions, using both the horse on foot. It is the one that we are going to describe next.</p><br />
| <br />
<br />
|- <br />
| <p>This bow, that is to say the "Christian", is composed of a carriage, bolt (''amud''), cock (''qadib''), walnut (''yawza'') and key (''miftah''). The bolt was previously called "canal" ("''mayra''"), because the arrow ran through it. The key went up from the nut and you could shoot quite a number of arrows at once. But already in the time of ''Nemrod'' another was arranged, being given that name because it served as support. It has six cavities: the one of ''masrab''; the ''halq'', which is used to assemble and disassemble, in six cases: to rub it, wash it, remove parts, tighten it, open it, lift it or lower it. The third cavity has six applications, it is "security" and "reservoir"<ref>Storage?</ref>. In the fourth goes the "nut"; in the fifth goes the nail and in the sixth the key, calling itself "of action", "of shape" and "of secrets"; here the shot is given and in it resides its essence and its meaning.</p><br />
| <br />
<br />
|- <br />
| <p>The "cock" is so called because it is surrounded by two sites, one in the middle and four in the ends. It carries two strings: "''harbi''" and "''awir''". The "''nut''" received this name because the "''mutaharrik''", the "''natiq''" and the "''samit''" pass through it. It is also called "versatile", because it turns the key. Here resides one of the keys, and in the other "walnut" when both come together, the martingale<ref>Strap?</ref> is triggered.</p><br />
| <br />
<br />
|- <br />
| <p>The "key" is called so because precisely in it is the key to everything we have said.</p><br />
| <br />
<br />
|- <br />
| <p>The keys of archery resides in seven things: in the entity endowed with reason that with it shoots; in something ripped of an irrational body, which is the feather; plus the wax, the "nut" and the "cock" and the arrow. These last four take action while they are shooting, and none of them act in isolation.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that the bow has been deduced from the study of the circumference and that it is a great ingenuity. That the mathematicians deduced their principles from the consideration of the sun, moon and stars.</p><br />
| <br />
<br />
|- <br />
| <p>Virtually it would be said the bow would peak and shine like the dawn, and it is called "king" because it reigns, and when the archer takes it, he feels afraid of it, just as he fears the king when he enters his presence, and also by the bow others fear the archer in turn.</p><br />
| <br />
<br />
|- <br />
| <p>The bows are made of ten different species of wood, five of wild trees and five of cultivated trees. The wild varieties are: the yew that the Arabs call "nab", the olive tree, the ash tree, the bush of the alena and the cork oak. The cultivated ones are: the orange tree, the "''nisman''", the apple tree, the pomegranate tree and the quince tree.</p><br />
| <br />
<br />
|- <br />
| <p>In this respect a poet has said (verse 79):</p><br />
<br />
:''How strange that the noble bow,<br/>does not save the pigeon of the tree,<br/>and, before friend, they turn deadly!<br/>So are the vicissitudes of the times!<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Zaqqaq'' (verse. 80):</p><br />
<br />
:''Will I be the holocaust of a curved bow<br/>devoted to that enemy warrior?<br/>when the branch was the friend of doves of the forest;<br/>but today nothing but death is friend.''<br />
| <br />
<br />
|- <br />
| <p>Of all the woods that are used to make the bows there are reserves in the center, south, east and west (of the Peninsula). In two seasons these should be cut: in the winter simoon, which is the best for it (from this comes the comparison of the bow with a child who, also at this time, lactation is cut), and in the simoon of summer, if there is a necessity. The cut at the right time is the best branch, those that are cut outside that season have less quality.</p><br />
| <br />
<br />
|- <br />
| <p>You have to know that the crossbow is mounted in two ways, one calculated by sight, which is the main mode; another, resorting to measures, which is an accessory mode. Three grades of skill in archery: the expert, the master and the shooter, in descending order; because the master's skill is greater than the shooter, and the expert has much more skill than the master. These three mount the bow with the naked eye. In cases of not being very sure of the result, measure with a compass, proceeding as follows: open the compass and place one of its tips on the lower edge of the cavity called "''halq''", take the other tip to the edge between the cock of the bow, and then check this measure on the other part of the bow: if the distance is equal, it has already achieved what is intended, but if the point of the compass exceeds the edge of the bow, it is that the bow is low and you have to raise it.</p><br />
| <br />
<br />
|- <br />
| <p>If the point of the compass is short, it is that the bow is high and you have to reduce it, until the measurements are accurate.</p><br />
| <br />
<br />
|- <br />
| <p>To assemble the weapon two equal slats of good wood are needed to hold the cock firmly, after having tied a leather strap cut all along the skin of a deer in addition to an iron ring, where the left foot was placed at the moment of tensing; That's why that ring is called a stirrup.</p><br />
| <br />
<br />
|- <br />
| <p>When a cock is well placed in relation to the hollow of the ''halq'', change the hand, raising it until it is at the beginning of the ''hakk'' and end of the ''gaslm'' and begin to fix the two slats; the one on the right before the one on the left so there is no error. Now if you put the string of the bow, put the tensioner next to the hip, take the pick with the left hand after having entered the right under the key and having taken it to the string and having raised it, leaving it to then fall to the good of God; then, if the thumb is outside, everything is going well. Now take the bow with the left hand and place the arrow. Then shoot where you want.</p><br />
| <br />
<br />
|- <br />
| <p>One of the experts in this field has said: "Tense the bow calmly, attend to it with knowledge, shoot with fury". And also: "Firmness of character and sharpness of vision: you will shoot well". And: "Whenever an archer hits with his arrow the target, he dies, in enemy land, a man". When shooting, get used to doing it quickly.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that an Arab observed an archer, who, after having pulled his bow, stayed looking. He asked the Arab who was watching, and the other replied that he was afraid to hit someone. The Arab said: "Pull, the arrow will go where it should go."</p><br />
| <br />
<br />
|- <br />
| <p>The best shooter is the firm/strong man, of sharp vision and speed. For others, the essential qualities are firmness, quickness of fire and audacity. But in very few do these three advantages meet.</p><br />
| <br />
<br />
|- <br />
| <p>It is worth knowing that tensing a bow in winter is dangerous, both for the shooter and for the bow: firstly, because the bow is rigid: and for the second, because it can break. However, the eastern bow is better to be used in the winter, while the western bow is better for summer. In winter, place the bow in the sun so that it eases up and softens, before shooting with it. If it is a very cold day, do not shoot with it, unless it is in a lookout/tower. In summer, the bow will be kept in a cool place, and when it has lost heat, use it. All the key and core of the matter lies in the way of clamping the key. There are three ways to do it, and the man who owns himself, will do it with gentleness/smoothness; the one that possesses medium self-control, will do it little by little.</p><br />
| <br />
<br />
|- <br />
| <p>Shooters never do it in the same way. Of course it's something that is capital<ref>Paramount</ref>.</p><br />
| <br />
<br />
|- <br />
| <p>It suits to know that the bow does not have equidistant<ref>At equal distances</ref> its two ends is nothing more than if it is well manufactured<ref>It is the sum of how well it is manufactured<ref>. It is advisable to beware of six defects, the biggest ones that can occur, or that are: that the string is too thick, that subtracts power from the shot and can cause the break of the cock. Regarding the latter, we must take care that it is not too thin or too thick; its suspension; the shape with which the slab is carved, and the way in which the ends are tuned.</p><br />
| <br />
<br />
|- <br />
| <p>The shooter has an imperative obligation: always secure the cord of the string.</p><br />
| <br />
<br />
|- <br />
| <p>If you find yourself before a very hard bow, do not tense it sharply/suddenly.</p><br />
| <br />
<br />
|- <br />
| <p>When you go out on campaign you must carry enough supplies and weapons that weigh little, and especially the bow, more than any other weapon. That the light bow is the one that most effectively shoots.</p><br />
| <br />
<br />
|- <br />
| <p>After the first clash, in combat, stay in your position until you see what is happening: so maybe you can attack the one who is fighting against you with more efficiency.</p><br />
| <br />
<br />
|- <br />
| <p>Use straight right arrows, mounted in the ''Gazali'' style, with the feathered trimmed with braided streaks. Seven defects must be avoided: among them are the causes that produce the recoil of an arrow against the one that has shot; two of them are produced in the arrow itself, namely: that its streaks are too short, and that it is disproportionate in the front; two others are produced in the nut; the canal is very wide and that the threshold is very high.</p><br />
| <br />
<br />
|- <br />
| <p>Target shooting is an art. Shooting the bow is a feast/celebration. Hitting is a joy.</p><br />
| <br />
<br />
|- <br />
| <p>The first arrow that is shot, is called "champion", the second "support", the third "apparition", the fourth "follower", the fifth "striking", the sixth "right to your destination". When firing the first, it hits the target; the second, below; the third, to the right; the fourth, to the left; the fifth, finally, it remains in its exact place, so it's called that, and the sixth then "confirms" the shot, for which it receives that name.</p><br />
| <br />
<br />
|- <br />
| <p>If the six are fired without targeting any of them, it is that the archer does it very badly, and it needs to be practiced without truce. Whoever hits with two, does it above normal. Who hits with four has practically mastered this art. Whoever hits with the six, has already achieved perfection, being included in that exhortation of the Prophet to ''Sa'id ibn Abi Waqqas'', the archer who shot the first arrow in the ''algazua'' of the ''Abwa'', which on this occasion said these verses (verse. 81):</p><br />
<br />
:''It is not true, Prophet of God,<br/>that at the point of arrows I have defended you?<br/>Have you seen before, thus, an archer against the enemy, Prophet of God?<br/>With arrows rejecting the vanguards,<br/>in rough lands or in plains.<br/>And that proves that the religion you bring us,<br/>Is a just, true and righteous doctrine.<br/>May she save the Muslims and punish the unfaithful.<br/>Calm! that I have missed, but have not been punished:<br/>everything alive, misses. You, unbeliever, are condemned!''<br />
| <br />
<br />
|- <br />
| <p>The masters in this art say that "the man of short stature is miserable, courageous must be the knight, for all there is a companion, and the best companion of the bow, is a harmonious arrow".</p><br />
| <br />
<br />
|- <br />
| <p>The iron of the arrows are of seventeen kinds. Four of them are used to hunt, and are: "''zuyy''", "''silyat''", "''muryafla''" and "''muyannah''".</p><br />
| <br />
<br />
|- <br />
| <p>Three others are purposely to pierce the coat of mail, and are called: "''sibt''", "''murabba tawil''" and "''mutallat''". Four can pierce the shield: "''murabba qasir''", "''qitral''", "''ballut''" and "''subiri''". Four others go through the shield, and they are: the "''silyat''" (but smaller than the one used to hunt), the "''tamuh''", "''miywaf''" and "''milhami''". Two other classes are used: the "''bayuq''", to pierce the cane, and the "fire arrow" used to light boats or wooden towers.</p><br />
| <br />
<br />
|- <br />
| <p>You should never do without carrying any of these arrows. They should also be marked on their streaks, so that if you need to use any, you can take your hand to the quiver and get the one that is needed.</p><br />
| <br />
<br />
|- <br />
| <p>There is a saying that expresses this: "Before shooting, it is best to feather the arrows".</p><br />
| <br />
<br />
|- <br />
| <p>On this chapter there would be much to say, and if we continued trying the bow, the arrows and the archery, we would exceed the purpose that we set when writing.</p><br />
| <br />
<br />
|- <br />
| <p>We will now bring some poems that deal with the bow (verse. 82):</p><br />
<br />
:''I am the bow and well proven that<br/>I exterminate lions in fierce combat.<br/>I am from an old time, the judge of heroes,<br/>for in my heart is the arrow of death.<br/>An arrow ambush is placed on me,<br/>and woe to the brave who does not see its mystery!<br/>So well an arrow is mounted,<br/>armour does not resist, no, nor hard shield.''<br />
| <br />
<br />
|- <br />
| <p>And this one (verse. 83):</p><br />
<br />
:''Ask for coated tip for an arrowhead,<br/>after they have broken swords and spears,<br/>They will tell you that so the horses go galloping,<br/>I am the inseparable of death among the squadrons.<br/>When heroes hear the whistle of my pass,<br/>you will see them hiding under their skinny steeds,<br/>as if my voice were the sound of the flute of Judgment,<br/>Every time they hear it, they postpone in all directions.<br/>How proud is the spear, if the bow can compare his beautiful curves with turgid<ref>Swollen</ref> breasts?''<br />
| <br />
<br />
|- <br />
| <p>Other verses express (verse. 84):</p><br />
<br />
:''My arrows go through the enemy,<br/>if the archer disposes his shot well.<br/>I acted by his hand: my arrow reaches<br/>far and reaches any point.<br/>The spear cannot do what I do,<br/>nor the sword, in efficiency.<br/>Of this I glory among all weapons,<br/>and this glory, if you think, is not diminished.''<br />
| <br />
<br />
|- <br />
| <p>Also, on the same motive (verse. 85):</p><br />
<br />
:''Abandon the cambering spear<br/>Well the arrows are much better.<br/>If it is glory to kill enemies,<br/>Am I not the quickest of them all?''<br />
| <br />
<br />
|- <br />
| <p>There are so many poems about the bow, that we could expand out a lot.</p><br />
| <br />
<br />
|- <br />
| <p>The handling of this weapon varies according to its different types, which are very diverse, so exposing them would require an impossible space in a compendium like this. Many treatises have been dedicated to archery, well known, because this art is very widespread, look at them as it suits you and accommodate more. The essential thing for the archer on horseback is to have a well-used saddle, so that you can tighten it while it is mounted. In God there is triumph.</p><br />
| <br />
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|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVIII - The Coat of Mail<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>Glorious God has put the coats of mail between the beneficial things that he has given to man, since the exegesis<ref>a person who interprets scripture</ref> of the Qur'an understands the astonishment: "And he has given you garments that protect you from harm" (Qu'ran, XVI, 81), refers precisely to this.</p><br />
| <br />
<br />
|- <br />
| <p>It keeps the mood high, because it distances the danger. That is why ''Abbad ibn al-Husayn'' responded to a man who questioned him about which was the mail he preferred: "The one that most moves away from death".</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had a coat of mail called "the Extreme", and also possessed another, when he was retained from the mail, did not touch the ground, and when it was released, it touched him. The Prophet did not take part in any campaign without taking it. Two more armours he had, taken to the ''Banu Qaynuqa'', one of these two was called "''sugdiyya''". It's stated that the prophet also possessed the cuirass that David was carrying the day he killed Goliath. Tradition tells that the wise ''Lucman'' accompanied him while David was making it. But ''Lucman'' did not know what he was doing, nor did he ask. When David had finished it, he put it on and said: "It will be a castle, for a hazardous day" And ''Lucman'' understood what it was about.</p><br />
| <br />
<br />
|- <br />
| <p>Their names and characteristics: in general they are called ''"yunan''", because this term designates all that is behind which one takes refuge. "''La'ma''" is a complete coat, and it goes beyond. If it is broad/wide, it is called "''zagfa''", then "''natra''" and "''natla''". "''Fadfada'" when it is truly very loose. If it is very tight, it is called "''suk''". "''Jadba''" and "''dilas''" when it is soft. Solid and hard "''qadda''" or "''hasda''". With a lot of flange, "''da'il''". Minim (half worn), "''madiyya''", although this last qualifier is also said of the one made by opening the holes (necessary in metal plate), and from which it is joined and flat. The rivets are called "''harabi''", and one of their heads "''qatir''", and they are similar to the eyes of crickets.</p><br />
| <br />
<br />
|- <br />
| <p>The coat of double-mail is called "''muda'afa''", and it has its rings on two by two. Each ring is called "''zarad''". If it is made of perforated metal plates, it is called "''masr-uda''".</p><br />
| <br />
<br />
|- <br />
| <p>If it is woven or braided it is "''yadla''". When it is short, it is called "''salil''" or "''badan''". If you wear a front shirt, but not backplate, it is "''yawsan''".</p><br />
| <br />
<br />
|- <br />
| <p>The coat "''saluqiyya''" receives its name from the town of ''Saluq'', in Yemen, where they are manufactured. The "''jutamiyya''" is named after one of the ''Abd Qays ibn Afsa''. "''Far'awniyya''" is named after the "Pharaohs", and the "''dawudiyya''", by David.</p><br />
| <br />
<br />
|- <br />
| <p>Among the poems that mention the coat of mail is ''ak-Ma'arri'' (verse. 86):</p><br />
<br />
:''It looks like a pool that the wind, artifice, size,<br/>more will continue when the wind calms down.<br/>It would be said: they are submerged crickets, only eyes stick out,<br/>and if one with attention observes, he discovers them.<br/>No land animal is safe there,<br/>if you cannot reach a shore or ship.<br/>If the knight, believing himself saved, did not undress,<br/>he would live on, as long as he continued with the breastplate.<br/>And if one knew about the day of his death,<br/>and enriched the wait, he would overcome the terrible fate.<br/>Tranquil, when in it you guard your body,<br/>in combat: so that faith never betrays you.''<br />
| <br />
<br />
|- <br />
| <p>''Abd al-Qays ibn Jufaf'' says (verse 87):</p><br />
<br />
:''Fulfilled coat, among the best,<br/>you hear the saber before her impotence.<br/>It looks like a pool of the zephyr<ref>a soft gentle breeze</ref> driven,<br/>when the one who carries it parts its edges.''<br />
| <br />
<br />
|- <br />
| <p>Thus ''Abu Ishaq ibn Jafaya'' describes a breastplate (verse. 88):</p><br />
<br />
:''Close the opening of the neck iron,<br/>ashen in the mist of the darkened shadow.<br/>As if a poisonous serpent would have dressed<br/>his skin on his sides on the day of combat.''<br />
| <br />
<br />
|- <br />
| <p>Some Arabs glory the wearing of the coat of mail in combat, and they show off. Thus, ''Antara al-Fawaris'' (verse. 89):</p><br />
<br />
:''Ubayla was admired by an eager young man,<br/>of bare hands and lean like a sword.<br/>Hair in disarray, clothes maimed,<br/>He has not been oiled, nor been dismounted.<br/>He only wears iron when he has to get dressed,<br/>like every warrior who throws himself to death.<br/>Both wear the cuirass sheathed,<br/>which has rusted his skin, that never bathes.''<br />
| <br />
<br />
|- <br />
| <p>Others glory of the opposite and declare that the coat of mail tires and tangles, and that to go to the combat without it is proof of more courage, and thus that results in high agility. This is why ''al-A'sa says'' (verse. 90):</p><br />
<br />
:''When a compact silent squadron arrives,<br/>Surprising to the sentries their vanguards,<br/>Your groups take cover in difficult places,<br/>narrow: they fear to dismount the brave.<br/>I was going in the watchtower, without wearing armour,<br/>and with blows of the sword I chopped his heroes.<br/>I know that everyone finds Death,<br/>when your Owner Creator decides.''<br />
| <br />
<br />
|- <br />
| <p>''Muhammed ibn Muslim'' praised a man thus (verse. 91):</p><br />
<br />
:''Offer the sword his helmet and his neck,<br/>and in the guise of almofar enhance your head.<br/>Speak to your horse: Resist the spears,<br/>that you will find honours if you are not hurt.''<br />
| <br />
<br />
|- <br />
| <p>The ''almofar'' is a kind of armour, also woven; covers the head and face. ''Ibn al-Mu'tazz'' addresses a boy in verse (verse 92):</p><br />
<br />
:''You launch into the enriching combat,<br/>with the almofar you cover your face,<br/>believe your figure is the rising sun,<br/>veiled with almaizar<ref>A thin transparent veil of silk, linen or cotton, worn by the moors</ref> of amber.''<br />
| <br />
<br />
|- <br />
| <p>The piece of concave iron that is intended to cover the head is called "''bayda''" ("helmet"). And "''qawnas''" in its top/crest, while "''da'ira''" is the ''cogotera''<ref>protection of the back of the head to the neck, resembling hair.</ref>. The helmet is also called "morion", "helm", "raised" and "hood".</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XIX - The Shield and Similarities<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The shield (turned) is a defensive, round weapon. The wheel of vicissitudes turns to its circle.</p><br />
| <br />
<br />
|- <br />
| <p>''Anas ibn Malik'' recounts that ''Abu Talha'' and the Prophet were covered with the same shield.</p><br />
| <br />
<br />
|- <br />
| <p>The shield is also called: "''yawb''", "''fard''", "''miyann''" and "''muyna''". The leather shields are called "''adarga''", "''hayafa''" and "''yalab''". For others, "''yalab''" is a leather or a piece, like the helmet, is defensive of the head. For others, the "''hayab''" is made of wood.</p><br />
| <br />
<br />
|- <br />
| <p>The edges are made of cowhide, of onager or antelope, which is the best and most defensive. The antelope (''lamt'') is one of the peculiarities of the Maghreb, it lives in desert areas and their skins are made to be a shield, with the property that if a sword or a spear slits it, the opening closes, immediately staunching, disappearing without leaving a trace.</p><br />
| <br />
<br />
|- <br />
| <p>During the combat, the one that guards behind a shield, must do it in the central part, be it against sword, javelin or stone. It will turn to the right or to the left, always presenting the outside to the contrary. You should not bring it to the body when you fear that a blow will fall. It will protect itself and your horse, making it turn conveniently.</p><br />
| <br />
<br />
|- <br />
| <p>It is advisable to give the stones the prominent part of the shield, and to place it obliquely, so that it slips what comes on top of you. The spear must be protected with the entire shield, or with its largest surface possible. As soon as you feel that the iron has touched you, it is advisable to throw it back, but keep it away from the body.</p><br />
| <br />
<br />
|- <br />
| <p>You have to avoid, at this moment, hiding the weight of the body on the shield, so as not to fall. It is also advisable to bring back the shield, so that the iron of the spear does not slip through it, which could then become entangled in the clothes. This is an eventuality that must be avoided.</p><br />
| <br />
<br />
|- <br />
| <p>The adarga will be handled like the shield mentioned (turn). But the first offers more ease against the spear, for its smoothness and uniformity. It is convenient, then, to steal the body, taking it back, so that it is not too heavy to the hand or impossible to handle.</p><br />
| <br />
<br />
|- <br />
| <p>Riding a horse with a shield has two options, depending on whether the shield is short or long. If it is long, raise your hand from the grip, taking the reins with the left hand, mounting immediately, trying not to hit your chin on the shield, if it were of large proportions. If it is a small shield, take it under the arm and mount the horse.</p><br />
| <br />
<br />
|- <br />
| <p>''Al-As'ad ibn Balit'' has thus described the shield (verse. 93):</p><br />
<br />
:''Shield the architects, they were imitating heaven,<br/>so that the longest spears prove short.<br/>They drew on the figures of Pleyades,<br/>stars that good fortune presage (omens, warns).<br/>They turned it into a ring of silver,<br/>the same as the light of dawn borders the horizon.''<br />
| <br />
<br />
|}<br />
{{master end}}<br />
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{{master begin<br />
| title = Chapter XX - Arms and Equipment of War in General<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The practice of arms is a duty that is implicit in the Holy War. The Qur'an says (VIII, 62/60): "Prepare against them what strength that you can", which ''Ibn Abbas'' has commented saying that "the strength" are the weapons and military equipment placed at the service of God, that everyone should acquire, in every occasion, according to his zeal and his ambition of advantages and rewards.</p><br />
| <br />
<br />
|- <br />
| <p>''Abd Allah ibn Zayar'' transmitted that the Prophet said: "Whoever builds a weapon in God's service, will be counted, each morning, in the balance of his merits." And transmitted by ''Abd Allah ibn Sawdab'': "The works of men will be examined every Monday and every Thursday. whoever has increased their weapons, will see their merits increased. Whoever reduces them, will see them diminished."</p><br />
| <br />
<br />
|- <br />
| <p>The equipment depends on the force, and it helps to achieve victory: the greater the victory possible, the greater the equipment has to be precise.</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet was asked on one occasion: "Do you know any remedy that will work for us, some amulet with which to keep us, susceptible to deviate the decree of God?" And he answered: "The arms are part of His decrees".</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs used to say: "The sword is the shadow of death, the spear is the rope of Destiny, the arrows do not submit to the one who shoots them, the coat of mail fatigues, even if it is a shelter, the shield is a protection".</p><br />
| <br />
<br />
|- <br />
| <p>One day ''Umar ibn al-Kattab'' asked ''Amr ibn Ma'dikarib'', who exclaimed: Ask me, the emir of the Believers, whatever you want! And he asked about the spear. ''Amr'' replied: "It's like a brother, but he can betray you and break." Then he ask him about the arrows. "They are like Destiny, sometimes they yield, sometimes they do not". Then on the shield. "It's a round defensive weapon, with which I ring the wheel of vicissitudes turns." Then on the coat of mail. "Tire the fighter on foot, and entangles the rider, but is effective protection." Then on the sword. "For her the change of not having children has touched your mother." Umar then hit him with a whip and said: "It is you who hasn't a mother." The other replied: "Your untouchability forces me to humble myself before you."</p><br />
| <br />
<br />
|- <br />
| <p>''Al-Alawi'' has gathered in a poem the whole agenda of weapons and knights. His most fortunate part is the one where he says (verse. 94):</p><br />
<br />
:''Among all my assets I highlight the horses,<br/>with perfect legs, bony sockets, well bare.<br/>I also estimate a Hindu sword of pristine steel,<br/>and to a spear of vibrating joints of great size,<br/>and to an armour, like a vein of water, so accomplished and wide,<br/>I have to have it on with my fluted sword belt,<br/>and a bow of combated tips that are thick and flexible,<br/>and of an easy curve, yellow, Sawhat wood.<br/>And I hope my goods are not only those that I have already gathered,<br/>thanks to my sword, covered with silver waves.<br/>And hopefully, as time goes by, I may find that I no longer depend on the tyranny of no Lord.''<br />
| <br />
<br />
|- <br />
| <p>Abundant on the topic, ''al-Ayyar al-Dabbi'' says (verse. 95):</p><br />
<br />
:''I prepare for war the coat of mail,<br/>the double-edged blade that opens the coat,<br/>and a well curved bow of nab,<br/>and an quiver full of darts like blades,<br/>and a fine spear and a hairy steed<br/>very straight backs, spirited steed.<br/>His fullness of the view fills you up,<br/>It pleases you if you want to pursue or flee.''<br />
| <br />
<br />
|- <br />
| <p>A rider only receives the qualification of the arm that he carries. But if he carries sword and arrows at the same time, he is called "''qarin''". If he carries several weapons, he is "''salih''". "''Sikka''" designates complete equipment. When he is armed from head to toe he is called "''mu'ammal''" or "''mudayyay''". "''Sanawwar''" indicates that in addition to weapons, he carries a coat of mail, while "bazz", designates weapons, without wearing a coat. The rider without a sword is called "''amyal''"; without spear, "''ayamm''"; without coat of mail, "''hasir''". No weapon is "''a'zal''". To express that one has put on his coat, he is called "''istal'ama''". And "''sanna''", who wears his coat of mail.</p><br />
| <br />
<br />
|- <br />
| <p>The rules of management of arms are not uniformly applied by all, on the contrary, there are such considerable differences between them that establishing an average is impossible. A prudent man must observe the experts, and attend personally, and begin to exercise in it with whomever seems the most suitable, and that is of his choice. So until he learns all the luck of attacking and wounding in combat, and the various ways of launching an attack, or of fleeing, of performing the "''tornafuye''" ( an impetuous charge by light cavalry before withdrawing, drawing infantry out and then picking them off with javelins, darts and arrows), to refuse battle, of loading on the vanguards, or of getting away from them, both in lance and sword combat. To observe the falling points of the arrows. To know the propitious moments to advance or to retreat. How to gain ground in the melee. How to stand between the sun and the enemy, at the moment of encounter, or in full action. How to evolve during combat, and all its details and derivations for the moment of dismounting. To observe the enemy outposts, both in action and in calm.</p><br />
| <br />
<br />
|- <br />
| <p>What craft to use to disable the spear of the opponent, hitting it, taking it off, or turning it against him. How to pull the horse harnesses, or cut the bridle, so that the rider has to pay attention to his horse. And how to exercise with mastery of all this at any given time, manifesting the mastery of the art of the cavalry.</p><br />
| <br />
<br />
|- <br />
| <p>But who has not practiced all this, should not fool himself thinking that he can make these enterprises. It is precisely the knowledge of all the above, and careful study, which allows some knights to excel over others, as well, thanks to their tenacity, presence of courage and great prudence when competing with a rival, or to participate in a fight. God, in any case, was should be implored for help.</p><br />
| <br />
<br />
|- <br />
| <p>A verse of ''Mutanabbi'' says (verse 96):</p><br />
<br />
:''All the weapons in the world can be carried,<br/>But not everyone who has claws is a lion.''<br />
| <br />
<br />
|- <br />
| <p>At this point, praise be to God, I finish what I proposed, I finish the compendium that I offered and I fulfil my objective; I will consider the duty that I imposed on myself, if I get the attention of the intelligent.</p><br />
| <br />
<br />
|- <br />
| <p>Launch my steeds on the route proposed by the one who commands the hosts of Islam; they have shortened their land and now they long for the generous dew of their favour.</p><br />
| <br />
<br />
|- <br />
| <p>The enemy country also offers you the hand of obedience, to receive your demands from him and to abide by your wishes. And they tend to him as the dying to the doctors, as the afflicted to comfort, envying others like them who have taken refuge in their hospitality. They want to confront him in an encounter, and defeat him, with the chief saviour, with effective help and an ally of good intentions.</p><br />
| <br />
<br />
|- <br />
| <p>But he, assisted by God, will liberate this country from the bonds that keep it in inferiority, will bring abundance after sterility, free these lands from the fist of consumption, with their warriors and their embassies, and put them behind the abyss, at the height of the planet Saturn, thanks to its heroes and its armies.</p><br />
| <br />
<br />
|- <br />
| <p>The proof will be due to the constancy that will shake time and remove the situation of drowsiness, because courage and nobility are two inseparable allies of his personality, two companions of his way of being. Adversity with the iron of his spear vanishes. Chronicles register everything in their praise. Very different voices rise up acclaiming hm. And the hands are raised, submitted and friendly, so that God humiliates, in the dust, the neck of the idols and, thanks to the loyalty of His fortunate servant, performs the purposes of Islam, by the edge of his sword.</p><br />
| <br />
<br />
|- <br />
| <p>God, grant him on earth the greatest power! Make him firmly keep his enemies under his feet! Consolidate, for him, the believing people! Disperse, with your armies, the bands of infidels! Put them as a imposing harvest before their sharp swords.</p><br />
| <br />
<br />
|- <br />
| <p>God, preserve him from evil, everywhere and in every intention! Revive the principles of faith for your life! Keep him in your dreams and in your vigil! Defend for the Muslims its high person! Flutter to the wind of victory the bouquets of your flags and banners!</p><br />
| <br />
<br />
|- <br />
| <p>God, fulfil your hopes for your family and your offspring, your warriors, your soldiers! Pave the way for prosperity! Make your hands distribute good! You are Almighty! Able to respond to our request!</p><br />
| <br />
<br />
|- <br />
| <p>Praise be to God, Lord of the Worlds. The blessing is on our Lord and Owner Muhammad, seal of the prophets, iman of the envoys, and on his family, companions and favoured, noble and pious! Be saved!</p><br />
| <br />
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|}<br />
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{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
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== Gallery ==<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
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| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
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| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
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[[Category:Treatises]]<br />
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[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107944Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:19:48Z<p>Stefan Feichtinger: /* Treatise */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Prologue<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <br />
| <p>CAPITOLO<br />
DI M. MERCVRIO<br />
SPETIOLI DA FERMO,<br />
Nel quale si mostra il modo di saper bene<br />
Schermire, & Caualcare.<br />
All’ Illustriß.mo et Eccellentiß.mo S.GIACOBO<br />
BONCAMPAGNO Marchese di<br />
Vignola, et Generale<br />
Gouernatore di<br />
S.Chiesa.</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XV - The Sword<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The Prophet said: "Whoever moves the sword in the service of God, God will clothe him with the cloak of glory". For his part, ''Ali ibn Abi Talib'' states: "I heard the Prophet say that God adorns his angels by having them draw swords, and that they pray for Muhammad while he holds a sword."</p><br />
| <br />
<br />
|- <br />
| <p>According to ''al-Ahnaf ibn Qays'': "The Arabs will be Arabs as long as they continue wearing turbans and carrying swords, and while they do not understand magnanimity as a reproach".</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had many swords, among which is counted: "''Du I-faqar''", which he achieved in booty on the day of the Battle of Badr, and which had belonged to ''Munabbih ibn al-Hayyay''. "''Al-Adb''" that was given to him by ''Said ibn Ubada''. Also: "''Battar''", "''Mijdam''", "''Rasuf''" and "''Hatf''". He also had a ''qala'I'' sword, taken from the ''Banu Qaynuqa''. He had also inherited one from his father. Such are the swords of the Prophet which are known to him.</p><br />
| <br />
<br />
|- <br />
| <p>Tradition tells that ''Ukkasa ibn Mihsan'' fought, in the Battle of Badr, with his sword, until it was broken. Then the Prophet came and gave him a piece of tree branch, saying "fight with this, Ukkasa!". When he picked it up, he brandished it, and then it changed into a long sword, very solid, of white iron. And he fought with her until God granted the Muslims victory.</p><br />
| <br />
<br />
|- <br />
| <p>This sword was called "''Awn''". His owner continued to assist him with all the combats, together with the Prophet, until he perished, even in the time of the caliphate of ''Abu Bakr''.</p><br />
| <br />
<br />
|- <br />
| <p>It is also said that the sword of ''Abd Allah ibn Yahs'' broke the day of the Battle of Uhud. The Prophet then handed him a branch of palm tree, which upon taking it became a sword, whose grip formed the same piece with the rest. This sword was called "''Uryn''", and it continued to be owned, until it was bought by Baga the Turk.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs said: "The sword is the shadow of death and the game of Destiny", that's why they also called it "The Terrible".</p><br />
| <br />
<br />
|- <br />
| <p>Among the sayings that are said about it: "The sword draws more than reproach". "Everything that ''Ibn Dara'' has said is carried by the sword." "The sword is good companion and true friend and swift messenger".</p><br />
| <br />
<br />
|- <br />
| <p>That is what ''Abu Tammam al-Ta'i'' (verse 61) says:</p><br />
<br />
:''The sword gives more loyal news than writing,<br/>on its edge is the edge of mockery and you will see truth.<br/>It offers white blades and no black blades<br/>and their strokes dispel all doubt or error.''<br />
| <br />
<br />
|- <br />
| <p>The sword dispenses with other weapons, but almost no others can replace it. Does it not always accompany the employment of all others? So says ''Yami al-Muharibi'': "When a sword strikes with a sword, there is no other option."</p><br />
| <br />
<br />
|- <br />
| <p>A verse of the ''Mutanabbi'' (verse 62):</p><br />
<br />
:''Despised the spears and abandoned them,<br/>it would be said that the sword of the spear disowns.''<br />
| <br />
<br />
|- <br />
| <p>And it is that the Arabs drives the sword as if it were a spear; with it they beat, as if it were a rod; with it they cut, as if it were a knife; they used it as a whip and as a lash; it is his ornament in public; his light in the darkness; his company in solitude; his fellow in the desert; his comrade of sleep and the way, so they call it: "coat", "cape", "rod", "dress", "clothing". It is the "judge of combats", the "decision of human litigation".</p><br />
| <br />
<br />
|- <br />
| <p>All these facets have inspired poetry, and have cradled proverbs or histories.</p><br />
| <br />
<br />
|- <br />
| <p>This is how ''Utba ibn Abd al-Sulami'' referred: The prophet handed me a short sword, and warned me: "if you cannot wield it, spear with it".</p><br />
| <br />
<br />
|- <br />
| <p>And a Bedouin asked his two sons which sword was the best for them. The first replied: "The one of polished edge, the one of a sharp cut, resolute and long; that when brandishing, does not err; when it gives, it does not bounce." The other said: "A good sword you have described, but the one I prefer is another."</p><br />
| <br />
<br />
|- <br />
| <p>"And what is it?" They asked him. And he answered: "The one of a sharp edge, of a shining brightness, always hungry and thirsty, that to the swung, it cuts, and when finding, it kills".</p><br />
| <br />
<br />
|- <br />
| <p>He asked them now which sword was the worst. And one replied: "The one that eases and bounces and rejects the bones and the flesh, the one that when it hits, does not cut and to behead is useless".</p><br />
| <br />
<br />
|- <br />
| <p>Then I ask the other one who answered: "You have described a bad sword! But the worst one for me is not like that". Asked, then, how it was, he replied: "The blunt, the rusty, unsafe handle, and no matter how hard you try, you do not bleed."</p><br />
| <br />
<br />
|- <br />
| <p>They say that ''Umar ibn al-Khattab'' asked one day: "Who is the noblest of all Arabs?"</p><br />
<br />
<p>"''Hatim al-Ta'i''," they said.</p><br />
<br />
<p>"And who is your best poet?"</p><br />
<br />
<p>"''Imru al-Qays''," they told him.</p><br />
<br />
<p>"And which is the sharpest sword?"</p><br />
<br />
<p>"That of ''Amr ibn Ma'dikarib al-Zubaydi''," they told him. Umar then sent to ask for Amr's sword, which was called "the Samsama". So he did; but then, when he tasted it, he discovered that it was not such, and he told Amr, who answered: "The Emir of the Believers sends my sword, but do not send him the arm that was brandishing it".</p><br />
| <br />
<br />
|- <br />
| <p>''Al-Haytam ibn Adi telata'' states that when the sword of ''Amr ibn Ma'dikarib'', the famous "Samsama", happened to be of ''Musa al-Hadi'', he sent it to him, and when he placed it in front of him, unsheathed, he said to his chamberlain : "Call the poets!" When they were present, he ordered them to sing to the sword. I take Anas' word (verse. 63):</p><br />
<br />
:''Musa al-Amin, for himself, has allowed himself<br/>the sword "Samsama" of the Zubaydi.<br/>This Amr's steel, as we have heard,<br/>Is the best that ever was sheathed.<br/>The blade reverberates between its edges,<br/>with steely light that the eye follows.<br/>The thunder set him on fire<br/>then it gave him the fate of his Deadly Destiny.<br/>Function is almost the light of the sun,<br/>whose rays hardly resists the eye.<br/>That brightness and brilliance that runs through its blade seems to be the outbreak of a poison.<br/>It would be said that her fate depends,<br/>or that each of its edges that is Fatum.<br/>That I bet the warrior that in a full clash takes it close! What a great companion!<br/>The same can be given to whoever draws it,<br/>If he wield your hand grim or right!''<br />
| <br />
<br />
|- <br />
| <p>It is added that ''Musa'' gave the poet a fortune, or that he gave him the sword, and then bought it for fifty thousand dirhams.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that ''Urwa ibn al-Zubayr'' asked ''Abd al-Malik ibn Marwan'' to return the sword of his brother ''Abd Allah ibn al-Zubayr''. He presented her in a pile of drawn swords, but ''Urwa'' recognized her among all. ''Abd al-Malik'' asked him how he had met her, and the other answered him with the verse of ''al-Nabiga'' (verse 64):</p><br />
<br />
:''No defect they have, but their swords<br/>they have nicked its edge in the clash of the squadrons.<br/>Since the day of Halima they come inheriting,<br/>and since then all the avatars have tried.''<br />
| <br />
<br />
|- <br />
| <p>A Christian king sent ''Harun al-Rasid'' three swords, among many others present. In each one there was an inscription. In the first "Warrior, attack and you will achieve spoils, but do not think about the result, (otherwise) you will be defeated!" In the second: "If the cut of your sword does not reach its destination, lengthen it, after having thrown off your fear." In the third: "Prudence, when there is no fear that the occasion escapes, it is better than the urgency to achieve the desired."</p><br />
| <br />
<br />
|- <br />
| <p>The sword has in Arab appellative many and abundant denominations. Thus, for example, it is called "''yunti''", which according to ''Abu Ubayda'' qualifies that it is made of the best cast iron, although it is also indicated that ''Yunti'' was the name of the smith who made them. Those that were made in India had a special and allusive term called "''Hindi''" or "''Muhannad''" or "''Hun-Duwani''". Also those made in Yemen were called "''yemenies''" like the ''Qal'a'', "''qal'ies''", although it is also indicated that this designates their white colour.</p><br />
| <br />
<br />
|- <br />
| <p>The so-called "''qasusi''" comes from the mountain of Qasus, where there is an iron mine. The "Masrafi" comes from Masarif, Arab villages, near the Rif. Others are called "''surayyi''", from the smith who made them.</p><br />
| <br />
<br />
|- <br />
| <p>And according to its characteristics it also receives different names, so it is called "face" to the very wide one; "branch", if it is thin and well adjusted; the one that is not shored up is "driven", that applies so much to the one that is not smoothed, as to the one that is not very well finished or well-honed. If it is narrow, it is distinguished by the term "fine". If it shows grooves that undermine the blade it is called "furrowed" or "ribbed", that's why they were called the swords of the Prophet and of Ali, although it is said that this term of "scratched" is applied to the sharp sword only by one of its edges, while on the other it is blunt: this is how the sword "Samsama" of ''Amr ibn Ma'dikarib'' was characterized. When the edges are made of steel and the blade made of iron, it is called "steel", as are the Christian swords, which, according to the Arabs, were made by geniuses; The truth is that they are more resistant when used properly from the beginning, while Hindu swords tend to break when they are still cold; they are, therefore, better for strong attacks. If shining it is called "brilliant". If by its consistency, purity and perfect polish, no blood is adhered to it, it is called "polished". If it takes many years of use and has worn its edge, it is called "dented". If blunt and does not cut, it is called "dull". If its blade has any reflection, it is called "illuminated". If it is used to cut wood, or things like that, then it is "pruning tool", if it is used to chop meats or bones, it is "knife".</p><br />
| <br />
<br />
|- <br />
| <p>There are many qualifiers on its edge. To designate that it cuts very well the words used are: "acute", "incisive", "sharp", "voracious", "keen", light "," cutting"," pointed "and" sharpened ", all of which allude to the accuracy of the cut, if it goes through the bones, he is called "resolute." If it is very firm, if it never bends, "persistent."</p><br />
| <br />
<br />
|- <br />
| <p>Its different parts have their names: "pearl" and "glare" is a brightness that shows and gives the impression that water runs from it when it is brandished. "''Dubab''" is the tip; the part before her is "''zubatan''". "Turn" are the edges. "''Amud''" is the center. "''Matn''" is the whole blade. "spike" is the part that enters the hilt. "hilt" is the whole part that is not blade. "''Qabid''" ("grip") is the upper part of the hilt. "''Sa'ira''" is what holds her.</p><br />
| <br />
<br />
|- <br />
| <p>There is also a whole terminology of the scabbard, which is called "''yafn''", "''jilla''" or "''jilal''", although this last name says it applies to the inner skin of the scabbard. "''Hama'il''" or "''Kalb''" is a buckle through which the sword belt passes.</p><br />
| <br />
<br />
|- <br />
| <p>A poet says, taking advantage of the double meaning of "''kalb''" ("dog") (verse. 65)</p><br />
<br />
:''How many times I saw the face of the dog<br/>Straps that adorn the emir to be!''<br />
| <br />
<br />
|- <br />
| <p>Among the poems that name the sword, this one from ''Tarafa'' (verse. 66):</p><br />
<br />
:''Swear from my side do not remove<br/>the cutting edge of my Hindu sword,<br/>so faithful that no blow misses.<br/>He is told to "calm", and replies "already".<br/>It is enough to resort once to your cut,<br/>which is a spark and not a catana.''<ref>Indian sabre or cutlass</ref><br/>''Whenever the others go for their weapons,<br/>Just by holding it I was undefeated.''<br />
<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Mu'tazz'' (verse. 67):</p><br />
<br />
:''A steel I have and to my credit a thousand deaths,<br/>for never without blood has it been drawn,<br/>on top of your blades you can see glares,<br/>like a shred of clear cloud under the sky.''<br />
| <br />
<br />
|- <br />
| <p>And from ''al-Alawi'' (verse. 68):</p><br />
<br />
:''On its brightness it would be called a silver wave,<br/>which advances and returns between its two edges,<br/>as if they were eyes of small ants,<br/>among those who appear the eyes of crickets.<br/>It is steel that brings terror,<br/>as an envoy of God to take life.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn Abd Rabbihi'' (verse. 69):</p><br />
<br />
''Grooved sword that meets the law's destiny,<br/>and what Destiny decrees cannot be stopped!<br/>It is a radiance that when you see it, pierces your eyes,<br/>and it is a lightning that when wielding it explodes.<br/>With unsheathing it ends the life of heroes,<br/>and from it death is frightened, the terrible death.<br/>When in combat with another similar one that is found,<br/>It seems that one soul goes against another soul.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Zaqqaq'' (verse. 70):</p><br />
<br />
:''Thirsty steel that drinks in the spring of neck,<br/>without ever its thirst being quenched.<br/>We represent it, sparkling, open march,<br/>like a star, like a flaming torch.<br/>Like a ardent fire was owned by him, in the war,<br/>the valiant champion: to stir your spirits.<br/>Its blade rivals crystal clear water.<br/>and like fire burns in each pit.<br/>Because of its brightness it seems crowned with pearls,<br/>and steals lives, without letting itself be robbed.<br/>Until his sheath of his blade escapes,<br/>as the water drains from a web of algae.''<br />
| <br />
<br />
|- <br />
| <p>Another poet composes (verse 71):</p><br />
<br />
:''A hindu steel that a glint travels through,<br/>and the deadly fire on its edge burns.<br/>Its waters almost floods who is moving,<br/>and to whoever its burning almost sears.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Abu l-'Ala al-Ma'arri'' (verse. 72):</p><br />
<br />
:''And if it were not that your sword is thin,<br/>we would say that the dejection thins it.<br/>Daughter of the fire, is licked and faint,<br/>as if the consumption was inherited from her father.<br/>So ornate your sheath, you would say<br/>It's covered in stars and road of the moon.<br/>Straight is the blade, from end to end.<br/>so it is difficult to distinguish the result.<br/>The clearness of the water shines on it,<br/>and also you find the burning of the fire.<br/>When we see the emir brandishing it,<br/>you say a mirage over the air.<br/>Scale by her bloody destinations,<br/>that then in tingling it transforms.<br/>Any other sword melts in her fear,<br/>That without the hold of the sheath, it would be liquefied.<br/>And is that, if not the sword, a friend can be found<br/>of permanent affection?''<br />
| <br />
<br />
|- <br />
| <p>And from ''Abu l-Abbas al-Tutili'' (verse. 73):</p><br />
<br />
:''Swords red and thirsty: they make their blades, waters;<br/>more as if from them they run and fall, they are barren.<br/>It could be said that in them a Holocaust has been created,<br/>but they are never said they are idols or sacrificers.<br/>Unarmed, but they know that they are drawn,<br/>coats of mail of heroes are changed into shrouds.''<br />
| <br />
<br />
|- <br />
| <p>Among the most fortunate allusion to the sword is this verse by ''Habib ibn Aws'' (verse 74):</p><br />
<br />
:''Wielded like a sword, if a man's hands do not,<br/>his very thrust would have unsheathed.''<br />
| <br />
<br />
|- <br />
| <p>A description, emphasized, from ''al-Nabiga'' (verse. 75):</p><br />
<br />
:''Penetrates even the redoubled coat of Saluqa,<br/>and burns the loins with a spark of fire.''<br />
| <br />
<br />
|- <br />
| <p>Numerous are the verses that refer to the sword, but what we have brought to collation is a sufficient sample.</p><br />
| <br />
<br />
|- <br />
| <p>The basic condition of sword management is that it does not draw, but when fenced with. If it's been drawn before, it can provoke cowardice.</p><br />
| <br />
<br />
|- <br />
| <p>There is no other weapon that needs so much care when used as the sword; for many who do not exercise caution or dexterity often injure the horse's ear or arms, or even cut off their own ears or their own legs, or leave them marked. So when the knight goes to use the sword, he will rest only the toes on the stirrups, without anything protruding ahead, always in convenient measure for good support. Flourish vertically or horizontally.</p><br />
| <br />
<br />
|- <br />
| <p>When the attacking the front, take extreme care of oneself and the horse. Take the hand, when giving blows, the farthest possible. With all this, safety will be achieved.</p><br />
| <br />
<br />
|- <br />
| <p>Try to always have the adversary to the right, especially if it is a lancer.</p><br />
| <br />
<br />
|- <br />
| <p>Whoever wants to learn and train in their handling, take a tender cane or branch, kneel it on the ground, firmly. Move away then, leaving it to your right, gallop your horse, and, when close, unsheathe the sword, soon, careful and lightly. From a sideways cut, to the part of cane or branch that is at the height of your head, or deliver horizontally, with ease and lightness. Repeat this several times, cutting in each pass as much as you can, until the length of the stick is only the size of a cubit. Follow this practice until it becomes so habitual, that it is done with total dexterity, God willing.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVI - The Spear<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The prophet has said: "You have obligations with the spear and bow, because their triumph was given to your Prophet, and for them I achieved conquests".</p><br />
| <br />
<br />
|- <br />
| <p>Four spears were obtained by the Prophet. One was called ''Mutatanna''. The other three he had got with all the weapons of the ''Banu Qaynuqa''.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs used to say: "The spear is the rope of death". And a saying repeats this: "You have mentioned the spear, that I had forgotten".</p><br />
| <br />
<br />
|- <br />
| <p>A Bedouin asked his two sons which spear they preferred. The first answered: "The one that is hard and straight, the one that when brandishing it does not warp, nor does it camber, when it is thrown."</p><br />
| <br />
<br />
|- <br />
| <p>I ask the other then, who replied: "A good spear he has described, but I prefer another!"</p><br />
| <br />
<br />
|- <br />
| <p>When asked about it, he answered: "One which vibrates, thin and flexible and fast, sharp when it pierces and penetrates when it enters".</p><br />
| <br />
<br />
|- <br />
| <p>He then asked what was the spear that seemed worse to them, and the first answered: "the one that cambers when hitting, the one that dents, the one that when brandished it stoops, and when hitting it breaks". He asked the second his opinion and he said: "A bad spear has been described, but I still find another one worse!" Questioned as to what it was, he answered: "that which is flimsy or rigid: and when it is forced, fails, and when it is speared, it breaks".</p><br />
| <br />
<br />
|- <br />
| <p>An author describes: "They are lances, sublime, ornate of nobility, they are the horns of horses, the rope that penetrates to the bottom of the entrails, with them the blood is claimed, and you can access women and borders. They would say snakes to open throats. It is rare for them to escape. Whoever alternates with them, trembles with fear."</p><br />
| <br />
<br />
|- <br />
| <p>Another says: According to its category, the spears are called: "''anaza''", which is a stick, more ready than the "''harawa''", and with an iron tip. It enters within the weapon's category, because with it one can defend. The iron looks like a ''moharra''<ref>the point in which a flag staff terminates</ref>, but without it being whole. It is followed in length by the "''nayzak''", who carries a fine iron; it is the same as the "''mitrad''" and the "''mizraq''", which are used as javelins, for the lightness of its pole. The iron is usually slightly square, to better cross the coat of mail or whatever it takes. The very long spear with wide iron is called halberd and "there/yonder". "''Jurs''", on the other hand, is a short spear. If it is hard, it is called "''mi'das''", because with it you can bore. The longest spears are called "''rumh''" and "''qana''".</p><br />
| <br />
<br />
|- <br />
| <p>Names that refer to their qualities or origin: If the shaft of the spear is very straight and does not need any reinforcement, it is called ''sa'da'', otherwise it is "''mutaqqaf''".</p><br />
| <br />
<br />
|- <br />
| <p>If it vibrates it is "''asil''"; and if it vibrates a lot, "''assal''" or "''arras''". If it is ductile it is called "''ladn''", "''dabil''" and "''marin''". Very hard, "''samhari''". And so firm that it does not bend "''sadq''". If you have any split, "''talib''". The so-called "''jatti''" is from Persian cane native to the Jatt region of Persia in which it grows. The so-called "''yazani''" takes its name from Yazan, a king of Yemen. The "''rudayni''" is named after a woman, Radayna, who manufactured them or sold them.</p><br />
| <br />
<br />
|- <br />
| <p>Nomenclature of the parts of the spear: "''sinan''", "''nasl''" and "''qurun''" is the tip whose edge is called "''sa'iba''". "''Zuba''", "''Safra''" or "''gargar''" are the two ends. "''Ayr''" is the projecting part of the center. "''Yubba''" is the entry of wood into the iron. "''Mihwar''" is the nail that fixes it. "''Zafira''" is the upper part, followed by the "''sadr''", the "''aliya''" and the "''amil''", up to a third of its size. "''A'id''" and "''amud''" is the middle part, followed by "''saq''", "''safila''", "''aqib''", "''ka'b''" and "''zuyy''". If the lower iron is sharp, it is called "''markaz''", otherwise, "''halqa''". "''Anabib''" and "'''ku'ub''" in the hindu spear are the intervals of its joints.</p><br />
| <br />
<br />
|- <br />
| <p>How to be mounted with the spear: The rider has to take the spear with his right hand, taking the left with the reins removed off of the chair. He will then put the point of his spear on the ground and move away from it a distance. He will introduce the tip of his left foot in the left stirrup, and, leaning on the spear, will be driven on the horse. Then he will stand up and turn the spear behind the rump of the animal, towards the right side, being raised with speed. He will now carry the spear to his left hand, along with the reins, while sorting his clothes and gear with his right. He will immediately grab the spear with his right.</p><br />
| <br />
<br />
|- <br />
| <p>If you find yourself in a deserted place, without any human being that can be damaged or any tree to get hooked on, you can take the handle by the centre, if you want, and with the left hand, along with the reins and some mane, or hold of the saddle if there is no mane. With the right you can hold onto the back or the one before also if the left has already caught some mane already. Ground then to the chair.</p><br />
| <br />
<br />
|- <br />
| <p>It is not convenient for the rider to take the spear directly from the ground, when they are already mounted, because the horse can step on it or break it or kick it, carrying it away. Every time you please, you must go down, take the spear and mount with it, as it has been specified.</p><br />
| <br />
<br />
|- <br />
| <p>To dismount with a spear, it must be held with the left, placing the tip on the ground, next to the left front leg of the horse. The removal will be collected with the right and then lowered. When stepping on land hastily bring back the spear to the right, to prevent the animal from turning on it and breaking it, or letting go of the iron, injuring someone. All this has to be done.</p><br />
| <br />
<br />
|- <br />
| <p>Anyone who wants to learn how to handle the spear, and acquire dexterity it with it, must begin by placing a kind of target, like a piece of wood, or something like that, on the ground, at a height that corresponds to that of the knight. They must secure its bottom, placing itself strongly in its upper part an iron ring or a rolled-up rope, as if it were a ring. Now take distance, putting the horse at full gallop. When approaching the target, pass the spear under the armpits, letting a part protrude outwards that allows to be held more lightly. Then, with the iron, go through that ring, but turn right away, in a hurry, to get the spear out of the artifice. Sometimes it is necessary to twist the spear back, until crossing the ring completely, picking up the spear, with lightness, on the other side. The ring also rotates to where it want to turn.</p><br />
| <br />
<br />
|- <br />
| <p>We must persevere in this exercise as much as possible, until it is carried out with total ease, without missing the objective, with the help of God.</p><br />
| <br />
<br />
|- <br />
| <p>The way to grab the spear in the confrontation, to strike with it, and to get rid of it later, would require a lot of detail and even visualizations, due to a great variety of circumstances that they contain and the great diversity of their possibilities and methods.</p><br />
| <br />
<br />
|- <br />
| <p>The knight should have a spear as light as possible, because then he will obtain a greater strength, more success and firmness, always within the measure of his strength and ability to resist.</p><br />
| <br />
<br />
|- <br />
| <p>Before, the spears of the riders reached ten cubits, but it is more convenient that they reach a shorter length. It will not be too thick or too thin, or so that the hand cannot cover it, neither so that the fingers overtake. The middle end is the best, always counting on the dimensions of each hand and the possibilities that are offered.</p><br />
| <br />
<br />
|- <br />
| <p>Among the verses that have been said about the spear, these are told from ''al-Ma'arri'' (verse 76):</p><br />
<br />
:''Thirsty, although it has no life,<br/>He knows that he who carries it is great, and enlarges him.<br/>Imagine that every breastplate is a pool,<br/>and flutters, aim to the plaited coat.<br/>Flood with her breasts many men,<br/>and you get rid of malice, just by using it.''<br />
| <br />
<br />
|- <br />
| <p>One of the most notable things that has been said in this respect are the verses of our master and judge and sharif ''Abu I'Wasim al-Hasani'' (verse. 77):</p><br />
<br />
:''Solid spear, of forged joints, if you claim<br/>the blood of heroes, it does not delay your term.<br/>So shining, I wonder: Is it the spear that is wielded or is it a lit torch?<br/>If it were not that the flames of his blade that matured her,<br/>it would be green, because they irrigate and drink blood.<br/>Oh! wonder: the clots would be, for your eye, ash,<br/>and yet no vulnerable point escapes his sight.''<br />
| <br />
<br />
|- <br />
| <p>Very abundant also the poems that allude to the spear.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVII - The Bow and Arrows<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>God, exalted be, accorded and preferred the bow above any other weapon, and so he established that dealing with everything that relates to it was one of the most profitable acts and one of the most meritorious options.</p><br />
| <br />
<br />
|- <br />
| <p>It is transmitted that the Prophet said: "There has not been any weapon that man has grasped, and for which he has displayed as much preference as the bow." And also: "Whoever has a bow in his house, God will move him away from poverty, while this bow stays there."</p><br />
| <br />
<br />
|- <br />
| <p>And when the time came to fight, the Prophet took the word, supporting his bow. He once said: "All believers should aspire to have bow and arrows."</p><br />
| <br />
<br />
|- <br />
| <p>The exhortations on the purpose of the shot of the bow are very numerous. Thus from ''Uqba ibn Amir'': "I heard the Prophet," he says, "saying from his ''almimbar'', 'Arrange against them all the strength you can'", and ''Uqba'' commented that with "force" he wanted to allude to the bows.<p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had in great esteem the one who knew how to be a good archer, a good rider and a good swimmer. And he repeated: "Teach your children to shoot with bow, that this inflict great damage to the enemy". And one day, seeing a group of ''Ansar'' who were shooting the bow, he told them: "Shoot, descendants of Ishmael, your ancestor was a great archer."</p><br />
| <br />
<br />
|- <br />
| <p>These are also the words of the Prophet: "Whoever shoots an arrow in God's service, whether missing or hitting, will receive the same reward as if he had liberated a descendant of Ishmael." And: "God has to introduce into Paradise, by an arrow alone, three people: the one who made it, if he did it with a good purpose, the one who shoots it and the one that approaches who shot it".</p><br />
| <br />
<br />
|- <br />
| <p>''Ali ibn Abi Talib'' transmits that he never heard the Prophet tell anyone that "he was rescued", more than to ''Sa'id ibn Abi Waqqas'', to whom he said on the day of the Battle of Uhud: "my father and my mother will serve you as a rescue". And that day, in addition to ''Sa'id'' he told ''Abu Talha'' and ''Qatada'', among other archers: "Stand firm, that the victory will be ours as long as you resist." Fifteen were the archers that fought on that day.</p><br />
| <br />
<br />
|- <br />
| <p>The traditions that are preserved for us for this purpose are so numerous that it is impossible to collect them all.</p><br />
| <br />
<br />
|- <br />
| <p>What a happy expression the poet has achieved when he says! (verse. 78):</p><br />
<br />
:''If a man wants to walk a good path<br/>and achieve the honour to which he leads,<br/>and obtain the meritorious reward,<br/>never stop the practice of the bow,<br/>which is elevated in this low world,<br/>and triumph for the straight religion of the Prophet.''<br />
| <br />
<br />
|- <br />
| <p>The Prophet had a bow of nab wood and it was called "yellow" and another of ''sawhat'' wood, and it was called "big"; another, of the same wood as the latter, and was called "target", and finally another, called "''katum''", because it was made of a round branch.</p><br />
| <br />
<br />
|- <br />
| <p>There are two types of bow: one of hand, which is the Arabian bow and which in turn has many varieties, and another standing, which is the Christian, and which also includes different classes.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabian bow is the one that suits the rider, because it is faster and needs fewer resources, while the other is better for those who fight on foot, for its greater length and effectiveness, especially in the sieges, naval battles and other similar operations. The latter is the one used by the Anadalusies and with the hunting and shooting and competitions, using both the horse on foot. It is the one that we are going to describe next.</p><br />
| <br />
<br />
|- <br />
| <p>This bow, that is to say the "Christian", is composed of a carriage, bolt (''amud''), cock (''qadib''), walnut (''yawza'') and key (''miftah''). The bolt was previously called "canal" ("''mayra''"), because the arrow ran through it. The key went up from the nut and you could shoot quite a number of arrows at once. But already in the time of ''Nemrod'' another was arranged, being given that name because it served as support. It has six cavities: the one of ''masrab''; the ''halq'', which is used to assemble and disassemble, in six cases: to rub it, wash it, remove parts, tighten it, open it, lift it or lower it. The third cavity has six applications, it is "security" and "reservoir"<ref>Storage?</ref>. In the fourth goes the "nut"; in the fifth goes the nail and in the sixth the key, calling itself "of action", "of shape" and "of secrets"; here the shot is given and in it resides its essence and its meaning.</p><br />
| <br />
<br />
|- <br />
| <p>The "cock" is so called because it is surrounded by two sites, one in the middle and four in the ends. It carries two strings: "''harbi''" and "''awir''". The "''nut''" received this name because the "''mutaharrik''", the "''natiq''" and the "''samit''" pass through it. It is also called "versatile", because it turns the key. Here resides one of the keys, and in the other "walnut" when both come together, the martingale<ref>Strap?</ref> is triggered.</p><br />
| <br />
<br />
|- <br />
| <p>The "key" is called so because precisely in it is the key to everything we have said.</p><br />
| <br />
<br />
|- <br />
| <p>The keys of archery resides in seven things: in the entity endowed with reason that with it shoots; in something ripped of an irrational body, which is the feather; plus the wax, the "nut" and the "cock" and the arrow. These last four take action while they are shooting, and none of them act in isolation.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that the bow has been deduced from the study of the circumference and that it is a great ingenuity. That the mathematicians deduced their principles from the consideration of the sun, moon and stars.</p><br />
| <br />
<br />
|- <br />
| <p>Virtually it would be said the bow would peak and shine like the dawn, and it is called "king" because it reigns, and when the archer takes it, he feels afraid of it, just as he fears the king when he enters his presence, and also by the bow others fear the archer in turn.</p><br />
| <br />
<br />
|- <br />
| <p>The bows are made of ten different species of wood, five of wild trees and five of cultivated trees. The wild varieties are: the yew that the Arabs call "nab", the olive tree, the ash tree, the bush of the alena and the cork oak. The cultivated ones are: the orange tree, the "''nisman''", the apple tree, the pomegranate tree and the quince tree.</p><br />
| <br />
<br />
|- <br />
| <p>In this respect a poet has said (verse 79):</p><br />
<br />
:''How strange that the noble bow,<br/>does not save the pigeon of the tree,<br/>and, before friend, they turn deadly!<br/>So are the vicissitudes of the times!<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Zaqqaq'' (verse. 80):</p><br />
<br />
:''Will I be the holocaust of a curved bow<br/>devoted to that enemy warrior?<br/>when the branch was the friend of doves of the forest;<br/>but today nothing but death is friend.''<br />
| <br />
<br />
|- <br />
| <p>Of all the woods that are used to make the bows there are reserves in the center, south, east and west (of the Peninsula). In two seasons these should be cut: in the winter simoon, which is the best for it (from this comes the comparison of the bow with a child who, also at this time, lactation is cut), and in the simoon of summer, if there is a necessity. The cut at the right time is the best branch, those that are cut outside that season have less quality.</p><br />
| <br />
<br />
|- <br />
| <p>You have to know that the crossbow is mounted in two ways, one calculated by sight, which is the main mode; another, resorting to measures, which is an accessory mode. Three grades of skill in archery: the expert, the master and the shooter, in descending order; because the master's skill is greater than the shooter, and the expert has much more skill than the master. These three mount the bow with the naked eye. In cases of not being very sure of the result, measure with a compass, proceeding as follows: open the compass and place one of its tips on the lower edge of the cavity called "''halq''", take the other tip to the edge between the cock of the bow, and then check this measure on the other part of the bow: if the distance is equal, it has already achieved what is intended, but if the point of the compass exceeds the edge of the bow, it is that the bow is low and you have to raise it.</p><br />
| <br />
<br />
|- <br />
| <p>If the point of the compass is short, it is that the bow is high and you have to reduce it, until the measurements are accurate.</p><br />
| <br />
<br />
|- <br />
| <p>To assemble the weapon two equal slats of good wood are needed to hold the cock firmly, after having tied a leather strap cut all along the skin of a deer in addition to an iron ring, where the left foot was placed at the moment of tensing; That's why that ring is called a stirrup.</p><br />
| <br />
<br />
|- <br />
| <p>When a cock is well placed in relation to the hollow of the ''halq'', change the hand, raising it until it is at the beginning of the ''hakk'' and end of the ''gaslm'' and begin to fix the two slats; the one on the right before the one on the left so there is no error. Now if you put the string of the bow, put the tensioner next to the hip, take the pick with the left hand after having entered the right under the key and having taken it to the string and having raised it, leaving it to then fall to the good of God; then, if the thumb is outside, everything is going well. Now take the bow with the left hand and place the arrow. Then shoot where you want.</p><br />
| <br />
<br />
|- <br />
| <p>One of the experts in this field has said: "Tense the bow calmly, attend to it with knowledge, shoot with fury". And also: "Firmness of character and sharpness of vision: you will shoot well". And: "Whenever an archer hits with his arrow the target, he dies, in enemy land, a man". When shooting, get used to doing it quickly.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that an Arab observed an archer, who, after having pulled his bow, stayed looking. He asked the Arab who was watching, and the other replied that he was afraid to hit someone. The Arab said: "Pull, the arrow will go where it should go."</p><br />
| <br />
<br />
|- <br />
| <p>The best shooter is the firm/strong man, of sharp vision and speed. For others, the essential qualities are firmness, quickness of fire and audacity. But in very few do these three advantages meet.</p><br />
| <br />
<br />
|- <br />
| <p>It is worth knowing that tensing a bow in winter is dangerous, both for the shooter and for the bow: firstly, because the bow is rigid: and for the second, because it can break. However, the eastern bow is better to be used in the winter, while the western bow is better for summer. In winter, place the bow in the sun so that it eases up and softens, before shooting with it. If it is a very cold day, do not shoot with it, unless it is in a lookout/tower. In summer, the bow will be kept in a cool place, and when it has lost heat, use it. All the key and core of the matter lies in the way of clamping the key. There are three ways to do it, and the man who owns himself, will do it with gentleness/smoothness; the one that possesses medium self-control, will do it little by little.</p><br />
| <br />
<br />
|- <br />
| <p>Shooters never do it in the same way. Of course it's something that is capital<ref>Paramount</ref>.</p><br />
| <br />
<br />
|- <br />
| <p>It suits to know that the bow does not have equidistant<ref>At equal distances</ref> its two ends is nothing more than if it is well manufactured<ref>It is the sum of how well it is manufactured<ref>. It is advisable to beware of six defects, the biggest ones that can occur, or that are: that the string is too thick, that subtracts power from the shot and can cause the break of the cock. Regarding the latter, we must take care that it is not too thin or too thick; its suspension; the shape with which the slab is carved, and the way in which the ends are tuned.</p><br />
| <br />
<br />
|- <br />
| <p>The shooter has an imperative obligation: always secure the cord of the string.</p><br />
| <br />
<br />
|- <br />
| <p>If you find yourself before a very hard bow, do not tense it sharply/suddenly.</p><br />
| <br />
<br />
|- <br />
| <p>When you go out on campaign you must carry enough supplies and weapons that weigh little, and especially the bow, more than any other weapon. That the light bow is the one that most effectively shoots.</p><br />
| <br />
<br />
|- <br />
| <p>After the first clash, in combat, stay in your position until you see what is happening: so maybe you can attack the one who is fighting against you with more efficiency.</p><br />
| <br />
<br />
|- <br />
| <p>Use straight right arrows, mounted in the ''Gazali'' style, with the feathered trimmed with braided streaks. Seven defects must be avoided: among them are the causes that produce the recoil of an arrow against the one that has shot; two of them are produced in the arrow itself, namely: that its streaks are too short, and that it is disproportionate in the front; two others are produced in the nut; the canal is very wide and that the threshold is very high.</p><br />
| <br />
<br />
|- <br />
| <p>Target shooting is an art. Shooting the bow is a feast/celebration. Hitting is a joy.</p><br />
| <br />
<br />
|- <br />
| <p>The first arrow that is shot, is called "champion", the second "support", the third "apparition", the fourth "follower", the fifth "striking", the sixth "right to your destination". When firing the first, it hits the target; the second, below; the third, to the right; the fourth, to the left; the fifth, finally, it remains in its exact place, so it's called that, and the sixth then "confirms" the shot, for which it receives that name.</p><br />
| <br />
<br />
|- <br />
| <p>If the six are fired without targeting any of them, it is that the archer does it very badly, and it needs to be practiced without truce. Whoever hits with two, does it above normal. Who hits with four has practically mastered this art. Whoever hits with the six, has already achieved perfection, being included in that exhortation of the Prophet to ''Sa'id ibn Abi Waqqas'', the archer who shot the first arrow in the ''algazua'' of the ''Abwa'', which on this occasion said these verses (verse. 81):</p><br />
<br />
:''It is not true, Prophet of God,<br/>that at the point of arrows I have defended you?<br/>Have you seen before, thus, an archer against the enemy, Prophet of God?<br/>With arrows rejecting the vanguards,<br/>in rough lands or in plains.<br/>And that proves that the religion you bring us,<br/>Is a just, true and righteous doctrine.<br/>May she save the Muslims and punish the unfaithful.<br/>Calm! that I have missed, but have not been punished:<br/>everything alive, misses. You, unbeliever, are condemned!''<br />
| <br />
<br />
|- <br />
| <p>The masters in this art say that "the man of short stature is miserable, courageous must be the knight, for all there is a companion, and the best companion of the bow, is a harmonious arrow".</p><br />
| <br />
<br />
|- <br />
| <p>The iron of the arrows are of seventeen kinds. Four of them are used to hunt, and are: "''zuyy''", "''silyat''", "''muryafla''" and "''muyannah''".</p><br />
| <br />
<br />
|- <br />
| <p>Three others are purposely to pierce the coat of mail, and are called: "''sibt''", "''murabba tawil''" and "''mutallat''". Four can pierce the shield: "''murabba qasir''", "''qitral''", "''ballut''" and "''subiri''". Four others go through the shield, and they are: the "''silyat''" (but smaller than the one used to hunt), the "''tamuh''", "''miywaf''" and "''milhami''". Two other classes are used: the "''bayuq''", to pierce the cane, and the "fire arrow" used to light boats or wooden towers.</p><br />
| <br />
<br />
|- <br />
| <p>You should never do without carrying any of these arrows. They should also be marked on their streaks, so that if you need to use any, you can take your hand to the quiver and get the one that is needed.</p><br />
| <br />
<br />
|- <br />
| <p>There is a saying that expresses this: "Before shooting, it is best to feather the arrows".</p><br />
| <br />
<br />
|- <br />
| <p>On this chapter there would be much to say, and if we continued trying the bow, the arrows and the archery, we would exceed the purpose that we set when writing.</p><br />
| <br />
<br />
|- <br />
| <p>We will now bring some poems that deal with the bow (verse. 82):</p><br />
<br />
:''I am the bow and well proven that<br/>I exterminate lions in fierce combat.<br/>I am from an old time, the judge of heroes,<br/>for in my heart is the arrow of death.<br/>An arrow ambush is placed on me,<br/>and woe to the brave who does not see its mystery!<br/>So well an arrow is mounted,<br/>armour does not resist, no, nor hard shield.''<br />
| <br />
<br />
|- <br />
| <p>And this one (verse. 83):</p><br />
<br />
:''Ask for coated tip for an arrowhead,<br/>after they have broken swords and spears,<br/>They will tell you that so the horses go galloping,<br/>I am the inseparable of death among the squadrons.<br/>When heroes hear the whistle of my pass,<br/>you will see them hiding under their skinny steeds,<br/>as if my voice were the sound of the flute of Judgment,<br/>Every time they hear it, they postpone in all directions.<br/>How proud is the spear, if the bow can compare his beautiful curves with turgid<ref>Swollen</ref> breasts?''<br />
| <br />
<br />
|- <br />
| <p>Other verses express (verse. 84):</p><br />
<br />
:''My arrows go through the enemy,<br/>if the archer disposes his shot well.<br/>I acted by his hand: my arrow reaches<br/>far and reaches any point.<br/>The spear cannot do what I do,<br/>nor the sword, in efficiency.<br/>Of this I glory among all weapons,<br/>and this glory, if you think, is not diminished.''<br />
| <br />
<br />
|- <br />
| <p>Also, on the same motive (verse. 85):</p><br />
<br />
:''Abandon the cambering spear<br/>Well the arrows are much better.<br/>If it is glory to kill enemies,<br/>Am I not the quickest of them all?''<br />
| <br />
<br />
|- <br />
| <p>There are so many poems about the bow, that we could expand out a lot.</p><br />
| <br />
<br />
|- <br />
| <p>The handling of this weapon varies according to its different types, which are very diverse, so exposing them would require an impossible space in a compendium like this. Many treatises have been dedicated to archery, well known, because this art is very widespread, look at them as it suits you and accommodate more. The essential thing for the archer on horseback is to have a well-used saddle, so that you can tighten it while it is mounted. In God there is triumph.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVIII - The Coat of Mail<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>Glorious God has put the coats of mail between the beneficial things that he has given to man, since the exegesis<ref>a person who interprets scripture</ref> of the Qur'an understands the astonishment: "And he has given you garments that protect you from harm" (Qu'ran, XVI, 81), refers precisely to this.</p><br />
| <br />
<br />
|- <br />
| <p>It keeps the mood high, because it distances the danger. That is why ''Abbad ibn al-Husayn'' responded to a man who questioned him about which was the mail he preferred: "The one that most moves away from death".</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had a coat of mail called "the Extreme", and also possessed another, when he was retained from the mail, did not touch the ground, and when it was released, it touched him. The Prophet did not take part in any campaign without taking it. Two more armours he had, taken to the ''Banu Qaynuqa'', one of these two was called "''sugdiyya''". It's stated that the prophet also possessed the cuirass that David was carrying the day he killed Goliath. Tradition tells that the wise ''Lucman'' accompanied him while David was making it. But ''Lucman'' did not know what he was doing, nor did he ask. When David had finished it, he put it on and said: "It will be a castle, for a hazardous day" And ''Lucman'' understood what it was about.</p><br />
| <br />
<br />
|- <br />
| <p>Their names and characteristics: in general they are called ''"yunan''", because this term designates all that is behind which one takes refuge. "''La'ma''" is a complete coat, and it goes beyond. If it is broad/wide, it is called "''zagfa''", then "''natra''" and "''natla''". "''Fadfada'" when it is truly very loose. If it is very tight, it is called "''suk''". "''Jadba''" and "''dilas''" when it is soft. Solid and hard "''qadda''" or "''hasda''". With a lot of flange, "''da'il''". Minim (half worn), "''madiyya''", although this last qualifier is also said of the one made by opening the holes (necessary in metal plate), and from which it is joined and flat. The rivets are called "''harabi''", and one of their heads "''qatir''", and they are similar to the eyes of crickets.</p><br />
| <br />
<br />
|- <br />
| <p>The coat of double-mail is called "''muda'afa''", and it has its rings on two by two. Each ring is called "''zarad''". If it is made of perforated metal plates, it is called "''masr-uda''".</p><br />
| <br />
<br />
|- <br />
| <p>If it is woven or braided it is "''yadla''". When it is short, it is called "''salil''" or "''badan''". If you wear a front shirt, but not backplate, it is "''yawsan''".</p><br />
| <br />
<br />
|- <br />
| <p>The coat "''saluqiyya''" receives its name from the town of ''Saluq'', in Yemen, where they are manufactured. The "''jutamiyya''" is named after one of the ''Abd Qays ibn Afsa''. "''Far'awniyya''" is named after the "Pharaohs", and the "''dawudiyya''", by David.</p><br />
| <br />
<br />
|- <br />
| <p>Among the poems that mention the coat of mail is ''ak-Ma'arri'' (verse. 86):</p><br />
<br />
:''It looks like a pool that the wind, artifice, size,<br/>more will continue when the wind calms down.<br/>It would be said: they are submerged crickets, only eyes stick out,<br/>and if one with attention observes, he discovers them.<br/>No land animal is safe there,<br/>if you cannot reach a shore or ship.<br/>If the knight, believing himself saved, did not undress,<br/>he would live on, as long as he continued with the breastplate.<br/>And if one knew about the day of his death,<br/>and enriched the wait, he would overcome the terrible fate.<br/>Tranquil, when in it you guard your body,<br/>in combat: so that faith never betrays you.''<br />
| <br />
<br />
|- <br />
| <p>''Abd al-Qays ibn Jufaf'' says (verse 87):</p><br />
<br />
:''Fulfilled coat, among the best,<br/>you hear the saber before her impotence.<br/>It looks like a pool of the zephyr<ref>a soft gentle breeze</ref> driven,<br/>when the one who carries it parts its edges.''<br />
| <br />
<br />
|- <br />
| <p>Thus ''Abu Ishaq ibn Jafaya'' describes a breastplate (verse. 88):</p><br />
<br />
:''Close the opening of the neck iron,<br/>ashen in the mist of the darkened shadow.<br/>As if a poisonous serpent would have dressed<br/>his skin on his sides on the day of combat.''<br />
| <br />
<br />
|- <br />
| <p>Some Arabs glory the wearing of the coat of mail in combat, and they show off. Thus, ''Antara al-Fawaris'' (verse. 89):</p><br />
<br />
:''Ubayla was admired by an eager young man,<br/>of bare hands and lean like a sword.<br/>Hair in disarray, clothes maimed,<br/>He has not been oiled, nor been dismounted.<br/>He only wears iron when he has to get dressed,<br/>like every warrior who throws himself to death.<br/>Both wear the cuirass sheathed,<br/>which has rusted his skin, that never bathes.''<br />
| <br />
<br />
|- <br />
| <p>Others glory of the opposite and declare that the coat of mail tires and tangles, and that to go to the combat without it is proof of more courage, and thus that results in high agility. This is why ''al-A'sa says'' (verse. 90):</p><br />
<br />
:''When a compact silent squadron arrives,<br/>Surprising to the sentries their vanguards,<br/>Your groups take cover in difficult places,<br/>narrow: they fear to dismount the brave.<br/>I was going in the watchtower, without wearing armour,<br/>and with blows of the sword I chopped his heroes.<br/>I know that everyone finds Death,<br/>when your Owner Creator decides.''<br />
| <br />
<br />
|- <br />
| <p>''Muhammed ibn Muslim'' praised a man thus (verse. 91):</p><br />
<br />
:''Offer the sword his helmet and his neck,<br/>and in the guise of almofar enhance your head.<br/>Speak to your horse: Resist the spears,<br/>that you will find honours if you are not hurt.''<br />
| <br />
<br />
|- <br />
| <p>The ''almofar'' is a kind of armour, also woven; covers the head and face. ''Ibn al-Mu'tazz'' addresses a boy in verse (verse 92):</p><br />
<br />
:''You launch into the enriching combat,<br/>with the almofar you cover your face,<br/>believe your figure is the rising sun,<br/>veiled with almaizar<ref>A thin transparent veil of silk, linen or cotton, worn by the moors</ref> of amber.''<br />
| <br />
<br />
|- <br />
| <p>The piece of concave iron that is intended to cover the head is called "''bayda''" ("helmet"). And "''qawnas''" in its top/crest, while "''da'ira''" is the ''cogotera''<ref>protection of the back of the head to the neck, resembling hair.</ref>. The helmet is also called "morion", "helm", "raised" and "hood".</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XIX - The Shield and Similarities<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The shield (turned) is a defensive, round weapon. The wheel of vicissitudes turns to its circle.</p><br />
| <br />
<br />
|- <br />
| <p>''Anas ibn Malik'' recounts that ''Abu Talha'' and the Prophet were covered with the same shield.</p><br />
| <br />
<br />
|- <br />
| <p>The shield is also called: "''yawb''", "''fard''", "''miyann''" and "''muyna''". The leather shields are called "''adarga''", "''hayafa''" and "''yalab''". For others, "''yalab''" is a leather or a piece, like the helmet, is defensive of the head. For others, the "''hayab''" is made of wood.</p><br />
| <br />
<br />
|- <br />
| <p>The edges are made of cowhide, of onager or antelope, which is the best and most defensive. The antelope (''lamt'') is one of the peculiarities of the Maghreb, it lives in desert areas and their skins are made to be a shield, with the property that if a sword or a spear slits it, the opening closes, immediately staunching, disappearing without leaving a trace.</p><br />
| <br />
<br />
|- <br />
| <p>During the combat, the one that guards behind a shield, must do it in the central part, be it against sword, javelin or stone. It will turn to the right or to the left, always presenting the outside to the contrary. You should not bring it to the body when you fear that a blow will fall. It will protect itself and your horse, making it turn conveniently.</p><br />
| <br />
<br />
|- <br />
| <p>It is advisable to give the stones the prominent part of the shield, and to place it obliquely, so that it slips what comes on top of you. The spear must be protected with the entire shield, or with its largest surface possible. As soon as you feel that the iron has touched you, it is advisable to throw it back, but keep it away from the body.</p><br />
| <br />
<br />
|- <br />
| <p>You have to avoid, at this moment, hiding the weight of the body on the shield, so as not to fall. It is also advisable to bring back the shield, so that the iron of the spear does not slip through it, which could then become entangled in the clothes. This is an eventuality that must be avoided.</p><br />
| <br />
<br />
|- <br />
| <p>The adarga will be handled like the shield mentioned (turn). But the first offers more ease against the spear, for its smoothness and uniformity. It is convenient, then, to steal the body, taking it back, so that it is not too heavy to the hand or impossible to handle.</p><br />
| <br />
<br />
|- <br />
| <p>Riding a horse with a shield has two options, depending on whether the shield is short or long. If it is long, raise your hand from the grip, taking the reins with the left hand, mounting immediately, trying not to hit your chin on the shield, if it were of large proportions. If it is a small shield, take it under the arm and mount the horse.</p><br />
| <br />
<br />
|- <br />
| <p>''Al-As'ad ibn Balit'' has thus described the shield (verse. 93):</p><br />
<br />
:''Shield the architects, they were imitating heaven,<br/>so that the longest spears prove short.<br/>They drew on the figures of Pleyades,<br/>stars that good fortune presage (omens, warns).<br/>They turned it into a ring of silver,<br/>the same as the light of dawn borders the horizon.''<br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XX - Arms and Equipment of War in General<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The practice of arms is a duty that is implicit in the Holy War. The Qur'an says (VIII, 62/60): "Prepare against them what strength that you can", which ''Ibn Abbas'' has commented saying that "the strength" are the weapons and military equipment placed at the service of God, that everyone should acquire, in every occasion, according to his zeal and his ambition of advantages and rewards.</p><br />
| <br />
<br />
|- <br />
| <p>''Abd Allah ibn Zayar'' transmitted that the Prophet said: "Whoever builds a weapon in God's service, will be counted, each morning, in the balance of his merits." And transmitted by ''Abd Allah ibn Sawdab'': "The works of men will be examined every Monday and every Thursday. whoever has increased their weapons, will see their merits increased. Whoever reduces them, will see them diminished."</p><br />
| <br />
<br />
|- <br />
| <p>The equipment depends on the force, and it helps to achieve victory: the greater the victory possible, the greater the equipment has to be precise.</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet was asked on one occasion: "Do you know any remedy that will work for us, some amulet with which to keep us, susceptible to deviate the decree of God?" And he answered: "The arms are part of His decrees".</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs used to say: "The sword is the shadow of death, the spear is the rope of Destiny, the arrows do not submit to the one who shoots them, the coat of mail fatigues, even if it is a shelter, the shield is a protection".</p><br />
| <br />
<br />
|- <br />
| <p>One day ''Umar ibn al-Kattab'' asked ''Amr ibn Ma'dikarib'', who exclaimed: Ask me, the emir of the Believers, whatever you want! And he asked about the spear. ''Amr'' replied: "It's like a brother, but he can betray you and break." Then he ask him about the arrows. "They are like Destiny, sometimes they yield, sometimes they do not". Then on the shield. "It's a round defensive weapon, with which I ring the wheel of vicissitudes turns." Then on the coat of mail. "Tire the fighter on foot, and entangles the rider, but is effective protection." Then on the sword. "For her the change of not having children has touched your mother." Umar then hit him with a whip and said: "It is you who hasn't a mother." The other replied: "Your untouchability forces me to humble myself before you."</p><br />
| <br />
<br />
|- <br />
| <p>''Al-Alawi'' has gathered in a poem the whole agenda of weapons and knights. His most fortunate part is the one where he says (verse. 94):</p><br />
<br />
:''Among all my assets I highlight the horses,<br/>with perfect legs, bony sockets, well bare.<br/>I also estimate a Hindu sword of pristine steel,<br/>and to a spear of vibrating joints of great size,<br/>and to an armour, like a vein of water, so accomplished and wide,<br/>I have to have it on with my fluted sword belt,<br/>and a bow of combated tips that are thick and flexible,<br/>and of an easy curve, yellow, Sawhat wood.<br/>And I hope my goods are not only those that I have already gathered,<br/>thanks to my sword, covered with silver waves.<br/>And hopefully, as time goes by, I may find that I no longer depend on the tyranny of no Lord.''<br />
| <br />
<br />
|- <br />
| <p>Abundant on the topic, ''al-Ayyar al-Dabbi'' says (verse. 95):</p><br />
<br />
:''I prepare for war the coat of mail,<br/>the double-edged blade that opens the coat,<br/>and a well curved bow of nab,<br/>and an quiver full of darts like blades,<br/>and a fine spear and a hairy steed<br/>very straight backs, spirited steed.<br/>His fullness of the view fills you up,<br/>It pleases you if you want to pursue or flee.''<br />
| <br />
<br />
|- <br />
| <p>A rider only receives the qualification of the arm that he carries. But if he carries sword and arrows at the same time, he is called "''qarin''". If he carries several weapons, he is "''salih''". "''Sikka''" designates complete equipment. When he is armed from head to toe he is called "''mu'ammal''" or "''mudayyay''". "''Sanawwar''" indicates that in addition to weapons, he carries a coat of mail, while "bazz", designates weapons, without wearing a coat. The rider without a sword is called "''amyal''"; without spear, "''ayamm''"; without coat of mail, "''hasir''". No weapon is "''a'zal''". To express that one has put on his coat, he is called "''istal'ama''". And "''sanna''", who wears his coat of mail.</p><br />
| <br />
<br />
|- <br />
| <p>The rules of management of arms are not uniformly applied by all, on the contrary, there are such considerable differences between them that establishing an average is impossible. A prudent man must observe the experts, and attend personally, and begin to exercise in it with whomever seems the most suitable, and that is of his choice. So until he learns all the luck of attacking and wounding in combat, and the various ways of launching an attack, or of fleeing, of performing the "''tornafuye''" ( an impetuous charge by light cavalry before withdrawing, drawing infantry out and then picking them off with javelins, darts and arrows), to refuse battle, of loading on the vanguards, or of getting away from them, both in lance and sword combat. To observe the falling points of the arrows. To know the propitious moments to advance or to retreat. How to gain ground in the melee. How to stand between the sun and the enemy, at the moment of encounter, or in full action. How to evolve during combat, and all its details and derivations for the moment of dismounting. To observe the enemy outposts, both in action and in calm.</p><br />
| <br />
<br />
|- <br />
| <p>What craft to use to disable the spear of the opponent, hitting it, taking it off, or turning it against him. How to pull the horse harnesses, or cut the bridle, so that the rider has to pay attention to his horse. And how to exercise with mastery of all this at any given time, manifesting the mastery of the art of the cavalry.</p><br />
| <br />
<br />
|- <br />
| <p>But who has not practiced all this, should not fool himself thinking that he can make these enterprises. It is precisely the knowledge of all the above, and careful study, which allows some knights to excel over others, as well, thanks to their tenacity, presence of courage and great prudence when competing with a rival, or to participate in a fight. God, in any case, was should be implored for help.</p><br />
| <br />
<br />
|- <br />
| <p>A verse of ''Mutanabbi'' says (verse 96):</p><br />
<br />
:''All the weapons in the world can be carried,<br/>But not everyone who has claws is a lion.''<br />
| <br />
<br />
|- <br />
| <p>At this point, praise be to God, I finish what I proposed, I finish the compendium that I offered and I fulfil my objective; I will consider the duty that I imposed on myself, if I get the attention of the intelligent.</p><br />
| <br />
<br />
|- <br />
| <p>Launch my steeds on the route proposed by the one who commands the hosts of Islam; they have shortened their land and now they long for the generous dew of their favour.</p><br />
| <br />
<br />
|- <br />
| <p>The enemy country also offers you the hand of obedience, to receive your demands from him and to abide by your wishes. And they tend to him as the dying to the doctors, as the afflicted to comfort, envying others like them who have taken refuge in their hospitality. They want to confront him in an encounter, and defeat him, with the chief saviour, with effective help and an ally of good intentions.</p><br />
| <br />
<br />
|- <br />
| <p>But he, assisted by God, will liberate this country from the bonds that keep it in inferiority, will bring abundance after sterility, free these lands from the fist of consumption, with their warriors and their embassies, and put them behind the abyss, at the height of the planet Saturn, thanks to its heroes and its armies.</p><br />
| <br />
<br />
|- <br />
| <p>The proof will be due to the constancy that will shake time and remove the situation of drowsiness, because courage and nobility are two inseparable allies of his personality, two companions of his way of being. Adversity with the iron of his spear vanishes. Chronicles register everything in their praise. Very different voices rise up acclaiming hm. And the hands are raised, submitted and friendly, so that God humiliates, in the dust, the neck of the idols and, thanks to the loyalty of His fortunate servant, performs the purposes of Islam, by the edge of his sword.</p><br />
| <br />
<br />
|- <br />
| <p>God, grant him on earth the greatest power! Make him firmly keep his enemies under his feet! Consolidate, for him, the believing people! Disperse, with your armies, the bands of infidels! Put them as a imposing harvest before their sharp swords.</p><br />
| <br />
<br />
|- <br />
| <p>God, preserve him from evil, everywhere and in every intention! Revive the principles of faith for your life! Keep him in your dreams and in your vigil! Defend for the Muslims its high person! Flutter to the wind of victory the bouquets of your flags and banners!</p><br />
| <br />
<br />
|- <br />
| <p>God, fulfil your hopes for your family and your offspring, your warriors, your soldiers! Pave the way for prosperity! Make your hands distribute good! You are Almighty! Able to respond to our request!</p><br />
| <br />
<br />
|- <br />
| <p>Praise be to God, Lord of the Worlds. The blessing is on our Lord and Owner Muhammad, seal of the prophets, iman of the envoys, and on his family, companions and favoured, noble and pious! Be saved!</p><br />
| <br />
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|}<br />
{{master end}}<br />
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{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = default<br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Gallery ==<br />
<br />
[Images available for import.]<br />
<br />
== Additional Resources ==<br />
<br />
<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = <br />
| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Books]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Capitolo_di_M._Mercvrio_Spetioli_da_Fermo_(Mercurio_Spezioli)&diff=107943Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)2020-04-27T16:17:14Z<p>Stefan Feichtinger: /* Contents */</p>
<hr />
<div>{{Infobox book<br />
<!----------Name----------><br />
| name = Capitolo di M. Mercvrio Spetioli da Fermo<br />
| subtitle = [[title::Chapter by Mr. Mercurio Spetioli of Fermo]]<br />
<!----------Image----------><br />
| image = Image:Capitolo di M. Mercvrio Spetioli da Fermo.jpg<br />
| width = 150px<br />
| caption = <br />
<!----------Information----------><br />
| full title = ''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''<br />
| also known as = <br />
| author(s) = [[author::Mercurio Spezioli]]<br />
| ascribed to = <br />
| compiled by = <br />
| illustrated by = <br />
| translator(s) = <br />
| patron = <br />
| dedicated to = Giacobo Boncomagno, Marquis of Vignola<br />
| place of origin = Bologna, Italy<br />
| language = [[language::Italian]]<br />
| subject = <br />
| genre = [[type::Fencing manual]]<br />
| sources = <br />
| publisher = [[Giovanni Rossi]]<br />
| pub_date = [[year::1577]]<br />
| first English edition = <br />
| pages = 24<br />
| extant copies = <br />
| wiktenauer compilation by = <br />
| images = [https://books.google.com/books?id{{=}}EClZxLcMnGkC Digital scans] (1577)<br />
| below = <br />
}}<br />
'''''Capitolo di M. Mercvrio Spetioli da Fermo, nel quale si mostra il modo di saper bene schermire, & caualcare''''' ("Chapter by Mr. Mercurio Spetioli of Fermo, which demonstrates the method of learning to fence well, and ride") is an [[nationality::Italian]] [[fencing manual]] written by [[Mercurio Spezioli]] and published in 1577. It treats the use of the [[side sword]], both single and with secondary weapons, after the Bolognese fashion.<br />
<br />
== Publication History ==<br />
<br />
''Capitolo di M. Mercvrio Spetioli da Fermo'' was published in Bologna in 1577 by Giovanni Rossi.<br />
<br />
== Treatise ==<br />
<br />
<br />
{{master begin<br />
| title = Prologue<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>In the name of God, gracious and merciful.</p><br />
| <p>this is a test to see where it goes</p><br />
<br />
|- <br />
| <p>Hail to our Lord Muhammad, his family and companions.</p><br />
| <br />
<br />
|- <br />
| <p>So says this servant of God, of His needful mercy, ''Ali ibn Abd al-Rahman ibn Hudayl'' will be assisted by God: Praise be God, who granted us the Faith, who, in his Qur'anic norms, served us as animals serve us; that of Arab race the horse is created, for punishment of idolaters! God bless and hail Muhammad, our owner and lord, and his family, as they continue to rotate the nights and the days!</p><br />
| <br />
<br />
|- <br />
| <p>May God have satisfaction from his Caliphs: ''Abu Bakr, Umar, Ali, Utman''!</p><br />
| <br />
<br />
|- <br />
| <p>Well, God has destined his successful help, more lasting power and eternal praises, to the great turbulent majesty, glorious, august, exalted, our Lord, tower of our souls and our bodies, champion of our religion, pillar of the believers, vicarious of the Lords of the World, Caliph and Iman, honourable king and emperor, of high power among the most powerful sovereigns, splendid, generous, excellent, virtuous, complete, of solid piety, equanimous, the effective warrior, the most esteemed leader, the most fortunate and victorious, the most noble and pure, that this century ignites with incomparable luster, because God has granted him the highest powers, making him be born of chosen men, virtuous, triumphant, that for his good clothes he is known and by his sublime ranks, the prince of the Muslims ''al-Musta'in bi'llah Abu Abd Allah Muhammed'' son of our Lord the singular hero, the most illustrious and glorious, eminent, notable, famous and great, of noble pledge and high titles<ref>Noble garments and high titles</ref>, prince of the Muslims, ''al-Musta'in bi-llah'', fighter for the Faith, the perfect and mourned ''Abu l'Hayyay Yusuf'', son of our Lord, great caliph and Iman, safe protector, shadow of God, guardian of his creatures, who lends sword in defence of His Faith, the veil of God covering His land, guarantee of the community, propitiator of favours, just and famous warmonger, good, majestic and more, great sultan, very honourable, prince of the Muslims, fighter for the Lord of the Worlds, who with God was enough and with His help was the victor, the perfect and mourned ''Abu Abd Allah Muhammad'', son of our Lord the prince of the Muslims and vicarious of God, the great champion sultan, of noble garments and virtues, submitter of infidels and conqueror, eminent and grandiose, the perfect and lamented, who benefits God, Abu l-Hayyay Jusuf, son of our Lord the prince of the Muslims fighter for God, honour of kings and sultans , the glory of Islam and the Muslims, of special fortune, eminent hero, bold and courageous, of merit and virtuous the perfect and lamented, who benefits God, ''Abu l'Walid Isma'il b. Nasr''.</p><br />
| <br />
<br />
|- <br />
| <p>Save God your majesties, preserve your dynasty and raise your sights.</p><br />
| <br />
<br />
|- <br />
| <p>This Lord, God give him victory, is our earthly king, who is reconciled to consensus and general applause, as all the coalitions have been able to unite, and beautiful conduct is a universal theme, stretching to Syria and Iraq. Happiness fills its kingdom, triumph smiles from the top of its lances, victory is knotted to its flag, praise is woven in its mantle. Glorious God has given him for teaching the war against the infidel, and the orthodox path by natural tendency. He has saved al-Andalus from the gusts of sedition, from the evils of hatred. Thus the Islamic religion has been clarified in this Andalusian country; by charisma of this illustrious hero all places have been reborn, all kinds of graces are abundant, all prosperity is fixed, all Algeria insured, all affliction cancelled. Thanks be to God that his dynasty rose above all, making the other kings of the earth their subjects and slaves.</p><br />
| <br />
<br />
|- <br />
| <p>Can there be a more eminent service, a more dignified pretension, a more fruitful zeal, than to raise up an august king a noble branch of the Sciences? And precisely this king commissioned this server of his to compose and polish, census and screen, this book about war and tournament, weapons and horses, the good qualities they possess or the defects that make them rejectable, but everything that is tied with riding, and rules of learning riding with everything that can be done in this.</p><br />
| <br />
<br />
|- <br />
| <p>This book I composed according to several others, those for this I chose; they are titled, namely:</p><br />
<br />
* ''Notice of remiss for use of the brave rider.''<br />
* ''Careful appreciation of the brave and courageous.''<br />
* ''Rest of the souls on steeds and weapons.''<br />
* ''The Book of the Damyati cavalry.''<br />
* ''The Alfaraz Treaty.''<br />
* ''The Book of the nature of animals, by Aristotle.''<br />
| <br />
<br />
|- <br />
| <p>And others, that now I do not bring to collation because I have barely taken advantage of them, or are in aspects so negligible that they do not deserve reference.</p><br />
| <br />
<br />
|- <br />
| <p>It has turned out to be, thank God, a book in its very complete genre; its agenda is drawn with correct style; and serves as a memento for those who are concerned about wars, and as an instruction for those who give themselves to spears and swordsmanship.</p><br />
| <br />
<br />
|- <br />
| <p>I'm going to title it ''Gala of the Knight, Blazon of the Champion''.</p><br />
| <br />
<br />
|- <br />
| It is comprised of twenty chapters:<br />
<br />
# Creation of the Horse. The first one used. Its spread throughout the earth.<br />
# Qualities of the horse. Promises agreed to those who raise them.<br />
# Maintenance and care of horses. Advice on this.<br />
# As the Bedouin Arabs call the different parts of the horse. Coincidences of some of those terms with the name of birds.<br />
# The best qualities of each of its (the horse's) parts, and similarities that should be present with other animals.<br />
# The colouring of horses. Their spots, stars, whites and swirls.<br />
# The good characteristics of the horse. Notes of what its excellence supposes. Mention of the thoroughbreds.<br />
# Natural and acquired defects.<br />
# How to choose and test horses. Recognition of their physiognomic features.<br />
# How to learn to ride it in different lots.<br />
# The horse races, the arrival to the goal, the bets.<br />
# Name of the horses of the Prophet, of the stallions and other memorable Arabian horses.<br />
# Different terms and other appellations with related cavalry.<br />
# Anthology of verses that highlight the extraordinary fondness of Arabs for horses, their way of honouring them and the rings of glory that earned them.<br />
# The sword.<br />
# The spear.<br />
# The bows and arrows.<br />
# The coat of mail.<br />
# The shield and similarities.<br />
# Arms and equipment of war in general.<br />
| <br />
<br />
|- <br />
| <p>With this we will fulfill the book, may God make it profitable. May He tell it to us as a pious intention. The Lord of Triumph; The guide; He, the Only Lord.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XV - The Sword<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The Prophet said: "Whoever moves the sword in the service of God, God will clothe him with the cloak of glory". For his part, ''Ali ibn Abi Talib'' states: "I heard the Prophet say that God adorns his angels by having them draw swords, and that they pray for Muhammad while he holds a sword."</p><br />
| <br />
<br />
|- <br />
| <p>According to ''al-Ahnaf ibn Qays'': "The Arabs will be Arabs as long as they continue wearing turbans and carrying swords, and while they do not understand magnanimity as a reproach".</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had many swords, among which is counted: "''Du I-faqar''", which he achieved in booty on the day of the Battle of Badr, and which had belonged to ''Munabbih ibn al-Hayyay''. "''Al-Adb''" that was given to him by ''Said ibn Ubada''. Also: "''Battar''", "''Mijdam''", "''Rasuf''" and "''Hatf''". He also had a ''qala'I'' sword, taken from the ''Banu Qaynuqa''. He had also inherited one from his father. Such are the swords of the Prophet which are known to him.</p><br />
| <br />
<br />
|- <br />
| <p>Tradition tells that ''Ukkasa ibn Mihsan'' fought, in the Battle of Badr, with his sword, until it was broken. Then the Prophet came and gave him a piece of tree branch, saying "fight with this, Ukkasa!". When he picked it up, he brandished it, and then it changed into a long sword, very solid, of white iron. And he fought with her until God granted the Muslims victory.</p><br />
| <br />
<br />
|- <br />
| <p>This sword was called "''Awn''". His owner continued to assist him with all the combats, together with the Prophet, until he perished, even in the time of the caliphate of ''Abu Bakr''.</p><br />
| <br />
<br />
|- <br />
| <p>It is also said that the sword of ''Abd Allah ibn Yahs'' broke the day of the Battle of Uhud. The Prophet then handed him a branch of palm tree, which upon taking it became a sword, whose grip formed the same piece with the rest. This sword was called "''Uryn''", and it continued to be owned, until it was bought by Baga the Turk.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs said: "The sword is the shadow of death and the game of Destiny", that's why they also called it "The Terrible".</p><br />
| <br />
<br />
|- <br />
| <p>Among the sayings that are said about it: "The sword draws more than reproach". "Everything that ''Ibn Dara'' has said is carried by the sword." "The sword is good companion and true friend and swift messenger".</p><br />
| <br />
<br />
|- <br />
| <p>That is what ''Abu Tammam al-Ta'i'' (verse 61) says:</p><br />
<br />
:''The sword gives more loyal news than writing,<br/>on its edge is the edge of mockery and you will see truth.<br/>It offers white blades and no black blades<br/>and their strokes dispel all doubt or error.''<br />
| <br />
<br />
|- <br />
| <p>The sword dispenses with other weapons, but almost no others can replace it. Does it not always accompany the employment of all others? So says ''Yami al-Muharibi'': "When a sword strikes with a sword, there is no other option."</p><br />
| <br />
<br />
|- <br />
| <p>A verse of the ''Mutanabbi'' (verse 62):</p><br />
<br />
:''Despised the spears and abandoned them,<br/>it would be said that the sword of the spear disowns.''<br />
| <br />
<br />
|- <br />
| <p>And it is that the Arabs drives the sword as if it were a spear; with it they beat, as if it were a rod; with it they cut, as if it were a knife; they used it as a whip and as a lash; it is his ornament in public; his light in the darkness; his company in solitude; his fellow in the desert; his comrade of sleep and the way, so they call it: "coat", "cape", "rod", "dress", "clothing". It is the "judge of combats", the "decision of human litigation".</p><br />
| <br />
<br />
|- <br />
| <p>All these facets have inspired poetry, and have cradled proverbs or histories.</p><br />
| <br />
<br />
|- <br />
| <p>This is how ''Utba ibn Abd al-Sulami'' referred: The prophet handed me a short sword, and warned me: "if you cannot wield it, spear with it".</p><br />
| <br />
<br />
|- <br />
| <p>And a Bedouin asked his two sons which sword was the best for them. The first replied: "The one of polished edge, the one of a sharp cut, resolute and long; that when brandishing, does not err; when it gives, it does not bounce." The other said: "A good sword you have described, but the one I prefer is another."</p><br />
| <br />
<br />
|- <br />
| <p>"And what is it?" They asked him. And he answered: "The one of a sharp edge, of a shining brightness, always hungry and thirsty, that to the swung, it cuts, and when finding, it kills".</p><br />
| <br />
<br />
|- <br />
| <p>He asked them now which sword was the worst. And one replied: "The one that eases and bounces and rejects the bones and the flesh, the one that when it hits, does not cut and to behead is useless".</p><br />
| <br />
<br />
|- <br />
| <p>Then I ask the other one who answered: "You have described a bad sword! But the worst one for me is not like that". Asked, then, how it was, he replied: "The blunt, the rusty, unsafe handle, and no matter how hard you try, you do not bleed."</p><br />
| <br />
<br />
|- <br />
| <p>They say that ''Umar ibn al-Khattab'' asked one day: "Who is the noblest of all Arabs?"</p><br />
<br />
<p>"''Hatim al-Ta'i''," they said.</p><br />
<br />
<p>"And who is your best poet?"</p><br />
<br />
<p>"''Imru al-Qays''," they told him.</p><br />
<br />
<p>"And which is the sharpest sword?"</p><br />
<br />
<p>"That of ''Amr ibn Ma'dikarib al-Zubaydi''," they told him. Umar then sent to ask for Amr's sword, which was called "the Samsama". So he did; but then, when he tasted it, he discovered that it was not such, and he told Amr, who answered: "The Emir of the Believers sends my sword, but do not send him the arm that was brandishing it".</p><br />
| <br />
<br />
|- <br />
| <p>''Al-Haytam ibn Adi telata'' states that when the sword of ''Amr ibn Ma'dikarib'', the famous "Samsama", happened to be of ''Musa al-Hadi'', he sent it to him, and when he placed it in front of him, unsheathed, he said to his chamberlain : "Call the poets!" When they were present, he ordered them to sing to the sword. I take Anas' word (verse. 63):</p><br />
<br />
:''Musa al-Amin, for himself, has allowed himself<br/>the sword "Samsama" of the Zubaydi.<br/>This Amr's steel, as we have heard,<br/>Is the best that ever was sheathed.<br/>The blade reverberates between its edges,<br/>with steely light that the eye follows.<br/>The thunder set him on fire<br/>then it gave him the fate of his Deadly Destiny.<br/>Function is almost the light of the sun,<br/>whose rays hardly resists the eye.<br/>That brightness and brilliance that runs through its blade seems to be the outbreak of a poison.<br/>It would be said that her fate depends,<br/>or that each of its edges that is Fatum.<br/>That I bet the warrior that in a full clash takes it close! What a great companion!<br/>The same can be given to whoever draws it,<br/>If he wield your hand grim or right!''<br />
| <br />
<br />
|- <br />
| <p>It is added that ''Musa'' gave the poet a fortune, or that he gave him the sword, and then bought it for fifty thousand dirhams.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that ''Urwa ibn al-Zubayr'' asked ''Abd al-Malik ibn Marwan'' to return the sword of his brother ''Abd Allah ibn al-Zubayr''. He presented her in a pile of drawn swords, but ''Urwa'' recognized her among all. ''Abd al-Malik'' asked him how he had met her, and the other answered him with the verse of ''al-Nabiga'' (verse 64):</p><br />
<br />
:''No defect they have, but their swords<br/>they have nicked its edge in the clash of the squadrons.<br/>Since the day of Halima they come inheriting,<br/>and since then all the avatars have tried.''<br />
| <br />
<br />
|- <br />
| <p>A Christian king sent ''Harun al-Rasid'' three swords, among many others present. In each one there was an inscription. In the first "Warrior, attack and you will achieve spoils, but do not think about the result, (otherwise) you will be defeated!" In the second: "If the cut of your sword does not reach its destination, lengthen it, after having thrown off your fear." In the third: "Prudence, when there is no fear that the occasion escapes, it is better than the urgency to achieve the desired."</p><br />
| <br />
<br />
|- <br />
| <p>The sword has in Arab appellative many and abundant denominations. Thus, for example, it is called "''yunti''", which according to ''Abu Ubayda'' qualifies that it is made of the best cast iron, although it is also indicated that ''Yunti'' was the name of the smith who made them. Those that were made in India had a special and allusive term called "''Hindi''" or "''Muhannad''" or "''Hun-Duwani''". Also those made in Yemen were called "''yemenies''" like the ''Qal'a'', "''qal'ies''", although it is also indicated that this designates their white colour.</p><br />
| <br />
<br />
|- <br />
| <p>The so-called "''qasusi''" comes from the mountain of Qasus, where there is an iron mine. The "Masrafi" comes from Masarif, Arab villages, near the Rif. Others are called "''surayyi''", from the smith who made them.</p><br />
| <br />
<br />
|- <br />
| <p>And according to its characteristics it also receives different names, so it is called "face" to the very wide one; "branch", if it is thin and well adjusted; the one that is not shored up is "driven", that applies so much to the one that is not smoothed, as to the one that is not very well finished or well-honed. If it is narrow, it is distinguished by the term "fine". If it shows grooves that undermine the blade it is called "furrowed" or "ribbed", that's why they were called the swords of the Prophet and of Ali, although it is said that this term of "scratched" is applied to the sharp sword only by one of its edges, while on the other it is blunt: this is how the sword "Samsama" of ''Amr ibn Ma'dikarib'' was characterized. When the edges are made of steel and the blade made of iron, it is called "steel", as are the Christian swords, which, according to the Arabs, were made by geniuses; The truth is that they are more resistant when used properly from the beginning, while Hindu swords tend to break when they are still cold; they are, therefore, better for strong attacks. If shining it is called "brilliant". If by its consistency, purity and perfect polish, no blood is adhered to it, it is called "polished". If it takes many years of use and has worn its edge, it is called "dented". If blunt and does not cut, it is called "dull". If its blade has any reflection, it is called "illuminated". If it is used to cut wood, or things like that, then it is "pruning tool", if it is used to chop meats or bones, it is "knife".</p><br />
| <br />
<br />
|- <br />
| <p>There are many qualifiers on its edge. To designate that it cuts very well the words used are: "acute", "incisive", "sharp", "voracious", "keen", light "," cutting"," pointed "and" sharpened ", all of which allude to the accuracy of the cut, if it goes through the bones, he is called "resolute." If it is very firm, if it never bends, "persistent."</p><br />
| <br />
<br />
|- <br />
| <p>Its different parts have their names: "pearl" and "glare" is a brightness that shows and gives the impression that water runs from it when it is brandished. "''Dubab''" is the tip; the part before her is "''zubatan''". "Turn" are the edges. "''Amud''" is the center. "''Matn''" is the whole blade. "spike" is the part that enters the hilt. "hilt" is the whole part that is not blade. "''Qabid''" ("grip") is the upper part of the hilt. "''Sa'ira''" is what holds her.</p><br />
| <br />
<br />
|- <br />
| <p>There is also a whole terminology of the scabbard, which is called "''yafn''", "''jilla''" or "''jilal''", although this last name says it applies to the inner skin of the scabbard. "''Hama'il''" or "''Kalb''" is a buckle through which the sword belt passes.</p><br />
| <br />
<br />
|- <br />
| <p>A poet says, taking advantage of the double meaning of "''kalb''" ("dog") (verse. 65)</p><br />
<br />
:''How many times I saw the face of the dog<br/>Straps that adorn the emir to be!''<br />
| <br />
<br />
|- <br />
| <p>Among the poems that name the sword, this one from ''Tarafa'' (verse. 66):</p><br />
<br />
:''Swear from my side do not remove<br/>the cutting edge of my Hindu sword,<br/>so faithful that no blow misses.<br/>He is told to "calm", and replies "already".<br/>It is enough to resort once to your cut,<br/>which is a spark and not a catana.''<ref>Indian sabre or cutlass</ref><br/>''Whenever the others go for their weapons,<br/>Just by holding it I was undefeated.''<br />
<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Mu'tazz'' (verse. 67):</p><br />
<br />
:''A steel I have and to my credit a thousand deaths,<br/>for never without blood has it been drawn,<br/>on top of your blades you can see glares,<br/>like a shred of clear cloud under the sky.''<br />
| <br />
<br />
|- <br />
| <p>And from ''al-Alawi'' (verse. 68):</p><br />
<br />
:''On its brightness it would be called a silver wave,<br/>which advances and returns between its two edges,<br/>as if they were eyes of small ants,<br/>among those who appear the eyes of crickets.<br/>It is steel that brings terror,<br/>as an envoy of God to take life.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn Abd Rabbihi'' (verse. 69):</p><br />
<br />
''Grooved sword that meets the law's destiny,<br/>and what Destiny decrees cannot be stopped!<br/>It is a radiance that when you see it, pierces your eyes,<br/>and it is a lightning that when wielding it explodes.<br/>With unsheathing it ends the life of heroes,<br/>and from it death is frightened, the terrible death.<br/>When in combat with another similar one that is found,<br/>It seems that one soul goes against another soul.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Zaqqaq'' (verse. 70):</p><br />
<br />
:''Thirsty steel that drinks in the spring of neck,<br/>without ever its thirst being quenched.<br/>We represent it, sparkling, open march,<br/>like a star, like a flaming torch.<br/>Like a ardent fire was owned by him, in the war,<br/>the valiant champion: to stir your spirits.<br/>Its blade rivals crystal clear water.<br/>and like fire burns in each pit.<br/>Because of its brightness it seems crowned with pearls,<br/>and steals lives, without letting itself be robbed.<br/>Until his sheath of his blade escapes,<br/>as the water drains from a web of algae.''<br />
| <br />
<br />
|- <br />
| <p>Another poet composes (verse 71):</p><br />
<br />
:''A hindu steel that a glint travels through,<br/>and the deadly fire on its edge burns.<br/>Its waters almost floods who is moving,<br/>and to whoever its burning almost sears.''<br />
| <br />
<br />
|- <br />
| <p>And from ''Abu l-'Ala al-Ma'arri'' (verse. 72):</p><br />
<br />
:''And if it were not that your sword is thin,<br/>we would say that the dejection thins it.<br/>Daughter of the fire, is licked and faint,<br/>as if the consumption was inherited from her father.<br/>So ornate your sheath, you would say<br/>It's covered in stars and road of the moon.<br/>Straight is the blade, from end to end.<br/>so it is difficult to distinguish the result.<br/>The clearness of the water shines on it,<br/>and also you find the burning of the fire.<br/>When we see the emir brandishing it,<br/>you say a mirage over the air.<br/>Scale by her bloody destinations,<br/>that then in tingling it transforms.<br/>Any other sword melts in her fear,<br/>That without the hold of the sheath, it would be liquefied.<br/>And is that, if not the sword, a friend can be found<br/>of permanent affection?''<br />
| <br />
<br />
|- <br />
| <p>And from ''Abu l-Abbas al-Tutili'' (verse. 73):</p><br />
<br />
:''Swords red and thirsty: they make their blades, waters;<br/>more as if from them they run and fall, they are barren.<br/>It could be said that in them a Holocaust has been created,<br/>but they are never said they are idols or sacrificers.<br/>Unarmed, but they know that they are drawn,<br/>coats of mail of heroes are changed into shrouds.''<br />
| <br />
<br />
|- <br />
| <p>Among the most fortunate allusion to the sword is this verse by ''Habib ibn Aws'' (verse 74):</p><br />
<br />
:''Wielded like a sword, if a man's hands do not,<br/>his very thrust would have unsheathed.''<br />
| <br />
<br />
|- <br />
| <p>A description, emphasized, from ''al-Nabiga'' (verse. 75):</p><br />
<br />
:''Penetrates even the redoubled coat of Saluqa,<br/>and burns the loins with a spark of fire.''<br />
| <br />
<br />
|- <br />
| <p>Numerous are the verses that refer to the sword, but what we have brought to collation is a sufficient sample.</p><br />
| <br />
<br />
|- <br />
| <p>The basic condition of sword management is that it does not draw, but when fenced with. If it's been drawn before, it can provoke cowardice.</p><br />
| <br />
<br />
|- <br />
| <p>There is no other weapon that needs so much care when used as the sword; for many who do not exercise caution or dexterity often injure the horse's ear or arms, or even cut off their own ears or their own legs, or leave them marked. So when the knight goes to use the sword, he will rest only the toes on the stirrups, without anything protruding ahead, always in convenient measure for good support. Flourish vertically or horizontally.</p><br />
| <br />
<br />
|- <br />
| <p>When the attacking the front, take extreme care of oneself and the horse. Take the hand, when giving blows, the farthest possible. With all this, safety will be achieved.</p><br />
| <br />
<br />
|- <br />
| <p>Try to always have the adversary to the right, especially if it is a lancer.</p><br />
| <br />
<br />
|- <br />
| <p>Whoever wants to learn and train in their handling, take a tender cane or branch, kneel it on the ground, firmly. Move away then, leaving it to your right, gallop your horse, and, when close, unsheathe the sword, soon, careful and lightly. From a sideways cut, to the part of cane or branch that is at the height of your head, or deliver horizontally, with ease and lightness. Repeat this several times, cutting in each pass as much as you can, until the length of the stick is only the size of a cubit. Follow this practice until it becomes so habitual, that it is done with total dexterity, God willing.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVI - The Spear<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The prophet has said: "You have obligations with the spear and bow, because their triumph was given to your Prophet, and for them I achieved conquests".</p><br />
| <br />
<br />
|- <br />
| <p>Four spears were obtained by the Prophet. One was called ''Mutatanna''. The other three he had got with all the weapons of the ''Banu Qaynuqa''.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs used to say: "The spear is the rope of death". And a saying repeats this: "You have mentioned the spear, that I had forgotten".</p><br />
| <br />
<br />
|- <br />
| <p>A Bedouin asked his two sons which spear they preferred. The first answered: "The one that is hard and straight, the one that when brandishing it does not warp, nor does it camber, when it is thrown."</p><br />
| <br />
<br />
|- <br />
| <p>I ask the other then, who replied: "A good spear he has described, but I prefer another!"</p><br />
| <br />
<br />
|- <br />
| <p>When asked about it, he answered: "One which vibrates, thin and flexible and fast, sharp when it pierces and penetrates when it enters".</p><br />
| <br />
<br />
|- <br />
| <p>He then asked what was the spear that seemed worse to them, and the first answered: "the one that cambers when hitting, the one that dents, the one that when brandished it stoops, and when hitting it breaks". He asked the second his opinion and he said: "A bad spear has been described, but I still find another one worse!" Questioned as to what it was, he answered: "that which is flimsy or rigid: and when it is forced, fails, and when it is speared, it breaks".</p><br />
| <br />
<br />
|- <br />
| <p>An author describes: "They are lances, sublime, ornate of nobility, they are the horns of horses, the rope that penetrates to the bottom of the entrails, with them the blood is claimed, and you can access women and borders. They would say snakes to open throats. It is rare for them to escape. Whoever alternates with them, trembles with fear."</p><br />
| <br />
<br />
|- <br />
| <p>Another says: According to its category, the spears are called: "''anaza''", which is a stick, more ready than the "''harawa''", and with an iron tip. It enters within the weapon's category, because with it one can defend. The iron looks like a ''moharra''<ref>the point in which a flag staff terminates</ref>, but without it being whole. It is followed in length by the "''nayzak''", who carries a fine iron; it is the same as the "''mitrad''" and the "''mizraq''", which are used as javelins, for the lightness of its pole. The iron is usually slightly square, to better cross the coat of mail or whatever it takes. The very long spear with wide iron is called halberd and "there/yonder". "''Jurs''", on the other hand, is a short spear. If it is hard, it is called "''mi'das''", because with it you can bore. The longest spears are called "''rumh''" and "''qana''".</p><br />
| <br />
<br />
|- <br />
| <p>Names that refer to their qualities or origin: If the shaft of the spear is very straight and does not need any reinforcement, it is called ''sa'da'', otherwise it is "''mutaqqaf''".</p><br />
| <br />
<br />
|- <br />
| <p>If it vibrates it is "''asil''"; and if it vibrates a lot, "''assal''" or "''arras''". If it is ductile it is called "''ladn''", "''dabil''" and "''marin''". Very hard, "''samhari''". And so firm that it does not bend "''sadq''". If you have any split, "''talib''". The so-called "''jatti''" is from Persian cane native to the Jatt region of Persia in which it grows. The so-called "''yazani''" takes its name from Yazan, a king of Yemen. The "''rudayni''" is named after a woman, Radayna, who manufactured them or sold them.</p><br />
| <br />
<br />
|- <br />
| <p>Nomenclature of the parts of the spear: "''sinan''", "''nasl''" and "''qurun''" is the tip whose edge is called "''sa'iba''". "''Zuba''", "''Safra''" or "''gargar''" are the two ends. "''Ayr''" is the projecting part of the center. "''Yubba''" is the entry of wood into the iron. "''Mihwar''" is the nail that fixes it. "''Zafira''" is the upper part, followed by the "''sadr''", the "''aliya''" and the "''amil''", up to a third of its size. "''A'id''" and "''amud''" is the middle part, followed by "''saq''", "''safila''", "''aqib''", "''ka'b''" and "''zuyy''". If the lower iron is sharp, it is called "''markaz''", otherwise, "''halqa''". "''Anabib''" and "'''ku'ub''" in the hindu spear are the intervals of its joints.</p><br />
| <br />
<br />
|- <br />
| <p>How to be mounted with the spear: The rider has to take the spear with his right hand, taking the left with the reins removed off of the chair. He will then put the point of his spear on the ground and move away from it a distance. He will introduce the tip of his left foot in the left stirrup, and, leaning on the spear, will be driven on the horse. Then he will stand up and turn the spear behind the rump of the animal, towards the right side, being raised with speed. He will now carry the spear to his left hand, along with the reins, while sorting his clothes and gear with his right. He will immediately grab the spear with his right.</p><br />
| <br />
<br />
|- <br />
| <p>If you find yourself in a deserted place, without any human being that can be damaged or any tree to get hooked on, you can take the handle by the centre, if you want, and with the left hand, along with the reins and some mane, or hold of the saddle if there is no mane. With the right you can hold onto the back or the one before also if the left has already caught some mane already. Ground then to the chair.</p><br />
| <br />
<br />
|- <br />
| <p>It is not convenient for the rider to take the spear directly from the ground, when they are already mounted, because the horse can step on it or break it or kick it, carrying it away. Every time you please, you must go down, take the spear and mount with it, as it has been specified.</p><br />
| <br />
<br />
|- <br />
| <p>To dismount with a spear, it must be held with the left, placing the tip on the ground, next to the left front leg of the horse. The removal will be collected with the right and then lowered. When stepping on land hastily bring back the spear to the right, to prevent the animal from turning on it and breaking it, or letting go of the iron, injuring someone. All this has to be done.</p><br />
| <br />
<br />
|- <br />
| <p>Anyone who wants to learn how to handle the spear, and acquire dexterity it with it, must begin by placing a kind of target, like a piece of wood, or something like that, on the ground, at a height that corresponds to that of the knight. They must secure its bottom, placing itself strongly in its upper part an iron ring or a rolled-up rope, as if it were a ring. Now take distance, putting the horse at full gallop. When approaching the target, pass the spear under the armpits, letting a part protrude outwards that allows to be held more lightly. Then, with the iron, go through that ring, but turn right away, in a hurry, to get the spear out of the artifice. Sometimes it is necessary to twist the spear back, until crossing the ring completely, picking up the spear, with lightness, on the other side. The ring also rotates to where it want to turn.</p><br />
| <br />
<br />
|- <br />
| <p>We must persevere in this exercise as much as possible, until it is carried out with total ease, without missing the objective, with the help of God.</p><br />
| <br />
<br />
|- <br />
| <p>The way to grab the spear in the confrontation, to strike with it, and to get rid of it later, would require a lot of detail and even visualizations, due to a great variety of circumstances that they contain and the great diversity of their possibilities and methods.</p><br />
| <br />
<br />
|- <br />
| <p>The knight should have a spear as light as possible, because then he will obtain a greater strength, more success and firmness, always within the measure of his strength and ability to resist.</p><br />
| <br />
<br />
|- <br />
| <p>Before, the spears of the riders reached ten cubits, but it is more convenient that they reach a shorter length. It will not be too thick or too thin, or so that the hand cannot cover it, neither so that the fingers overtake. The middle end is the best, always counting on the dimensions of each hand and the possibilities that are offered.</p><br />
| <br />
<br />
|- <br />
| <p>Among the verses that have been said about the spear, these are told from ''al-Ma'arri'' (verse 76):</p><br />
<br />
:''Thirsty, although it has no life,<br/>He knows that he who carries it is great, and enlarges him.<br/>Imagine that every breastplate is a pool,<br/>and flutters, aim to the plaited coat.<br/>Flood with her breasts many men,<br/>and you get rid of malice, just by using it.''<br />
| <br />
<br />
|- <br />
| <p>One of the most notable things that has been said in this respect are the verses of our master and judge and sharif ''Abu I'Wasim al-Hasani'' (verse. 77):</p><br />
<br />
:''Solid spear, of forged joints, if you claim<br/>the blood of heroes, it does not delay your term.<br/>So shining, I wonder: Is it the spear that is wielded or is it a lit torch?<br/>If it were not that the flames of his blade that matured her,<br/>it would be green, because they irrigate and drink blood.<br/>Oh! wonder: the clots would be, for your eye, ash,<br/>and yet no vulnerable point escapes his sight.''<br />
| <br />
<br />
|- <br />
| <p>Very abundant also the poems that allude to the spear.</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVII - The Bow and Arrows<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>God, exalted be, accorded and preferred the bow above any other weapon, and so he established that dealing with everything that relates to it was one of the most profitable acts and one of the most meritorious options.</p><br />
| <br />
<br />
|- <br />
| <p>It is transmitted that the Prophet said: "There has not been any weapon that man has grasped, and for which he has displayed as much preference as the bow." And also: "Whoever has a bow in his house, God will move him away from poverty, while this bow stays there."</p><br />
| <br />
<br />
|- <br />
| <p>And when the time came to fight, the Prophet took the word, supporting his bow. He once said: "All believers should aspire to have bow and arrows."</p><br />
| <br />
<br />
|- <br />
| <p>The exhortations on the purpose of the shot of the bow are very numerous. Thus from ''Uqba ibn Amir'': "I heard the Prophet," he says, "saying from his ''almimbar'', 'Arrange against them all the strength you can'", and ''Uqba'' commented that with "force" he wanted to allude to the bows.<p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had in great esteem the one who knew how to be a good archer, a good rider and a good swimmer. And he repeated: "Teach your children to shoot with bow, that this inflict great damage to the enemy". And one day, seeing a group of ''Ansar'' who were shooting the bow, he told them: "Shoot, descendants of Ishmael, your ancestor was a great archer."</p><br />
| <br />
<br />
|- <br />
| <p>These are also the words of the Prophet: "Whoever shoots an arrow in God's service, whether missing or hitting, will receive the same reward as if he had liberated a descendant of Ishmael." And: "God has to introduce into Paradise, by an arrow alone, three people: the one who made it, if he did it with a good purpose, the one who shoots it and the one that approaches who shot it".</p><br />
| <br />
<br />
|- <br />
| <p>''Ali ibn Abi Talib'' transmits that he never heard the Prophet tell anyone that "he was rescued", more than to ''Sa'id ibn Abi Waqqas'', to whom he said on the day of the Battle of Uhud: "my father and my mother will serve you as a rescue". And that day, in addition to ''Sa'id'' he told ''Abu Talha'' and ''Qatada'', among other archers: "Stand firm, that the victory will be ours as long as you resist." Fifteen were the archers that fought on that day.</p><br />
| <br />
<br />
|- <br />
| <p>The traditions that are preserved for us for this purpose are so numerous that it is impossible to collect them all.</p><br />
| <br />
<br />
|- <br />
| <p>What a happy expression the poet has achieved when he says! (verse. 78):</p><br />
<br />
:''If a man wants to walk a good path<br/>and achieve the honour to which he leads,<br/>and obtain the meritorious reward,<br/>never stop the practice of the bow,<br/>which is elevated in this low world,<br/>and triumph for the straight religion of the Prophet.''<br />
| <br />
<br />
|- <br />
| <p>The Prophet had a bow of nab wood and it was called "yellow" and another of ''sawhat'' wood, and it was called "big"; another, of the same wood as the latter, and was called "target", and finally another, called "''katum''", because it was made of a round branch.</p><br />
| <br />
<br />
|- <br />
| <p>There are two types of bow: one of hand, which is the Arabian bow and which in turn has many varieties, and another standing, which is the Christian, and which also includes different classes.</p><br />
| <br />
<br />
|- <br />
| <p>The Arabian bow is the one that suits the rider, because it is faster and needs fewer resources, while the other is better for those who fight on foot, for its greater length and effectiveness, especially in the sieges, naval battles and other similar operations. The latter is the one used by the Anadalusies and with the hunting and shooting and competitions, using both the horse on foot. It is the one that we are going to describe next.</p><br />
| <br />
<br />
|- <br />
| <p>This bow, that is to say the "Christian", is composed of a carriage, bolt (''amud''), cock (''qadib''), walnut (''yawza'') and key (''miftah''). The bolt was previously called "canal" ("''mayra''"), because the arrow ran through it. The key went up from the nut and you could shoot quite a number of arrows at once. But already in the time of ''Nemrod'' another was arranged, being given that name because it served as support. It has six cavities: the one of ''masrab''; the ''halq'', which is used to assemble and disassemble, in six cases: to rub it, wash it, remove parts, tighten it, open it, lift it or lower it. The third cavity has six applications, it is "security" and "reservoir"<ref>Storage?</ref>. In the fourth goes the "nut"; in the fifth goes the nail and in the sixth the key, calling itself "of action", "of shape" and "of secrets"; here the shot is given and in it resides its essence and its meaning.</p><br />
| <br />
<br />
|- <br />
| <p>The "cock" is so called because it is surrounded by two sites, one in the middle and four in the ends. It carries two strings: "''harbi''" and "''awir''". The "''nut''" received this name because the "''mutaharrik''", the "''natiq''" and the "''samit''" pass through it. It is also called "versatile", because it turns the key. Here resides one of the keys, and in the other "walnut" when both come together, the martingale<ref>Strap?</ref> is triggered.</p><br />
| <br />
<br />
|- <br />
| <p>The "key" is called so because precisely in it is the key to everything we have said.</p><br />
| <br />
<br />
|- <br />
| <p>The keys of archery resides in seven things: in the entity endowed with reason that with it shoots; in something ripped of an irrational body, which is the feather; plus the wax, the "nut" and the "cock" and the arrow. These last four take action while they are shooting, and none of them act in isolation.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that the bow has been deduced from the study of the circumference and that it is a great ingenuity. That the mathematicians deduced their principles from the consideration of the sun, moon and stars.</p><br />
| <br />
<br />
|- <br />
| <p>Virtually it would be said the bow would peak and shine like the dawn, and it is called "king" because it reigns, and when the archer takes it, he feels afraid of it, just as he fears the king when he enters his presence, and also by the bow others fear the archer in turn.</p><br />
| <br />
<br />
|- <br />
| <p>The bows are made of ten different species of wood, five of wild trees and five of cultivated trees. The wild varieties are: the yew that the Arabs call "nab", the olive tree, the ash tree, the bush of the alena and the cork oak. The cultivated ones are: the orange tree, the "''nisman''", the apple tree, the pomegranate tree and the quince tree.</p><br />
| <br />
<br />
|- <br />
| <p>In this respect a poet has said (verse 79):</p><br />
<br />
:''How strange that the noble bow,<br/>does not save the pigeon of the tree,<br/>and, before friend, they turn deadly!<br/>So are the vicissitudes of the times!<br />
| <br />
<br />
|- <br />
| <p>And from ''Ibn al-Zaqqaq'' (verse. 80):</p><br />
<br />
:''Will I be the holocaust of a curved bow<br/>devoted to that enemy warrior?<br/>when the branch was the friend of doves of the forest;<br/>but today nothing but death is friend.''<br />
| <br />
<br />
|- <br />
| <p>Of all the woods that are used to make the bows there are reserves in the center, south, east and west (of the Peninsula). In two seasons these should be cut: in the winter simoon, which is the best for it (from this comes the comparison of the bow with a child who, also at this time, lactation is cut), and in the simoon of summer, if there is a necessity. The cut at the right time is the best branch, those that are cut outside that season have less quality.</p><br />
| <br />
<br />
|- <br />
| <p>You have to know that the crossbow is mounted in two ways, one calculated by sight, which is the main mode; another, resorting to measures, which is an accessory mode. Three grades of skill in archery: the expert, the master and the shooter, in descending order; because the master's skill is greater than the shooter, and the expert has much more skill than the master. These three mount the bow with the naked eye. In cases of not being very sure of the result, measure with a compass, proceeding as follows: open the compass and place one of its tips on the lower edge of the cavity called "''halq''", take the other tip to the edge between the cock of the bow, and then check this measure on the other part of the bow: if the distance is equal, it has already achieved what is intended, but if the point of the compass exceeds the edge of the bow, it is that the bow is low and you have to raise it.</p><br />
| <br />
<br />
|- <br />
| <p>If the point of the compass is short, it is that the bow is high and you have to reduce it, until the measurements are accurate.</p><br />
| <br />
<br />
|- <br />
| <p>To assemble the weapon two equal slats of good wood are needed to hold the cock firmly, after having tied a leather strap cut all along the skin of a deer in addition to an iron ring, where the left foot was placed at the moment of tensing; That's why that ring is called a stirrup.</p><br />
| <br />
<br />
|- <br />
| <p>When a cock is well placed in relation to the hollow of the ''halq'', change the hand, raising it until it is at the beginning of the ''hakk'' and end of the ''gaslm'' and begin to fix the two slats; the one on the right before the one on the left so there is no error. Now if you put the string of the bow, put the tensioner next to the hip, take the pick with the left hand after having entered the right under the key and having taken it to the string and having raised it, leaving it to then fall to the good of God; then, if the thumb is outside, everything is going well. Now take the bow with the left hand and place the arrow. Then shoot where you want.</p><br />
| <br />
<br />
|- <br />
| <p>One of the experts in this field has said: "Tense the bow calmly, attend to it with knowledge, shoot with fury". And also: "Firmness of character and sharpness of vision: you will shoot well". And: "Whenever an archer hits with his arrow the target, he dies, in enemy land, a man". When shooting, get used to doing it quickly.</p><br />
| <br />
<br />
|- <br />
| <p>It is said that an Arab observed an archer, who, after having pulled his bow, stayed looking. He asked the Arab who was watching, and the other replied that he was afraid to hit someone. The Arab said: "Pull, the arrow will go where it should go."</p><br />
| <br />
<br />
|- <br />
| <p>The best shooter is the firm/strong man, of sharp vision and speed. For others, the essential qualities are firmness, quickness of fire and audacity. But in very few do these three advantages meet.</p><br />
| <br />
<br />
|- <br />
| <p>It is worth knowing that tensing a bow in winter is dangerous, both for the shooter and for the bow: firstly, because the bow is rigid: and for the second, because it can break. However, the eastern bow is better to be used in the winter, while the western bow is better for summer. In winter, place the bow in the sun so that it eases up and softens, before shooting with it. If it is a very cold day, do not shoot with it, unless it is in a lookout/tower. In summer, the bow will be kept in a cool place, and when it has lost heat, use it. All the key and core of the matter lies in the way of clamping the key. There are three ways to do it, and the man who owns himself, will do it with gentleness/smoothness; the one that possesses medium self-control, will do it little by little.</p><br />
| <br />
<br />
|- <br />
| <p>Shooters never do it in the same way. Of course it's something that is capital<ref>Paramount</ref>.</p><br />
| <br />
<br />
|- <br />
| <p>It suits to know that the bow does not have equidistant<ref>At equal distances</ref> its two ends is nothing more than if it is well manufactured<ref>It is the sum of how well it is manufactured<ref>. It is advisable to beware of six defects, the biggest ones that can occur, or that are: that the string is too thick, that subtracts power from the shot and can cause the break of the cock. Regarding the latter, we must take care that it is not too thin or too thick; its suspension; the shape with which the slab is carved, and the way in which the ends are tuned.</p><br />
| <br />
<br />
|- <br />
| <p>The shooter has an imperative obligation: always secure the cord of the string.</p><br />
| <br />
<br />
|- <br />
| <p>If you find yourself before a very hard bow, do not tense it sharply/suddenly.</p><br />
| <br />
<br />
|- <br />
| <p>When you go out on campaign you must carry enough supplies and weapons that weigh little, and especially the bow, more than any other weapon. That the light bow is the one that most effectively shoots.</p><br />
| <br />
<br />
|- <br />
| <p>After the first clash, in combat, stay in your position until you see what is happening: so maybe you can attack the one who is fighting against you with more efficiency.</p><br />
| <br />
<br />
|- <br />
| <p>Use straight right arrows, mounted in the ''Gazali'' style, with the feathered trimmed with braided streaks. Seven defects must be avoided: among them are the causes that produce the recoil of an arrow against the one that has shot; two of them are produced in the arrow itself, namely: that its streaks are too short, and that it is disproportionate in the front; two others are produced in the nut; the canal is very wide and that the threshold is very high.</p><br />
| <br />
<br />
|- <br />
| <p>Target shooting is an art. Shooting the bow is a feast/celebration. Hitting is a joy.</p><br />
| <br />
<br />
|- <br />
| <p>The first arrow that is shot, is called "champion", the second "support", the third "apparition", the fourth "follower", the fifth "striking", the sixth "right to your destination". When firing the first, it hits the target; the second, below; the third, to the right; the fourth, to the left; the fifth, finally, it remains in its exact place, so it's called that, and the sixth then "confirms" the shot, for which it receives that name.</p><br />
| <br />
<br />
|- <br />
| <p>If the six are fired without targeting any of them, it is that the archer does it very badly, and it needs to be practiced without truce. Whoever hits with two, does it above normal. Who hits with four has practically mastered this art. Whoever hits with the six, has already achieved perfection, being included in that exhortation of the Prophet to ''Sa'id ibn Abi Waqqas'', the archer who shot the first arrow in the ''algazua'' of the ''Abwa'', which on this occasion said these verses (verse. 81):</p><br />
<br />
:''It is not true, Prophet of God,<br/>that at the point of arrows I have defended you?<br/>Have you seen before, thus, an archer against the enemy, Prophet of God?<br/>With arrows rejecting the vanguards,<br/>in rough lands or in plains.<br/>And that proves that the religion you bring us,<br/>Is a just, true and righteous doctrine.<br/>May she save the Muslims and punish the unfaithful.<br/>Calm! that I have missed, but have not been punished:<br/>everything alive, misses. You, unbeliever, are condemned!''<br />
| <br />
<br />
|- <br />
| <p>The masters in this art say that "the man of short stature is miserable, courageous must be the knight, for all there is a companion, and the best companion of the bow, is a harmonious arrow".</p><br />
| <br />
<br />
|- <br />
| <p>The iron of the arrows are of seventeen kinds. Four of them are used to hunt, and are: "''zuyy''", "''silyat''", "''muryafla''" and "''muyannah''".</p><br />
| <br />
<br />
|- <br />
| <p>Three others are purposely to pierce the coat of mail, and are called: "''sibt''", "''murabba tawil''" and "''mutallat''". Four can pierce the shield: "''murabba qasir''", "''qitral''", "''ballut''" and "''subiri''". Four others go through the shield, and they are: the "''silyat''" (but smaller than the one used to hunt), the "''tamuh''", "''miywaf''" and "''milhami''". Two other classes are used: the "''bayuq''", to pierce the cane, and the "fire arrow" used to light boats or wooden towers.</p><br />
| <br />
<br />
|- <br />
| <p>You should never do without carrying any of these arrows. They should also be marked on their streaks, so that if you need to use any, you can take your hand to the quiver and get the one that is needed.</p><br />
| <br />
<br />
|- <br />
| <p>There is a saying that expresses this: "Before shooting, it is best to feather the arrows".</p><br />
| <br />
<br />
|- <br />
| <p>On this chapter there would be much to say, and if we continued trying the bow, the arrows and the archery, we would exceed the purpose that we set when writing.</p><br />
| <br />
<br />
|- <br />
| <p>We will now bring some poems that deal with the bow (verse. 82):</p><br />
<br />
:''I am the bow and well proven that<br/>I exterminate lions in fierce combat.<br/>I am from an old time, the judge of heroes,<br/>for in my heart is the arrow of death.<br/>An arrow ambush is placed on me,<br/>and woe to the brave who does not see its mystery!<br/>So well an arrow is mounted,<br/>armour does not resist, no, nor hard shield.''<br />
| <br />
<br />
|- <br />
| <p>And this one (verse. 83):</p><br />
<br />
:''Ask for coated tip for an arrowhead,<br/>after they have broken swords and spears,<br/>They will tell you that so the horses go galloping,<br/>I am the inseparable of death among the squadrons.<br/>When heroes hear the whistle of my pass,<br/>you will see them hiding under their skinny steeds,<br/>as if my voice were the sound of the flute of Judgment,<br/>Every time they hear it, they postpone in all directions.<br/>How proud is the spear, if the bow can compare his beautiful curves with turgid<ref>Swollen</ref> breasts?''<br />
| <br />
<br />
|- <br />
| <p>Other verses express (verse. 84):</p><br />
<br />
:''My arrows go through the enemy,<br/>if the archer disposes his shot well.<br/>I acted by his hand: my arrow reaches<br/>far and reaches any point.<br/>The spear cannot do what I do,<br/>nor the sword, in efficiency.<br/>Of this I glory among all weapons,<br/>and this glory, if you think, is not diminished.''<br />
| <br />
<br />
|- <br />
| <p>Also, on the same motive (verse. 85):</p><br />
<br />
:''Abandon the cambering spear<br/>Well the arrows are much better.<br/>If it is glory to kill enemies,<br/>Am I not the quickest of them all?''<br />
| <br />
<br />
|- <br />
| <p>There are so many poems about the bow, that we could expand out a lot.</p><br />
| <br />
<br />
|- <br />
| <p>The handling of this weapon varies according to its different types, which are very diverse, so exposing them would require an impossible space in a compendium like this. Many treatises have been dedicated to archery, well known, because this art is very widespread, look at them as it suits you and accommodate more. The essential thing for the archer on horseback is to have a well-used saddle, so that you can tighten it while it is mounted. In God there is triumph.</p><br />
| <br />
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|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XVIII - The Coat of Mail<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>Glorious God has put the coats of mail between the beneficial things that he has given to man, since the exegesis<ref>a person who interprets scripture</ref> of the Qur'an understands the astonishment: "And he has given you garments that protect you from harm" (Qu'ran, XVI, 81), refers precisely to this.</p><br />
| <br />
<br />
|- <br />
| <p>It keeps the mood high, because it distances the danger. That is why ''Abbad ibn al-Husayn'' responded to a man who questioned him about which was the mail he preferred: "The one that most moves away from death".</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet had a coat of mail called "the Extreme", and also possessed another, when he was retained from the mail, did not touch the ground, and when it was released, it touched him. The Prophet did not take part in any campaign without taking it. Two more armours he had, taken to the ''Banu Qaynuqa'', one of these two was called "''sugdiyya''". It's stated that the prophet also possessed the cuirass that David was carrying the day he killed Goliath. Tradition tells that the wise ''Lucman'' accompanied him while David was making it. But ''Lucman'' did not know what he was doing, nor did he ask. When David had finished it, he put it on and said: "It will be a castle, for a hazardous day" And ''Lucman'' understood what it was about.</p><br />
| <br />
<br />
|- <br />
| <p>Their names and characteristics: in general they are called ''"yunan''", because this term designates all that is behind which one takes refuge. "''La'ma''" is a complete coat, and it goes beyond. If it is broad/wide, it is called "''zagfa''", then "''natra''" and "''natla''". "''Fadfada'" when it is truly very loose. If it is very tight, it is called "''suk''". "''Jadba''" and "''dilas''" when it is soft. Solid and hard "''qadda''" or "''hasda''". With a lot of flange, "''da'il''". Minim (half worn), "''madiyya''", although this last qualifier is also said of the one made by opening the holes (necessary in metal plate), and from which it is joined and flat. The rivets are called "''harabi''", and one of their heads "''qatir''", and they are similar to the eyes of crickets.</p><br />
| <br />
<br />
|- <br />
| <p>The coat of double-mail is called "''muda'afa''", and it has its rings on two by two. Each ring is called "''zarad''". If it is made of perforated metal plates, it is called "''masr-uda''".</p><br />
| <br />
<br />
|- <br />
| <p>If it is woven or braided it is "''yadla''". When it is short, it is called "''salil''" or "''badan''". If you wear a front shirt, but not backplate, it is "''yawsan''".</p><br />
| <br />
<br />
|- <br />
| <p>The coat "''saluqiyya''" receives its name from the town of ''Saluq'', in Yemen, where they are manufactured. The "''jutamiyya''" is named after one of the ''Abd Qays ibn Afsa''. "''Far'awniyya''" is named after the "Pharaohs", and the "''dawudiyya''", by David.</p><br />
| <br />
<br />
|- <br />
| <p>Among the poems that mention the coat of mail is ''ak-Ma'arri'' (verse. 86):</p><br />
<br />
:''It looks like a pool that the wind, artifice, size,<br/>more will continue when the wind calms down.<br/>It would be said: they are submerged crickets, only eyes stick out,<br/>and if one with attention observes, he discovers them.<br/>No land animal is safe there,<br/>if you cannot reach a shore or ship.<br/>If the knight, believing himself saved, did not undress,<br/>he would live on, as long as he continued with the breastplate.<br/>And if one knew about the day of his death,<br/>and enriched the wait, he would overcome the terrible fate.<br/>Tranquil, when in it you guard your body,<br/>in combat: so that faith never betrays you.''<br />
| <br />
<br />
|- <br />
| <p>''Abd al-Qays ibn Jufaf'' says (verse 87):</p><br />
<br />
:''Fulfilled coat, among the best,<br/>you hear the saber before her impotence.<br/>It looks like a pool of the zephyr<ref>a soft gentle breeze</ref> driven,<br/>when the one who carries it parts its edges.''<br />
| <br />
<br />
|- <br />
| <p>Thus ''Abu Ishaq ibn Jafaya'' describes a breastplate (verse. 88):</p><br />
<br />
:''Close the opening of the neck iron,<br/>ashen in the mist of the darkened shadow.<br/>As if a poisonous serpent would have dressed<br/>his skin on his sides on the day of combat.''<br />
| <br />
<br />
|- <br />
| <p>Some Arabs glory the wearing of the coat of mail in combat, and they show off. Thus, ''Antara al-Fawaris'' (verse. 89):</p><br />
<br />
:''Ubayla was admired by an eager young man,<br/>of bare hands and lean like a sword.<br/>Hair in disarray, clothes maimed,<br/>He has not been oiled, nor been dismounted.<br/>He only wears iron when he has to get dressed,<br/>like every warrior who throws himself to death.<br/>Both wear the cuirass sheathed,<br/>which has rusted his skin, that never bathes.''<br />
| <br />
<br />
|- <br />
| <p>Others glory of the opposite and declare that the coat of mail tires and tangles, and that to go to the combat without it is proof of more courage, and thus that results in high agility. This is why ''al-A'sa says'' (verse. 90):</p><br />
<br />
:''When a compact silent squadron arrives,<br/>Surprising to the sentries their vanguards,<br/>Your groups take cover in difficult places,<br/>narrow: they fear to dismount the brave.<br/>I was going in the watchtower, without wearing armour,<br/>and with blows of the sword I chopped his heroes.<br/>I know that everyone finds Death,<br/>when your Owner Creator decides.''<br />
| <br />
<br />
|- <br />
| <p>''Muhammed ibn Muslim'' praised a man thus (verse. 91):</p><br />
<br />
:''Offer the sword his helmet and his neck,<br/>and in the guise of almofar enhance your head.<br/>Speak to your horse: Resist the spears,<br/>that you will find honours if you are not hurt.''<br />
| <br />
<br />
|- <br />
| <p>The ''almofar'' is a kind of armour, also woven; covers the head and face. ''Ibn al-Mu'tazz'' addresses a boy in verse (verse 92):</p><br />
<br />
:''You launch into the enriching combat,<br/>with the almofar you cover your face,<br/>believe your figure is the rising sun,<br/>veiled with almaizar<ref>A thin transparent veil of silk, linen or cotton, worn by the moors</ref> of amber.''<br />
| <br />
<br />
|- <br />
| <p>The piece of concave iron that is intended to cover the head is called "''bayda''" ("helmet"). And "''qawnas''" in its top/crest, while "''da'ira''" is the ''cogotera''<ref>protection of the back of the head to the neck, resembling hair.</ref>. The helmet is also called "morion", "helm", "raised" and "hood".</p><br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XIX - The Shield and Similarities<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The shield (turned) is a defensive, round weapon. The wheel of vicissitudes turns to its circle.</p><br />
| <br />
<br />
|- <br />
| <p>''Anas ibn Malik'' recounts that ''Abu Talha'' and the Prophet were covered with the same shield.</p><br />
| <br />
<br />
|- <br />
| <p>The shield is also called: "''yawb''", "''fard''", "''miyann''" and "''muyna''". The leather shields are called "''adarga''", "''hayafa''" and "''yalab''". For others, "''yalab''" is a leather or a piece, like the helmet, is defensive of the head. For others, the "''hayab''" is made of wood.</p><br />
| <br />
<br />
|- <br />
| <p>The edges are made of cowhide, of onager or antelope, which is the best and most defensive. The antelope (''lamt'') is one of the peculiarities of the Maghreb, it lives in desert areas and their skins are made to be a shield, with the property that if a sword or a spear slits it, the opening closes, immediately staunching, disappearing without leaving a trace.</p><br />
| <br />
<br />
|- <br />
| <p>During the combat, the one that guards behind a shield, must do it in the central part, be it against sword, javelin or stone. It will turn to the right or to the left, always presenting the outside to the contrary. You should not bring it to the body when you fear that a blow will fall. It will protect itself and your horse, making it turn conveniently.</p><br />
| <br />
<br />
|- <br />
| <p>It is advisable to give the stones the prominent part of the shield, and to place it obliquely, so that it slips what comes on top of you. The spear must be protected with the entire shield, or with its largest surface possible. As soon as you feel that the iron has touched you, it is advisable to throw it back, but keep it away from the body.</p><br />
| <br />
<br />
|- <br />
| <p>You have to avoid, at this moment, hiding the weight of the body on the shield, so as not to fall. It is also advisable to bring back the shield, so that the iron of the spear does not slip through it, which could then become entangled in the clothes. This is an eventuality that must be avoided.</p><br />
| <br />
<br />
|- <br />
| <p>The adarga will be handled like the shield mentioned (turn). But the first offers more ease against the spear, for its smoothness and uniformity. It is convenient, then, to steal the body, taking it back, so that it is not too heavy to the hand or impossible to handle.</p><br />
| <br />
<br />
|- <br />
| <p>Riding a horse with a shield has two options, depending on whether the shield is short or long. If it is long, raise your hand from the grip, taking the reins with the left hand, mounting immediately, trying not to hit your chin on the shield, if it were of large proportions. If it is a small shield, take it under the arm and mount the horse.</p><br />
| <br />
<br />
|- <br />
| <p>''Al-As'ad ibn Balit'' has thus described the shield (verse. 93):</p><br />
<br />
:''Shield the architects, they were imitating heaven,<br/>so that the longest spears prove short.<br/>They drew on the figures of Pleyades,<br/>stars that good fortune presage (omens, warns).<br/>They turned it into a ring of silver,<br/>the same as the light of dawn borders the horizon.''<br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Chapter XX - Arms and Equipment of War in General<br />
| width = 60em<br />
}}<br />
{| class="floated master"<br />
|- <br />
! <p>{{rating|C}}<br/>by [[Nicholas Petrou]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>The practice of arms is a duty that is implicit in the Holy War. The Qur'an says (VIII, 62/60): "Prepare against them what strength that you can", which ''Ibn Abbas'' has commented saying that "the strength" are the weapons and military equipment placed at the service of God, that everyone should acquire, in every occasion, according to his zeal and his ambition of advantages and rewards.</p><br />
| <br />
<br />
|- <br />
| <p>''Abd Allah ibn Zayar'' transmitted that the Prophet said: "Whoever builds a weapon in God's service, will be counted, each morning, in the balance of his merits." And transmitted by ''Abd Allah ibn Sawdab'': "The works of men will be examined every Monday and every Thursday. whoever has increased their weapons, will see their merits increased. Whoever reduces them, will see them diminished."</p><br />
| <br />
<br />
|- <br />
| <p>The equipment depends on the force, and it helps to achieve victory: the greater the victory possible, the greater the equipment has to be precise.</p><br />
| <br />
<br />
|- <br />
| <p>The Prophet was asked on one occasion: "Do you know any remedy that will work for us, some amulet with which to keep us, susceptible to deviate the decree of God?" And he answered: "The arms are part of His decrees".</p><br />
| <br />
<br />
|- <br />
| <p>The Arabs used to say: "The sword is the shadow of death, the spear is the rope of Destiny, the arrows do not submit to the one who shoots them, the coat of mail fatigues, even if it is a shelter, the shield is a protection".</p><br />
| <br />
<br />
|- <br />
| <p>One day ''Umar ibn al-Kattab'' asked ''Amr ibn Ma'dikarib'', who exclaimed: Ask me, the emir of the Believers, whatever you want! And he asked about the spear. ''Amr'' replied: "It's like a brother, but he can betray you and break." Then he ask him about the arrows. "They are like Destiny, sometimes they yield, sometimes they do not". Then on the shield. "It's a round defensive weapon, with which I ring the wheel of vicissitudes turns." Then on the coat of mail. "Tire the fighter on foot, and entangles the rider, but is effective protection." Then on the sword. "For her the change of not having children has touched your mother." Umar then hit him with a whip and said: "It is you who hasn't a mother." The other replied: "Your untouchability forces me to humble myself before you."</p><br />
| <br />
<br />
|- <br />
| <p>''Al-Alawi'' has gathered in a poem the whole agenda of weapons and knights. His most fortunate part is the one where he says (verse. 94):</p><br />
<br />
:''Among all my assets I highlight the horses,<br/>with perfect legs, bony sockets, well bare.<br/>I also estimate a Hindu sword of pristine steel,<br/>and to a spear of vibrating joints of great size,<br/>and to an armour, like a vein of water, so accomplished and wide,<br/>I have to have it on with my fluted sword belt,<br/>and a bow of combated tips that are thick and flexible,<br/>and of an easy curve, yellow, Sawhat wood.<br/>And I hope my goods are not only those that I have already gathered,<br/>thanks to my sword, covered with silver waves.<br/>And hopefully, as time goes by, I may find that I no longer depend on the tyranny of no Lord.''<br />
| <br />
<br />
|- <br />
| <p>Abundant on the topic, ''al-Ayyar al-Dabbi'' says (verse. 95):</p><br />
<br />
:''I prepare for war the coat of mail,<br/>the double-edged blade that opens the coat,<br/>and a well curved bow of nab,<br/>and an quiver full of darts like blades,<br/>and a fine spear and a hairy steed<br/>very straight backs, spirited steed.<br/>His fullness of the view fills you up,<br/>It pleases you if you want to pursue or flee.''<br />
| <br />
<br />
|- <br />
| <p>A rider only receives the qualification of the arm that he carries. But if he carries sword and arrows at the same time, he is called "''qarin''". If he carries several weapons, he is "''salih''". "''Sikka''" designates complete equipment. When he is armed from head to toe he is called "''mu'ammal''" or "''mudayyay''". "''Sanawwar''" indicates that in addition to weapons, he carries a coat of mail, while "bazz", designates weapons, without wearing a coat. The rider without a sword is called "''amyal''"; without spear, "''ayamm''"; without coat of mail, "''hasir''". No weapon is "''a'zal''". To express that one has put on his coat, he is called "''istal'ama''". And "''sanna''", who wears his coat of mail.</p><br />
| <br />
<br />
|- <br />
| <p>The rules of management of arms are not uniformly applied by all, on the contrary, there are such considerable differences between them that establishing an average is impossible. A prudent man must observe the experts, and attend personally, and begin to exercise in it with whomever seems the most suitable, and that is of his choice. So until he learns all the luck of attacking and wounding in combat, and the various ways of launching an attack, or of fleeing, of performing the "''tornafuye''" ( an impetuous charge by light cavalry before withdrawing, drawing infantry out and then picking them off with javelins, darts and arrows), to refuse battle, of loading on the vanguards, or of getting away from them, both in lance and sword combat. To observe the falling points of the arrows. To know the propitious moments to advance or to retreat. How to gain ground in the melee. How to stand between the sun and the enemy, at the moment of encounter, or in full action. How to evolve during combat, and all its details and derivations for the moment of dismounting. To observe the enemy outposts, both in action and in calm.</p><br />
| <br />
<br />
|- <br />
| <p>What craft to use to disable the spear of the opponent, hitting it, taking it off, or turning it against him. How to pull the horse harnesses, or cut the bridle, so that the rider has to pay attention to his horse. And how to exercise with mastery of all this at any given time, manifesting the mastery of the art of the cavalry.</p><br />
| <br />
<br />
|- <br />
| <p>But who has not practiced all this, should not fool himself thinking that he can make these enterprises. It is precisely the knowledge of all the above, and careful study, which allows some knights to excel over others, as well, thanks to their tenacity, presence of courage and great prudence when competing with a rival, or to participate in a fight. God, in any case, was should be implored for help.</p><br />
| <br />
<br />
|- <br />
| <p>A verse of ''Mutanabbi'' says (verse 96):</p><br />
<br />
:''All the weapons in the world can be carried,<br/>But not everyone who has claws is a lion.''<br />
| <br />
<br />
|- <br />
| <p>At this point, praise be to God, I finish what I proposed, I finish the compendium that I offered and I fulfil my objective; I will consider the duty that I imposed on myself, if I get the attention of the intelligent.</p><br />
| <br />
<br />
|- <br />
| <p>Launch my steeds on the route proposed by the one who commands the hosts of Islam; they have shortened their land and now they long for the generous dew of their favour.</p><br />
| <br />
<br />
|- <br />
| <p>The enemy country also offers you the hand of obedience, to receive your demands from him and to abide by your wishes. And they tend to him as the dying to the doctors, as the afflicted to comfort, envying others like them who have taken refuge in their hospitality. They want to confront him in an encounter, and defeat him, with the chief saviour, with effective help and an ally of good intentions.</p><br />
| <br />
<br />
|- <br />
| <p>But he, assisted by God, will liberate this country from the bonds that keep it in inferiority, will bring abundance after sterility, free these lands from the fist of consumption, with their warriors and their embassies, and put them behind the abyss, at the height of the planet Saturn, thanks to its heroes and its armies.</p><br />
| <br />
<br />
|- <br />
| <p>The proof will be due to the constancy that will shake time and remove the situation of drowsiness, because courage and nobility are two inseparable allies of his personality, two companions of his way of being. Adversity with the iron of his spear vanishes. Chronicles register everything in their praise. Very different voices rise up acclaiming hm. And the hands are raised, submitted and friendly, so that God humiliates, in the dust, the neck of the idols and, thanks to the loyalty of His fortunate servant, performs the purposes of Islam, by the edge of his sword.</p><br />
| <br />
<br />
|- <br />
| <p>God, grant him on earth the greatest power! Make him firmly keep his enemies under his feet! Consolidate, for him, the believing people! Disperse, with your armies, the bands of infidels! Put them as a imposing harvest before their sharp swords.</p><br />
| <br />
<br />
|- <br />
| <p>God, preserve him from evil, everywhere and in every intention! Revive the principles of faith for your life! Keep him in your dreams and in your vigil! Defend for the Muslims its high person! Flutter to the wind of victory the bouquets of your flags and banners!</p><br />
| <br />
<br />
|- <br />
| <p>God, fulfil your hopes for your family and your offspring, your warriors, your soldiers! Pave the way for prosperity! Make your hands distribute good! You are Almighty! Able to respond to our request!</p><br />
| <br />
<br />
|- <br />
| <p>Praise be to God, Lord of the Worlds. The blessing is on our Lord and Owner Muhammad, seal of the prophets, iman of the envoys, and on his family, companions and favoured, noble and pious! Be saved!</p><br />
| <br />
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|}<br />
{{master end}}<br />
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{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
| authors = Louis Mercier<br />
| source link = http://www.archive.org/stream/laparuredescaval00ibnh#page/n115/mode/2up<br />
| source title= ''La Parure des cavaliers et l'insigne des preux''<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Nicholas Petrou]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = copyrighted<br />
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== Copyright and License Summary ==<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Images<br />
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| source link = <br />
| source title= ''[[:file:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Capitolo di M. Mercvrio Spetioli da Fermo]]''<br />
| license = public domain<br />
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| source title= [[Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli) 1577.pdf|Index:Capitolo di M. Mercvrio Spetioli da Fermo (Mercurio Spezioli)]]<br />
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[[Category:Books]]<br />
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[[Category:Transcription]]</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=User:Stefan_Feichtinger&diff=107299User:Stefan Feichtinger2020-03-10T14:30:02Z<p>Stefan Feichtinger: </p>
<hr />
<div>Co-Trainer for Italian Rapier at Fechtschule Klingenspiel in Vienna, also experienced in Smallsword, Sidesword and Longsword<br />
<br />
Studying German, History and Assyriology at University Vienna<br />
<br />
Founder of T.HEMA, project for creating professional photos and videos for HEMA and public relations of fencing clubs<br />
Co-founder of HEMATICS, project for creating high quality online HEMA tutorials</div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Deutliche_Erkl%C3%A5rung_der_Fechtkunst_(Jean_Daniel_L%27Ange)_1664.pdf/12&diff=105787Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/122020-01-09T17:11:03Z<p>Stefan Feichtinger: /* Proofread */</p>
<hr />
<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude>Dem Durchleüchtigsten Fürsten und Herrn /<br />
<br />
HERRN<br />
<br />
C A R O L O,<br />
<br />
Pfaltzgraffen bey Rhein / Hertzogen in Bayern / &. &.<br />
<br />
Meinem Gnädigsten Chur-Prinzen und Herin / &.<br />
<br />
Durchleuchtigster Fürst / Gnädigster Herr / &. Ewer Durchl. werden sonder allen zweiffel ex Mathesi und andern vornehmen / von Schiffarten der Nachwelt einige instruction hinderlassenen Scribenten sattsamen bericht und information erhalten haben / daß / in deme die tollkühne Schiffende Seekinder / dem / wider Menschliche einbildung / wundersamen veränderlichen Element Sich zuvertrauen gewilligt / Sie nach Art und Gewonheit Ihre / gleich wie Ohrwissend / also mißliche Wasserbahne / nach den hellschimmerenden Strahlen des güldenen Leith-Sterns Sich zu richten pflegen / umb / daß selbige Ihrer sehnenden Anlendung und des Ports nicht verfehlen / sondern / wiewohl mit höhester müheseeligkeit / selbigen erreichen mögen;<noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Deutliche_Erkl%C3%A5rung_der_Fechtkunst_(Jean_Daniel_L%27Ange)_1664.pdf/10&diff=105786Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/102020-01-09T17:07:50Z<p>Stefan Feichtinger: </p>
<hr />
<div><noinclude><pagequality level="1" user="Stefan Feichtinger" /><languages/> <translate></noinclude>En dieu mon esperance.<br/><br />
et mon espeè pour ma defense.<br />
<br />
<br />
.I.D.<br/><br />
Lánge<br/><br />
Von<br/><br />
Darm<br/><br />
Stadt<br />
<br />
<br />
C. Metzger fecit 1664.<noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Deutliche_Erkl%C3%A5rung_der_Fechtkunst_(Jean_Daniel_L%27Ange)_1664.pdf/10&diff=105785Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/102020-01-09T17:07:08Z<p>Stefan Feichtinger: /* Not proofread */</p>
<hr />
<div><noinclude><pagequality level="1" user="Stefan Feichtinger" /><languages/> <translate></noinclude>En dieu mon esperance.<br />
et mon espeè pour ma defense.<br />
<br />
<br />
.I.D.<br />
Lánge<br />
Von<br />
Darm<br />
Stadt<br />
<br />
<br />
C. Metzger fecit 1664.<noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Deutliche_Erkl%C3%A5rung_der_Fechtkunst_(Jean_Daniel_L%27Ange)_1664.pdf/8&diff=105784Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/82020-01-09T17:01:49Z<p>Stefan Feichtinger: /* Proofread */</p>
<hr />
<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude>Deutliche und gründliche Erklärung<br />
<br />
der<br />
<br />
Adelichen und Ritterlichen freyen<br />
<br />
Fecht-Kunst /<br />
<br />
Lectionen auff den stoß / und deren gebrauchs eigentlicher<br />
<br />
Nachricht.<br />
<br />
Auff die rechte Italianische Art und manir, in dieses Tractätlein verfaßt / und mit nothwendigen<br />
<br />
Kupfferstücken nach möglichkeit gezieret und vor Augen gestelt /<br />
<br />
Durch<br />
<br />
Jéann Daniel L’Ange,<br />
<br />
Churfürstl. Pfältzischer Hoff und dero Löbl. Universitäts <br />
bestelten<br />
<br />
Fechtmeistern.<br />
<br />
Mit Churfürstl. Pfältzischer Freyheit nicht nach zu trucken.<br />
<br />
Getruckt zu Heidelberg /<br />
<br />
Bey Adrian Weingarten / der Hohen Schull Buchtrucker.<br />
<br />
In verlegung des Authoris selbsten.<br />
<br />
Im Jahr 1664.<noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Deutliche_Erkl%C3%A5rung_der_Fechtkunst_(Jean_Daniel_L%27Ange)_1664.pdf/17&diff=103952Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/172019-11-21T17:16:35Z<p>Stefan Feichtinger: /* Proofread */</p>
<hr />
<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude>Es muß die Mahlerey dem Kupferstechen weichen:<br/><br />
Der Mahler kan ein Bild mit Farben wohl außstreichen<br/><br />
Und bilden wie Er will; es wird in einem Saal<br/><br />
Zur zierrath aufgehenckt / und soll es noch einmahl<br/><br />
Recht abgebildet sein / so muβ es doch geschehen<br/><br />
Mit müh’ und langer zeit; das Kupfer / wie wir sehen /<br/><br />
Druckt man auf das Pappir / daβ nun in einer stund<br/><br />
Viel hundert Blätter hat / die in der Form und grund /<br/><br />
Sind gantz den ersten gleich. Nun Euch hat auch beliebet /<br/><br />
H E R R L’A N G E, wehrter Freund / die Kunst die ihr geübet /<br/><br />
Und wohl erlernet hat / nicht / wie sonst mancher thut /<br/><br />
Zu tragen in das Grab / das trewe Teutsche Blut<br/><br />
Gibt redlich an den tag / was mancher sonst verschweiget /<br/><br />
Und auch umb baren Sold / doch nicht vertrawlich zeiget<br/><br />
Was er gelernt / und weiß. Ihr habt von Jugend an<br/><br />
Betretten jederzeit der Tugend hohe Bahn /<br/><br />
Ihr habt insonderheit vor andern Euch beflissen<br/><br />
Die Ritterliche Kunst / recht in dem grund zuwissen /<br/><br />
Wie man den Degen führt / und was ihr so gesucht /<br/><br />
Das habt Ihr auch erlangt / Ihr habet reiche Frucht<br/><br />
Der Wissenschafft gebracht / und was zuvorn die Alten<br/><br />
In dieser Edlen Kunst geheim und hoch gehalten /<br/><br />
Habt Ihr gar jung erlernt / hernach durch Ewren fleiß<br/><br />
Und reisen so vermehrt / daβ Ihr / vor vielen / preiß /<br/><br />
Und ruhm hiervon erlangt; Es ist in frembden Landen<br/><br />
Euch viel beförderung / dahero zugestanden<br/><br />
An manches Fürsten Hof / wie Ihr denn dieser zeit<br/><br />
Hier an des Neckars wol angesehen seit:<noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Deutliche_Erkl%C3%A5rung_der_Fechtkunst_(Jean_Daniel_L%27Ange)_1664.pdf/16&diff=103951Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/162019-11-21T16:38:17Z<p>Stefan Feichtinger: </p>
<hr />
<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude>Lob-Gedicht / an den Autorem dieses Buches.<br/><br />
Heraus / erwünschtes Buch! du darffst das Liecht nicht schewen /<br/><br />
Heraus / beliebtes Buch! gewiß du wirst erfrewen /<br/><br />
Die / so geflissen sind den D E G E N zuverstehn /<br/><br />
Du wirst durch manches Land / und Helden-Hände gehn /<br/><br />
Bey denen Tugend gilt: man hat zwar auch beschrieben<br/><br />
Die Kunst vor dieser zeit / die Schrifften sind geblieben /<br/><br />
Und leben noch zum theil: Es ist der Alten fleiß<br/><br />
Auch seines lobes werth / die / was mit müh’ / und schweiß<br/><br />
Sie haben angemerckt / der Nach-Welt nicht verschwiegen /<br/><br />
Sonst würden in dem Staub viel guter Künste liegen /<br/><br />
Die nun sind offenbahr; Sie haben das gethan<br/><br />
Was ihr vermögen war / Sie haben uns die Bahn<br/><br />
Gebrochen / wie bekant: doch / weil / wie wir recht sagen /<br/><br />
Ein tag den andern lehrt / so hat sich zugetragen /<br/><br />
Daß man je mehr und mehr geforschet / und bedacht /<br/><br />
Und endlich es so hoch / wie kundbar ist / gebracht /<br/><br />
Mit der / und jener Kunst / Ein Teutscher hat erfunden<br/><br />
Das donnernde Geschüß / das / die zuvorn fest stunden /<br/><br />
Thürn / Wäll’ / und Mauren bricht / es sprengt in einem dufft<br/><br />
Das Pulfer / Roß und Mann / auch Felsen in die Lufft /<br/><br />
Und Bollwerck / Bergen gleich; Ein Teutscher Mann hat können<br/><br />
Ersinnen / (welches lob die Wahlen uns nicht gönnen)<br/><br />
Wie man die Bücher druckt / da mehr allein ein Mann<br/><br />
In einer stunde thut / das auch kein Schreiber kan<br/><br />
In zehen tagen thun: Es ist auch hoch zupreisen<br/><br />
Des Kupferstechers fleiß / der schlecht mit einem Eysen<br/><br />
Sticht auff ein Kupferblat / und uns vor Augen stellt /<br/><br />
Was irgends ist zusehn in der so weiten Welt.<noinclude></translate> <references/></noinclude></div>Stefan Feichtingerhttps://wiktenauer.com/index.php?title=Page:Deutliche_Erkl%C3%A5rung_der_Fechtkunst_(Jean_Daniel_L%27Ange)_1664.pdf/16&diff=103950Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/162019-11-21T16:36:56Z<p>Stefan Feichtinger: /* Proofread */</p>
<hr />
<div><noinclude><pagequality level="3" user="Stefan Feichtinger" /><languages/> <translate></noinclude>Lob-Gedicht / an den Autorem dieses Buches.<br/><br />
Heraus / erwünschtes Buch! du darffst das Liecht nicht schewen /<br/><br />
Heraus / beliebtes Buch! gewiß du wirst erfrewen /<br/><br />
Die / so geflissen sind den D E G E N zuverstehn /<br/><br />
Du wirst durch manches Land / und Helden-Hände gehn /<br/><br />
Bey denen Tugend gilt: man hat zwar auch beschrieben<br/><br />
Die Kunst vor dieser zeit / die Schrifften sind geblieben /<br/><br />
Und leben noch zum theil: Es ist der Alten fleiß<br/><br />
Auch seines lobes werth / die / was mit müh’ / und schweiβ<br/><br />
Sie haben angemerckt / der Nach-Welt nicht verschwiegen /<br/><br />
Sonst würden in dem Staub viel guter Künste liegen /<br/><br />
Die nun sind offenbahr; Sie haben das gethan<br/><br />
Was ihr vermögen war / Sie haben uns die Bahn<br/><br />
Gebrochen / wie bekant: doch / weil / wie wir recht sagen /<br/><br />
Ein tag den andern lehrt / so hat sich zugetragen /<br/><br />
Daβ man je mehr und mehr geforschet / und bedacht /<br/><br />
Und endlich es so hoch / wie kundbar ist / gebracht /<br/><br />
Mit der / und jener Kunst / Ein Teutscher hat erfunden<br/><br />
Das donnernde Geschüß / das / die zuvorn fest stunden /<br/><br />
Thürn / Wäll’ / und Mauren bricht / es sprengt in einem dufft<br/><br />
Das Pulfer / Roß und Mann / auch Felsen in die Lufft /<br/><br />
Und Bollwerck / Bergen gleich; Ein Teutscher Mann hat können<br/><br />
Ersinnen / (welches lob die Wahlen uns nicht gönnen)<br/><br />
Wie man die Bücher druckt / da mehr allein ein Mann<br/><br />
In einer stunde thut / das auch kein Schreiber kan<br/><br />
In zehen tagen thun: Es ist auch hoch zupreisen<br/><br />
Des Kupferstechers fleiβ / der schlecht mit einem Eysen<br/><br />
Sticht auff ein Kupferblat / und uns vor Augen stellt /<br/><br />
Was irgends ist zusehn in der so weiten Welt.<noinclude></translate> <references/></noinclude></div>Stefan Feichtinger