https://wiktenauer.com/api.php?translations=filter&urlversion=1&days=7&limit=50&target=Masters&action=feedrecentchanges&feedformat=atomWiktenauer - Changes related to "Masters" [en]2024-03-28T09:15:12ZRelated changesMediaWiki 1.34.2https://wiktenauer.com/index.php?title=Joachim_Meyer&diff=150075&oldid=149979Joachim Meyer2024-03-28T03:35:34Z<p><span dir="auto"><span class="autocomment">Temporary boundary</span></span></p>
<a href="https://wiktenauer.com/index.php?title=Joachim_Meyer&diff=150075&oldid=149979">Show changes</a>Michael Chidesterhttps://wiktenauer.com/index.php?title=Girolamo_Cavalcabo&diff=149980&oldid=144834Girolamo Cavalcabo2024-03-27T02:42:02Z<p><span dir="auto"><span class="autocomment">Treatise</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>! <p>Images<br/></p></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>! <p>Images<br/></p></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>! <p>{{rating|C|Draft Translation (from the German)}}<del class="diffchange diffchange-inline"><br/>by [[Kevin Maurer]]</del></p></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>! <p>{{rating|C|Draft Translation (from the German)}}</p></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>! <p>[[Nobilissimo discorso intorno il schermo (MS Italien 1527)|Archetype]] (ca. 1580s)<br/></p></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>! <p>[[Nobilissimo discorso intorno il schermo (MS Italien 1527)|Archetype]] (ca. 1580s)<br/></p></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>! <p>[[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|French Translation]] (1597)<br/></p></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>! <p>[[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|French Translation]] (1597)<br/></p></div></td></tr>
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<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> | authors = [[<del class="diffchange diffchange-inline">translator::</del>Kevin Maurer]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> | authors = [[Kevin Maurer]]</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div> | source title= Meyer Freifechter Guild</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div> | source title= Meyer Freifechter Guild</div></td></tr>
</table>Michael Chidesterhttps://wiktenauer.com/index.php?title=Joachim_Meyer&diff=149979&oldid=146134Joachim Meyer2024-03-27T02:39:50Z<p><span dir="auto"><span class="autocomment">Treatises</span></span></p>
<a href="https://wiktenauer.com/index.php?title=Joachim_Meyer&diff=149979&oldid=146134">Show changes</a>Michael Chidesterhttps://wiktenauer.com/index.php?title=Giacomo_di_Grassi&diff=149646&oldid=143421Giacomo di Grassi2024-03-25T20:34:19Z<p></p>
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</table>Michael Chidesterhttps://wiktenauer.com/index.php?title=Jacopo_Monesi&diff=149619&oldid=143537Jacopo Monesi2024-03-25T18:14:01Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 18:14, 25 March 2024</td>
</tr><tr><td colspan="4" class="diff-multi" lang="en">(2 intermediate revisions by the same user not shown)</td></tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l46" >Line 46:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><p>Monesi's text contain little technical discussion, which he defers to a promised second volume that however is either lost or was never written. Instead, Monesi strongly critiques many theories and methodologies of his peers; behind a veil of formal language excoriating those practices he views as frivolous, or detrimental to surviving an encounter in earnest. Monesi advocates a straightforward and direct philosophy of fencing. He eschews what he sees as unnecessary embellishments, or artefacts of salle fencing, and privileges what he considers practical for surviving an unpredictable and violent confrontation with sharp weapons. </p></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><p>Monesi's text contain little technical discussion, which he defers to a promised second volume that however is either lost or was never written. Instead, Monesi strongly critiques many theories and methodologies of his peers; behind a veil of formal language excoriating those practices he views as frivolous, or detrimental to surviving an encounter in earnest. Monesi advocates a straightforward and direct philosophy of fencing. He eschews what he sees as unnecessary embellishments, or artefacts of salle fencing, and privileges what he considers practical for surviving an unpredictable and violent confrontation with sharp weapons. </p></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><p>He strongly affirms the efficacy of cuts, interspersed with thrusts; and favours simple and strong natural movements, stances, and attacks. In terms of pedagogy, he forcefully promotes the primacy of practising assaults, and laments that students in his day no longer assault with the frequency and gusto of earlier times. </p></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><p>He strongly affirms the efficacy of cuts, interspersed with thrusts; and favours simple and strong natural movements, stances, and attacks. In terms of pedagogy, he forcefully promotes the primacy of practising assaults, and laments that students in his day no longer assault with the frequency and gusto of earlier times. </p></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><p>Among other elements he criticises: feints, elaborate postures, mathematical concepts, excessive theoretical discussion, and dagger disarms, as unhelpful and impractical for a confrontation with sharps. Without naming names Monesi appears to clearly reference, again critically, the work of [[Docciolini]], [[Fabris]], [[Marozzo]], and [[Pistofilo]]. </p></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><p>Among other elements he criticises: feints, elaborate postures, mathematical concepts, excessive theoretical discussion, and dagger disarms, as unhelpful and impractical for a confrontation with sharps. Without naming names Monesi appears to clearly reference, again critically, the work of [[<ins class="diffchange diffchange-inline">Marco Docciolini|</ins>Docciolini]], [[Fabris]], [[Marozzo]], and [[Pistofilo]]. </p></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><p>Alongside such direct critiques, Monesi includes less specifically targeted remonstrations. For example, he objects to the pedagogical method of masters who employ a chestplate, or a cane in place of a sword. Similarly, he leaves space for conventional discussion points of the period, such as where to look when fencing, or how to approach combat at night.</p></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><p>Alongside such direct critiques, Monesi includes less specifically targeted remonstrations. For example, he objects to the pedagogical method of masters who employ a chestplate, or a cane in place of a sword. Similarly, he leaves space for conventional discussion points of the period, such as where to look when fencing, or how to approach combat at night.</p></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Treatise ==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Treatise ==</div></td></tr>
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</table>Michael Chidesterhttps://wiktenauer.com/index.php?title=Octavio_Ferrara&diff=149564&oldid=144823Octavio Ferrara2024-03-25T16:30:49Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 16:30, 25 March 2024</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| below = </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| below = </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>}}</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>}}</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''Octavio Ferrara''' was a [[century::17th century]] [[nationality::Spanish]] [[fencing master]]. He seems to have been a resident of Zaragoza, Spain, and in ca. 1624 he was active in Madrid as Master at Arms.<ref>Archivo General de Palacio. Personal. Caja 778/5</ref> The dedication of his treatise suggests that he might have been attached at some point to the court of Don Juan Ferdinando, Baron of Grünburg. In 1625, he wrote an illustrated fencing manual entitled ''[[Compendio y Philosophia y Dztreza de las Armas (MS R4-B274)|Compendio y Philosophia y Dztreza de las Armas]]'' ("Compendium of the Philosophy and Skill at Arms"). The original manuscript was long thought to have been lost and the only remnant a 20th century tracing, but it recently resurfaced at auction and was purchased by [[<del class="diffchange diffchange-inline">Roberto Gotti</del>]].</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''Octavio Ferrara''' was a [[century::17th century]] [[nationality::Spanish]] [[fencing master]]. He seems to have been a resident of Zaragoza, Spain, and in ca. 1624 he was active in Madrid as Master at Arms.<ref>Archivo General de Palacio. Personal. Caja 778/5</ref> The dedication of his treatise suggests that he might have been attached at some point to the court of Don Juan Ferdinando, Baron of Grünburg. In 1625, he wrote an illustrated fencing manual entitled ''[[Compendio y Philosophia y Dztreza de las Armas (MS R4-B274)|Compendio y Philosophia y Dztreza de las Armas]]'' ("Compendium of the Philosophy and Skill at Arms"). The original manuscript was long thought to have been lost and the only remnant a 20th century tracing, but it recently resurfaced at auction and was purchased by <ins class="diffchange diffchange-inline">the </ins>[[<ins class="diffchange diffchange-inline">Museo dell'Arte Marziale</ins>]].</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Treatise ==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Treatise ==</div></td></tr>
</table>Michael Chidesterhttps://wiktenauer.com/index.php?title=Paulus_Kal&diff=149563&oldid=146129Paulus Kal2024-03-25T16:30:19Z<p></p>
<a href="https://wiktenauer.com/index.php?title=Paulus_Kal&diff=149563&oldid=146129">Show changes</a>Michael Chidesterhttps://wiktenauer.com/index.php?title=Angelo_Viggiani_dal_Montone&diff=149396&oldid=147186Angelo Viggiani dal Montone2024-03-24T14:38:28Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 14:38, 24 March 2024</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| rowspan="3" | <p><small>''Why one cannot learn a perfect blow with practice weapons, but only with those which are edged.''</small></p></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| rowspan="3" | <p><small>''Why one cannot learn a perfect blow with practice weapons, but only with those which are edged.''</small></p></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><p>ROD: I would not say now that you cannot do all those ways of striking, of warding, and of guards, with those weapons, and equally with these, but you will do them imperfectly with those, and most perfectly with these edged ones, because if (for example) you ward a thrust put to you by the enemy, beating aside his sword with a ''mandritto'', so that that thrust did not face your breast, while playing with ''spade da marra'',<ref>It is conspicuous that in every other instance in the present text, (at least, in the sections translated here) Viggiani uses the term “''da giuoco''” (of play/practice) to refer to practice arms. Sydney Anglo (''The Martial Arts of Renaissance Europe'' p.324, footnote 102) refers to evidence showing that in late 16th century Spain the ''spada da marra'' was considered to be an Italian equivalent of the ''spada negra'', a blunted weapon with a button, and discusses the significance of the different terms. “''Marra''” in modern Italian is “hoe, fluke of an anchor”, and is given by Florio (''A Worlde of Wordes'', 1598) to mean “a mattock, a spade, a shovell, a rake to mingle sand and lome together, a pickaxe, or such rusticke instrument.” Thus “''spade da marra''” may simply mean “swords of blunt metal”, and represent a standard type of practice weapon. Of possible relevance, “''smarra''” is used to refer to the practice rapier by Marcelli (''Regole della scherma'', 1686) and others, presumably as a linguistic descendent of “''spade da marra''” (Gaugler, ''The History of Fencing'', 1998, p. 92); turning again to Florio, “''smarrare''” is given as “to pare or shave down” and so “''smarra''” may simply derive from the meaning of “a sword whose point has been pared down”, rather than a contraction of “''spada da marra''”. It is intriguing to speculate that the term was originally pejorative, suggesting something akin to “swords like shovels”.</ref> it will suffice you to beat it only a little, indeed, for you to learn the ''schermo''; but if they were spade da filo, you would drive that ''mandritto'' with all of your strength in order to push well aside the enemy’s thrust. Behold that this would be a perfect blow, done with wisdom, and with promptness, unleashed with more length, and thrown with more force, that it would have been with those other arms. How will you fare, ''conte'', if you take perfect arms in your hand, and not stand with all your spirit, and with all your intent judgment? </p></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><p>ROD: I would not say now that you cannot do all those ways of striking, of warding, and of guards, with those weapons, and equally with these, but you will do them imperfectly with those, and most perfectly with these edged ones, because if (for example) you ward a thrust put to you by the enemy, beating aside his sword with a ''mandritto'', so that that thrust did not face your breast, while playing with ''spade da marra'',<ref>It is conspicuous that in every other instance in the present text, (at least, in the sections translated here) Viggiani uses the term “''da giuoco''” (of play/practice) to refer to practice arms. <ins class="diffchange diffchange-inline">[[</ins>Sydney Anglo<ins class="diffchange diffchange-inline">]] </ins>(''The Martial Arts of Renaissance Europe'' p.324, footnote 102) refers to evidence showing that in late 16th century Spain the ''spada da marra'' was considered to be an Italian equivalent of the ''spada negra'', a blunted weapon with a button, and discusses the significance of the different terms. “''Marra''” in modern Italian is “hoe, fluke of an anchor”, and is given by Florio (''A Worlde of Wordes'', 1598) to mean “a mattock, a spade, a shovell, a rake to mingle sand and lome together, a pickaxe, or such rusticke instrument.” Thus “''spade da marra''” may simply mean “swords of blunt metal”, and represent a standard type of practice weapon. Of possible relevance, “''smarra''” is used to refer to the practice rapier by Marcelli (''Regole della scherma'', 1686) and others, presumably as a linguistic descendent of “''spade da marra''” (Gaugler, ''The History of Fencing'', 1998, p. 92); turning again to Florio, “''smarrare''” is given as “to pare or shave down” and so “''smarra''” may simply derive from the meaning of “a sword whose point has been pared down”, rather than a contraction of “''spada da marra''”. It is intriguing to speculate that the term was originally pejorative, suggesting something akin to “swords like shovels”.</ref> it will suffice you to beat it only a little, indeed, for you to learn the ''schermo''; but if they were spade da filo, you would drive that ''mandritto'' with all of your strength in order to push well aside the enemy’s thrust. Behold that this would be a perfect blow, done with wisdom, and with promptness, unleashed with more length, and thrown with more force, that it would have been with those other arms. How will you fare, ''conte'', if you take perfect arms in your hand, and not stand with all your spirit, and with all your intent judgment? </p></div></td></tr>
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</table>Michael Chidesterhttps://wiktenauer.com/index.php?title=Alfonso_Falloppia&diff=149382&oldid=143417Alfonso Falloppia2024-03-24T01:04:26Z<p></p>
<a href="https://wiktenauer.com/index.php?title=Alfonso_Falloppia&diff=149382&oldid=143417">Show changes</a>Michael Chidester