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Difference between revisions of "Angelo Viggiani dal Montone"

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| deathdate            = 1552
 
| deathdate            = 1552
 
| deathplace          = Bologna (?)
 
| deathplace          = Bologna (?)
| occupation          = [[Fencing master]]{{#set: occupation=fencing master }}
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| occupation          = [[occupation::Fencing master]]
 
| nationality          =  
 
| nationality          =  
 
| ethnicity            =  
 
| ethnicity            =  
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{{TOC limit|3}}
 
{{TOC limit|3}}
 
== Treatise ==
 
== Treatise ==
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As the older text, the 1567 presentation manuscript is used to structure the treatise on this page. Viggiani's printed book includes side notes that indicate the topic discussed in a particular region of each page; because we can't display them that way on this site, they're added into the text at the beginning of the paragraph they describe.
  
 
''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 [http://www.lulu.com/shop/angelo-viggiani-and-w-jherek-swanger/the-fencing-method-of-angelo-viggiani-lo-schermo-part-iii/paperback/product-1e57wjk6.html softcover].  
 
''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 [http://www.lulu.com/shop/angelo-viggiani-and-w-jherek-swanger/the-fencing-method-of-angelo-viggiani-lo-schermo-part-iii/paperback/product-1e57wjk6.html softcover].  
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| class="noline" | [[File:Lo Schermo (Angelo Viggiani) Portrait.jpg|400px|center]]
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| class="noline" style="text-align: center" | [[File:Lo Schermo (Angelo Viggiani) Portrait.jpg|400px|center]]
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| class="noline" | <p>'''To the Most Unvanquished and Serene Maximillian, King of Bohemia.'''</p>
 
| class="noline" | <p>'''To the Most Unvanquished and Serene Maximillian, King of Bohemia.'''</p>
  
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<p>CON: How is not better to find oneself without choler? Because as the spirit that is quiet speaks better, and succeeds better in letters, thus also is it in the handling of arms: the spirit being more reposed, the knight is able to better put in execution thoughtful and learned blows, while choler instead impairs reason, taking the same from man, causing him to function without knowing the why and the how. </p>
 
<p>CON: How is not better to find oneself without choler? Because as the spirit that is quiet speaks better, and succeeds better in letters, thus also is it in the handling of arms: the spirit being more reposed, the knight is able to better put in execution thoughtful and learned blows, while choler instead impairs reason, taking the same from man, causing him to function without knowing the why and the how. </p>
 
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<p>ROD: If you propose to me a furious choler, that deprives one of intellect and speech, I would not differentiate among a choleric, and a furious, and an unreasoning animal, and then I would say that it would be detrimental, and that it would not suit our proposition. But if it were to be a temperate choler such as completely obscures reason, I tell you that it would be very useful; because choler is a fire of the blood around the heart, which, being temperate, temperately ignites the heart, and in consequence the ignited humors are temperately elevated, so that they give superior agility and force to the motive spirit, and they work more quickly in the function of every sense, and ultimately the speech, and therefore I must say that a little bit of choler is of use to the soldier, as well to whomever would practice in arms. </p>
 
<p>ROD: If you propose to me a furious choler, that deprives one of intellect and speech, I would not differentiate among a choleric, and a furious, and an unreasoning animal, and then I would say that it would be detrimental, and that it would not suit our proposition. But if it were to be a temperate choler such as completely obscures reason, I tell you that it would be very useful; because choler is a fire of the blood around the heart, which, being temperate, temperately ignites the heart, and in consequence the ignited humors are temperately elevated, so that they give superior agility and force to the motive spirit, and they work more quickly in the function of every sense, and ultimately the speech, and therefore I must say that a little bit of choler is of use to the soldier, as well to whomever would practice in arms. </p>
 
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| rowspan="3" | <p><small>''Why one cannot learn a perfect blow with practice weapons, but only with those which are edged.''</small></p>
 
| rowspan="3" | <p><small>''Why one cannot learn a perfect blow with practice weapons, but only with those which are edged.''</small></p>
  
<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>
+
<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>
 
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|-  
 
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| rowspan="13" | <p><small>''It is necessary that the warrior remain intent on the point of the weapon of his enemy.''</small></p>
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| rowspan="12" | <p><small>''It is necessary that the warrior remain intent on the point of the weapon of his enemy.''</small></p>
  
 
<p>CON: Yes, but it is a great danger to train with arms that puncture; if I were to make the slightest mistake, I could do enormous harm. Nonetheless we will indeed do as is more pleasing to you, because you will be on guard not to harm me, and I will be certain to parry, and I will pay constant attention to your point in order to know which blow may come forth from your hand, which is necessary in a good warrior. </p>
 
<p>CON: Yes, but it is a great danger to train with arms that puncture; if I were to make the slightest mistake, I could do enormous harm. Nonetheless we will indeed do as is more pleasing to you, because you will be on guard not to harm me, and I will be certain to parry, and I will pay constant attention to your point in order to know which blow may come forth from your hand, which is necessary in a good warrior. </p>
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| rowspan="3" | <p>CON: If thus it is, this seems to me the foundation and base of all this art; indeed the sword has among all the arms the grandest privileges. </p>
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| rowspan="2" | <p>CON: If thus it is, this seems to me the foundation and base of all this art; indeed the sword has among all the arms the grandest privileges. </p>
 
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{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/132|8|lbl=54r.8}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/132|8|lbl=54r.8}}
Line 676: Line 686:
  
 
{{section|Page:Cod.10723 82v.jpg|3|lbl=82v.3}}
 
{{section|Page:Cod.10723 82v.jpg|3|lbl=82v.3}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|11|lbl=-}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|f1|lbl=-}}
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|2|lbl=54v.2}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|2|lbl=54v.2}}
Line 713: Line 723:
  
 
{{section|Page:Cod.10723 83r.jpg|2|lbl=83r.2}}
 
{{section|Page:Cod.10723 83r.jpg|2|lbl=83r.2}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|12|lbl=-}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|f2|lbl=-}}
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|7|lbl=54v.7}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/133|7|lbl=54v.7}}
Line 903: Line 913:
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|2|lbl=55v.2}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|2|lbl=55v.2}}
 
|-
 
|
 
| <p>CON: Where do you place the ''fendenti dritti'' and ''rovesci'', and the ''montante''? </p>
 
| {{section|Page:Cod.10723 84r.jpg|5|lbl=84r.5}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|3|lbl=55v.3}}
 
  
 
|-  
 
|-  
Line 914: Line 918:
 
| <p><small>''It appears that the ''fendente'' and the ''montante'' should differ from the ''rovescio''.''</small></p>
 
| <p><small>''It appears that the ''fendente'' and the ''montante'' should differ from the ''rovescio''.''</small></p>
  
<p>ROD: I do not differentiate them from ''mandritti'' and ''rovesci''. </p>
+
<p>CON: Where do you place the ''fendenti dritti'' and ''rovesci'', and the ''montante''? </p>
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
{{section|Page:Cod.10723 84r.jpg|6|lbl=84r.6}}
+
{{section|Page:Cod.10723 84r.jpg|5|lbl=84r.5}}
 
|  
 
|  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|f2|lbl=-|p=1}}<br/><br/>
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|f2|lbl=-|p=1}}<br/><br/>
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|4|lbl=55v.4}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|3|lbl=55v.3}}
 +
 
 +
|-
 +
|
 +
| <p>ROD: I do not differentiate them from ''mandritti'' and ''rovesci''. </p>
 +
| {{section|Page:Cod.10723 84r.jpg|6|lbl=84r.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/135|4|lbl=55v.4}}
  
 
|-  
 
|-  
Line 1,019: Line 1,029:
 
|-  
 
|-  
 
| rowspan="4" style="text-align: center" | [[File:Lo Schermo (Angelo Viggiani) 57v detail.jpg|400px|center]]
 
| rowspan="4" style="text-align: center" | [[File:Lo Schermo (Angelo Viggiani) 57v detail.jpg|400px|center]]
 
 
<p>'''Tree of Principal Blows'''</p>
 
<p>'''Tree of Principal Blows'''</p>
 +
{{section|Page:Cod.10723 87r.jpg|1|lbl=87r}}
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/139|1|lbl=57v}}
 
| class="noline" | <p><small>''Division of the family of strikes into types according to their differences.''</small></p>
 
| class="noline" | <p><small>''Division of the family of strikes into types according to their differences.''</small></p>
  
Line 1,109: Line 1,120:
  
 
|-  
 
|-  
| rowspan="5" |  
+
| rowspan="4" |  
| rowspan="5" | <p><small>''Ranking of nobility among the types of strikes.''</small></p>
+
| rowspan="4" | <p><small>''Ranking of nobility among the types of strikes.''</small></p>
  
 
<p>ROD: I believe that the first would be the ''punta'', and after that the ''rovescio'', and then the ''mandritto''. </p>
 
<p>ROD: I believe that the first would be the ''punta'', and after that the ''rovescio'', and then the ''mandritto''. </p>
Line 1,130: Line 1,141:
 
|-  
 
|-  
 
| {{section|Page:Cod.10723 87v.jpg|5|lbl=87v.5}}
 
| {{section|Page:Cod.10723 87v.jpg|5|lbl=87v.5}}
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/140|7|lbl=58r.7}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/140|7|lbl=58r.7}}
  
 
|-  
 
|-  
 +
|
 +
|
 
| {{section|Page:Cod.10723 87v.jpg|6|lbl=87v.6}}
 
| {{section|Page:Cod.10723 87v.jpg|6|lbl=87v.6}}
 
|  
 
|  
Line 1,423: Line 1,436:
 
<p>ROD: I would like you to step, vaulting at him diagonally, and wearying him continuously, now with a ''mezo mandritto'', and now with a ''mezo rovescio'', and often with a variety of feints, taking heed nonetheless always to keep your body away from the point of his sword, because he could easily give you the time and the occasion to seize the advantage of placing yourself in guard. </p>
 
<p>ROD: I would like you to step, vaulting at him diagonally, and wearying him continuously, now with a ''mezo mandritto'', and now with a ''mezo rovescio'', and often with a variety of feints, taking heed nonetheless always to keep your body away from the point of his sword, because he could easily give you the time and the occasion to seize the advantage of placing yourself in guard. </p>
 
|  
 
|  
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|f1|lbl=-|p=1}}<br/><br/>
+
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|f1|lbl=-|p=1}}<br/><br/>
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|3|lbl=61r.3}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|3|lbl=61r.3}}
Line 1,439: Line 1,453:
 
<p>ROD: You would have to retire backwards one or two steps; as a result, he would not be able to strike you, being thus unable to reach you, and you would have to step so that the mind of the adversary would be baited by the proposition that he might accomplish the striking of you, and the way that it were determined; because at all times the variation of your body with the stepping also causes a change in the thought and the plan. But always remain attentive in the stepping to seize the opportunity to place yourself in guard with the advantage of the sword. </p>
 
<p>ROD: You would have to retire backwards one or two steps; as a result, he would not be able to strike you, being thus unable to reach you, and you would have to step so that the mind of the adversary would be baited by the proposition that he might accomplish the striking of you, and the way that it were determined; because at all times the variation of your body with the stepping also causes a change in the thought and the plan. But always remain attentive in the stepping to seize the opportunity to place yourself in guard with the advantage of the sword. </p>
 
|  
 
|  
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|f2|lbl=-|p=1}}<br/><br/>
+
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|f2|lbl=-|p=1}}<br/><br/>
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|5|lbl=61r.5}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/146|5|lbl=61r.5}}
Line 1,523: Line 1,538:
 
<p>CON: Tell me, Rodomonte, give me advice, how should I go when I want to close the distance with my enemy; which is the greater advantage: to go to encounter him, or to wait for him? </p>
 
<p>CON: Tell me, Rodomonte, give me advice, how should I go when I want to close the distance with my enemy; which is the greater advantage: to go to encounter him, or to wait for him? </p>
 
|  
 
|  
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/148|f3|lbl=-}}
+
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/148|f3|lbl=-|p=1}}<br/><br/>
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/148|4|lbl=62r.4}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/148|4|lbl=62r.4}}
Line 1,552: Line 1,568:
 
<p>CON: If this is true, speaking of going to encounter the enemy, what then do you say of striking? Is it better to wait for the enemy to strike, or for him to be the first to throw a blow? </p>
 
<p>CON: If this is true, speaking of going to encounter the enemy, what then do you say of striking? Is it better to wait for the enemy to strike, or for him to be the first to throw a blow? </p>
 
|  
 
|  
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/149|f1|lbl=-}}
+
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/149|f1|lbl=-|p=1}}<br/><br/>
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/149|2|lbl=62v.2}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/149|2|lbl=62v.2}}
Line 1,588: Line 1,605:
  
 
|-  
 
|-  
|  
+
| rowspan="2" |  
| <p>CON: I rest very satisfied by such as you have said to me concerning wherein may lie the advantage in placing oneself in guard while striking and stepping; now I wish to know what ''tempo'' is, and what is signified to us by saying a “''tempo''” and a “''mezo tempo''”. </p>
+
| rowspan="2" | <p>CON: I rest very satisfied by such as you have said to me concerning wherein may lie the advantage in placing oneself in guard while striking and stepping; now I wish to know what ''tempo'' is, and what is signified to us by saying a “''tempo''” and a “''mezo tempo''”. </p>
 +
| class="noline" |
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|2|lbl=63r.2}}
 +
 
 +
|-
 
| {{section|Page:Cod.10723 91v.jpg|6|lbl=91v.6}}
 
| {{section|Page:Cod.10723 91v.jpg|6|lbl=91v.6}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|2|lbl=63r.2}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|3|lbl=63r.3}}
  
 
|-  
 
|-  
Line 1,597: Line 1,618:
 
| rowspan="2" class="noline" | <p>ROD: It is a great controversy among the philosophers, in viewing the nature of ''tempo'', and it is difficult to comprehend, and better to inquire about it of Bocadiferro, now that we come to it. </p>
 
| rowspan="2" class="noline" | <p>ROD: It is a great controversy among the philosophers, in viewing the nature of ''tempo'', and it is difficult to comprehend, and better to inquire about it of Bocadiferro, now that we come to it. </p>
 
| {{section|Page:Cod.10723 91v.jpg|7|lbl=91v.7}}
 
| {{section|Page:Cod.10723 91v.jpg|7|lbl=91v.7}}
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|3|lbl=63r.3}}
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|4|lbl=63r.4}}
  
 
|-  
 
|-  
 
| style="border-bottom: 0px;" | {{section|Page:Cod.10723 91v.jpg|8|lbl=91v.8}}
 
| style="border-bottom: 0px;" | {{section|Page:Cod.10723 91v.jpg|8|lbl=91v.8}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|4|lbl=63r.4}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|5|lbl=63r.5}}
  
 
|-  
 
|-  
Line 1,607: Line 1,628:
 
| <p>CON: O ''Dottore'', what do you understand about ''tempo'', and what it is? </p>
 
| <p>CON: O ''Dottore'', what do you understand about ''tempo'', and what it is? </p>
 
| style="border-top: 0px;" | {{section|Page:Cod.10723 91v.jpg|9|lbl=91v.9}}
 
| style="border-top: 0px;" | {{section|Page:Cod.10723 91v.jpg|9|lbl=91v.9}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|5|lbl=63r.5}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|6|lbl=63r.6}}
  
 
|-  
 
|-  
Line 1,619: Line 1,640:
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|f1|lbl=-}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|f1|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|6|lbl=63r.6}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|7|lbl=63r.7}}
  
 
|-  
 
|-  
Line 1,628: Line 1,649:
 
|-  
 
|-  
 
| {{section|Page:Cod.10723 92r.jpg|2|lbl=92r.2}}
 
| {{section|Page:Cod.10723 92r.jpg|2|lbl=92r.2}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|7|lbl=63r.7}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|8|lbl=63r.8}}
  
 
|-  
 
|-  
Line 1,646: Line 1,667:
 
| <p>CON: For what reason is it not recognized during sleep? </p>
 
| <p>CON: For what reason is it not recognized during sleep? </p>
 
| {{section|Page:Cod.10723 92r.jpg|5|lbl=92r.5}}
 
| {{section|Page:Cod.10723 92r.jpg|5|lbl=92r.5}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|8|lbl=63r.8}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|9|lbl=63r.9}}
  
 
|-  
 
|-  
Line 1,670: Line 1,691:
 
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|f2|lbl=-}}
 
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|f2|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|9|lbl=63r.9|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/151|1|lbl=63v.1|p=1}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|10|lbl=63r.10|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/151|1|lbl=63v.1|p=1}}
  
 
|-  
 
|-  
Line 1,797: Line 1,818:
  
 
{{section|Page:Cod.10723 93v.jpg|5|lbl=93v.5}}
 
{{section|Page:Cod.10723 93v.jpg|5|lbl=93v.5}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/153|f1|lbl=-}}
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/153|f1|lbl=-}}
  
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/152|5|lbl=64r.5|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/153|1|lbl=64v.1|p=1}}
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/152|5|lbl=64r.5|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/153|1|lbl=64v.1|p=1}}
Line 1,803: Line 1,824:
 
|-  
 
|-  
 
| {{section|Page:Cod.10723 93v.jpg|6|lbl=93v.6}}
 
| {{section|Page:Cod.10723 93v.jpg|6|lbl=93v.6}}
|  
+
| class="noline" |  
  
 
|-  
 
|-  
Line 1,872: Line 1,893:
 
|-  
 
|-  
 
| rowspan="14" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 65v detail.jpg|400px|center]]
 
| rowspan="14" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 65v detail.jpg|400px|center]]
 
+
<div style="margin: 0 auto; width: 400px;"><p>'''''Prima guardia difensiva, imperfetta'''''; formed from girding the sword at the left side, from whence originates the ''rovescio ascendente''.</p>
<p>'''''Prima guardia difensiva, imperfetta'''''; formed from girding the sword at the left side, from whence originates the ''rovescio ascendente''.</p>
 
 
 
 
{{paget|Page:Cod.10723|95v|jpg}}
 
{{paget|Page:Cod.10723|95v|jpg}}
 
 
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|155|lbl=65v}}
 
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|155|lbl=65v}}
 +
</div>
 
| rowspan="3" | <p><small>''First guard, called “''difensiva imperfetta''”, derives from having the sword girded at the hip.''</small></p>
 
| rowspan="3" | <p><small>''First guard, called “''difensiva imperfetta''”, derives from having the sword girded at the hip.''</small></p>
  
Line 1,906: Line 1,925:
  
 
<p>ROD: It is a ''guardia'' through being a still placement and pose; it is called “''difensiva''” through being for defense of that side where the sword is positioned; “''imperfetta''” I call it, because lying within the scabbard it only defends, frightening the enemy; but it is an imperfect defense, as it does naught else. </p>
 
<p>ROD: It is a ''guardia'' through being a still placement and pose; it is called “''difensiva''” through being for defense of that side where the sword is positioned; “''imperfetta''” I call it, because lying within the scabbard it only defends, frightening the enemy; but it is an imperfect defense, as it does naught else. </p>
| {{section|Page:Cod.10723 94v.jpg|3|lbl=94v.3}}
+
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 94v.jpg|3|lbl=94v.3}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/153|f3|lbl=-}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/153|f3|lbl=-}}
  
Line 1,990: Line 2,011:
  
 
<p>ROD: Yes, but you do it nonetheless, I know not why, turning your wrist as you draw it forth, which does not please me; hold your wrist in such a fashion while you draw it forth that you do not make a turning; and do it so that your hand rises high, and to the rear on your right side, so that the point of your sword is aimed at my chest, and downwards somewhat toward the ground, and stop it there, with the true edge of the sword facing the sky, and the false toward the ground, taking care in the selfsame ''tempo'' that the ''rovescio'' travels, that you make with your body a little turn in such a way that your left shoulder is found somewhat more forward than your right, and that your left arm follow the right through the forward side, so that it is found toward the right side; and make additionally a slight turn of your left leg on the point of your foot through the draw, and the heel should be somewhat lifted from the ground; and together with this make your right leg lie extended, with the body somewhat erect: you see how I do it? </p>
 
<p>ROD: Yes, but you do it nonetheless, I know not why, turning your wrist as you draw it forth, which does not please me; hold your wrist in such a fashion while you draw it forth that you do not make a turning; and do it so that your hand rises high, and to the rear on your right side, so that the point of your sword is aimed at my chest, and downwards somewhat toward the ground, and stop it there, with the true edge of the sword facing the sky, and the false toward the ground, taking care in the selfsame ''tempo'' that the ''rovescio'' travels, that you make with your body a little turn in such a way that your left shoulder is found somewhat more forward than your right, and that your left arm follow the right through the forward side, so that it is found toward the right side; and make additionally a slight turn of your left leg on the point of your foot through the draw, and the heel should be somewhat lifted from the ground; and together with this make your right leg lie extended, with the body somewhat erect: you see how I do it? </p>
| {{section|Page:Cod.10723 95r.jpg|7|lbl=95r.7}}
+
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 95r.jpg|7|lbl=95r.7}}
 
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|f1|lbl=-}}
 
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|f1|lbl=-}}
  
Line 2,011: Line 2,034:
 
| {{section|Page:Cod.10723 96r.jpg|3|lbl=96r.3}}
 
| {{section|Page:Cod.10723 96r.jpg|3|lbl=96r.3}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|6|lbl=66r.6}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|6|lbl=66r.6}}
 +
 +
|-
 +
| rowspan="3" |
 +
| rowspan="3" | <p>CON: I’m watching, but I cannot settle this right leg with the body well, and if I lift the heel of my left foot, I cannot support myself on it well, nor have my right leg extended and somewhat raised. </p>
 +
| {{section|Page:Cod.10723 96r.jpg|4|lbl=96r.4}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|7|lbl=66r.7}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: I’m watching, but I cannot settle this right leg with the body well, and if I lift the heel of my left foot, I cannot support myself on it well, nor have my right leg extended and somewhat raised. </p>
+
{{section|Page:Cod.10723 96r.jpg|5|lbl=96r.5|p=1}}<ref>This is the same as the statement from Rodomonte two paragraphs down in the printed book.</ref>
|
+
| class="noline" |
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|7|lbl=66r.7}}
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: I would not know how to do it otherwise; it seems that nature forms such a figure finding yourself in that place with your right side forward, and wanting to throw that ''rovescio'' quite high, as much as can be done, without pivoting or turning the hand; but do it several times, paying attention to all the particulars of which I have told you. </p>
+
{{section|Page:Cod.10723 96r.jpg|6|lbl=96r.6|p=1}} {{section|Page:Cod.10723 97r.jpg|1|lbl=97r.1|p=1}}
|
 
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|8|lbl=66r.8}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|8|lbl=66r.8}}
  
 
|-  
 
|-  
|  
+
| rowspan="6" |  
| <p>CON: Look. </p>
+
| rowspan="6" | <p>ROD: I would not know how to do it otherwise; it seems that nature forms such a figure finding yourself in that place with your right side forward, and wanting to throw that ''rovescio'' quite high, as much as can be done, without pivoting or turning the hand; but do it several times, paying attention to all the particulars of which I have told you. </p>
|  
+
| <p><br/><br/><br/><br/></p>
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|9|lbl=66r.9}}
+
| class="noline" |
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|9|lbl=66r.9|p=1}}<ref>This is the same as the statement from Rodomonte two paragraphs up in the manuscript.</ref>
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 97r.jpg|2|lbl=97r.2}}
| <p>ROD: Lift the heel of your left foot a bit more, and extend your right leg. </p>
+
| class="noline" |  
|
 
|
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|10|lbl=66r.10|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|1|lbl=66v.1|p=1}}
 
  
 
|-  
 
|-  
|
+
| {{section|Page:Cod.10723 97r.jpg|3|lbl=97r.3}}
| <p>CON: Like so? </p>
+
| class="noline" |
|
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|2|lbl=66v.2}}
 
  
 
|-  
 
|-  
| rowspan="4" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 67r detail.jpg|400px|center]]
+
| {{section|Page:Cod.10723 97r.jpg|4|lbl=97r.4}}
 +
| class="noline" |  
  
<p>'''''Seconda guardia alta, offensiva,''' perfetta''; formed from the ''rovescio ascendente'', from which originates the ''punta sopramano offensiva'', either complete or incomplete.</p>
+
|-
 +
| {{section|Page:Cod.10723 97r.jpg|5|lbl=97r.5}}
 +
| class="noline" |
  
{{paget|Page:Cod.10723|96v|jpg}}
+
|-
 +
| {{section|Page:Cod.10723 97r.jpg|6|lbl=97r.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|10|lbl=66r.10}}
  
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|158|lbl=67r}}
+
|-
| <p><small>''Second guard, called “''alta, offensiva, perfetta''”.''</small></p>
 
 
 
<p>ROD: Just so; this is our second guard, called “''guardia alta, offensiva, perfetta''”.</p>
 
 
|  
 
|  
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|f1|lbl=-}}
+
| <p>CON: Look. </p>
 +
| {{section|Page:Cod.10723 97r.jpg|7|lbl=97r.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|11|lbl=66r.11}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|3|lbl=66v.3}}
+
|-
 +
| rowspan="3" |
 +
| rowspan="3" | <p>ROD: Lift the heel of your left foot a bit more, and extend your right leg. </p>
 +
| {{section|Page:Cod.10723 97r.jpg|8|lbl=97r.8}}
 +
| class="noline" |
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/156|12|lbl=66r.12|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|1|lbl=66v.1|p=1}}
  
 
|-  
 
|-  
| <p>CON: I know why it is called “''guardia alta''”, but I do not know the reason why you call it “''offensiva''” and “''perfetta''”. </p>
+
| {{section|Page:Cod.10723 97r.jpg|9|lbl=97r.9}}
|  
+
| class="noline" |  
|  
 
  
 
|-  
 
|-  
| <p><small>''Rules to recognize which guards are defensive and which offensive.''</small></p>
+
| {{section|Page:Cod.10723 97r.jpg|10|lbl=97r.10}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|2|lbl=66v.2}}
  
<p>ROD: I will tell it to you: every guard formed on the left side will be called “''difensiva''”, and all of those on the right side will have the name “''offensiva''”; accordingly any time that the sword will be found on the left side (with the right foot in front, nonetheless, which we always assume, as much in ''guardia larga'', as in ''stretta''), still, whether the arm be found higher, or less narrow, or lower than it between the ''stretta'', and the ''larga'', that will be understood as a defensive guard, and will be for defense; and all the times in which the sword will be found by the right side (also with the right foot forward) both in ''guardia alta perfetta'' and in ''imperfetta'', both in ''guardia stretta'' and in ''larga'', either were it then among the ''alta'', and the ''stretta'', or between the ''stretta'', and the ''larga'', provided that the sword should be by the right side, such a guard will always be understood as offensive, and will be in order to offend. This will be our rule, and hold it fixed in your memory. </p>
+
|-
|  
 
 
|  
 
|  
 +
| <p>CON: Like so? </p>
 +
| {{section|Page:Cod.10723 97r.jpg|11|lbl=97r.11}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|3|lbl=66v.3}}
  
 
|-  
 
|-  
| <p>CON: I would ground it better in my memory, if I understood the basis of these “''alte'', “''strette''” and “''larghe''” guards of yours. </p>
+
| rowspan="7" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 67r detail.jpg|400px|center]]
|  
+
<div style="margin: 0 auto; width: 400px;"><p>'''''Seconda guardia alta, offensiva,''' perfetta''; formed from the ''rovescio ascendente'', from which originates the ''punta sopramano offensiva'', either complete or incomplete.</p>
|
+
{{paget|Page:Cod.10723|96v|jpg}}
 +
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|158|lbl=67r}}
 +
</div>
 +
| rowspan="5" | <p><small>''Second guard, called “''alta, offensiva, perfetta''”.''</small></p>
 +
 
 +
<p>ROD: Just so; this is our second guard, called “''guardia alta, offensiva, perfetta''”.</p>
 +
| <p><br/></p>
  
|-
+
{{section|Page:Cod.10723 97r.jpg|12|lbl=97r.12}}
|  
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|f1|lbl=-}}
| <p><small>''Why the second guard is called “''offensiva''” and “''perfetta''”.''</small></p>
 
  
<p>ROD: We will do them all soon, and then you will better understand the rule. This ''guardia alta'' is accordingly offensive, the sword being on the right side. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|4|lbl=66v.4}}
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 97r.jpg|13|lbl=97r.13}}
| <p>CON: Why is it called “''perfetta''”? </p>
+
| class="noline" |  
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 97r.jpg|14|lbl=97r.14}}
| <p>ROD: Because the point of the sword uncovers the enemy more, and looks more toward him in this form, than in some other in which one can be; this ''guardia alta, offensiva, perfetta'' is born from the ''rovescio'', the doing of which you have in the drawing forth of the sword. </p>
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|5|lbl=66v.5}}
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 97r.jpg|15|lbl=97r.15}}
| <p>BOC: And if in that ''tempo'', Rodomonte, in which you pull forth your sword, and in which the ''rovescio'' travels from low to high, the ''conte'' were to deliver some blow in order to harm your head or upper body, what would you do? </p>
+
| class="noline" |  
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 97r.jpg|16|lbl=97r.16}}
| <p>ROD: With the very same ''rovescio'' I would beat aside the blow of his sword toward the air, and toward my right side, and then settling into the said ''guardia alta, perfetta'', et ''offensiva'', I would thrust the readied point into his chest. </p>
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/157|6|lbl=66v.6}}
|  
 
|  
 
  
 
|-  
 
|-  
|
+
| <p>CON: I know why it is called “''guardia alta''”, but I do not know the reason why you call it “''offensiva''” and “''perfetta''”. </p>
| <p>BOC: If you were quick, and he slow. </p>
+
| {{section|Page:Cod.10723 97r.jpg|17|lbl=97r.17}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|1|lbl=67v.1}}
|  
 
  
 
|-  
 
|-  
|  
+
| <p><small>''Rules to recognize which guards are defensive and which offensive.''</small></p>
| <p>ROD: If one has understanding, then there is no need for him to already be asleep. </p>
+
 
|  
+
<p>ROD: I will tell it to you: every guard formed on the left side will be called “''difensiva''”, and all of those on the right side will have the name “''offensiva''”; accordingly any time that the sword will be found on the left side (with the right foot in front, nonetheless, which we always assume, as much in ''guardia larga'', as in ''stretta''), still, whether the arm be found higher, or less narrow, or lower than it between the ''stretta'', and the ''larga'', that will be understood as a defensive guard, and will be for defense; and all the times in which the sword will be found by the right side (also with the right foot forward) both in ''guardia alta perfetta'' and in ''imperfetta'', both in ''guardia stretta'' and in ''larga'', either were it then among the ''alta'', and the ''stretta'', or between the ''stretta'', and the ''larga'', provided that the sword should be by the right side, such a guard will always be understood as offensive, and will be in order to offend. This will be our rule, and hold it fixed in your memory. </p>
|  
+
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 97r.jpg|18|lbl=97r.18|p=1}} {{section|Page:Cod.10723 97v.jpg|1|lbl=97v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|2|lbl=67v.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>BOC: Do it a bit, ''conte''. </p>
+
| <p>CON: I would ground it better in my memory, if I understood the basis of these “''alte''”, “''strette''” and “''larghe''” guards of yours. </p>
|  
+
| {{section|Page:Cod.10723 97v.jpg|2|lbl=97v.2}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|3|lbl=67v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Look. </p>
+
| <p><small>''Why the second guard is called “''offensiva''” and “''perfetta''”.''</small></p>
|  
+
 
|  
+
<p>ROD: We will do them all soon, and then you will better understand the rule. This ''guardia alta'' is accordingly offensive, the sword being on the right side. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 97v.jpg|3|lbl=97v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|4|lbl=67v.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''What must be done coming to blows with the enemy, either at close range or at a distance.''</small></p>
+
| <p>CON: Why is it called “''perfetta''”? </p>
 +
| {{section|Page:Cod.10723 97v.jpg|4|lbl=97v.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|5|lbl=67v.5}}
  
<p>ROD: And behold the response, and when you come to blows with your enemy at close range, this is the shortest defense and offense that you can make; because having finished drawing forth your sword, you address it toward the enemy, and not otherwise, in order to offend him, and defend yourself. </p>
+
|-
 
|  
 
|  
 +
| <p>ROD: Because the point of the sword uncovers the enemy more, and looks more toward him in this form, than in some other in which one can be; this ''guardia alta, offensiva, perfetta'' is born from the ''rovescio'', the doing of which you have in the drawing forth of the sword. </p>
 
|  
 
|  
 +
{{section|Page:Cod.10723 97v.jpg|5|lbl=97v.5|p=1}} {{section|Page:Cod.10723 98r.jpg|1|lbl=98r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|6|lbl=67v.6}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: And if I am at a distance from my enemy, then what must I do? </p>
+
| <p>BOC: And if in that ''tempo'', Rodomonte, in which you pull forth your sword, and in which the ''rovescio'' travels from low to high, the ''conte'' were to deliver some blow in order to harm your head or upper body, what would you do? </p>
|  
+
| {{section|Page:Cod.10723 98r.jpg|2|lbl=98r.2}}
 
|  
 
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/159|7|lbl=67v.7|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|1|lbl=68r.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: The very same: again, put yourself in this ''alta guardia offensiva perfetta'', and here you will give to him that you intend to thrust the point of your sword into his eyes. </p>
+
| <p>ROD: With the very same ''rovescio'' I would beat aside the blow of his sword toward the air, and toward my right side, and then settling into the said ''guardia alta, perfetta'', et ''offensiva'', I would thrust the readied point into his chest. </p>
|  
+
| {{section|Page:Cod.10723 98r.jpg|3|lbl=98r.3}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|2|lbl=68r.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Isn’t it better to target it so as to thrust into his chest? </p>
+
| <p>BOC: If you were quick, and he slow. </p>
|  
+
| {{section|Page:Cod.10723 98r.jpg|4|lbl=98r.4}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|3|lbl=68r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''It is better to present the point of the sword to the eyes of the enemy than elsewhere.''</small></p>
+
| <p>ROD: If one has understanding, then there is no need for him to already be asleep. </p>
 +
| {{section|Page:Cod.10723 98r.jpg|5|lbl=98r.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|4|lbl=68r.4}}
  
<p>ROD: No Sir, because if you elevate the ''punta sopramano'' such that you point to his eyes, in the extension your arm lowers, and drops to his chest; but if you point to his chest, it will descend to his thigh, and without pretending to hit him in his eyes, by which you would give him more terror (the eyes being the noblest parts of the body) and make him lose more spirit. </p>
+
|-
|  
 
 
|  
 
|  
 +
| <p>BOC: Do it a bit, ''conte''. </p>
 +
| {{section|Page:Cod.10723 98r.jpg|6|lbl=98r.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|5|lbl=68r.5}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>BOC: You speak the truth, Rodomonte; some of those who are armored in full jousting harness, when the opponent lowers his lance, looking to the visor of their helm in order to offend it, I have seen that they happen to have a little helmet hanging from a band, well advanced from the face, to avoid the enemy’s point for fear of their eyes. And there are some that close their eyes out of fear, and these never make worthy blows, except by luck. Now if these armored men are in such fear of the point finding their eyes, how then will one unarmored be, seeing the very point of a sword directed straight at his eyes? </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 98r.jpg|7|lbl=98r.7}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: A most excellent argument from the least to the greatest. </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 98r.jpg|8|lbl=98r.8}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: And if finding myself at a distance from the enemy, I were to make a sign that I wished to do offense to his head with some blow from high to low using the edge, and not the point? </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 98r.jpg|9|lbl=98r.9}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: You would induce less terror thereby; because his left arm holds the care and safekeeping of head in taking the blow with his hand, or in restraining its force with his arm;<ref>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…''”</ref> thus the point is always more perfect and offensive than the edge. </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 98r.jpg|10|lbl=98r.10}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Thus we make use only of the strike of the point in the Roman fashion, and not of the edge, as much in close range as in far. </p>
+
| <p>CON: Look. </p>
|  
+
| {{section|Page:Cod.10723 98r.jpg|11|lbl=98r.11}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|6|lbl=68r.6}}
 +
 
 +
|-
 +
| rowspan="5" |
 +
| rowspan="5" | <p><small>''What must be done coming to blows with the enemy, either at close range or at a distance.''</small></p>
 +
 
 +
<p>ROD: And behold the response, and when you come to blows with your enemy at close range, this is the shortest defense and offense that you can make; because having finished drawing forth your sword, you address it toward the enemy, and not otherwise, in order to offend him, and defend yourself. </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 98r.jpg|12|lbl=98r.12}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|7|lbl=68r.7}}
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 98r.jpg|13|lbl=98r.13}}
| <p><small>''Advisement that one strike with the point into the depth of the nobler parts.''</small></p>
+
| class="noline" |
  
<p>ROD: And we see as well that we thrust it into the depth of the nobler parts, where the wounds are crueler and more deadly. </p>
+
|-
|  
+
| {{section|Page:Cod.10723 98r.jpg|14|lbl=98r.14}}
|  
+
| class="noline" |  
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 98r.jpg|15|lbl=98r.15}}
| <p><small>''Praise for the Most Illustrious ''Signor Duca'' Hercole IV di Ferrara.''</small></p>
+
| class="noline" |
  
<p>CON: Very well, so this is your second guard; I have understood it, and if I practice it, I will do it well before too much time passes. I have heard it said that this guard is well liked by the ''Signor Duca ''Hercole Quarto di Ferrara, who in addition to his many other virtues, is extremely delighted by the military art, and that of the unaccompanied sword. </p>
+
|-
|  
 
 
|  
 
|  
 +
{{section|Page:Cod.10723 98r.jpg|16|lbl=98r.16|p=1}} {{section|Page:Cod.10723 98v.jpg|1|lbl=98v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|8|lbl=68r.8}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: That is quite reasonable, because as this guard is quickest to offend it is fitting to a knight most quick, and desirous of striking his enemy, as it is seen that the ''Signor Duca'' was in the joust and in the public combats when he was exercising; then had he always well accomplished the keeping of the peace for his people. </p>
+
| <p>CON: And if I am at a distance from my enemy, then what must I do? </p>
|  
+
| {{section|Page:Cod.10723 98v.jpg|2|lbl=98v.2}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|9|lbl=68r.9}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: I have always heard him celebrated as such, and infinitely commended, and I hear that in writing he is hailed greatly as well. </p>
+
| <p>ROD: The very same: again, put yourself in this ''alta guardia offensiva perfetta'', and here you will give to him that you intend to thrust the point of your sword into his eyes. </p>
|  
+
| {{section|Page:Cod.10723 98v.jpg|3|lbl=98v.3}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|10|lbl=68r.10}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Hailed certainly, and it is no wonder, for he is among the ideal and wisest Princes that this age has. </p>
+
| <p>CON: Isn’t it better to target it so as to thrust into his chest? </p>
|  
+
| {{section|Page:Cod.10723 98v.jpg|4|lbl=98v.4}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|11|lbl=68r.11}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Now teach me the third. </p>
+
| <p><small>''It is better to present the point of the sword to the eyes of the enemy than elsewhere.''</small></p>
|
 
|
 
  
|-
+
<p>ROD: No Sir, because if you elevate the ''punta sopramano'' such that you point to his eyes, in the extension your arm lowers, and drops to his chest; but if you point to his chest, it will descend to his thigh, and without pretending to hit him in his eyes, by which you would give him more terror (the eyes being the noblest parts of the body) and make him lose more spirit. </p>
| rowspan="5" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 69v detail.jpg|400px|center]]
+
| <p><br/><br/></p>
  
<p>'''''Terza guardia alta, offensiva,''' imperfetta''; formed from the ''rovescio ascendente'', from which originates a ''mandritto descendente'', either full or half. </p>
+
{{section|Page:Cod.10723 98v.jpg|5|lbl=98v.5}}
| <p><small>''Third guard, called “''guardia alta offensiva imperfetta''”.''</small></p>
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|f2|lbl=-}}
  
<p>ROD: Willingly; do the ''rovescio'' from low to high in drawing forth your sword so that it goes so high that the point of the sword looks to the sky, and that your wrist makes a half turn, in such fashion that the true edge faces up toward the sky, and the false, together with the point of your sword, faces toward the right side of your body over your right shoulder, and the pommel of your sword faces me, making all of those turns of the body, the hand, and the feet, of which I taught you in the other guard. This will be our third guard, called “''guardia alta, offensiva, imperfetta''”. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|12|lbl=68r.12}}
|  
 
|  
 
  
 
|-  
 
|-  
| <p><small>''The third guard gives rise to a ''mandritto discendente.</small></p>
 
 
<p>You see how I do it? And how I pull this ''rovescio'' up high, and how as the ''rovescio'' travels I make a half turn with my wrist; look how the point of the sword together with the false edge faces behind me. This guard does not give rise to a thrust, but rather a ''mandritto'' to your upper body, if I allow it to fall. </p>
 
 
|  
 
|  
 +
| <p>BOC: You speak the truth, Rodomonte; some of those who are armored in full jousting harness, when the opponent lowers his lance, looking to the visor of their helm in order to offend it, I have seen that they happen to have a little helmet hanging from a band, well advanced from the face, to avoid the enemy’s point for fear of their eyes. And there are some that close their eyes out of fear, and these never make worthy blows, except by luck. Now if these armored men are in such fear of the point finding their eyes, how then will one unarmored be, seeing the very point of a sword directed straight at his eyes? </p>
 +
|
 +
{{section|Page:Cod.10723 98v.jpg|6|lbl=98v.6|p=1}} {{section|Page:Cod.10723 99r.jpg|1|lbl=99r.1|p=1}}
 
|  
 
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/160|13|lbl=68r.13|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|1|lbl=68v.1|p=1}}
  
 
|-  
 
|-  
| <p>CON: Let me do it a bit; would that be all right? </p>
 
|
 
 
|  
 
|  
 +
| <p>ROD: A most excellent argument from the least to the greatest. </p>
 +
| {{section|Page:Cod.10723 99r.jpg|2|lbl=99r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|2|lbl=68v.2}}
  
 
|-  
 
|-  
| <p>ROD: Raise your arm then as high as you can. </p>
 
|
 
 
|  
 
|  
 +
| <p>CON: And if finding myself at a distance from the enemy, I were to make a sign that I wished to do offense to his head with some blow from high to low using the edge, and not the point? </p>
 +
| {{section|Page:Cod.10723 99r.jpg|3|lbl=99r.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|3|lbl=68v.3}}
  
 
|-  
 
|-  
| <p>CON: And if you had been in the way beneath me? </p>
+
| rowspan="3" |
|  
+
| rowspan="3" | <p>ROD: You would induce less terror thereby; because his left arm holds the care and safekeeping of head in taking the blow with his hand, or in restraining its force with his arm;<ref>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…''”</ref> thus the point is always more perfect and offensive than the edge. </p>
|  
+
| {{section|Page:Cod.10723 99r.jpg|4|lbl=99r.4}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|4|lbl=68v.4}}
  
 
|-  
 
|-  
|  
+
| {{section|Page:Cod.10723 99r.jpg|5|lbl=99r.5}}
| <p>ROD: Let the blow fall, and you would have contacted me forcefully in the head, if I had not otherwise made a defense. </p>
+
| class="noline" |
|  
+
 
|  
+
|-
 +
| {{section|Page:Cod.10723 99r.jpg|6|lbl=99r.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|5|lbl=68v.5}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Why is it called “''imperfetta''”? </p>
+
| <p>CON: Thus we make use only of the strike of the point in the Roman fashion, and not of the edge, as much in close range as in far. </p>
|  
+
| class="noline" | {{section|Page:Cod.10723 99r.jpg|7|lbl=99r.7}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|6|lbl=68v.6}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Why the third guard is called “''imperfetta''” and “''offensiva''”.''</small></p>
+
| <p><small>''Advisement that one strike with the point into the depth of the nobler parts.''</small></p>
 +
 
 +
<p>ROD: And we see as well that we thrust it into the depth of the nobler parts, where the wounds are crueler and more deadly. </p>
 +
| <p><br/></p>
  
<p>ROD: Because it does not give rise to a thrust, but only a cut, and therefore is of less offense, and I will avoid it more easily. </p>
+
{{section|Page:Cod.10723 99r.jpg|8|lbl=99r.8}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|f1|lbl=-}}
|  
 
  
|-
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|7|lbl=68v.7}}
|
 
| <p>CON: “''offensiva''”, because it originates from the right side, correct? </p>
 
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Yes Sir, and “''imperfetta''”, as such a blow offends imperfectly, as I have said, and also because when you want to deliver a blow from high to low, your right side would be uncovered to my eye, and thus you could be stuck in the body with this thrust; and I might find myself with my sword advanced and could easily defend myself. </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 99r.jpg|9|lbl=99r.9}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>BOC: And then, although it happens that the blow falls from high to low with a great onslaught, it does not always kill, because the bones of the skull are extremely strong and doubled in some places; in addition if you contact some other place, such as the shoulder, there are other very hard bones; and sometimes they are armored with good arms of defense, which abate the fury of the cut, but not the thrust. </p>
 
 
|  
 
|  
 
|  
 
|  
 
+
{{section|Page:Cod.10723 99r.jpg|10|lbl=99r.10|p=1}} {{section|Page:Cod.10723 99v.jpg|1|lbl=99v.1|p=1}}
|-
 
|  
 
| <p>ROD: This is a good and natural argument. </p>
 
|
 
 
|  
 
|  
  
 
|-  
 
|-  
|  
+
| rowspan="4" |  
| <p>CON: Up to this point we have the third guard, called “''alta offensiva, imperfetta''”; now let’s come to the fourth. </p>
+
| rowspan="4" | <p><small>''Praise for the Most Illustrious ''Signor Duca'' Hercole IV di Ferrara.''</small></p>
|
 
|
 
  
|-
+
<p>CON: Very well, so this is your second guard; I have understood it, and if I practice it, I will do it well before too much time passes. I have heard it said that this guard is well liked by the ''Signor Duca ''Hercole Quarto di Ferrara, who in addition to his many other virtues, is extremely delighted by the military art, and that of the unaccompanied sword. </p>
| rowspan="5" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 71v detail.jpg|400px|center]]
+
| <p><br/></p>
  
<p>'''''Quarta guardia larga, difensiva,''' imperfetta''; formed from the full ''punta sopramano'', and from which originates the ''rovescio ritondo''. </p>
+
{{section|Page:Cod.10723 99v.jpg|2|lbl=99v.2}}
| <p><small>''How one must reset and move the body in order to make the fourth guard.''</small></p>
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|f2|lbl=-}}
  
<p>ROD: Reset yourself in ''guardia alta offensiva, perfetta'', and fix all of your weight firmly on your left foot, body elevated, so that the right one may be more agile, and likewise all your right leg, in order to be able to pass forward, and come toward me. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|8|lbl=68v.8}}
|  
 
|  
 
  
 
|-  
 
|-  
| <p>CON: I cannot, if I don’t support part on the right leg as well. </p>
+
| {{section|Page:Cod.10723 99v.jpg|3|lbl=99v.3}}
|  
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|9|lbl=68v.9}}
|  
 
  
 
|-  
 
|-  
| <p>ROD: You won’t do anything, because if your right leg is weighed down, you can’t come forward to me with the side that holds your offensive arms. But if you find yourself with your right foot unencumbered, you can pass forward with a big step in this fashion. </p>
+
| {{section|Page:Cod.10723 99v.jpg|4|lbl=99v.4}}
|  
+
| class="noline" |  
|  
 
  
 
|-  
 
|-  
| <p>CON: Now watch whether I satisfy you. </p>
+
| {{section|Page:Cod.10723 99v.jpg|5|lbl=99v.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|10|lbl=68v.10}}
|  
 
  
 
|-  
 
|-  
| <p>ROD: Excellent; now fix yourself in that pose, and take the big step, and make your right shoulder drive your arm as far forward as you can, and with your sword hand direct the aim of your point at my breast without making any turn of your hand, until it comes forward as far as it can come, and then, turn there the true edge of the sword toward the left side, and from here you descend finally to the ground, and it is necessary that you make a half turn with your body at the same time that the blow is traveling, so that your right shoulder is somewhat lower than your left, and that it faces my chest; and the right foot trailing behind somewhat, bring yourself to rest again in good stride, and settle your feet, which are on the diagonal, and bend your knees a bit, and cause your sword hand to be located halfway between your knees, and your left arm to lower from high to low during that ''tempo'' in which the point will travel, and it will go back and by the outside with the left leg somewhat extended. Do you see how I do it? And how I lower myself down to the ground? </p>
 
 
|  
 
|  
 +
| <p>ROD: That is quite reasonable, because as this guard is quickest to offend it is fitting to a knight most quick, and desirous of striking his enemy, as it is seen that the ''Signor Duca'' was in the joust and in the public combats when he was exercising; then had he always well accomplished the keeping of the peace for his people. </p>
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|11|lbl=68v.11}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: I see it, and I believe that in the space of a year I would still never give to it the beautiful agility, and such elegance of body as you do, Rodomonte; but continue on, as it will take me more time to practice it. </p>
+
| <p>CON: I have always heard him celebrated as such, and infinitely commended, and I hear that in writing he is hailed greatly as well. </p>
|  
+
| {{section|Page:Cod.10723 99v.jpg|6|lbl=99v.6}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|12|lbl=68v.12}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: This is “''guardia larga, difensiva, imperfetta''”. </p>
+
| <p>ROD: Hailed certainly, and it is no wonder, for he is among the ideal and wisest Princes that this age has. </p>
|  
+
| {{section|Page:Cod.10723 99v.jpg|7|lbl=99v.7}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|13|lbl=68v.13}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: For what reason is it called “''guardia larga''”? </p>
+
| <p>CON: Now teach me the third. </p>
|  
+
| {{section|Page:Cod.10723 99v.jpg|8|lbl=99v.8}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/161|14|lbl=68v.14|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/162|1|lbl=69r.1|p=1}}
  
 
|-  
 
|-  
|  
+
| rowspan="7" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 69v detail.jpg|400px|center]]
| <p><small>''Why the fourth guard is called “''larga difensiva, imperfetta''”.''</small></p>
+
<div style="margin: 0 auto; width: 400px;"><p>'''''Terza guardia alta, offensiva,''' imperfetta''; formed from the ''rovescio ascendente'', from which originates a ''mandritto descendente'', either full or half. </p>
 +
{{paget|Page:Cod.10723|100r|jpg}}
 +
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|163|lbl=69v}}
 +
</div>
 +
| class="noline" | <p><small>''Third guard, called “''guardia alta offensiva imperfetta''”.''</small></p>
  
<p>ROD: It is called “''larga''”, in consequence of the point of the sword being distanced from the enemy in such fashion that it does not target his body in any place. It is called “''difensiva''” from being posted on the left side, from whence all the defensive guards take form, as I told you; and it is “''imperfetta''” because it produces a cut yielding a ''rovescio tondo''. </p>
+
<p>ROD: Willingly; do the ''rovescio'' from low to high in drawing forth your sword so that it goes so high that the point of the sword looks to the sky, and that your wrist makes a half turn, in such fashion that the true edge faces up toward the sky, and the false, together with the point of your sword, faces toward the right side of your body over your right shoulder, and the pommel of your sword faces me, making all of those turns of the body, the hand, and the feet, of which I taught you in the other guard. This will be our third guard, called “''guardia alta, offensiva, imperfetta''”. </p>
|  
+
| class="noline" | <p><br/></p>
|  
 
  
|-
+
{{section|Page:Cod.10723 99v.jpg|9|lbl=99v.9}}
|  
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/162|f1|lbl=-}}
| <p><small>''The fourth guard takes form from the ''punta sopramano offensiva.</small></p>
 
  
<p>CON: This guard takes form then from that ''punta sopramano offensiva''. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/162|2|lbl=69r.2}}
|  
 
|  
 
  
 
|-  
 
|-  
| rowspan="4" style="text-align: center" | [[File:Lo Schermo (Angelo Viggiani) 72v detail.jpg|400px|center]]
+
| <p><small>''The third guard gives rise to a ''mandritto discendente.</small></p>
  
<p>'''''Quinta guardia stretta,''' difensiva, perfetta'', formed from the ''meza punta sopramano, offensiva'', from which originates a ''mezo rovescio tondo''. </p>
+
<p>You see how I do it? And how I pull this ''rovescio'' up high, and how as the ''rovescio'' travels I make a half turn with my wrist; look how the point of the sword together with the false edge faces behind me. This guard does not give rise to a thrust, but rather a ''mandritto'' to your upper body, if I allow it to fall. </p>
| <p>ROD: That it does, and that thrust is a perfect blow, sticking it as far as you can reach with your arm. If you find yourself, then, ''conte'', in the ''guardia alta offensiva perfetta'' (also with the right foot forward) and from here throwing an ''imbroccata sopramano offensiva'', and</p>
+
| <p><br/></p>
  
<p><small>''How one must do the fifth guard.''</small></p>
+
{{section|Page:Cod.10723 99v.jpg|10|lbl=99v.10|p=1}} {{section|Page:Cod.10723 100v.jpg|1|lbl=100v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|1|lbl=70r.1}}
 +
 
 +
|-
 +
| <p>CON: Let me do it a bit; would that be all right? </p>
 +
| {{section|Page:Cod.10723 100v.jpg|2|lbl=100v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|2|lbl=70r.2}}
  
<p>making those same turns of the body, of the hands, and of the feet (except for the turning of the true edge toward your left side, as I taught you), do not pass your sword hand past yourself nor cross your right knee, and make the point aim at my chest; this will be the fifth guard, which we call “''guardia stretta, difensiva, perfetta''”. </p>
+
|-
| {{section|Page:MS Cod.Vindob.10723 103r.jpg|1|lbl=103r.1}}
+
| <p>ROD: Raise your arm then as high as you can. </p>
|  
+
| {{section|Page:Cod.10723 100v.jpg|3|lbl=100v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|3|lbl=70r.3}}
  
 
|-  
 
|-  
| <p>CON: Do it, Rodomonte. </p>
+
| <p>CON: And if you had been in the way beneath me? </p>
| {{section|Page:MS Cod.Vindob.10723 103r.jpg|2|lbl=103r.2}}
+
| {{section|Page:Cod.10723 100v.jpg|4|lbl=100v.4}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|4|lbl=70r.4}}
  
 
|-  
 
|-  
| <p>ROD: Behold it; you see that my hand does not pass my right knee, and how the point is aimed at your chest? </p>
+
| <p>ROD: Let the blow fall, and you would have contacted me forcefully in the head, if I had not otherwise made a defense. </p>
| {{section|Page:MS Cod.Vindob.10723 103r.jpg|3|lbl=103r.3}}
+
| {{section|Page:Cod.10723 100v.jpg|5|lbl=100v.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|5|lbl=70r.5}}
  
 
|-  
 
|-  
| <p>CON: Why do you name it thus? </p>
+
| <p>CON: Why is it called “''imperfetta''”? </p>
| {{section|Page:MS Cod.Vindob.10723 103r.jpg|4|lbl=103r.4}}
+
| {{section|Page:Cod.10723 100v.jpg|6|lbl=100v.6}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|1|lbl=73r.1}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|6|lbl=70r.6}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Why the fifth guard is called “stretta, difensiva perfetta”.''</small></p>
+
| <p><small>''Why the third guard is called “''imperfetta''” and “''offensiva''”.''</small></p>
  
<p>ROD: I call it “''stretta''” on account of the sword being close to the enemy; and he cannot be an assailant without great contest, in respect of the point, which is aimed at the enemy’s chest, and your left side finds itself again distant from him, such that it cannot be offended, it still being the more mortal. </p>
+
<p>ROD: Because it does not give rise to a thrust, but only a cut, and therefore is of less offense, and I will avoid it more easily. </p>
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:MS Cod.Vindob.10723 103r.jpg|5|lbl=103r.5}}
+
{{section|Page:Cod.10723 100v.jpg|7|lbl=100v.7}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|12|lbl=-}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|f2|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|2|lbl=73r.2}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|7|lbl=70r.7}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>BOC: Finding the right side forward, which appears to have the duty of defense, and the sword hand advanced, it is found to be as much for defending oneself as offending others; I believe that in this guard the ''conte'' and anyone else will be defended more easily and with less fatigue than in any other guard in which they place themselves. </p>
+
| <p>CON: “''offensiva''”, because it originates from the right side, correct? </p>
|  
+
| {{section|Page:Cod.10723 100v.jpg|8|lbl=100v.8}}
{{section|Page:MS Cod.Vindob.10723 103r.jpg|6|lbl=103r.6|p=1}} {{section|Page:MS Cod.Vindob.10723 103ar.jpg|1|lbl=103ar.1|p=1}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|8|lbl=70r.8}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|3|lbl=73r.3}}
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Why is it called “''perfetta''”? </p>
+
| <p>ROD: Yes Sir, and “''imperfetta''”, as such a blow offends imperfectly, as I have said, and also because when you want to deliver a blow from high to low, your right side would be uncovered to my eye, and thus you could be stuck in the body with this thrust; and I might find myself with my sword advanced and could easily defend myself. </p>
| {{section|Page:MS Cod.Vindob.10723 103ar.jpg|2|lbl=103ar.2}}
+
|  
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|4|lbl=73r.4}}
+
{{section|Page:Cod.10723 100v.jpg|9|lbl=100v.9|p=1}} {{section|Page:Cod.10723 101r.jpg|1|lbl=101r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|9|lbl=70r.9}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Oh, didn’t I tell you that you need to turn the point of your sword toward my chest? Look, because it engenders the thrust, one calls it “''perfetta''”; but if indeed it principally engenders the thrust, nonetheless from it is easily born the ''mezo rovescio tondo'', with which we will be able to serve ourselves as well in our ''schermo''. </p>
+
|  
| {{section|Page:MS Cod.Vindob.10723 103ar.jpg|3|lbl=103ar.3}}
+
| {{section|Page:Cod.10723 101r.jpg|2|lbl=101r.2}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|5|lbl=73r.5}}
+
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: And “''difensiva''”? </p>
+
| <p>BOC: And then, although it happens that the blow falls from high to low with a great onslaught, it does not always kill, because the bones of the skull are extremely strong and doubled in some places; in addition if you contact some other place, such as the shoulder, there are other very hard bones; and sometimes they are armored with good arms of defense, which abate the fury of the cut, but not the thrust. </p>
| {{section|Page:MS Cod.Vindob.10723 103ar.jpg|4|lbl=103ar.4}}
+
| {{section|Page:Cod.10723 101r.jpg|3|lbl=101r.3}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|6|lbl=73r.6}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|10|lbl=70r.10}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Don’t you see whether this thrust would originate from the left side, and that it would be a ''punta rovescia ascendente''? </p>
+
| <p>ROD: This is a good and natural argument. </p>
| {{section|Page:MS Cod.Vindob.10723 103ar.jpg|5|lbl=103ar.5}}
+
| {{section|Page:Cod.10723 101r.jpg|4|lbl=101r.4}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|7|lbl=73r.7}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|11|lbl=70r.11}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Praise of the ''S.'' Giovanni de Medici, and of the ''Sig. Conte'' Guido Rangone.''</small></p>
+
| <p>CON: Up to this point we have the third guard, called “''alta offensiva, imperfetta''”; now let’s come to the fourth. </p>
 +
| {{section|Page:Cod.10723 101r.jpg|5|lbl=101r.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|12|lbl=70r.12}}
 +
 
 +
|-
 +
| rowspan="11" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 71v detail.jpg|400px|center]]
 +
<div style="margin: 0 auto; width: 400px;"><p>'''''Quarta guardia larga, difensiva,''' imperfetta''; formed from the full ''punta sopramano'', and from which originates the ''rovescio ritondo''.</p>
 +
{{paget|Page:Cod.10723|101v|jpg}}
 +
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|167|lbl=71v}}
 +
</div>
 +
| rowspan="3" | <p><small>''How one must reset and move the body in order to make the fourth guard.''</small></p>
  
<p>CON: It is true; this seems to me the finest guard among the defensive, and this (if I recall correctly) was much used by the ''Signor'' Giovanni de Medici and the ''Signor conte'' Guido Rangone, rare men, and excellent in the wielding of arms. </p>
+
<p>ROD: Reset yourself in ''guardia alta offensiva, perfetta'', and fix all of your weight firmly on your left foot, body elevated, so that the right one may be more agile, and likewise all your right leg, in order to be able to pass forward, and come toward me. </p>
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:MS Cod.Vindob.10723 103ar.jpg|6|lbl=103ar.6}}
+
{{section|Page:Cod.10723 101r.jpg|6|lbl=101r.6}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|13|lbl=-}}
+
| class="noline" |
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|f3|lbl=-|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|f1|lbl=-|p=1}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|8|lbl=73r.8}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/164|13|lbl=70r.13|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|1|lbl=70v.1|p=1}}
  
 
|-  
 
|-  
| rowspan="5" | [[File:Cod. 10723 104r detail.png|400px|center]]
+
| {{section|Page:Cod.10723 101r.jpg|7|lbl=101r.7}}
| rowspan="5" | <p><small>''From the ''guardia alta, offensiva, imperfetta'' originates a full ''mandritto, offensivo, imperfetto.</small></p>
+
| class="noline" |  
  
<p>ROD: You speak the truth; I have seen it used by the ''Signor conte'' Guido, a man not very tall of body (although towering in valor), and chiefly with the unaccompanied sword. Now when you are in the ''guardia alta, offensiva, imperfetta'', such that the point of your sword points to the right (still with the right foot forward), you can make a ''mandritto'' thus, that descends down to the ground, and do all those turns of the body, of the hands, and of the feet, that I told to you in the ''punta sopramano, offensiva, perfetta''; and this ''mandritto'' will be a full blow, and a full, offensive, imperfect ''tempo''. </p>
+
|-
| <p><br/><br/></p>
+
| {{section|Page:Cod.10723 101r.jpg|8|lbl=101r.8}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|2|lbl=70v.2}}
  
{{section|Page:MS Cod.Vindob.10723 103ar.jpg|7|lbl=103ar.7}}
+
|-
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|14|lbl=-}}
+
| <p>CON: I cannot, if I don’t support part on the right leg as well.</p>
 +
| {{section|Page:Cod.10723 101r.jpg|9|lbl=101r.9}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|3|lbl=70v.3}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|9|lbl=73r.9}}
+
|-
 +
| <p>ROD: You won’t do anything, because if your right leg is weighed down, you can’t come forward to me with the side that holds your offensive arms. But if you find yourself with your right foot unencumbered, you can pass forward with a big step in this fashion. </p>
 +
|
 +
{{section|Page:Cod.10723 101r.jpg|10|lbl=101r.10|p=1}} {{section|Page:Cod.10723 102r.jpg|1|lbl=102r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|4|lbl=70v.4}}
  
 
|-  
 
|-  
| {{section|Page:MS Cod.Vindob.10723 103ar.jpg|8|lbl=103ar.8}}
+
| <p>CON: Now watch whether I satisfy you. </p>
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|10|lbl=73r.10}}
+
| {{section|Page:Cod.10723 102r.jpg|2|lbl=102r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|5|lbl=70v.5}}
  
 
|-  
 
|-  
| {{section|Page:MS Cod.Vindob.10723 103ar.jpg|9|lbl=103ar.9}}
+
|
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|11|lbl=73r.11}}
+
| {{section|Page:Cod.10723 102r.jpg|3|lbl=102r.3}}
 +
|  
  
 
|-  
 
|-  
| {{section|Page:MS Cod.Vindob.10723 103ar.jpg|10|lbl=103ar.10}}
+
|
| class="noline" |  
+
| {{section|Page:Cod.10723 102r.jpg|4|lbl=102r.4}}
 +
|  
  
 
|-  
 
|-  
 
|  
 
|  
{{section|Page:MS Cod.Vindob.10723 103ar.jpg|11|lbl=103ar.11|p=1}} {{section|Page:MS Cod.Vindob.10723 103av.jpg|1|lbl=103av.1|p=1}}
+
| {{section|Page:Cod.10723 102r.jpg|5|lbl=102r.5}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|1|lbl=73v.1}}
+
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Why “full”? </p>
+
| {{section|Page:Cod.10723 102r.jpg|6|lbl=102r.6}}
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|2|lbl=103av.2}}
+
|  
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|2|lbl=73v.2}}
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Why the mandritto is called “full, ''offensiva, imperfetta''”.''</small></p>
+
| {{section|Page:Cod.10723 102r.jpg|7|lbl=102r.7}}
 +
|
  
<p>ROD: Because it originates from on high, to finish low to the ground; and “''offensiva''” because it originates from the right side, from whence originate all the offenses. </p>
+
|-
| <p><br/></p>
+
|  
 
+
|
{{section|Page:MS Cod.Vindob.10723 103av.jpg|3|lbl=103av.3}}
+
| {{section|Page:Cod.10723 102r.jpg|8|lbl=102r.8}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|13|lbl=-}}
+
|  
 
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|3|lbl=73v.3}}
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: “''Imperfetta''”, then, through being the delivery of a cut, and not a thrust. </p>
+
|  
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|4|lbl=103av.4}}
+
| {{section|Page:Cod.10723 102r.jpg|9|lbl=102r.9}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|4|lbl=73v.4}}
+
|  
  
 
|-  
 
|-  
 
|  
 
|  
 
|  
 
|  
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|5|lbl=103av.5}}
+
| {{section|Page:Cod.10723 102r.jpg|10|lbl=102r.10}}
 
|  
 
|  
  
Line 2,526: Line 2,605:
 
|  
 
|  
 
|  
 
|  
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|6|lbl=103av.6}}
+
| {{section|Page:Cod.10723 102r.jpg|11|lbl=102r.11}}
 
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
 
|  
 
|  
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|7|lbl=103av.7}}
+
| {{section|Page:Cod.10723 102r.jpg|12|lbl=102r.12}}
 
|  
 
|  
  
 +
|-
 +
| rowspan="3" |
 +
| rowspan="3" | <p>ROD: Excellent; now fix yourself in that pose, and take the big step, and make your right shoulder drive your arm as far forward as you can, and with your sword hand direct the aim of your point at my breast without making any turn of your hand, until it comes forward as far as it can come, and then, turn there the true edge of the sword toward the left side, and from here you descend finally to the ground, and it is necessary that you make a half turn with your body at the same time that the blow is traveling, so that your right shoulder is somewhat lower than your left, and that it faces my chest; and the right foot trailing behind somewhat, bring yourself to rest again in good stride, and settle your feet, which are on the diagonal, and bend your knees a bit, and cause your sword hand to be located halfway between your knees, and your left arm to lower from high to low during that ''tempo'' in which the point will travel, and it will go back and by the outside with the left leg somewhat extended. Do you see how I do it? And how I lower myself down to the ground? </p>
 +
|
 +
{{section|Page:Cod.10723 102r.jpg|13|lbl=102r.13|p=1}} {{section|Page:Cod.10723 102v.jpg|1|lbl=102v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|6|lbl=70v.6}}
  
 
|-  
 
|-  
|
+
| {{section|Page:Cod.10723 102v.jpg|2|lbl=102v.2}}
|
 
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|8|lbl=103av.8}}
 
 
|  
 
|  
  
 +
|-
 +
| {{section|Page:Cod.10723 102v.jpg|3|lbl=102v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|7|lbl=70v.7}}
  
 
|-  
 
|-  
 +
| rowspan="3" |
 +
| rowspan="3" | <p>CON: I see it, and I believe that in the space of a year I would still never give to it the beautiful agility, and such elegance of body as you do, Rodomonte; but continue on, as it will take me more time to practice it. </p>
 +
| {{section|Page:Cod.10723 102v.jpg|4|lbl=102v.4}}
 
|  
 
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|8|lbl=70v.8}}
 +
 +
|-
 +
| {{section|Page:Cod.10723 102v.jpg|5|lbl=102v.5}}
 
|  
 
|  
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|9|lbl=103av.9}}
+
 
 +
|-
 +
| {{section|Page:Cod.10723 102v.jpg|6|lbl=102v.6}}
 
|  
 
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/165|9|lbl=70v.9|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/166|1|lbl=71r.1|p=1}}
  
 +
|-
 +
|
 +
| <p>ROD: This is “''guardia larga, difensiva, imperfetta''”. </p>
 +
| {{section|Page:Cod.10723 102v.jpg|7|lbl=102v.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/166|2|lbl=71r.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: You speak the truth; behold you, ''conte'', that the said full blow will have formed the ''guardia larga difensiva''. </p>
+
| <p>CON: For what reason is it called “''guardia larga''”? </p>
| {{section|Page:MS Cod.Vindob.10723 103av.jpg|10|lbl=103av.10}}
+
| {{section|Page:Cod.10723 102v.jpg|8|lbl=102v.8}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|5|lbl=73v.5}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|1|lbl=72r.1}}
  
 
|-  
 
|-  
| rowspan="8" style="text-align: center;" | [[File:Cod. 10723 105r detail.png|400px|center]]
+
|  
 +
| <p><small>''Why the fourth guard is called “''larga difensiva, imperfetta''”.''</small></p>
  
 +
<p>ROD: It is called “''larga''”, in consequence of the point of the sword being distanced from the enemy in such fashion that it does not target his body in any place. It is called “''difensiva''” from being posted on the left side, from whence all the defensive guards take form, as I told you; and it is “''imperfetta''” because it produces a cut yielding a ''rovescio tondo''. </p>
 +
| <p><br/></p>
  
| <p><small>''From ''guardia alta offensiva imperfetta'' can originate a ''mezo mandritto offensivo, imperfetto.</small></p>
+
{{section|Page:Cod.10723 102v.jpg|9|lbl=102v.9}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|f1|lbl=-}}
  
<p>CON: And if in this same ''guardia alta, offensiva, imperfetta'', I delivered a ''mezo mandritto'', which did not reach the ground, but that stopped halfway through its path, not passing myself at the knee in this way, with all the aforesaid turns of the body, the hand, and the feet, ending with the sword held firm; tell me then what blow would that be? </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|2|lbl=72r.2}}
| <p><br/><br/></p>
 
 
 
{{section|Page:MS Cod.Vindob.10723 103av.jpg|11|lbl=103av.11|p=1}} {{section|Page:MS Cod.Vindob.10723 104v.jpg|1|lbl=104v.1|p=1}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|14|lbl=-}}
 
 
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|6|lbl=73v.6}}
 
  
 
|-  
 
|-  
| rowspan="7" | <p><small>''Why it is called a ''mezo mandritto offensivo, imperfetto.</small></p>
+
|  
 +
| <p><small>''The fourth guard takes form from the ''punta sopramano offensiva.</small></p>
  
<p>ROD: It would be a ''mezo mandritto, offensivo, imperfetto''; it would be offensive, falling from the right side; imperfect, being a cut and not a thrust; and this ''mezo mandritto'' places you in the ''guardia stretta, difensiva, perfetta'', you see? </p>
+
<p>CON: This guard takes form then from that ''punta sopramano offensiva''. </p>
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:MS Cod.Vindob.10723 104v.jpg|2|lbl=104v.2}}
+
{{section|Page:Cod.10723 102v.jpg|10|lbl=102v.10}}
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|15|lbl=-}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|f2|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|7|lbl=73v.7}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|3|lbl=72r.3}}
  
 
|-  
 
|-  
| {{section|Page:MS Cod.Vindob.10723 104v.jpg|3|lbl=104v.3}}
+
| rowspan="5" style="text-align: center" | [[File:Lo Schermo (Angelo Viggiani) 72v detail.jpg|400px|center]]
| class="noline" |
+
<div style="margin: 0 auto; width: 400px;"><p>'''''Quinta guardia stretta,''' difensiva, perfetta'', formed from the ''meza punta sopramano, offensiva'', from which originates a ''mezo rovescio tondo''. </p>
 +
{{paget|Page:Cod.10723|103v|jpg}}
 +
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|169|lbl=72v}}
 +
</div>
 +
| <p><small>''How one must do the fifth guard.''</small></p>
  
|-
+
<p>ROD: That it does, and that thrust is a perfect blow, sticking it as far as you can reach with your arm. If you find yourself, then, ''conte'', in the ''guardia alta offensiva perfetta'' (also with the right foot forward) and from here throwing an ''imbroccata sopramano offensiva'', and making those same turns of the body, of the hands, and of the feet (except for the turning of the true edge toward your left side, as I taught you), do not pass your sword hand past yourself nor cross your right knee, and make the point aim at my chest; this will be the fifth guard, which we call “''guardia stretta, difensiva, perfetta''”. </p>
| {{section|Page:MS Cod.Vindob.10723 104v.jpg|4|lbl=104v.4}}
+
| <p><br/></p>
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|8|lbl=73v.8}}
 
  
|-
+
{{section|Page:Cod.10723 102v.jpg|11|lbl=102v.11|p=1}} {{section|Page:Cod.10723 103r.jpg|1|lbl=103r.1|p=1}}
| {{section|Page:MS Cod.Vindob.10723 104v.jpg|5|lbl=104v.5}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|f3|lbl=-}}
| class="noline" |
 
  
|-
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|4|lbl=72r.4}}
| {{section|Page:MS Cod.Vindob.10723 104v.jpg|6|lbl=104v.6}}
 
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|9|lbl=73v.9}}
 
  
 
|-  
 
|-  
| {{section|Page:MS Cod.Vindob.10723 104v.jpg|7|lbl=104v.7}}
+
| <p>CON: Do it, Rodomonte. </p>
| class="noline" |
+
| {{section|Page:Cod.10723 103r.jpg|2|lbl=103r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|5|lbl=72r.5}}
  
 
|-  
 
|-  
| {{section|Page:MS Cod.Vindob.10723 104v.jpg|8|lbl=104v.8}}
+
| <p>ROD: Behold it; you see that my hand does not pass my right knee, and how the point is aimed at your chest? </p>
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|10|lbl=73v.10}}
+
| {{section|Page:Cod.10723 103r.jpg|3|lbl=103r.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/168|6|lbl=72r.6}}
  
 
|-  
 
|-  
|
+
| <p>CON: Why do you name it thus? </p>
| <p>CON: I’m watching. </p>
+
| {{section|Page:Cod.10723 103r.jpg|4|lbl=103r.4}}
| {{section|Page:MS Cod.Vindob.10723 104v.jpg|9|lbl=104v.9}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|1|lbl=73r.1}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|11|lbl=73v.11}}
 
  
 
|-  
 
|-  
| rowspan="3" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 74v detail.jpg|400px|center]]
+
| <p><small>''Why the fifth guard is called “stretta, difensiva perfetta”.''</small></p>
  
<p>'''''Sesta guardia larga, offensiva,''' imperfetta''; formed from the full ''rovescio difensivo''; from which originates the resetting into ''guardia alta, offensiva, perfetta''. </p>
+
<p>ROD: I call it “''stretta''” on account of the sword being close to the enemy; and he cannot be an assailant without great contest, in respect of the point, which is aimed at the enemy’s chest, and your left side finds itself again distant from him, such that it cannot be offended, it still being the more mortal. </p>
| <p><small>''How one must do the sixth guard, called “''larga offensiva imperfetta''”.''</small></p>
 
 
 
<p>ROD: Now let’s step ahead a little, ''conte''; if you found yourself in one of those two described defensive guards, either ''stretta'' or ''larga'', still with the right foot forward, and you wanted to do a ''rovescio'', you would be forced to turn your right hand in order to rotate the true edge toward your right side; where the point of your sword will turn toward the rear by the outside of your left side, and from low, rise to high finally to your left shoulder, and from here fall from high to low through the right side, finishing at the ground; in that same ''tempo'' make your body do a half turn and yet make your left shoulder be somewhat advanced, and higher than the right, and your left arm follow the right, and the left leg cause its foot to turn a little to the outside of the left side, the heel a bit raised from the ground; so that the sword hand finds itself outside the right leg, and back a half of a braccio<ref> A braccio is a unit of length of approximately 60 centimeters. The specified distance is therefore about 30 cm, or one foot.</ref> and a bit distant from the thigh; I say that this ''rovescio'' will be a full, and a defensive blow: “full”, you see; “defensive”, because the ''rovescio'' is a defensive blow, originating from the left side. And this blow creates for you a sixth guard, called by us “''guardia larga, offensiva, imperfetta''”. </p>
 
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:MS Cod.Vindob.10723 104v.jpg|10|lbl=104v.10|p=1}} {{section|Page:MS Cod.Vindob.10723 105v.jpg|1|lbl=105v.1|p=1}}
+
{{section|Page:Cod.10723 103r.jpg|5|lbl=103r.5}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|16|lbl=-}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|12|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|12|lbl=73v.12|p=1}} {{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|172|lbl=74r|p=1}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|2|lbl=73r.2}}
 
 
|-
 
| <p>CON: Why “''larga''”? </p>
 
| {{section|Page:MS Cod.Vindob.10723 105v.jpg|2|lbl=105v.2}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|1|lbl=75r.1}}
 
 
 
|-
 
| <p><small>''Why the sixth guard is called “''larga, offensiva''”.''</small></p>
 
 
 
<p>ROD: For the same reason that we called our fourth guard “''larga''”; “''offensiva''”, for being on the right side. </p>
 
| <p><br/></p>
 
 
 
{{section|Page:MS Cod.Vindob.10723 105v.jpg|3|lbl=105v.3}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|5|lbl=-}}
 
 
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|2|lbl=75r.2}}
 
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>BOC: Finding the right side forward, which appears to have the duty of defense, and the sword hand advanced, it is found to be as much for defending oneself as offending others; I believe that in this guard the ''conte'' and anyone else will be defended more easily and with less fatigue than in any other guard in which they place themselves. </p>
 
|  
 
|  
| {{section|Page:MS Cod.Vindob.10723 105v.jpg|4|lbl=105v.4}}
+
{{section|Page:Cod.10723 103r.jpg|6|lbl=103r.6|p=1}} {{section|Page:Cod.10723 103ar.jpg|1|lbl=103ar.1|p=1}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|3|lbl=73r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>CON: Why is it called “''perfetta''”? </p>
| {{section|Page:MS Cod.Vindob.10723 105v.jpg|5|lbl=105v.5}}
+
| {{section|Page:Cod.10723 103ar.jpg|2|lbl=103ar.2}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|4|lbl=73r.4}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>ROD: Oh, didn’t I tell you that you need to turn the point of your sword toward my chest? Look, because it engenders the thrust, one calls it “''perfetta''”; but if indeed it principally engenders the thrust, nonetheless from it is easily born the ''mezo rovescio tondo'', with which we will be able to serve ourselves as well in our ''schermo''. </p>
| {{section|Page:MS Cod.Vindob.10723 105v.jpg|6|lbl=105v.6}}
+
| {{section|Page:Cod.10723 103ar.jpg|3|lbl=103ar.3}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|5|lbl=73r.5}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>CON: And “''difensiva''”? </p>
| {{section|Page:MS Cod.Vindob.10723 105v.jpg|7|lbl=105v.7}}
+
| {{section|Page:Cod.10723 103ar.jpg|4|lbl=103ar.4}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|6|lbl=73r.6}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>ROD: Don’t you see whether this thrust would originate from the left side, and that it would be a ''punta rovescia ascendente''? </p>
|  
+
| {{section|Page:Cod.10723 103ar.jpg|5|lbl=103ar.5}}
{{section|Page:MS Cod.Vindob.10723 105v.jpg|8|lbl=105v.8|p=1}} {{section|Page:MS Cod.Vindob.10723 106v.jpg|1|lbl=106v.1|p=1}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|7|lbl=73r.7}}
|
 
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p><small>''Praise of the ''S.'' Giovanni de Medici, and of the ''Sig. Conte'' Guido Rangone.''</small></p>
| {{section|Page:MS Cod.Vindob.10723 106v.jpg|2|lbl=106v.2}}
 
|
 
  
|-
+
<p>CON: It is true; this seems to me the finest guard among the defensive, and this (if I recall correctly) was much used by the ''Signor'' Giovanni de Medici and the ''Signor conte'' Guido Rangone, rare men, and excellent in the wielding of arms. </p>
|  
+
| <p><br/></p>
|
+
 
| {{section|Page:MS Cod.Vindob.10723 106v.jpg|3|lbl=106v.3}}
+
{{section|Page:Cod.10723 103ar.jpg|6|lbl=103ar.6}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|13|lbl=-}}
  
|-
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|8|lbl=73r.8}}
|
 
| <p>CON: Very well, on to the seventh guard. </p>
 
| {{section|Page:MS Cod.Vindob.10723 106v.jpg|4|lbl=106v.4}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|3|lbl=75r.3}}
 
  
 
|-  
 
|-  
| rowspan="4" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 75v detail.jpg|400px|center]]
+
| rowspan="5" style="text-align: center;" | [[File:Cod. 10723 104r detail.png|400px|center]]
 +
<div style="margin: 0 auto; width: 400px;">{{paget|Page:Cod.10723|104r|jpg}}</div>
 +
| rowspan="5" | <p><small>''From the ''guardia alta, offensiva, imperfetta'' originates a full ''mandritto, offensivo, imperfetto.</small></p>
  
<p>'''''Settima guardia stretta, offensiva,''' perfetta'', formed from the ''mezo rovescio difensivo'', from which one will be able to reset into ''guardia alta, offensiva, perfetta''. </p>
+
<p>ROD: You speak the truth; I have seen it used by the ''Signor conte'' Guido, a man not very tall of body (although towering in valor), and chiefly with the unaccompanied sword. Now when you are in the ''guardia alta, offensiva, imperfetta'', such that the point of your sword points to the right (still with the right foot forward), you can make a ''mandritto'' thus, that descends down to the ground, and do all those turns of the body, of the hands, and of the feet, that I told to you in the ''punta sopramano, offensiva, perfetta''; and this ''mandritto'' will be a full blow, and a full, offensive, imperfect ''tempo''. </p>
| <p><small>''How one must do the seventh guard, named “''stretta offensiva, perfetta''”.''</small></p>
+
| <p><br/><br/></p>
  
<p>ROD: Wishing, ''conte'', from some defensive guard, either ''stretta'' or ''larga'', to make the same ''rovescio'' with all of those turns (still with the right foot forward) of the body, the hands, and the feet, as you know; it will be necessary for your sword hand in descending to not pass lower than your knee, but that you stop it outside and a span forward thereof, and that the point of your sword aim toward my chest (you see how I do it?) and this blow will be a ''mezo rovescio'', not having made other than half the path of an entire ''rovescio'', and it will frame you in a ''guardia stretta, offensiva'', which will be our seventh. </p>
+
{{section|Page:Cod.10723 103ar.jpg|7|lbl=103ar.7}}
| <p><br/></p>
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|14|lbl=-}}
  
{{section|Page:MS Cod.Vindob.10723 106v.jpg|5|lbl=106v.5}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|9|lbl=73r.9}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|6|lbl=-}}
 
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|4|lbl=75r.4}}
+
|-
 +
| {{section|Page:Cod.10723 103ar.jpg|8|lbl=103ar.8}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|10|lbl=73r.10}}
  
 
|-  
 
|-  
| <p>CON: Why “''stretta''”? </p>
+
| {{section|Page:Cod.10723 103ar.jpg|9|lbl=103ar.9}}
| {{section|Page:MS Cod.Vindob.10723 106v.jpg|6|lbl=106v.6}}
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/170|11|lbl=73r.11}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|1|lbl=76r.1}}
 
  
 
|-  
 
|-  
| <p><small>''Why the seventh guard is called “''stretta, offensiva''”.''</small></p>
+
| {{section|Page:Cod.10723 103ar.jpg|10|lbl=103ar.10}}
 +
| class="noline" |
  
<p>ROD: Don’t you see whether the sword is hindered in the way it is advanced toward the enemy, that to offend him it is very close? “''offensiva''” it is, then, through being on the right side, from whence (as I have told you many times) are born all the offensive guards and blows. </p>
+
|-
| <p><br/></p>
+
|
 +
{{section|Page:Cod.10723 103ar.jpg|11|lbl=103ar.11|p=1}} {{section|Page:Cod.10723 103av.jpg|1|lbl=103av.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|1|lbl=73v.1}}
  
{{section|Page:MS Cod.Vindob.10723 106v.jpg|7|lbl=106v.7}}
+
|-
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|6|lbl=-}}
+
|
 
+
| <p>CON: Why “full”? </p>
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|2|lbl=76r.2}}
+
| {{section|Page:Cod.10723 103av.jpg|2|lbl=103av.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|2|lbl=73v.2}}
  
 
|-  
 
|-  
| <p><small>''Praise of the Most Excellent ''S.'' Francesco Maria, ''Duca'' d’Urbino.''</small></p>
+
|
 +
| <p><small>''Why the mandritto is called “full, ''offensiva, imperfetta''.''</small></p>
  
<p>CON: The Most Excellent Francesco Maria, ''Duca'' di Urbino, of his age a man of valor, knowledge, and prudence (according to a few), praised beyond measure this final guard of yours, and placed it before nearly all others. But let’s return all over again, please, Illustrious Rodomonte, and do these seven guards, as an epilogue, telling along with them the origin of each one. </p>
+
<p>ROD: Because it originates from on high, to finish low to the ground; and “''offensiva''” because it originates from the right side, from whence originate all the offenses. </p>
 
| <p><br/></p>
 
| <p><br/></p>
  
{{section|Page:MS Cod.Vindob.10723 106v.jpg|8|lbl=106v.8|p=1}} {{section|Page:MS Cod.Vindob.10723 107v.jpg|1|lbl=107v.1|p=1}}
+
{{section|Page:Cod.10723 103av.jpg|3|lbl=103av.3}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|7|lbl=-}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|13|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|3|lbl=76r.3}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|3|lbl=73v.3}}
  
 
|-  
 
|-  
| rowspan="3" |  
+
|  
| rowspan="3" | <p><small>''Epilogue of the seven guards with proper names.''</small></p>
+
| <p>CON: “''Imperfetta''”, then, through being the delivery of a cut, and not a thrust. </p>
 
+
| {{section|Page:Cod.10723 103av.jpg|4|lbl=103av.4}}
<p>ROD: I am happy to do this, and every other thing for you, ''conte''. The first guard is “''difensiva, imperfetta''”, generated from girding the sword at the hip, and it is a ''tempo'', or motion, defensive and imperfect. The second is “''guardia alta, offensiva, perfetta''”, made from the ''rovescio'', which is done in the drawing forth of the sword to on high, a full, defensive blow. The third is “''guardia alta, offensiva, imperfetta''”, made from the same full ''rovescio''. The fourth is called “''guardia difensiva, imperfetta, larga''”, born from the full ''punta sopramano perfetta'', or alternately from the ''mandritto sopramano'', descendent down to the ground, and full. The fifth is called “''guardia difensiva, perfetta, stretta''”, formed from the incomplete ''punta sopramano'', or alternately from the ''mezo mandritto sopramano'', descendent down only as far as the right knee. The sixth is called “''guardia offensiva''”,<ref> This is, of course, in full, “''guardia larga, offensiva, imperfetta''”.</ref> born from the second full ''rovescio difensivo''. The seventh and last is called “''guardia offensiva stretta, perfetta''”, formed from the ''mezo rovescio difensivo''. Behold each in order, according to how we have done them. You see now, ''conte'', how each blow, or motion lies in between two guards, or rests, and each guard in between two blows? </p>
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|4|lbl=73v.4}}
| <p><br/></p>
 
 
 
{{section|Page:MS Cod.Vindob.10723 107v.jpg|2|lbl=107v.2}}
 
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|8|lbl=-}}
 
 
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|4|lbl=76r.4}}
 
  
 
|-  
 
|-  
| {{section|Page:MS Cod.Vindob.10723 107v.jpg|3|lbl=107v.3}}
+
|
| class="noline" |  
+
|
 +
| {{section|Page:Cod.10723 103av.jpg|5|lbl=103av.5}}
 +
|  
  
 
|-  
 
|-  
 
|  
 
|  
{{section|Page:MS Cod.Vindob.10723 107v.jpg|4|lbl=107v.4|p=1}} {{section|Page:MS Cod.Vindob.10723 108r.jpg|1|lbl=108r.1|p=1}}
 
 
|  
 
|  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|5|lbl=76r.5|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|1|lbl=76v.1|p=1}}
+
| {{section|Page:Cod.10723 103av.jpg|6|lbl=103av.6}}
 +
|  
 +
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: I observe it plainly. </p>
+
|  
| {{section|Page:MS Cod.Vindob.10723 108r.jpg|2|lbl=108r.2}}
+
| {{section|Page:Cod.10723 103av.jpg|7|lbl=103av.7}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|2|lbl=76v.2}}
+
|  
 +
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p><br/></p>
+
|  
 
+
| {{section|Page:Cod.10723 103av.jpg|8|lbl=103av.8}}
<p>BOC: It could additionally be said that each action is between two potentialities, and each potentiality is between two actions, because the strike, while it is being a guard, is not yet an action, it is a potentiality; then, once the blow is actually thrown, it is an action. </p>
+
|  
| <p><br/></p>
 
  
{{section|Page:MS Cod.Vindob.10723 108r.jpg|3|lbl=108r.3}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|9|lbl=-}}
 
 
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|3|lbl=76v.3}}
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: You speak most excellently, ''Dottore'', that the guard is nothing else than the potential of a blow; and each particular potentiality refers to its own particular action; thus the particular guard corresponds to its own particular blow. </p>
 
| {{section|Page:MS Cod.Vindob.10723 108r.jpg|4|lbl=108r.4}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|4|lbl=76v.4}}
 
 
|-
 
 
|  
 
|  
| <p>CON: You would do for me a gracious thing, Rodomonte, if you would put these guards of yours in the form of a Tree, and divide them, as you did in the manner of the strikes, by which I retained them with more facility, and you put them in their places with more order. </p>
+
| {{section|Page:Cod.10723 103av.jpg|9|lbl=103av.9}}
 
|  
 
|  
{{section|Page:MS Cod.Vindob.10723 108r.jpg|5|lbl=108r.5|p=1}} {{section|Page:MS Cod.Vindob.10723 108v.jpg|1|lbl=108v.1|p=1}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|5|lbl=76v.5}}
 
  
|-
 
| rowspan="3" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 77v detail.jpg|400px|center]]
 
 
<p>'''Tree of the Guards'''</p>
 
| <p>ROD: I will do it, but you will not have such copious divisions, and such a fruitful tree, as you had in that one, because then I compressed nearly all of the types of strikes simply and naturally, but here I make for you only seven guards (and all with the right foot forward), more important and useful with which to come to arms with the enemy; because all the guards that want counting are nearly infinite. </p>
 
| {{section|Page:MS Cod.Vindob.10723 108v.jpg|2|lbl=108v.2}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|6|lbl=76v.6}}
 
  
 
|-  
 
|-  
| <p>CON: Divide only these seven good guards with order.</p>
+
|
| {{section|Page:MS Cod.Vindob.10723 108v.jpg|3|lbl=108v.3}}
+
| <p>ROD: You speak the truth; behold you, ''conte'', that the said full blow will have formed the ''guardia larga difensiva''. </p>
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|7|lbl=76v.7}}
+
| {{section|Page:Cod.10723 103av.jpg|10|lbl=103av.10}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|5|lbl=73v.5}}
  
 
|-  
 
|-  
| <p><small>''Division of the classes of guards into seven kinds named according to their differences.''</small></p>
+
| rowspan="8" style="text-align: center;" | [[File:Cod. 10723 105r detail.png|400px|center]]
 +
<div style="margin: 0 auto; width: 400px;">{{paget|Page:Cod.10723|105r|jpg}}</div>
 +
| <p><small>''From ''guardia alta offensiva imperfetta'' can originate a ''mezo mandritto offensivo, imperfetto.</small></p>
  
<p>ROD: Behold: a man can have his arms either on the right side, or on the left side. If on the right side, it will be called an offensive guard; if on the left side, it will be called an defensive guard. The ''guardia offensiva, perfetta'' gives rise to a thrust or a cut; if it gives rise to a thrust, it will be called “''offensiva perfetta''”; if a cut, “''offensiva imperfetta''”. The ''guardia offensiva perfetta'' will either be done high or low. If it is done high, it is said to be “''offensiva perfetta, alta''”; if it is done low, “''offensiva, perfetta, stretta''”. The ''offensiva imperfetta'' will either be done high or low. If it is done high it will be called “''offensiva, imperfetta, alta''”; if low, “''offensiva imperfetta larga''”. Now we go to the defensive guards; either they give rise to a thrust, or a cut; if a thrust, they are called “perfect”, and have a single type which we call “''difensiva, perfetta, stretta''”. If they give rise to a cut, it will either be wide, or less wide; if quite wide, it will be holding the sword girded at the side, and we say that it is “''guardia difensiva, imperfetta''”. If it is less wide, we call it “''difensiva, imperfetta, larga''”. </p>
+
<p>CON: And if in this same ''guardia alta, offensiva, imperfetta'', I delivered a ''mezo mandritto'', which did not reach the ground, but that stopped halfway through its path, not passing myself at the knee in this way, with all the aforesaid turns of the body, the hand, and the feet, ending with the sword held firm; tell me then what blow would that be? </p>
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
{{section|Page:MS Cod.Vindob.10723 108v.jpg|4|lbl=108v.4|p=1}} {{section|Page:MS Cod.Vindob.10723 109r.jpg|1|lbl=109r.1|p=1}}
+
{{section|Page:Cod.10723 103av.jpg|11|lbl=103av.11|p=1}} {{section|Page:Cod.10723 104v.jpg|1|lbl=104v.1|p=1}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|10|lbl=-}}
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|14|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|8|lbl=76v.8|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|1|lbl=77r.1|p=1}}
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|6|lbl=73v.6}}
  
 
|-  
 
|-  
|  
+
| rowspan="7" | <p><small>''Why it is called a ''mezo mandritto offensivo, imperfetto.</small></p>
| <p><small>''The ''guardia difensiva imperfetta, larga'' is called ''imperfetta''” even though it produces a thrust.''</small></p>
 
  
<p>CON: Won’t this last guard give rise to a thrust? Why do you therefore want to call it “''imperfetta''? </p>
+
<p>ROD: It would be a ''mezo mandritto, offensivo, imperfetto''; it would be offensive, falling from the right side; imperfect, being a cut and not a thrust; and this ''mezo mandritto'' places you in the ''guardia stretta, difensiva, perfetta'', you see? </p>
| <p><br/><br/></p>
+
| <p><br/></p>
  
{{section|Page:MS Cod.Vindob.10723 109r.jpg|2|lbl=109r.2}}
+
{{section|Page:Cod.10723 104v.jpg|2|lbl=104v.2}}
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|6|lbl=-}}
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| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|15|lbl=-}}
  
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|2|lbl=77r.2}}
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{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|7|lbl=73v.7}}
  
 
|-  
 
|-  
|
+
| {{section|Page:Cod.10723 104v.jpg|3|lbl=104v.3}}
| <p>ROD: You are correct; but we call it “''imperfetta''” because you uncover your body too much to the enemy, and through being very wide, you can use it in other ways than in delivering a thrust. </p>
+
| class="noline" |  
| {{section|Page:MS Cod.Vindob.10723 109r.jpg|3|lbl=109r.3}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|3|lbl=77r.3}}
 
  
 
|-  
 
|-  
|
+
| {{section|Page:Cod.10723 104v.jpg|4|lbl=104v.4}}
| <p>CON: Give to me, please, the making as a figure of this Tree, copious in such good fruits. </p>
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|8|lbl=73v.8}}
| {{section|Page:MS Cod.Vindob.10723 109r.jpg|4|lbl=109r.4}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|4|lbl=77r.4}}
 
  
 
|-  
 
|-  
|
+
| {{section|Page:Cod.10723 104v.jpg|5|lbl=104v.5}}
| <p>ROD: I am happy to please you, and here it is. </p>
+
| class="noline" |  
| {{section|Page:MS Cod.Vindob.10723 109r.jpg|5|lbl=109r.5}}
 
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|5|lbl=77r.5}}
 
  
 
|-  
 
|-  
|
+
| {{section|Page:Cod.10723 104v.jpg|6|lbl=104v.6}}
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| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|9|lbl=73v.9}}
| {{section|Page:MS Cod.Vindob.10723 109r.jpg|6|lbl=109r.6}}
 
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|-  
 
|-  
|
+
| {{section|Page:Cod.10723 104v.jpg|7|lbl=104v.7}}
|
+
| class="noline" |  
| {{section|Page:MS Cod.Vindob.10723 109r.jpg|7|lbl=109r.7}}
 
|  
 
  
 
|-  
 
|-  
|
+
| {{section|Page:Cod.10723 104v.jpg|8|lbl=104v.8}}
| <p>CON: Yes, now I recall all the names; I knew that thereby I would do them well, as I intend for them. Which of these guards is the most perfect? Which is the most excellent? </p>
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|10|lbl=73v.10}}
| {{section|Page:MS Cod.Vindob.10723 109r.jpg|8|lbl=109r.8}}
 
|  
 
  
 
|-  
 
|-  
 
|  
 
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| <p>ROD: Which do you think to be of greater valor, the offensive, or the defensive? </p>
+
| <p>CON: I’m watching. </p>
| {{section|Page:MS Cod.Vindob.10723 109r.jpg|9|lbl=109r.9}}
+
| {{section|Page:Cod.10723 104v.jpg|9|lbl=104v.9}}
|  
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| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|11|lbl=73v.11}}
  
 
|-  
 
|-  
|  
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| rowspan="5" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 74v detail.jpg|400px|center]]
| <p><small>''The most excellent guard is the ''alta, offensiva, perfetta.</small></p>
+
<div style="margin: 0 auto; width: 400px;"><p>'''''Sesta guardia larga, offensiva,''' imperfetta''; formed from the full ''rovescio difensivo''; from which originates the resetting into ''guardia alta, offensiva, perfetta''.</p>
 +
{{paget|Page:Cod.10723|106r|jpg}}
 +
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|173|lbl=74v}}
 +
</div>
 +
| <p><small>''How one must do the sixth guard, called “''larga offensiva imperfetta''”.''</small></p>
  
<p>CON: I would believe it to be the offensive. </p>
+
<p>ROD: Now let’s step ahead a little, ''conte''; if you found yourself in one of those two described defensive guards, either ''stretta'' or ''larga'', still with the right foot forward, and you wanted to do a ''rovescio'', you would be forced to turn your right hand in order to rotate the true edge toward your right side; where the point of your sword will turn toward the rear by the outside of your left side, and from low, rise to high finally to your left shoulder, and from here fall from high to low through the right side, finishing at the ground; in that same ''tempo'' make your body do a half turn and yet make your left shoulder be somewhat advanced, and higher than the right, and your left arm follow the right, and the left leg cause its foot to turn a little to the outside of the left side, the heel a bit raised from the ground; so that the sword hand finds itself outside the right leg, and back a half of a braccio<ref> A braccio is a unit of length of approximately 60 centimeters. The specified distance is therefore about 30 cm, or one foot.</ref> and a bit distant from the thigh; I say that this ''rovescio'' will be a full, and a defensive blow: “full”, you see; “defensive”, because the ''rovescio'' is a defensive blow, originating from the left side. And this blow creates for you a sixth guard, called by us “''guardia larga, offensiva, imperfetta''”. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 104v.jpg|10|lbl=104v.10|p=1}} {{section|Page:Cod.10723 105v.jpg|1|lbl=105v.1|p=1}}
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| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|16|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/171|12|lbl=73v.12|p=1}} {{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|172|lbl=74r|p=1}}
 +
 
 +
|-
 +
| <p>CON: Why “''larga''”? </p>
 +
| {{section|Page:Cod.10723 105v.jpg|2|lbl=105v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|1|lbl=75r.1}}
 +
 
 +
|-
 +
| <p><small>''Why the sixth guard is called “''larga, offensiva''”.''</small></p>
 +
 
 +
<p>ROD: For the same reason that we called our fourth guard “''larga''”; “''offensiva''”, for being on the right side. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 105v.jpg|3|lbl=105v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|5|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|2|lbl=75r.2}}
 +
 
 +
|-
 
|  
 
|  
 +
| {{section|Page:Cod.10723 105v.jpg|4|lbl=105v.4}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Among the offensive isn’t the perfect more excellent than the imperfect? </p>
+
| {{section|Page:Cod.10723 105v.jpg|5|lbl=105v.5}}
|  
 
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: The name says it. </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 105v.jpg|6|lbl=105v.6}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Among the ''offensiva perfetta'', the high or the low? </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 105v.jpg|7|lbl=105v.7}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: It seems the high, which uncovers more of the enemy’s body, and can offend it more with all of one’s strength united, with all of the body, with all the muscles, and that can offend it in the more vital and nobler parts. </p>
 
 
|  
 
|  
 +
|
 +
{{section|Page:Cod.10723 105v.jpg|8|lbl=105v.8|p=1}} {{section|Page:Cod.10723 106v.jpg|1|lbl=106v.1|p=1}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Praise of the guardia alta, offensiva, perfetta.''</small></p>
 
 
<p>ROD: You have spoken excellently. You see therefore that the ''guardia alta, offensiva, perfetta'' is of greater perfection, and more valorous. This is the most apt guard with which to offend the enemy with grave harm, and to defend oneself marvelously at the same time. </p>
 
 
<p><small>''Requirement that a knight consider well the equality or inequality of his adversary.''</small></p>
 
 
<p>If it happens then that the enemy should be smaller than you, and you place yourself in this guard, he will never put himself at risk by coming against your directed 99 point; and if he is clever, he will remain well distant, because this is a necessary condition of a good knight, to consider well the equality, or the inequality of his adversary. </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 106v.jpg|2|lbl=106v.2}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Praise of the Illustrious Signor Conte Ugo Pepoli.''</small></p>
 
 
<p>CON: If the Illustrious ''Signor conte'' Ugo, house holder, man of such valor, art, and knowledge that he is the chief Italian close to His Most Christian Majesty, has this guard for his favorite, and is well practiced in it, being large of frame, and well proportioned, he has good reason; because he has thereby among other knights (allow me to say) the greatest advantage. </p>
 
 
|  
 
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 +
| {{section|Page:Cod.10723 106v.jpg|3|lbl=106v.3}}
 
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| <p>ROD: You are correct, ''conte''; it is of great consequence to be of large stature, and have good proportion of limbs, and then to have cunning and great learning, as has ''conte'' Ugo. </p>
+
| <p>CON: Very well, on to the seventh guard. </p>
|  
+
| {{section|Page:Cod.10723 106v.jpg|4|lbl=106v.4}}
|  
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| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|3|lbl=75r.3}}
  
 
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| rowspan="4" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 75v detail.jpg|400px|center]]
| <p>BOC: Our ''conte'' Ugo in truth has done a thousand beautiful enterprises, and has brought excellent fame to his country in distant lands. He is certainly a man with a great heart, and of perfect judgment. </p>
+
<div style="margin: 0 auto; width: 400px;"><p>'''''Settima guardia stretta, offensiva,''' perfetta'', formed from the ''mezo rovescio difensivo'', from which one will be able to reset into ''guardia alta, offensiva, perfetta''.</p>
|  
+
{{paget|Page:Cod.10723|107r|jpg}}
|
+
{{pagetb|Page:Lo Schermo (Angelo Viggiani) 1575.pdf|175|lbl=75v}}
 +
</div>
 +
| <p><small>''How one must do the seventh guard, named “''stretta offensiva, perfetta''”.''</small></p>
 +
 
 +
<p>ROD: Wishing, ''conte'', from some defensive guard, either ''stretta'' or ''larga'', to make the same ''rovescio'' with all of those turns (still with the right foot forward) of the body, the hands, and the feet, as you know; it will be necessary for your sword hand in descending to not pass lower than your knee, but that you stop it outside and a span forward thereof, and that the point of your sword aim toward my chest (you see how I do it?) and this blow will be a ''mezo rovescio'', not having made other than half the path of an entire ''rovescio'', and it will frame you in a ''guardia stretta, offensiva'', which will be our seventh. </p>
 +
| <p><br/></p>
  
|-
+
{{section|Page:Cod.10723 106v.jpg|5|lbl=106v.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|6|lbl=-}}
| <p>CON: This guard is marvelously even more pleasing to the Most Serene ''S. Duca'' Alberto di Baviera, than whom it is not possible to find another more judicious, and more supportive of all the ''belles artes'' and the noble disciplines. </p>
 
|  
 
|  
 
  
|-
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/174|4|lbl=75r.4}}
|
 
| <p>ROD: If for no other attribute and virtue were this Serene Prince to deserve to be praised and exalted, he would merit it for his constant and steadfast firmness in defending the Holy Catholic Religion in the midst of so many others who contradict, and do not wish to accept it. And to me it seems that this praise exceeds every greatness, and every glory, which has come to his house from so many Emperors, that he has had. </p>
 
|  
 
|  
 
  
 
|-  
 
|-  
|
+
| <p>CON: Why “''stretta''”? </p>
| <p>BOC: After this you must put in second place the favor that he has done to letters, and to the lettered; which I understand, being among the favored, and highly awarded. </p>
+
| {{section|Page:Cod.10723 106v.jpg|6|lbl=106v.6}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|1|lbl=76r.1}}
|  
 
  
 
|-  
 
|-  
|
+
| <p><small>''Why the seventh guard is called “''stretta, offensiva''”.''</small></p>
| <p>CON: Not only the lettered, but all the nobly learned have refuge and entertainment under this high and generous Prince. And I would like, ''Signor'' ''Dottore'', for you to see his library, and then you would genuflect, for he has stocked it in every way at incredible expense, and I say as much, that here is my final opinion, that he has assembled books in every faculty for more than twelve thousand scudi. </p>
 
|
 
|
 
  
|-
+
<p>ROD: Don’t you see whether the sword is hindered in the way it is advanced toward the enemy, that to offend him it is very close? “''offensiva''” it is, then, through being on the right side, from whence (as I have told you many times) are born all the offensive guards and blows. </p>
|
+
| <p><br/></p>
| <p>ROD: I understand that he has apparently innumerable abundances of jewels of inestimable worth. </p>
+
 
|  
+
{{section|Page:Cod.10723 106v.jpg|7|lbl=106v.7}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|6|lbl=-}}
  
|-
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|2|lbl=76r.2}}
|
 
| <p>CON: If I said to you that I had seen about him cases full, you would think me lying; and only of a knight could you believe what I have seen. But you know that all the greatness of this great prince is achieved by another, not one point less. </p>
 
|  
 
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|-  
|
+
| <p><small>''Praise of the Most Excellent ''S.'' Francesco Maria, ''Duca'' d’Urbino.''</small></p>
| <p>BOC: And which is this? </p>
 
|
 
|
 
  
|-
+
<p>CON: The Most Excellent Francesco Maria, ''Duca'' di Urbino, of his age a man of valor, knowledge, and prudence (according to a few), praised beyond measure this final guard of yours, and placed it before nearly all others. But let’s return all over again, please, Illustrious Rodomonte, and do these seven guards, as an epilogue, telling along with them the origin of each one. </p>
|
+
| <p><br/></p>
| <p>CON: The Principe Guglielmo, his son. Now here I would like, ''Dottore'', that you fixate yourself to ''conte''mplate this noble young man, full of holy and Catholic zeal, entirely ardent of charity against poverty, wholly given over to pondering things abstract and remote from the common science of others. And without doubt you will judge that this must turn out to be a most clear example of virtue, of goodness, of generosity, and of humanity above all others. But tell me, Rodomonte, now that we have seen the seven guards, don’t you wish to teach me the ''schermo'' you proposed to me? </p>
 
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+
{{section|Page:Cod.10723 106v.jpg|8|lbl=106v.8|p=1}} {{section|Page:Cod.10723 107v.jpg|1|lbl=107v.1|p=1}}
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+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|7|lbl=-}}
| <p>ROD: As you like. </p>
 
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+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|3|lbl=76r.3}}
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+
 
| <p>CON: It would delight me greatly to know it, if it did not trouble you to show me. </p>
+
|-  
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| rowspan="3" |  
|  
+
| rowspan="3" | <p><small>''Epilogue of the seven guards with proper names.''</small></p>
 +
 
 +
<p>ROD: I am happy to do this, and every other thing for you, ''conte''. The first guard is “''difensiva, imperfetta''”, generated from girding the sword at the hip, and it is a ''tempo'', or motion, defensive and imperfect. The second is “''guardia alta, offensiva, perfetta''”, made from the ''rovescio'', which is done in the drawing forth of the sword to on high, a full, defensive blow. The third is “''guardia alta, offensiva, imperfetta''”, made from the same full ''rovescio''. The fourth is called “''guardia difensiva, imperfetta, larga''”, born from the full ''punta sopramano perfetta'', or alternately from the ''mandritto sopramano'', descendent down to the ground, and full. The fifth is called “''guardia difensiva, perfetta, stretta''”, formed from the incomplete ''punta sopramano'', or alternately from the ''mezo mandritto sopramano'', descendent down only as far as the right knee. The sixth is called “''guardia offensiva''”,<ref> This is, of course, in full, “''guardia larga, offensiva, imperfetta''”.</ref> born from the second full ''rovescio difensivo''. The seventh and last is called “''guardia offensiva stretta, perfetta''”, formed from the ''mezo rovescio difensivo''. Behold each in order, according to how we have done them. You see now, ''conte'', how each blow, or motion lies in between two guards, or rests, and each guard in between two blows? </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 107v.jpg|2|lbl=107v.2}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|8|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|4|lbl=76r.4}}
 +
 
 +
|-
 +
| {{section|Page:Cod.10723 107v.jpg|3|lbl=107v.3}}
 +
| class="noline" |  
  
 
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| <p>ROD: And I take the greatest delight in showing you. </p>
+
{{section|Page:Cod.10723 107v.jpg|4|lbl=107v.4|p=1}} {{section|Page:Cod.10723 108r.jpg|1|lbl=108r.1|p=1}}
|
 
 
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 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/176|5|lbl=76r.5|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|1|lbl=76v.1|p=1}}
  
 
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| <p>BOC: The sign of the wise man is the ability to teach others, as does Rodomonte today; he both can, and wants to teach you. </p>
+
| <p>CON: I observe it plainly. </p>
|  
+
| {{section|Page:Cod.10723 108r.jpg|2|lbl=108r.2}}
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+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|2|lbl=76v.2}}
  
 
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|-  
 
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| <p><small>''Who knows how to do the ''punta sopramano'' well, knows that which matters more in employing one’s hands, either suddenly or thoughtfully.''</small></p>
+
| <p><br/></p>
  
<p>ROD: I tell you, ''conte'', that whoever will want to know well how to use the ''schermo'' to offend, and defend himself, will need to know how to do that ''punta sopramano'' well, with all those turns of the body, and of the hands, and of the feet, as I have shown you, and with all those gestures, and with that refined bodily grace, to such extent that he does it with great facility. And if he does this, he can indeed claim to have that understanding, which is of greater need in employing one’s hands, either suddenly, or thoughtfully. </p>
+
<p>BOC: It could additionally be said that each action is between two potentialities, and each potentiality is between two actions, because the strike, while it is being a guard, is not yet an action, it is a potentiality; then, once the blow is actually thrown, it is an action. </p>
 +
| <p><br/></p>
  
<p><small>''Way of doing the proposed ''schermo.</small></p>
+
{{section|Page:Cod.10723 108r.jpg|3|lbl=108r.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|9|lbl=-}}
  
<p>And so that you can understand this safe ''schermo'' of ours well, behold, I repeat, and say,</p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|3|lbl=76v.3}}
  
<p><small>''How from ''guardia alta, offensiva, perfetta'' one must execute the ''punta sopramano.</small></p>
+
|-
 
 
<p>that finding yourself with your right foot forward in ''guardia alta, offensiva, perfetta'', and with your weight on your left side, </p>
 
 
 
<p><small>''How one can do the ''punta sopramano'' perfectly.''</small></p>
 
 
 
<p>and wanting to execute the ''punta sopramano'', and do it perfectly, you must always accompany the sword hand with the right foot together with the entire body, as much with the upper parts as with the lower, and not allow the lower right parts to go forward without the company of the upper right parts. </p>
 
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 +
| <p>ROD: You speak most excellently, ''Dottore'', that the guard is nothing else than the potential of a blow; and each particular potentiality refers to its own particular action; thus the particular guard corresponds to its own particular blow. </p>
 +
| {{section|Page:Cod.10723 108r.jpg|4|lbl=108r.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|4|lbl=76v.4}}
  
 
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| <p>CON: Why? </p>
+
| <p>CON: You would do for me a gracious thing, Rodomonte, if you would put these guards of yours in the form of a Tree, and divide them, as you did in the manner of the strikes, by which I retained them with more facility, and you put them in their places with more order. </p>
|
 
 
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 +
{{section|Page:Cod.10723 108r.jpg|5|lbl=108r.5|p=1}} {{section|Page:Cod.10723 108v.jpg|1|lbl=108v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|5|lbl=76v.5}}
  
 
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+
| rowspan="3" style="text-align: center;" | [[File:Lo Schermo (Angelo Viggiani) 77v detail.jpg|400px|center]]
| <p>ROD: In order that you be able to put all the strength of your body to your service; but when you have in mind to do the ''punta sopramano'', make the right foot move itself, and go forward a big step, and immediately make the left arm begin to descend, and the right shoulder to propel the arm forward, dropping with the point from high to low, taking aim at my chest, without making any turn of your hand, pushing it so far forward and so long as you are able.</p>
+
<div style="margin: 0 auto; width: 400px;"><p>'''Tree of the Guards'''</p>
 +
{{section|Page:Cod.10723 109v.jpg|1|lbl=109v}}
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/179|1|lbl=77v}}
 +
</div>
 +
| <p>ROD: I will do it, but you will not have such copious divisions, and such a fruitful tree, as you had in that one, because then I compressed nearly all of the types of strikes simply and naturally, but here I make for you only seven guards (and all with the right foot forward), more important and useful with which to come to arms with the enemy; because all the guards that want counting are nearly infinite. </p>
 +
| {{section|Page:Cod.10723 108v.jpg|2|lbl=108v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|6|lbl=76v.6}}
  
<p><small>''How from the punta sopramano one must go into guardia difensiva, larga, imperfetta.''</small></p>
+
|-
 +
| <p>CON: Divide only these seven good guards with order.</p>
 +
| {{section|Page:Cod.10723 108v.jpg|3|lbl=108v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|7|lbl=76v.7}}
  
<p>In this ''tempo'' the heel of the left foot will follow the right, not moving, however, the point of the left foot from its place, then turning the wrist of the sword hand together with the true edge toward the left side, and immediately descending down to the ground, withdrawing the right foot somewhat back, and making the point of your sword draw a line on the ground and travel behind you on the left side, and after the right foot finally is a span from the left foot, the right shoulder then will find itself very low, and the left arm will be behind, and high, and extended forth toward the left side; the feet remain even, but the point of the right foot will point out toward the right side, and the point of the left foot out toward the left side, your shoulders will be looking at the enemy more than your forward side, and your weight will be placed on your left side; thereby you will find yourself in this ''guardia difensiva, larga, imperfetta''. </p>
+
|-
 +
| <p><small>''Division of the classes of guards into seven kinds named according to their differences.''</small></p>
  
<p><small>''Advisement that one not rest much in some defensive guard in this ''schermo.</small></p>
+
<p>ROD: Behold: a man can have his arms either on the right side, or on the left side. If on the right side, it will be called an offensive guard; if on the left side, it will be called an defensive guard. The ''guardia offensiva, perfetta'' gives rise to a thrust or a cut; if it gives rise to a thrust, it will be called “''offensiva perfetta''”; if a cut, “''offensiva imperfetta''”. The ''guardia offensiva perfetta'' will either be done high or low. If it is done high, it is said to be “''offensiva perfetta, alta''”; if it is done low, “''offensiva, perfetta, stretta''”. The ''offensiva imperfetta'' will either be done high or low. If it is done high it will be called “''offensiva, imperfetta, alta''”; if low, “''offensiva imperfetta larga''”. Now we go to the defensive guards; either they give rise to a thrust, or a cut; if a thrust, they are called “perfect”, and have a single type which we call “''difensiva, perfetta, stretta''”. If they give rise to a cut, it will either be wide, or less wide; if quite wide, it will be holding the sword girded at the side, and we say that it is “''guardia difensiva, imperfetta''”. If it is less wide, we call it “''difensiva, imperfetta, larga''. </p>
 +
| <p><br/><br/></p>
  
<p>But I advise you well, ''conte'', that you not make a long stay in one of the defensive guards, low, or wide, or narrow that it may be; but make your right hand turn the point of the sword somewhat to the rear by the outside on your left. </p>
+
{{section|Page:Cod.10723 108v.jpg|4|lbl=108v.4|p=1}} {{section|Page:Cod.10723 109r.jpg|1|lbl=109r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|10|lbl=-}}
  
<p><small>''How one must do the ''rovescio tondo'' from the ''guardia difensiva, larga, imperfetta.</small></p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/177|8|lbl=76v.8|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|1|lbl=77r.1|p=1}}
  
<p>And traveling from low to high as far as your left shoulder, the true edge will turn toward me, and the false edge will face your left shoulder; and here you must unite all the strength of your body together with both arms somewhat bent and pulled in, from which you can immediately deliver a ''rovescio'', almost ''tondo''; but do not uncouple the right arm from the strength of the body, and make the ''rovescio'' go no higher than your shoulders, the point not be higher than the pommel, nor the true edge higher than the false, but the flat of the sword to face toward the sky; the right leg along with the foot does not move, but the left turns somewhat on the point of the foot with the heel lifted up a bit from the ground; </p>
+
|-
 +
|
 +
| <p><small>''The ''guardia difensiva imperfetta, larga'' is called “''imperfetta''” even though it produces a thrust.''</small></p>
  
<p><small>''How from the ''rovescio tondo'' one turns into ''guardia alta, offensiva, perfetta.</small></p>
+
<p>CON: Won’t this last guard give rise to a thrust? Why do you therefore want to call it “''imperfetta''”? </p>
 +
| <p><br/><br/></p>
  
<p>the ''rovescio'' does not have to pass through the ''guardia alta, offensiva, perfetta'', rather, stop in the said guard, and the right arm must be bent, going with the elbow back as far as you can to the outside on the right side, and the right hand is not higher than the right shoulder, and the point of the sword aims at my face, the left shoulder remains somewhat ahead of the right, and the left arm will be in front of your chest with your hand toward your right side. And place your weight on your left side, in order to have your right leg free and agile. </p>
+
{{section|Page:Cod.10723 109r.jpg|2|lbl=109r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|6|lbl=-}}
  
<p><small>''How, having done the ''schermo'' once in order to address the enemy, one must then repeat it in order to strike.''</small></p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|2|lbl=77r.2}}
  
<p>And wanting from the said ''guardia alta, offensiva, perfetta'', to do again the above said thrust, you must lift your sword hand up somewhat high, and turn the true edge toward the sky, and the point will then be lower than your hand; and immediately, with your right foot forward, take a big step toward me, and in the same ''tempo'', drop that point from high to low toward my chest. And in the lowering of the sword toward your left side, you must not let it stop long in some low defensive guard, but make it travel from low to high toward your left shoulder, making immediately the ''rovescio tondo'', which terminates in the ''guardia alta, offensiva, perfetta''; but make the flat, or plane, of the sword be face up, and not the true edge, not forgetting to do all those turns of the body, of the hand, and of the feet mentioned above. And thus doing these many turns you will very well comprise the ''punta sopramano, offensiva, perfetta'', together with the ''rovescio tondo'' with all those gestures and turns of the body. But take heed, that if you were smaller than your enemy, you would have a great disadvantage settling yourself in this manner. Do you see how I do this whole ''schermo'' entirely with ease? </p>
+
|-
 
|  
 
|  
 +
| <p>ROD: You are correct; but we call it “''imperfetta''” because you uncover your body too much to the enemy, and through being very wide, you can use it in other ways than in delivering a thrust. </p>
 +
| {{section|Page:Cod.10723 109r.jpg|3|lbl=109r.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|3|lbl=77r.3}}
 +
 +
|-
 
|  
 
|  
 +
| <p>CON: Give to me, please, the making as a figure of this Tree, copious in such good fruits. </p>
 +
| {{section|Page:Cod.10723 109r.jpg|4|lbl=109r.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|4|lbl=77r.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: I’m watching, but I will not be able to do it soon. </p>
+
| <p>ROD: I am happy to please you, and here it is. </p>
|  
+
| {{section|Page:Cod.10723 109r.jpg|5|lbl=109r.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/178|5|lbl=77r.5}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Praise of the Most Illustrious ''S. Duca'' Ottavio Farnese.''</small></p>
 
 
<p>ROD: You will be able to do it sooner than you believe, having judgment and disposition in arms, as did the Most Excellent ''Signor Duca'' Ottavio Farmese, who, hearing it, and hearing it from me, imagined himself to have to toil long before he would learn it well, and then in the shortest time he became a more perfect master of it than I.</p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 109r.jpg|6|lbl=109r.6}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Praise of the Most Illustrious House of Farnese.''</small></p>
 
 
<p>CON: I believe it, because he is of the most subtle and acute wit, and apt to every work of judgment, as though he and all of his most illustrious house were favored beyond custom by nature in every enterprise wherein is required agility of body and strength of mind. </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 109r.jpg|7|lbl=109r.7}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''What entirely comprises this ''schermo.</small></p>
+
| <p>CON: Yes, now I recall all the names; I knew that thereby I would do them well, as I intend for them. Which of these guards is the most perfect? Which is the most excellent? </p>
 +
| {{section|Page:Cod.10723 109r.jpg|8|lbl=109r.8}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|1|lbl=78r.1}}
  
<p>ROD: If we live, ''conte'', we will see this ''Signore'' the chief of all the knights and ''Signori'', he being blessed with valor, virtue, and knowledge. But returning to our proposition, I tell you that this is my ''schermo'', composed of the most perfect offense, and of the most perfect guards that there are, namely the ''guardia alta, offensiva, perfetta'', and the ''punta sopramano, offensiva, perfettissima''. There you have also the ''rovescio tondo'', a good defensive blow, and the ''guardia difensiva larga''. </p>
+
|-
 
|  
 
|  
 +
| <p>ROD: Which do you think to be of greater valor, the offensive, or the defensive? </p>
 
|  
 
|  
 +
{{section|Page:Cod.10723 109r.jpg|9|lbl=109r.9|p=1}} {{section|Page:Cod.10723 110r.jpg|1|lbl=110r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|2|lbl=78r.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: It is not, therefore, a ''tempo'', as you said. </p>
+
| <p><small>''The most excellent guard is the ''alta, offensiva, perfetta.</small></p>
|
+
 
|  
+
<p>CON: I would believe it to be the offensive. </p>
 +
| <p><br/></p>
  
|-
+
{{section|Page:Cod.10723 110r.jpg|2|lbl=110r.2}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|f1|lbl=-}}
| <p><small>''Although it does well appear that this ''schermo'' is not done in one ''tempo'', nonetheless by the speed of defending and offending it is in a single ''tempo.</small></p>
 
  
<p>ROD: On the contrary, as the ''schermo'' is one, thus is the ''tempo'' that accompanies it one; and as the ''schermo'' has two blows done successively without an intervening guard, namely the ''rovescio tondo'' and the ''punta sopramano'', and has two guards; thus this ''tempo'' of yours is in turn composed of two ''tempo''s, successively issued, and two rests. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|3|lbl=78r.3}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>BOC: You speak excellently, Rodomonte, except that the rest is measured by the ''tempo'', and it seems that you distinguish the ''tempo'' by the rest. </p>
+
| <p>ROD: Among the offensive isn’t the perfect more excellent than the imperfect? </p>
|  
+
| {{section|Page:Cod.10723 110r.jpg|3|lbl=110r.3}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|4|lbl=78r.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: In accord with our discussion, by “''tempo''” I intend “motion”, not the number of the motion, as you mean. </p>
+
| <p>CON: The name says it. </p>
|  
+
| {{section|Page:Cod.10723 110r.jpg|4|lbl=110r.4}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|5|lbl=78r.5}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Listen to me a bit, please, Rodomonte; if you came against me wishing to offend me, what should I do? </p>
+
| <p>ROD: Among the ''offensiva perfetta'', the high or the low? </p>
|  
+
| {{section|Page:Cod.10723 110r.jpg|5|lbl=110r.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|6|lbl=78r.6}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Come against me always in ''guardia alta, offensiva, perfetta''; but not, however, in a mind to offend me immediately; because if we were both of equal height, then we would offend each other equally, using the same offense in the very same ''tempo'', and if I were taller than you, it could easily occur that my point offended you, I remaining without any harm, or at least with much less. </p>
+
| <p>CON: It seems the high, which uncovers more of the enemy’s body, and can offend it more with all of one’s strength united, with all of the body, with all the muscles, and that can offend it in the more vital and nobler parts. </p>
|  
+
| {{section|Page:Cod.10723 110r.jpg|6|lbl=110r.6}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|7|lbl=78r.7}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: So you want me to always use this guard? </p>
+
| <p><small>''Praise of the guardia alta, offensiva, perfetta.''</small></p>
|  
+
 
|  
+
<p>ROD: You have spoken excellently. You see therefore that the ''guardia alta, offensiva, perfetta'' is of greater perfection, and more valorous. This is the most apt guard with which to offend the enemy with grave harm, and to defend oneself marvelously at the same time. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 110r.jpg|7|lbl=110r.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|8|lbl=78r.8}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''One should always use the ''guardia alta, offensiva, perfetta'', appropriate to defend oneself in every case.''</small></p>
+
| <p><small>''Requirement that a knight consider well the equality or inequality of his adversary.''</small></p>
 +
 
 +
<p>If it happens then that the enemy should be smaller than you, and you place yourself in this guard, he will never put himself at risk by coming against your directed 99 point; and if he is clever, he will remain well distant, because this is a necessary condition of a good knight, to consider well the equality, or the inequality of his adversary. </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 110r.jpg|8|lbl=110r.8}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|f3|lbl=-}}
  
<p>ROD: Yes Sir, because it is always the most perfect, and better than others in order to defend yourself in every dangerous case. Look; if I were settled in ''guardia alta, offensiva, imperfetta'', wanting to offend your head with a ''mandritto'' from high to low, what protection would you find, ''conte'', from that ''fendente''? </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|9|lbl=78r.9}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''In order to defend the head from a ''mandritto, discendente.</small></p>
+
| <p><small>''Praise of the Illustrious Signor Conte Ugo Pepoli.''</small></p>
 +
 
 +
<p>CON: If the Illustrious ''Signor conte'' Ugo, house holder, man of such valor, art, and knowledge that he is the chief Italian close to His Most Christian Majesty, has this guard for his favorite, and is well practiced in it, being large of frame, and well proportioned, he has good reason; because he has thereby among other knights (allow me to say) the greatest advantage. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 110r.jpg|9|lbl=110r.9|p=1}} {{section|Page:Cod.10723 110v.jpg|1|lbl=110v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|f4|lbl=-}}
  
<p>CON: I would reset myself in ''guardia stretta, difensiva'', formed from the ''meza punta sopramano'' with the right foot forward; and when your ''mandritto'' fell, I would lift my sword going against yours, as if I wanted to form another ''mandritto'', but in such a fashion that the point of my sword did not fall, but rather went higher than my pommel, holding my arm well extended. In this fashion the swords would connect each other true edge to true edge, in the manner of a cross. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|10|lbl=78r.10}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''One defending oneself from a ''mandritto discendente'' with a ''mandritto ascendente'' cannot in any way offend his enemy without great danger.''</small></p>
+
| <p>ROD: You are correct, ''conte''; it is of great consequence to be of large stature, and have good proportion of limbs, and then to have cunning and great learning, as has ''conte'' Ugo. </p>
 +
| {{section|Page:Cod.10723 110v.jpg|2|lbl=110v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|11|lbl=78r.11}}
  
<p>ROD: This is the common ''schermo'' that all the Masters teach, and the greatest part of combatants use; but this is not a good protection for defending your head, because you cannot deny, ''conte'' (following reason) that the blows which fall from high to low are superior to those contrary ascending blows; hence with my falling blow I could so encumber your sword that you could still be harmed. And if it happened that you did defend yourself, how would you escape that thicket of my having wanted to harm you? CON: I would turn the point of my sword to my left side, over yours, and from there I would offend your head with a ''rovescio''. </p>
+
|-
 
|  
 
|  
 +
| <p>BOC: Our ''conte'' Ugo in truth has done a thousand beautiful enterprises, and has brought excellent fame to his country in distant lands. He is certainly a man with a great heart, and of perfect judgment. </p>
 +
| {{section|Page:Cod.10723 110v.jpg|3|lbl=110v.3}}
 
|  
 
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|12|lbl=78r.12|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|1|lbl=78v.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: While your ''rovescio'' travels, my sword, which remains in descent, will soon fall and offend you in the head in this fashion. </p>
+
| <p>CON: This guard is marvelously even more pleasing to the Most Serene ''S. Duca'' Alberto di Baviera, than whom it is not possible to find another more judicious, and more supportive of all the ''belles artes'' and the noble disciplines. </p>
|
 
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|2|lbl=78v.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: I would therefore lower the point of my sword toward my right side in such a way that yours had to take a path to drop by my right side down to the ground; because such would be its travel; where lowering, or not lowering your sword, I would send it toward my left side without moving the fist that holds my sword, and then I would drop from high to low with a ''rovescio'' to the right side of your head, and do it like so. </p>
+
| <p>ROD: If for no other attribute and virtue were this Serene Prince to deserve to be praised and exalted, he would merit it for his constant and steadfast firmness in defending the Holy Catholic Religion in the midst of so many others who contradict, and do not wish to accept it. And to me it seems that this praise exceeds every greatness, and every glory, which has come to his house from so many Emperors, that he has had. </p>
|
 
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|3|lbl=78v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: And I, in that very same ''tempo'', would turn my true edge against yours, encumbering it, and I would remain defended, and what is more, I could offend you with a ''rovescio'' to your right arm, like so. </p>
+
| <p>BOC: After this you must put in second place the favor that he has done to letters, and to the lettered; which I understand, being among the favored, and highly awarded. </p>
|
 
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|4|lbl=78v.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Therefore I would cross the swords as I did earlier, that is, true edge to true edge, and distancing mine from yours somewhat, I would drop with a ''mandritto'' to the leg on your left side in this fashion. </p>
+
| <p>CON: Not only the lettered, but all the nobly learned have refuge and entertainment under this high and generous Prince. And I would like, ''Signor'' ''Dottore'', for you to see his library, and then you would genuflect, for he has stocked it in every way at incredible expense, and I say as much, that here is my final opinion, that he has assembled books in every faculty for more than twelve thousand scudi. </p>
|
 
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|5|lbl=78v.5}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: But during all that, couldn’t my sword finish falling, and offend you indeed in your upper body, in the ''tempo'' in which you drop to my leg? See? </p>
+
| <p>ROD: I understand that he has apparently innumerable abundances of jewels of inestimable worth. </p>
|
 
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|6|lbl=78v.6}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: In fact this is true. </p>
+
| <p>CON: If I said to you that I had seen about him cases full, you would think me lying; and only of a knight could you believe what I have seen. But you know that all the greatness of this great prince is achieved by another, not one point less. </p>
|
 
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|7|lbl=78v.7}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>ROD: Return at ease to ''guardia stretta difensiva''. </p>
+
| <p>BOC: And which is this? </p>
|
 
 
|  
 
|  
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|8|lbl=78v.8}}
 +
 +
|-
 +
| rowspan="2" |
 +
| rowspan="2" | <p>CON: The Principe Guglielmo, his son. Now here I would like, ''Dottore'', that you fixate yourself to contemplate this noble young man, full of holy and Catholic zeal, entirely ardent of charity against poverty, wholly given over to pondering things abstract and remote from the common science of others. And without doubt you will judge that this must turn out to be a most clear example of virtue, of goodness, of generosity, and of humanity above all others. But tell me, Rodomonte, now that we have seen the seven guards, don’t you wish to teach me the ''schermo'' you proposed to me?</p>
 +
| class="noline" |
 +
| class="noline" |
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/181|10|lbl=78v.10|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|1|lbl=79r.1|p=1}}
 +
 +
|-
 +
| {{section|Page:Cod.10723 110v.jpg|4|lbl=110v.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|2|lbl=79r.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: Here you are. </p>
+
| <p>ROD: As you like. </p>
|  
+
| {{section|Page:Cod.10723 110v.jpg|5|lbl=110v.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|3|lbl=79r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Various feints against he who wished to defend himself from a ''mandritto discendente'' with a ''mandritto ascendente.</small></p>
+
| <p>CON: It would delight me greatly to know it, if it did not trouble you to show me. </p>
 +
| {{section|Page:Cod.10723 110v.jpg|6|lbl=110v.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|4|lbl=79r.4}}
  
<p>ROD: If you don’t make some other block than this earlier one of yours, then I, settled in ''guardia alta, offensiva, imperfetta'', as you see, could feign to offend you with a ''mandritto discendente'' to your head, and you defending yourself with another ''mandritto'' of your own, I will then be able, in dropping from high to low, to make my sword not to touch yours (in this fashion) and offend your right arm near the hand, and then retreat, so that you remain with your arm struck. I could also go to find your right leg instead of your arm, and then retreat; I could make a feint that I want to offend you on the right side of your head, by making only a half turn of my wrist; I could also feign to want to offend you from high to low with a ''mandritto'', and immediately turn the point of my sword forward, into the manner of the ''guardia alta, offensiva, perfetta'', and from here drop from high to low, and stick this ''punta sopramano'' into the middle of your chest, and then promptly retreat. Do you see, ''conte'', how many feints I could make, only as a result of you being settled in ''guardia stretta, difensiva'', against my ''guardia alta offensiva, imperfetta''? And through defending yourself from my ''mandritto discendente'' with your opposite ''mezo mandritto''? This is, therefore, not the good parry. </p>
+
|-
|  
 
 
|  
 
|  
 +
| <p>ROD: And I take the greatest delight in showing you. </p>
 +
| {{section|Page:Cod.10723 110v.jpg|7|lbl=110v.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|5|lbl=79r.5}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: What, then, should I do? </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 110v.jpg|8|lbl=110v.8}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''A better defense to all the enemy’s blows is to beat aside with a ''mezo rovescio tondo'' and in one ''tempo'' offend, thrusting the ''punta sopramano.</small></p>
+
| <p>BOC: The sign of the wise man is the ability to teach others, as does Rodomonte today; he both can, and wants to teach you. </p>
 +
| {{section|Page:Cod.10723 110v.jpg|9|lbl=110v.9}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|6|lbl=79r.6}}
 +
 
 +
|-
 +
| rowspan="4" |
 +
| class="noline" | <p><small>''Who knows how to do the ''punta sopramano'' well, knows that which matters more in employing one’s hands, either suddenly or thoughtfully.''</small></p>
  
<p>ROD: It behooves you (to deliver your enemy some desired blow) that (being in that ''guardia stretta, difensiva'' with your right foot forward) you turn the point of your sword toward your left side, diagonally, so that the point faces that same side, and the pommel is on your right, as if you wanted to lay hand to the sword, and from here uniting all the strength of your body together, do the same ''rovescio tondo'' with those same turns of the hand and the feet of which I have told you, and in the same manner; </p>
+
<p>ROD: I tell you, ''conte'', that whoever will want to know well how to use the ''schermo'' to offend, and defend himself, will need to know how to do that ''punta sopramano'' well, with all those turns of the body, and of the hands, and of the feet, as I have shown you, and with all those gestures, and with that refined bodily grace, to such extent that he does it with great facility. And if he does this, he can indeed claim to have that understanding, which is of greater need in employing one’s hands, either suddenly, or thoughtfully. </p>
 +
| class="noline" | <p><br/><br/></p>
  
<p><small>''When it is possible to break the enemy’s sword.''</small></p>
+
{{section|Page:Cod.10723 110v.jpg|10|lbl=110v.10|p=1}} {{section|Page:Cod.10723 111r.jpg|1|lbl=111r.1|p=1}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|f1|lbl=-}}
  
<p>but pay heed that in this delivering of the ''rovescio'', the swords meet each other true edge to true edge, but that the forte of your sword will have met the ''debole'' of mine, whereby mine could be easily broken by virtue of the disadvantage of such a meeting, and also because of the fall of the cut; and you will also be more secure, being shielded by the forte of your sword. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|7|lbl=79r.7}}
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| class="noline" | <p><small>''Way of doing the proposed ''schermo.</small></p>
| <p>CON: How should I avenge myself of the insult? </p>
+
 
|  
+
<p>And so that you can understand this safe ''schermo'' of ours well, behold, I repeat, and say,</p>
|  
+
| class="noline" | <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 111r.jpg|2|lbl=111r.2}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|8|lbl=79r.8}}
  
 
|-  
 
|-  
|  
+
| class="noline" | <p><small>''How from ''guardia alta, offensiva, perfetta'' one must execute the ''punta sopramano.</small></p>
| <p><small>''The punta sopramano is called “Great blow”.''</small></p>
+
 
 +
<p>that finding yourself with your right foot forward in ''guardia alta, offensiva, perfetta'', and with your weight on your left side, </p>
 +
| class="noline" | <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 111r.jpg|3|lbl=111r.3}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|f3|lbl=-}}
  
<p>ROD: While my ''mandritto'' is beat aside by your ''rovescio tondo'', it will go by your right side; lift up your sword hand somewhat, and turn the true edge toward the sky, and make the point of the sword drop somewhat, and move yourself toward me with your right foot forward with a big step, and then immediately drop your left arm, and make your right shoulder throw your right arm forward, declining toward me from high to low, with that ''punta sopramano offensiva'', accompanying it in all of the said manners; and if I do not give you a response with some blow, do not halt there, but lift your sword, and going with it a span forward of your right knee, you will fix yourself in ''guardia stretta offensiva, perfetta''; this is a perfect offense, which you must do following the insult received from me, and following your defense. But if I turned to some other blow in order to offend you, then you, with the same ''rovescio tondo'', will always be able to beat back my sword toward your right side, and return to offend me in the chest with the same ''punta sopramano, offensiva, perfetta''; and thus after you defend yourself, you will always be able to offend me again in the chest with the ''punta sopramano perfetta''; therefore it is the most perfect and secure blow that can be found, and to express it succinctly, this is called “Great blow”, because it is necessary to make a conjoining and a union of all the strength of the body, of the wits, of the senses, and of the art; and accompanying the said blow, reveals one to be endowed with knowledge, with heart, and with temperance. Watch, I pray you, how I do it. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|9|lbl=79r.9}}
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| <p><small>''How one can do the ''punta sopramano'' perfectly.''</small></p>
| <p>CON: I am watching, and with great happiness. </p>
+
 
|  
+
<p>and wanting to execute the ''punta sopramano'', and do it perfectly, you must always accompany the sword hand with the right foot together with the entire body, as much with the upper parts as with the lower, and not allow the lower right parts to go forward without the company of the upper right parts. </p>
|  
+
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 111r.jpg|4|lbl=111r.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|f4|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|10|lbl=79r.10|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|1|lbl=79v.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>BOC: You have done the same ''schermo'' that you taught him a little ago, having said it anew, part by part. </p>
+
| <p>CON: Why? </p>
|  
+
| {{section|Page:Cod.10723 111r.jpg|5|lbl=111r.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|2|lbl=79v.2}}
  
 
|-  
 
|-  
|  
+
| rowspan="9" |
| <p>ROD: And you philosophers, will you not make to the limit of your abilities, an epilogue, containing in brief the substance of the entire work? And accordingly, I, in order to show him how good and perfect this, my ''schermo'', is for offending and for defending, have shown him in this particular case of how much power it is; tomorrow, then, I will show him of how much importance it is in every way that can be done, both of offense and of defense; but now I am ever so wearied, and we have already had swords in hand for nearly two hours; I would not like the ''conte'' Ugo to wait for me overlong, for we have to ride together for recreation. Oh, have you nothing to say, ''conte''? </p>
+
| class="noline" | <p>ROD: In order that you be able to put all the strength of your body to your service; but when you have in mind to do the ''punta sopramano'', make the right foot move itself, and go forward a big step, and immediately make the left arm begin to descend, and the right shoulder to propel the arm forward, dropping with the point from high to low, taking aim at my chest, without making any turn of your hand, pushing it so far forward and so long as you are able.</p>
|  
+
| class="noline" |
|  
+
{{section|Page:Cod.10723 111r.jpg|6|lbl=111r.6|p=1}} {{section|Page:Cod.10723 111v.jpg|1|lbl=111v.1|p=1}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|3|lbl=79v.3}}
  
 
|-  
 
|-  
|  
+
| class="noline" | <p><small>''How from the punta sopramano one must go into guardia difensiva, larga, imperfetta.''</small></p>
| <p><small>''This ''schermo'' can be reduced to a perfect guard and offense.''</small></p>
 
  
<p>CON: I am full of amazement, seeing how utterly perfect is this ''schermo'' of yours, and fundamental to all wielding of the sword; but how have you reduced everything to a perfect offense, and to a perfect guard? </p>
+
<p>In this ''tempo'' the heel of the left foot will follow the right, not moving, however, the point of the left foot from its place, then turning the wrist of the sword hand together with the true edge toward the left side, and immediately descending down to the ground, withdrawing the right foot somewhat back, and making the point of your sword draw a line on the ground and travel behind you on the left side, and after the right foot finally is a span from the left foot, the right shoulder then will find itself very low, and the left arm will be behind, and high, and extended forth toward the left side; the feet remain even, but the point of the right foot will point out toward the right side, and the point of the left foot out toward the left side, your shoulders will be looking at the enemy more than your forward side, and your weight will be placed on your left side; thereby you will find yourself in this ''guardia difensiva, larga, imperfetta''. </p>
|  
+
| <p><br/><br/></p>
|  
+
 
 +
{{section|Page:Cod.10723 111v.jpg|2|lbl=111v.2|p=1}} {{section|Page:Cod.10723 112r.jpg|1|lbl=112r.1|p=1}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|4|lbl=79v.4}}
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>BOC: If our Aristotle entirely reduces the ten Predicaments under two headings, “substance” and “accident”, or, we wish to say better, under “action” and under “potentiality”, as each thing will be either an action or a potentiality, similarly does the unvanquished Rodomonte reduce under these two headings all his art: that is, under “offense”, which is action, and under “defense”, or “guard”, which is potentiality; and in taking the most perfect action and the most perfect potentiality, has therein enclosed every other inferior action, and every other inferior potentiality. </p>
+
| {{section|Page:Cod.10723 112r.jpg|2|lbl=112r.2}}
|  
+
| class="noline" |  
|  
 
  
 
|-  
 
|-  
|  
+
| class="noline" | <p><small>''Advisement that one not rest much in some defensive guard in this ''schermo.</small></p>
| <p>CON: Rodomonte could have struck me a thousand times today with that thrust, yet he wanted that I might make some parry thereto, and this although I have learned something from many most skillful men, and Masters, and have practiced now and then. </p>
+
 
|  
+
<p>But I advise you well, ''conte'', that you not make a long stay in one of the defensive guards, low, or wide, or narrow that it may be; but make your right hand turn the point of the sword somewhat to the rear by the outside on your left. </p>
|  
+
| class="noline" | <p><br/><br/></p>
  
|-
+
{{section|Page:Cod.10723 112r.jpg|3|lbl=112r.3}}
|  
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|f2|lbl=-}}
| <p>BOC: It may be that if you were earnestly at blows, that Rodomonte would have the worse, if he lacked luck. I have seen the most skillful and practiced men many times do worse than others unpracticed in battle. As I could clarify to you by many examples, ancient and modern. </p>
 
|  
 
|  
 
  
|-
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|5|lbl=79v.5}}
|
 
| <p>CON: This I do not believe. </p>
 
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| class="noline" | <p><small>''How one must do the ''rovescio tondo'' from the ''guardia difensiva, larga, imperfetta.</small></p>
| <p><small>''Why he who does this schermo more, often fares worse in the quarreling.''</small></p>
 
  
<p>ROD: The ''Dottore'' speaks truly; I believe that this happens for one of two reasons: the first is that the man blessed in this art is wanting in courage, or in choleric temperament; the other is, that many times the man, through excessive courage and art, is sensed to make an error, as a result of which he is overcome and vanquished. It may also be said that fortune may be the cause of this; she, as the enemy of virtue, cannot endure that one who is virtuous advances himself with aid other than hers, fearing that the people will abandon her and thereby have recourse to virtue. </p>
+
<p>And traveling from low to high as far as your left shoulder, the true edge will turn toward me, and the false edge will face your left shoulder; and here you must unite all the strength of your body together with both arms somewhat bent and pulled in, from which you can immediately deliver a ''rovescio'', almost ''tondo''; but do not uncouple the right arm from the strength of the body, and make the ''rovescio'' go no higher than your shoulders, the point not be higher than the pommel, nor the true edge higher than the false, but the flat of the sword to face toward the sky; the right leg along with the foot does not move, but the left turns somewhat on the point of the foot with the heel lifted up a bit from the ground; </p>
 +
| class="noline" | <p><br/><br/></p>
  
<p><small>''Luck most often aids the ignorant.''</small></p>
+
{{section|Page:Cod.10723 112r.jpg|4|lbl=112r.4}}
 +
| class="noline" |
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|f3|lbl=-|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|f1|lbl=-|p=1}}
  
<p>Do you not see, ''conte'', that if the virtuous advance themselves, it would be believed that they were advanced through their virtue, and not through the benefit of fortune, so that every man would give himself to virtue, abandoning fortune entirely? And thereby it is seen that she most often aids the ignorant. </p>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|6|lbl=79v.6|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|1|lbl=80r.1|p=1}}
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| class="noline" | <p><small>''How from the ''rovescio tondo'' one turns into ''guardia alta, offensiva, perfetta.</small></p>
| <p>BOC: This is most lovely reasoning. I will therefore remain without learning this virtue of arms of yours, placing myself in the hands of fortune, which will aid me in such occasions. </p>
+
 
|  
+
<p>the ''rovescio'' does not have to pass through the ''guardia alta, offensiva, perfetta'', rather, stop in the said guard, and the right arm must be bent, going with the elbow back as far as you can to the outside on the right side, and the right hand is not higher than the right shoulder, and the point of the sword aims at my face, the left shoulder remains somewhat ahead of the right, and the left arm will be in front of your chest with your hand toward your right side. And place your weight on your left side, in order to have your right leg free and agile.</p>
|  
+
| class="noline" | <p><br/></p>
 
+
 
|-  
+
{{section|Page:Cod.10723 112r.jpg|5|lbl=112r.5|p=1}} {{section|Page:Cod.10723 112v.jpg|1|lbl=112v.1|p=1}}
|  
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|f2|lbl=-}}
| <p><small>''Although luck is the enemy of virtue, one must not, however, remain without learning.''</small></p>
+
 
 
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|2|lbl=80r.2}}
<p>CON: And who knows whether fortune will succor you? Hence who can swear thereunto one jot? Whereof, being thus uncertain, it will be necessary that you, fearing, undertake to succor yourself with virtue and with art. </p>
+
 
|  
+
|-
|  
+
| class="noline" | <p><small>''How, having done the ''schermo'' once in order to address the enemy, one must then repeat it in order to strike.''</small></p>
 
+
 
|-  
+
<p>And wanting from the said ''guardia alta, offensiva, perfetta'', to do again the above said thrust, you must lift your sword hand up somewhat high, and turn the true edge toward the sky, and the point will then be lower than your hand; and immediately, with your right foot forward, take a big step toward me, and in the same ''tempo'', drop that point from high to low toward my chest.</p>
|  
+
| <p><br/><br/></p>
| <p>ROD: It is time that we go, because there waits the ''conte'' Ugo; tomorrow, then, we will do another bit of practice, ''conte'', and we will talk over this ''schermo'', as much as we haven’t been able to talk today. </p>
+
 
|  
+
{{section|Page:Cod.10723 112v.jpg|2|lbl=112v.2}}
|  
+
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|f3|lbl=-}}
 
+
 
|-  
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|3|lbl=80r.3}}
|  
+
 
| <p>CON: You are right; indeed, let’s go. </p>
+
|-
|  
+
| class="noline" |
|  
+
| {{section|Page:Cod.10723 112v.jpg|3|lbl=112v.3}}
 
+
| class="noline" |
|-  
+
 
|  
+
|-
| <p>BOC: And I will return to see you again tomorrow. </p>
+
| <p>And in the lowering of the sword toward your left side, you must not let it stop long in some low defensive guard, but make it travel from low to high toward your left shoulder, making immediately the ''rovescio tondo'', which terminates in the ''guardia alta, offensiva, perfetta''; but make the flat, or plane, of the sword be face up, and not the true edge, not forgetting to do all those turns of the body, of the hand, and of the feet mentioned above. And thus doing these many turns you will very well comprise the ''punta sopramano, offensiva, perfetta'', together with the ''rovescio tondo'' with all those gestures and turns of the body. But take heed, that if you were smaller than your enemy, you would have a great disadvantage settling yourself in this manner. Do you see how I do this whole ''schermo'' entirely with ease?</p>
|  
+
|
|  
+
{{section|Page:Cod.10723 112v.jpg|4|lbl=112v.4|p=1}} {{section|Page:Cod.10723 113r.jpg|1|lbl=113r.1|p=1}}
 
+
|
|-  
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|4|lbl=80r.4|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|1|lbl=80v.1|p=1}}
|  
+
 
| <p>ROD: And we will look forward to it. </p>
+
|-
|  
+
|
|  
+
| <p>CON: I’m watching, but I will not be able to do it soon. </p>
 
+
| {{section|Page:Cod.10723 113r.jpg|2|lbl=113r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|2|lbl=80v.2}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 113r.jpg|3|lbl=113r.3}}
 +
|
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 113r.jpg|4|lbl=113r.4}}
 +
|
 +
 
 +
|-
 +
|
 +
| <p><small>''Praise of the Most Illustrious ''S. Duca'' Ottavio Farnese.''</small></p>
 +
 
 +
<p>ROD: You will be able to do it sooner than you believe, having judgment and disposition in arms, as did the Most Excellent ''Signor Duca'' Ottavio Farmese, who, hearing it, and hearing it from me, imagined himself to have to toil long before he would learn it well, and then in the shortest time he became a more perfect master of it than I.</p>
 +
|
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|3|lbl=80v.3}}
 +
 
 +
|-
 +
|
 +
| <p><small>''Praise of the Most Illustrious House of Farnese.''</small></p>
 +
 
 +
<p>CON: I believe it, because he is of the most subtle and acute wit, and apt to every work of judgment, as though he and all of his most illustrious house were favored beyond custom by nature in every enterprise wherein is required agility of body and strength of mind. </p>
 +
|
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|4|lbl=80v.4}}
 +
 
 +
|-
 +
| rowspan="2" |
 +
| class="noline" | <p><small>''What entirely comprises this ''schermo.</small></p>
 +
 
 +
<p>ROD: If we live, ''conte'', we will see this ''Signore'' the chief of all the knights and ''Signori'', he being blessed with valor, virtue, and knowledge.</p>
 +
| class="noline" |
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|f3|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|5|lbl=80v.5}}
 +
 
 +
|-
 +
| <p>But returning to our proposition, I tell you that this is my ''schermo'', composed of the most perfect offense, and of the most perfect guards that there are, namely the ''guardia alta, offensiva, perfetta'', and the ''punta sopramano, offensiva, perfettissima''. There you have also the ''rovescio tondo'', a good defensive blow, and the ''guardia difensiva larga''. </p>
 +
| {{section|Page:Cod.10723 113r.jpg|5|lbl=113r.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|6|lbl=80v.6}}
 +
 
 +
|-
 +
|
 +
| <p>CON: It is not, therefore, a ''tempo'', as you said. </p>
 +
| {{section|Page:Cod.10723 113r.jpg|6|lbl=113r.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|7|lbl=80v.7}}
 +
 
 +
|-
 +
|
 +
| <p><small>''Although it does well appear that this ''schermo'' is not done in one ''tempo'', nonetheless by the speed of defending and offending it is in a single ''tempo.</small></p>
 +
 
 +
<p>ROD: On the contrary, as the ''schermo'' is one, thus is the ''tempo'' that accompanies it one; and as the ''schermo'' has two blows done successively without an intervening guard, namely the ''rovescio tondo'' and the ''punta sopramano'', and has two guards; thus this ''tempo'' of yours is in turn composed of two ''tempo''s, successively issued, and two rests. </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 113r.jpg|7|lbl=113r.7}}
 +
|
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|f4|lbl=-|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|f1|lbl=-|p=1}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|8|lbl=80v.8|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|1|lbl=81r.1|p=1}}
 +
 
 +
|-
 +
|
 +
| <p>BOC: You speak excellently, Rodomonte, except that the rest is measured by the ''tempo'', and it seems that you distinguish the ''tempo'' by the rest. </p>
 +
|
 +
{{section|Page:Cod.10723 113r.jpg|8|lbl=113r.8|p=1}} {{section|Page:Cod.10723 113v.jpg|1|lbl=113v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|2|lbl=81r.2}}
 +
 
 +
|-
 +
|
 +
| <p>ROD: In accord with our discussion, by “''tempo''” I intend “motion”, not the number of the motion, as you mean. </p>
 +
| {{section|Page:Cod.10723 113v.jpg|2|lbl=113v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|3|lbl=81r.3}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 113v.jpg|3|lbl=113v.3}}
 +
|
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 113v.jpg|4|lbl=113v.4}}
 +
|
 +
 
 +
|-
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
<p>CON: Listen to me a bit, please, Rodomonte; if you came against me wishing to offend me, what should I do? </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 113v.jpg|5|lbl=113v.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|4|lbl=81r.4}}
 +
 
 +
|-
 +
|
 +
| <p>ROD: Come against me always in ''guardia alta, offensiva, perfetta''; but not, however, in a mind to offend me immediately; because if we were both of equal height, then we would offend each other equally, using the same offense in the very same ''tempo'', and if I were taller than you, it could easily occur that my point offended you, I remaining without any harm, or at least with much less. </p>
 +
| {{section|Page:Cod.10723 113v.jpg|6|lbl=113v.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|5|lbl=81r.5}}
 +
 
 +
|-
 +
|
 +
| <p>CON: So you want me to always use this guard? </p>
 +
| {{section|Page:Cod.10723 113v.jpg|7|lbl=113v.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|6|lbl=81r.6}}
 +
 
 +
|-
 +
|
 +
| <p><small>''One should always use the ''guardia alta, offensiva, perfetta'', appropriate to defend oneself in every case.''</small></p>
 +
 
 +
<p>ROD: Yes Sir, because it is always the most perfect, and better than others in order to defend yourself in every dangerous case. Look; if I were settled in ''guardia alta, offensiva, imperfetta'', wanting to offend your head with a ''mandritto'' from high to low, what protection would you find, ''conte'', from that ''fendente''? </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 113v.jpg|8|lbl=113v.8|p=1}} {{section|Page:Cod.10723 114r.jpg|1|lbl=114r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|f3|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|7|lbl=81r.7}}
 +
 
 +
|-
 +
|
 +
| <p><small>''In order to defend the head from a ''mandritto, discendente.</small></p>
 +
 
 +
<p>CON: I would reset myself in ''guardia stretta, difensiva'', formed from the ''meza punta sopramano'' with the right foot forward; and when your ''mandritto'' fell, I would lift my sword going against yours, as if I wanted to form another ''mandritto'', but in such a fashion that the point of my sword did not fall, but rather went higher than my pommel, holding my arm well extended. In this fashion the swords would connect each other true edge to true edge, in the manner of a cross. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 114r.jpg|2|lbl=114r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|f4|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|8|lbl=81r.8|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|1|lbl=81v.1|p=1}}
 +
 
 +
|-
 +
| rowspan="3" |
 +
| rowspan="3" | <p><small>''One defending oneself from a ''mandritto discendente'' with a ''mandritto ascendente'' cannot in any way offend his enemy without great danger.''</small></p>
 +
 
 +
<p>ROD: This is the common ''schermo'' that all the Masters teach, and the greatest part of combatants use; but this is not a good protection for defending your head, because you cannot deny, ''conte'' (following reason) that the blows which fall from high to low are superior to those contrary ascending blows; hence with my falling blow I could so encumber your sword that you could still be harmed. And if it happened that you did defend yourself, how would you escape that thicket of my having wanted to harm you?</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 114r.jpg|3|lbl=114r.3}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|2|lbl=81v.2}}
 +
 
 +
|-
 +
| {{section|Page:Cod.10723 114r.jpg|4|lbl=114r.4}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|3|lbl=81v.3}}
 +
 
 +
|-
 +
| {{section|Page:Cod.10723 114r.jpg|5|lbl=114r.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|4|lbl=81v.4}}
 +
 
 +
|-
 +
|
 +
| <p>CON: I would turn the point of my sword to my left side, over yours, and from there I would offend your head with a ''rovescio''. </p>
 +
|
 +
{{section|Page:Cod.10723 114r.jpg|6|lbl=114r.6|p=1}} {{section|Page:Cod.10723 114v.jpg|1|lbl=114v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|5|lbl=81v.5}}
 +
 
 +
|-
 +
|
 +
| <p>ROD: While your ''rovescio'' travels, my sword, which remains in descent, will soon fall and offend you in the head in this fashion. </p>
 +
| {{section|Page:Cod.10723 114v.jpg|2|lbl=114v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|6|lbl=81v.6}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 114v.jpg|3|lbl=114v.3}}
 +
|
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 114v.jpg|4|lbl=114v.4}}
 +
|
 +
 
 +
|-
 +
|
 +
| <p>CON: I would therefore lower the point of my sword toward my right side in such a way that yours had to take a path to drop by my right side down to the ground; because such would be its travel; where lowering, or not lowering your sword, I would send it toward my left side without moving the fist that holds my sword, and then I would drop from high to low with a ''rovescio'' to the right side of your head, and do it like so. </p>
 +
| {{section|Page:Cod.10723 114v.jpg|5|lbl=114v.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|7|lbl=81v.7}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 114v.jpg|6|lbl=114v.6}}
 +
|
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 114v.jpg|7|lbl=114v.7}}
 +
|
 +
 
 +
|-
 +
|
 +
| <p>ROD: And I, in that very same ''tempo'', would turn my true edge against yours, encumbering it, and I would remain defended, and what is more, I could offend you with a ''rovescio'' to your right arm, like so. </p>
 +
| {{section|Page:Cod.10723 114v.jpg|8|lbl=114v.8}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|8|lbl=81v.8}}
 +
 
 +
|-
 +
|
 +
| <p>CON: Therefore I would cross the swords as I did earlier, that is, true edge to true edge, and distancing mine from yours somewhat, I would drop with a ''mandritto'' to the leg on your left side in this fashion. </p>
 +
|
 +
{{section|Page:Cod.10723 114v.jpg|9|lbl=114v.9|p=1}} {{section|Page:Cod.10723 115r.jpg|1|lbl=115r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|9|lbl=81v.9}}
 +
 
 +
|-
 +
| rowspan="3" |
 +
| rowspan="3" | <p>ROD: But during all that, couldn’t my sword finish falling, and offend you indeed in your upper body, in the ''tempo'' in which you drop to my leg? See? </p>
 +
| {{section|Page:Cod.10723 115r.jpg|2|lbl=115r.2}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|10|lbl=81v.10}}
 +
 
 +
|-
 +
| {{section|Page:Cod.10723 115r.jpg|3|lbl=115r.3}}
 +
| class="noline" |
 +
 
 +
|-
 +
| {{section|Page:Cod.10723 115r.jpg|4|lbl=115r.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|1|lbl=82r.1}}
 +
 
 +
|-
 +
|
 +
| <p>CON: In fact this is true. </p>
 +
| {{section|Page:Cod.10723 115r.jpg|5|lbl=115r.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|2|lbl=82r.2}}
 +
 
 +
|-
 +
|
 +
| <p>ROD: Return at ease to ''guardia stretta difensiva''. </p>
 +
| {{section|Page:Cod.10723 115r.jpg|6|lbl=115r.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|3|lbl=82r.3}}
 +
 
 +
|-
 +
|
 +
| <p>CON: Here you are. </p>
 +
| {{section|Page:Cod.10723 115r.jpg|7|lbl=115r.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|4|lbl=82r.4}}
 +
 
 +
|-
 +
|
 +
| <p><small>''Various feints against he who wished to defend himself from a ''mandritto discendente'' with a ''mandritto ascendente.</small></p>
 +
 
 +
<p>ROD: If you don’t make some other block than this earlier one of yours, then I, settled in ''guardia alta, offensiva, imperfetta'', as you see, could feign to offend you with a ''mandritto discendente'' to your head, and you defending yourself with another ''mandritto'' of your own, I will then be able, in dropping from high to low, to make my sword not to touch yours (in this fashion) and offend your right arm near the hand, and then retreat, so that you remain with your arm struck. I could also go to find your right leg instead of your arm, and then retreat; I could make a feint that I want to offend you on the right side of your head, by making only a half turn of my wrist; I could also feign to want to offend you from high to low with a ''mandritto'', and immediately turn the point of my sword forward, into the manner of the ''guardia alta, offensiva, perfetta'', and from here drop from high to low, and stick this ''punta sopramano'' into the middle of your chest, and then promptly retreat. Do you see, ''conte'', how many feints I could make, only as a result of you being settled in ''guardia stretta, difensiva'', against my ''guardia alta offensiva, imperfetta''? And through defending yourself from my ''mandritto discendente'' with your opposite ''mezo mandritto''? This is, therefore, not the good parry. </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 115r.jpg|8|lbl=115r.8|p=1}} {{section|Page:Cod.10723 115v.jpg|1|lbl=115v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|5|lbl=82r.5}}
 +
 
 +
|-
 +
|
 +
| <p>CON: What, then, should I do? </p>
 +
| {{section|Page:Cod.10723 115v.jpg|2|lbl=115v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|6|lbl=82r.6}}
 +
 
 +
|-
 +
| rowspan="2" |
 +
| <p><small>''A better defense to all the enemy’s blows is to beat aside with a ''mezo rovescio tondo'' and in one ''tempo'' offend, thrusting the ''punta sopramano.</small></p>
 +
 
 +
<p>ROD: It behooves you (to deliver your enemy some desired blow) that (being in that ''guardia stretta, difensiva'' with your right foot forward) you turn the point of your sword toward your left side, diagonally, so that the point faces that same side, and the pommel is on your right, as if you wanted to lay hand to the sword, and from here uniting all the strength of your body together, do the same ''rovescio tondo'' with those same turns of the hand and the feet of which I have told you, and in the same manner; </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 115v.jpg|3|lbl=115v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|7|lbl=82r.7|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/189|1|lbl=82v.1|p=1}}
 +
 
 +
|-
 +
| <p><small>''When it is possible to break the enemy’s sword.''</small></p>
 +
 
 +
<p>but pay heed that in this delivering of the ''rovescio'', the swords meet each other true edge to true edge, but that the forte of your sword will have met the ''debole'' of mine, whereby mine could be easily broken by virtue of the disadvantage of such a meeting, and also because of the fall of the cut; and you will also be more secure, being shielded by the forte of your sword. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 115v.jpg|4|lbl=115v.4|p=1}} {{section|Page:Cod.10723 116r.jpg|1|lbl=116r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/189|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/189|2|lbl=82v.2}}
 +
 
 +
|-
 +
|
 +
| <p>CON: How should I avenge myself of the insult? </p>
 +
| {{section|Page:Cod.10723 116r.jpg|2|lbl=116r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/189|3|lbl=82v.3}}
 +
 
 +
|-
 +
|
 +
| <p><small>''The punta sopramano is called “Great blow”.''</small></p>
 +
 
 +
<p>ROD: While my ''mandritto'' is beat aside by your ''rovescio tondo'', it will go by your right side; lift up your sword hand somewhat, and turn the true edge toward the sky, and make the point of the sword drop somewhat, and move yourself toward me with your right foot forward with a big step, and then immediately drop your left arm, and make your right shoulder throw your right arm forward, declining toward me from high to low, with that ''punta sopramano offensiva'', accompanying it in all of the said manners; and if I do not give you a response with some blow, do not halt there, but lift your sword, and going with it a span forward of your right knee, you will fix yourself in ''guardia stretta offensiva, perfetta''; this is a perfect offense, which you must do following the insult received from me, and following your defense. But if I turned to some other blow in order to offend you, then you, with the same ''rovescio tondo'', will always be able to beat back my sword toward your right side, and return to offend me in the chest with the same ''punta sopramano, offensiva, perfetta''; and thus after you defend yourself, you will always be able to offend me again in the chest with the ''punta sopramano perfetta''; therefore it is the most perfect and secure blow that can be found, and to express it succinctly, this is called “Great blow”, because it is necessary to make a conjoining and a union of all the strength of the body, of the wits, of the senses, and of the art; and accompanying the said blow, reveals one to be endowed with knowledge, with heart, and with temperance. Watch, I pray you, how I do it. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 116r.jpg|3|lbl=116r.3|p=1}} {{section|Page:Cod.10723 116v.jpg|1|lbl=116v.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/189|4|lbl=82v.4|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|1|lbl=83r.1|p=1}}
 +
 
 +
|-
 +
|
 +
| <p>CON: I am watching, and with great happiness. </p>
 +
| {{section|Page:Cod.10723 116v.jpg|2|lbl=116v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|2|lbl=83r.2}}
 +
 
 +
|-
 +
|
 +
| <p>BOC: You have done the same ''schermo'' that you taught him a little ago, having said it anew, part by part. </p>
 +
| {{section|Page:Cod.10723 116v.jpg|3|lbl=116v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|3|lbl=83r.3}}
 +
 
 +
|-
 +
|
 +
| <p>ROD: And you philosophers, will you not make to the limit of your abilities, an epilogue, containing in brief the substance of the entire work? And accordingly, I, in order to show him how good and perfect this, my ''schermo'', is for offending and for defending, have shown him in this particular case of how much power it is; tomorrow, then, I will show him of how much importance it is in every way that can be done, both of offense and of defense; but now I am ever so wearied, and we have already had swords in hand for nearly two hours; I would not like the ''conte'' Ugo to wait for me overlong, for we have to ride together for recreation. Oh, have you nothing to say, ''conte''? </p>
 +
|
 +
{{section|Page:Cod.10723 116v.jpg|4|lbl=116v.4|p=1}} {{section|Page:Cod.10723 117r.jpg|1|lbl=117r.1|p=1}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|4|lbl=83r.4}}
 +
 
 +
|-
 +
|
 +
| <p><small>''This ''schermo'' can be reduced to a perfect guard and offense.''</small></p>
 +
 
 +
<p>CON: I am full of amazement, seeing how utterly perfect is this ''schermo'' of yours, and fundamental to all wielding of the sword; but how have you reduced everything to a perfect offense, and to a perfect guard? </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 117r.jpg|2|lbl=117r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|5|lbl=83r.5}}
 +
 
 +
|-
 +
|
 +
| <p>BOC: If our Aristotle entirely reduces the ten Predicaments under two headings, “substance” and “accident”, or, we wish to say better, under “action” and under “potentiality”, as each thing will be either an action or a potentiality, similarly does the unvanquished Rodomonte reduce under these two headings all his art: that is, under “offense”, which is action, and under “defense”, or “guard”, which is potentiality; and in taking the most perfect action and the most perfect potentiality, has therein enclosed every other inferior action, and every other inferior potentiality. </p>
 +
|
 +
{{section|Page:Cod.10723 117r.jpg|3|lbl=117r.3|p=1}} {{section|Page:Cod.10723 117v.jpg|1|lbl=117v.1|p=1}}
 +
|
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/190|6|lbl=83r.6|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|1|lbl=83v.1|p=1}}
 +
 
 +
|-
 +
|
 +
| <p>CON: Rodomonte could have struck me a thousand times today with that thrust, yet he wanted that I might make some parry thereto, and this although I have learned something from many most skillful men, and Masters, and have practiced now and then. </p>
 +
| {{section|Page:Cod.10723 117v.jpg|2|lbl=117v.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|2|lbl=83v.2}}
 +
 
 +
|-
 +
|
 +
| <p>BOC: It may be that if you were earnestly at blows, that Rodomonte would have the worse, if he lacked luck. I have seen the most skillful and practiced men many times do worse than others unpracticed in battle. As I could clarify to you by many examples, ancient and modern. </p>
 +
| {{section|Page:Cod.10723 117v.jpg|3|lbl=117v.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|3|lbl=83v.3}}
 +
 
 +
|-
 +
|
 +
| <p>CON: This I do not believe. </p>
 +
| {{section|Page:Cod.10723 117v.jpg|4|lbl=117v.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|4|lbl=83v.4}}
 +
 
 +
|-
 +
| rowspan="3" |
 +
| class="noline" | <p><small>''Why he who does this ''schermo'' more, often fares worse in the quarreling.''</small></p>
 +
 
 +
<p>ROD: The ''Dottore'' speaks truly; I believe that this happens for one of two reasons: the first is that the man blessed in this art is wanting in courage, or in choleric temperament; the other is, that many times the man, through excessive courage and art, is sensed to make an error, as a result of which he is overcome and vanquished. It may also be said that fortune may be the cause of this; she, as the enemy of virtue, cannot endure that one who is virtuous advances himself with aid other than hers, fearing that the people will abandon her and thereby have recourse to virtue. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 117v.jpg|5|lbl=117v.5|p=1}} {{section|Page:Cod.10723 118r.jpg|1|lbl=118r.1|p=1}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|f1|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|5|lbl=83v.5}}
 +
 
 +
|-
 +
| class="noline" |
 +
| {{section|Page:Cod.10723 118r.jpg|2|lbl=118r.2}}
 +
| class="noline" |
 +
 
 +
|-
 +
| <p><small>''Luck most often aids the ignorant.''</small></p>
 +
 
 +
<p>Do you not see, ''conte'', that if the virtuous advance themselves, it would be believed that they were advanced through their virtue, and not through the benefit of fortune, so that every man would give himself to virtue, abandoning fortune entirely? And thereby it is seen that she most often aids the ignorant. </p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.10723 118r.jpg|3|lbl=118r.3}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|f2|lbl=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|6|lbl=83v.6}}
 +
 
 +
|-
 +
|  
 +
| <p>BOC: This is most lovely reasoning. I will therefore remain without learning this virtue of arms of yours, placing myself in the hands of fortune, which will aid me in such occasions. </p>
 +
| {{section|Page:Cod.10723 118r.jpg|4|lbl=118r.4}}
 +
|  
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/191|7|lbl=83v.7|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|1|lbl=84r.1|p=1}}
 +
 
 +
|-  
 +
|  
 +
| <p><small>''Although luck is the enemy of virtue, one must not, however, remain without learning.''</small></p>
 +
 
 +
<p>CON: And who knows whether fortune will succor you? Hence who can swear thereunto one jot? Whereof, being thus uncertain, it will be necessary that you, fearing, undertake to succor yourself with virtue and with art. </p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:Cod.10723 118r.jpg|5|lbl=118r.5}}
 +
|
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|f1|lbl=-|p=1}}<br/><br/>
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|2|lbl=84r.2}}
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 +
|-  
 +
|  
 +
| <p>ROD: It is time that we go, because there waits the ''conte'' Ugo; tomorrow, then, we will do another bit of practice, ''conte'', and we will talk over this ''schermo'', as much as we haven’t been able to talk today. </p>
 +
| {{section|Page:Cod.10723 118r.jpg|6|lbl=118r.6}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|3|lbl=84r.3}}
 +
 
 +
|-  
 +
|  
 +
| <p>CON: You are right; indeed, let’s go. </p>
 +
| {{section|Page:Cod.10723 118r.jpg|7|lbl=118r.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|4|lbl=84r.4}}
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 +
|-
 +
|
 +
|
 +
|
 +
{{section|Page:Cod.10723 118r.jpg|8|lbl=118r.8|p=1}} {{section|Page:Cod.10723 118v.jpg|1|lbl=118v.1|p=1}}
 +
|
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 118v.jpg|2|lbl=118v.2}}
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|
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Cod.10723 118v.jpg|3|lbl=118v.3}}
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|  
 +
 
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|-  
 +
|  
 +
| <p>BOC: And I will return to see you again tomorrow. </p>
 +
| {{section|Page:Cod.10723 118v.jpg|4|lbl=118v.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|5|lbl=84r.5}}
 +
 
 +
|-  
 +
|  
 +
| <p>ROD: And we will look forward to it. </p>
 +
| {{section|Page:Cod.10723 118v.jpg|5|lbl=118v.5}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|6|lbl=84r.6}}
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|-
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|
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|
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| {{section|Page:Cod.10723 118v.jpg|6|lbl=118v.6}}
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|
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|
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|
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| {{section|Page:Cod.10723 118v.jpg|7|lbl=118v.7}}
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|
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|-
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|
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|
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| {{section|Page:Cod.10723 118v.jpg|8|lbl=118v.8}}
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|
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|}
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{{master end}}
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{{master begin
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| title = Conclusion
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| width = 120em
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}}
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{| class="master"
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|-
 +
! <p>Illustrations</p>
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! <p>{{rating}}</p>
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! <p>[[Trattato d'uno Schermo (Cod.10723)|Presentation manuscript]] (1567){{edit index|Trattato d'uno Schermo (Cod.10723)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>''[[Lo Schermo (Angelo Viggiani)|Lo Schermo]]'' (1575){{edit index|Lo Schermo (Angelo Viggiani) 1575.pdf}}<br/>by [[Michael Chidester]]</p>
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| {{section|Page:Cod.10723 118v.jpg|9|lbl=118v.9}}
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| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|7|lbl=84r.7}}
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| class="noline" |
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| class="noline" |  
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| class="noline" | {{section|Page:Cod.10723 118v.jpg|10|lbl=118v.10}}
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| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|8|lbl=84r.8}}
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  | authors    = [[Michael Chidester]]
 
  | source link =  
 
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  | source title= [[Index:Trattato d'uno Schermo (Cod.10723)]]
 
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  | license    = noncommercial
 
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  | work        = Transcription (book)
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  | authors    = [[Michael Chidester]]
 
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  | source title= [[Index:Lo Schermo (Angelo Viggiani) 1575.pdf|Index:Lo Schermo (Angelo Viggiani)]]
 
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'''Additional Translation Terms:''' All rights reserved.  Copyright 2002 by William Jherek Swanger.  No part of this work (excepting images, which are in public domain) may be reproduced or transmitted by any means or in any form, electronic or mechanical, without prior written consent of the author/translator, subject to Fair Use in the Copyright Act of the United States of America.
 
'''Additional Translation Terms:''' All rights reserved.  Copyright 2002 by William Jherek Swanger.  No part of this work (excepting images, which are in public domain) may be reproduced or transmitted by any means or in any form, electronic or mechanical, without prior written consent of the author/translator, subject to Fair Use in the Copyright Act of the United States of America.
  
Or, to put it more bluntly, feel free to make a thousand printouts of this work for individual and group study, as long as you leave the copyright and credits on it.  But trying to make any money off of it is strictly out of the question.<section end="sourcebox"/>
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Or, to put it more bluntly, feel free to make a thousand printouts of this work for individual and group study, as long as you leave the copyright and credits on it.  But trying to make any money off of it is strictly out of the question.
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''See discussion page for full tanslation notes.''<section end="sourcebox"/>
 
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Latest revision as of 14:38, 24 March 2024

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 (Viziani, Angelus Viggianus; 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

As the older text, the 1567 presentation manuscript is used to structure the treatise on this page. Viggiani's printed book includes side notes that indicate the topic discussed in a particular region of each page; because we can't display them that way on this site, they're added into the text at the beginning of the paragraph they describe.

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. "C" is upside down.
  11. This is the same as the statement from Rodomonte two paragraphs down in the printed book.
  12. This is the same as the statement from Rodomonte two paragraphs up in the manuscript.
  13. 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…
  14. A braccio is a unit of length of approximately 60 centimeters. The specified distance is therefore about 30 cm, or one foot.
  15. This is, of course, in full, “guardia larga, offensiva, imperfetta”.
  16. Misnumbered 73.