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Difference between revisions of "Angelo Viggiani dal Montone"

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| <p>'''To the Most Unvanquished and Serene Maximillian, King of Bohemia.'''</p>
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| <p>'''To the Most Holy Maximillian II, Emperor, etc.'''<br/><br/></p>
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<p>'''Not''' many years have passed since my brother, who had served long under the Imperial banner and was always the humble servant of the happy memory of Charles V, composed a treatise on combat, and finishing it, approached death, asking that this, his composition, not be published until the fifteenth year had passed; and that I, at that time a lad, had as soon as that time came, to offer it to Your Most Holy Majesty, at that time King of Bohemia; which prescription of time I must imagine that he made as a result of the infinite valor that was resplendent in Your Imperial Majesty, by which he was well able to foresee that you would have arrived at such highness, that but little more would remain to pass, in order to bring you unto the Monarchy. And I must also believe, that he did thus, knowing that by this time I would be of an age to apprehend military discipline. But being brought to the hour of discharging my obligation to him, which my brother left me, and to the desire to make known to Your Most Holy Majesty the devotion that I pay to you; I come to offer to you this brief treatise in the name of my brother, and with servitude, and in supplication that you give regard, not to the small value of two petty change gifts, but to our spirits which are to you devoted. With which reverently I bow to you, and pray you that joy which I deem universal.</p>
  
<p>'''Many''' have already wearied themselves, Most Unvanquished King, through praising those who, possessing some particular virtue, appear to them deserving of eternal fame, judging a single virtue to be (as is true) most worthy of praise. But if through a single attribute they deserved being thus praised, how then will Your Majesty deserve, in whom appear so many of them, and so perfect? I will not mention the liberality and the renowned magnificence miraculously present in you, knowing the most generous breeding that you bring along from the maternal womb. I will not mention your humanity and magnanimity, knowing that to you nature was a most abundant donor, and speak particularly of so many other infinite virtues you acquire through your own studies, and of most knowledgeable counsels, that in this, your most esteemed age, are a sign of such profound discourse, and judgment. Accordingly, if those ancient excellent writers found themselves in these times, I am certain, that regarding such high wisdom, to you alone they would dedicate their intellects, secure that praising you they would acquire more glory than if they did not give thereof to you; although I maintain it firmly to be not through the lack of elevated wits that, excited by such laudable desire, they will display your clear and worthy merits to the ages that are to come. I am for my part so greatly inspired by the virtuous works of Your Majesty, that (if I might know myself to be in part worthy of it) I would seek to celebrate them with all of my power. But since my faculties are disproportionate to this grave burden, may I at least, in order to show you part of my devotion, present to you this little work, unworthy in and of itself, but made worthy by the name of Your Majesty, supplicating you to accept it as a sign of the servitude already dedicated to you. In the first part of which is treated, how arms are not less worthy than the sciences; then in the second is reasoned which came first, either offense or defense; and in the third and last is chosen a single ''schermo'' composed of offense, and of guards of greater perfection than all others, and done with the ''spada dafilo'' (because it is my intention to discuss thereof), wherein I reduce under several few headings all the perfect art of the sword, it seeming to me that with a most perfect Prince, one must not deal with things imperfect; which I will show to you in facts when in the proper place; where I hope to provide you explanation, recognizing how different it is to express similar things to you in deeds, and in writing; with which I bow to you with every humility, and dedicate myself to you, remaining desirous of your grace, and of your felicity. From Bologna.</p>
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<p>&emsp;Your Most Holy Imperial Majesty’s</p>
  
<p>&emsp;Unto Your Most Serene Majesty,</p>
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<p>&emsp;&emsp;Most devoted servant</p>
  
<p>&emsp;&emsp;<small>Most humbly S. Angelo Viggiani del Montone.</small></p>
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<p>&emsp;&emsp;&emsp;Battista Viggiani.</p>
 
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{{paget|Page:Cod.10723|1r|jpg|p=1}} {{paget|Page:Cod.10723|1v|jpg|p=1}}
 
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{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|4|lbl=2r|p=1}} {{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|5|lbl=2v|p=1}}
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{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|6|lbl=3r|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/7|1|lbl=3v.1|p=1}}
  
 
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| <p>'''To the Most Holy Maximillian II, Emperor, etc.'''</p>
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| <p>'''To the Most Unvanquished and Serene Maximillian, King of Bohemia.'''</p>
  
<p>'''Not''' many years have passed since my brother, who had served long under the Imperial banner and was always the humble servant of the happy memory of Charles V, composed a treatise on combat, and finishing it, approached death, asking that this, his composition, not be published until the fifteenth year had passed; and that I, at that time a lad, had as soon as that time came, to offer it to Your Most Holy Majesty, at that time King of Bohemia; which prescription of time I must imagine that he made as a result of the infinite valor that was resplendent in Your Imperial Majesty, by which he was well able to foresee that you would have arrived at such highness, that but little more would remain to pass, in order to bring you unto the Monarchy. And I must also believe, that he did thus, knowing that by this time I would be of an age to apprehend military discipline. But being brought to the hour of discharging my obligation to him, which my brother left me, and to the desire to make known to Your Most Holy Majesty the devotion that I pay to you; I come to offer to you this brief treatise in the name of my brother, and with servitude, and in supplication that you give regard, not to the small value of two petty change gifts, but to our spirits which are to you devoted. With which reverently I bow to you, and pray you that joy which I deem universal.</p>
+
<p>'''Many''' have already wearied themselves, Most Unvanquished King, through praising those who, possessing some particular virtue, appear to them deserving of eternal fame, judging a single virtue to be (as is true) most worthy of praise. But if through a single attribute they deserved being thus praised, how then will Your Majesty deserve, in whom appear so many of them, and so perfect? I will not mention the liberality and the renowned magnificence miraculously present in you, knowing the most generous breeding that you bring along from the maternal womb. I will not mention your humanity and magnanimity, knowing that to you nature was a most abundant donor, and speak particularly of so many other infinite virtues you acquire through your own studies, and of most knowledgeable counsels, that in this, your most esteemed age, are a sign of such profound discourse, and judgment. Accordingly, if those ancient excellent writers found themselves in these times, I am certain, that regarding such high wisdom, to you alone they would dedicate their intellects, secure that praising you they would acquire more glory than if they did not give thereof to you; although I maintain it firmly to be not through the lack of elevated wits that, excited by such laudable desire, they will display your clear and worthy merits to the ages that are to come. I am for my part so greatly inspired by the virtuous works of Your Majesty, that (if I might know myself to be in part worthy of it) I would seek to celebrate them with all of my power. But since my faculties are disproportionate to this grave burden, may I at least, in order to show you part of my devotion, present to you this little work, unworthy in and of itself, but made worthy by the name of Your Majesty, supplicating you to accept it as a sign of the servitude already dedicated to you. In the first part of which is treated, how arms are not less worthy than the sciences; then in the second is reasoned which came first, either offense or defense; and in the third and last is chosen a single ''schermo'' composed of offense, and of guards of greater perfection than all others, and done with the ''spada dafilo'' (because it is my intention to discuss thereof), wherein I reduce under several few headings all the perfect art of the sword, it seeming to me that with a most perfect Prince, one must not deal with things imperfect; which I will show to you in facts when in the proper place; where I hope to provide you explanation, recognizing how different it is to express similar things to you in deeds, and in writing; with which I bow to you with every humility, and dedicate myself to you, remaining desirous of your grace, and of your felicity. From Bologna.</p>
  
<p>&emsp;Your Most Holy Imperial Majesty’s</p>
+
<p>&emsp;Unto Your Most Serene Majesty,</p>
  
<p>&emsp;&emsp;Most devoted servant</p>
+
<p>&emsp;&emsp;<small>Most humbly S. Angelo Viggiani del Montone.</small></p>
 
 
<p>&emsp;&emsp;&emsp;Battista Viggiani.</p>
 
 
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{{paget|Page:Cod.10723|2r|jpg|p=1}} {{paget|Page:Cod.10723|2v|jpg|p=1}} {{paget|Page:Cod.10723|3r|jpg|p=1}} {{paget|Page:Cod.10723|3v|jpg|p=1}}
 
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{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|6|lbl=3r|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/7|1|lbl=3v.1|p=1}}
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{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|4|lbl=2r|p=1}} {{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|5|lbl=2v|p=1}}
  
 
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<p>'''The intention''' of the author of the present treatise is to demonstrate a ''schermo'' which is particularly his own; and because unto this end are things designated, it is reasonably written in a treatise of a ''schermo'' of the unaccompanied ''spada da filo'', etc., and is divided into three parts, as three in number are the things with which it treats: in the first it disputes the excellence of arms and of letters; in the second, of offense and defense, seeking to determine which came first, and is more natural, and more chivalric; and in the third, it speaks of the same combat, since combat being an action of offense and defense between two knights, it was proper to discourse upon the perfection of chivalry, and of the dignity of offense, and defense, and of the excellence of combat. He teaches combat in the last part, because this proposal being his aim, he must be teaching it in the final place; and discussing in the first part the excellence of the knight, as a thing directed to that aim, and as offense and defense are more universal than not, he follows the order of that doctrine that one is to proceed from the more to the less universal. Discussing of these three things under the form of a dialogue will render facility, because dialogue lends itself to debate, and to teaching, and learning, and he introduces in the first and second parts two of the more excellent of their age in their professions, the Most Illustrious Signor Aluigi Gonzaga, called “Rodomonte,”<ref>Literally, “Braggart”.</ref> and the Most Excellent Messer Lodovico Bocadiferro<ref>Literally, “Iron Mouth”.</ref> Bolognese; because debate of questions of such difficulty required being treated of by worthy personages, and particularly by a valorous and erudite knight; which, for the same reason, they are also introduced in the second part, and in the third part unto them is joined the Most Illustrious Signor Conte d’Agomonte, himself a famous knight as well, and deservedly praised.</p>
 
<p>'''The intention''' of the author of the present treatise is to demonstrate a ''schermo'' which is particularly his own; and because unto this end are things designated, it is reasonably written in a treatise of a ''schermo'' of the unaccompanied ''spada da filo'', etc., and is divided into three parts, as three in number are the things with which it treats: in the first it disputes the excellence of arms and of letters; in the second, of offense and defense, seeking to determine which came first, and is more natural, and more chivalric; and in the third, it speaks of the same combat, since combat being an action of offense and defense between two knights, it was proper to discourse upon the perfection of chivalry, and of the dignity of offense, and defense, and of the excellence of combat. He teaches combat in the last part, because this proposal being his aim, he must be teaching it in the final place; and discussing in the first part the excellence of the knight, as a thing directed to that aim, and as offense and defense are more universal than not, he follows the order of that doctrine that one is to proceed from the more to the less universal. Discussing of these three things under the form of a dialogue will render facility, because dialogue lends itself to debate, and to teaching, and learning, and he introduces in the first and second parts two of the more excellent of their age in their professions, the Most Illustrious Signor Aluigi Gonzaga, called “Rodomonte,”<ref>Literally, “Braggart”.</ref> and the Most Excellent Messer Lodovico Bocadiferro<ref>Literally, “Iron Mouth”.</ref> Bolognese; because debate of questions of such difficulty required being treated of by worthy personages, and particularly by a valorous and erudite knight; which, for the same reason, they are also introduced in the second part, and in the third part unto them is joined the Most Illustrious Signor Conte d’Agomonte, himself a famous knight as well, and deservedly praised.</p>
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Revision as of 22:07, 18 November 2023

Angelo Viggiani dal Montone
Died 1552
Bologna (?)
Relative(s) Battista Viggiani (brother)
Occupation Fencing master
Genres Fencing manual
Language Italian
Notable work(s) Lo Schermo (1575)
Manuscript(s) Cod. 10723 (1567)
Translations Traduction française

Angelo Viggiani dal Montone (Angelo Viziani, Angelus Viggiani; d. 1552) was a 16th century Italian fencing master. Little is known about this master's life, but he was Bolognese by birth and might also have been connected to the court of Charles V, Holy Roman Emperor.[1]

In 1551, Viggiani completed a treatise on warfare, including fencing with the side sword, but died shortly thereafter. His brother Battista preserved the treatise and recorded in his introduction that Viggiani had asked him not to release it for at least fifteen years.[1] Accordingly, a presentation manuscript of the treatise was completed in 1567 as a gift for Maximilian II (1527-1576), Holy Roman Emperor. It was ultimately published in 1575 under the title Lo Schermo d'Angelo Viggiani.

Treatise

Note: This article includes a very early (2002) draft of Jherek Swanger's translation. An extensively-revised version of the translation was released in print in 2017 as The Fencing Method of Angelo Viggiani: Lo Schermo, Part III. It can be purchased at the following link in softcover.

Additional Resources

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

References

  1. 1.0 1.1 Unspecified service to Charles is mentioned in his brother's dedication on page 3.
  2. Literally, “Braggart”.
  3. Literally, “Iron Mouth”.
  4. 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”.
  5. Psalm 45:3.
  6. The word for which I substitute the phrase “dull edge” is, in the original, “costa”; the relevant meaning given in Florio is “the back of a knife”. Viggiani uses it to refer, first, to a dull false edge (as in a backsword); and second, to a dull portion of either the false, or, more likely, both edges (as an extended ricasso). I am unaware of a discrete word in English that could stand in adequate stead.
  7. Psalm 149:6-7.
  8. This is almost certainly an error in the original. The text reads “se nascerà la punta dalle parti dritte, chiamerassi punta rovescia”. This is, of course, the complete opposite of what is meant by “punta rovescia”, and Viggiani immediately contradicts this statement on pg. 56V, endnote immediately following.
  9. Here the correct definition (contrary to the preceding endnote) is given: “Se si ferirà con la punta, o nascerà dalle parti diritte, & chiamerassi punta diritta, o dalle parti stanche, & chiamerassi punta rovescia…
  10. Interpreting this maneuver is problematic. It may refer to the practice of arresting a fendente by meeting it at the agent’s hand, hilt, or at worst, forte; yet no mention is made of the patient closing distance to do so, creating the impression of simply putting a hand or forearm in harm’s way rather than take the blow in the head. The relevant passage in the original is “…il suo braccio stanco tien cura, & custodia della testa in pigliare il colpo con la mano, o in ritener co’l braccio la forza sua…
  11. A braccio is a unit of length of approximately 60 centimeters. The specified distance is therefore about 30 cm, or one foot.
  12. This is, of course, in full, “guardia larga, offensiva, imperfetta”.