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| deathdate            = 1552
 
| deathdate            = 1552
 
| deathplace          = Bologna (?)
 
| deathplace          = Bologna (?)
| occupation          = [[Fencing master]]{{#set: occupation=fencing master }}
+
| occupation          = [[occupation::Fencing master]]
 
| nationality          =  
 
| nationality          =  
 
| ethnicity            =  
 
| ethnicity            =  
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{{TOC limit|3}}
 
{{TOC limit|3}}
 
== Treatise ==
 
== 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 [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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| 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>
 
| <p><br/><br/></p>
 
| <p><br/><br/></p>
  
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<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}}
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<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}}
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<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}}
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<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}}
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|-  
 
|-  
|  
+
| 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}}
  
 
|-  
 
|-  
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| 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}}
  
 
|-  
 
|-  
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| <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}}
  
 
|-  
 
|-  
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| {{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}}
  
 
|-  
 
|-  
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|-  
 
|-  
 
| {{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}}
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| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/150|8|lbl=63r.8}}
  
 
|-  
 
|-  
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| <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}}
  
 
|-  
 
|-  
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| 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}}
  
 
|-  
 
|-  
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<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=-}}
  
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<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=-}}
  
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|-  
 
|-  
| {{section|Page:Cod.10723 96r.jpg|5|lbl=96r.5}}
+
|  
 +
{{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" |  
 
| class="noline" |  
  
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| 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>
 
| 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>
 
| <p><br/><br/><br/><br/></p>
| class="noline" | {{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>
  
 
|-  
 
|-  
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| <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>
 
| <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:Cod.10723 109r.jpg|8|lbl=109r.8}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|1|lbl=78r.1}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>ROD: Which do you think to be of greater valor, the offensive, or the defensive? </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}}
 
 
|  
 
|  
 +
{{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}}
  
 
|-  
 
|-  
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<p>CON: I would believe it to be the offensive. </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=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|3|lbl=78r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>ROD: Among the offensive isn’t the perfect more excellent than the imperfect? </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>CON: The name says it. </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>ROD: Among the ''offensiva perfetta'', the high or the low? </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>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>
 
| <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}}
  
 
|-  
 
|-  
Line 3,190: Line 3,211:
  
 
<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>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>
  
<p><small>''Requirement that a knight consider well the equality or inequality of his adversary.''</small></p>
+
{{section|Page:Cod.10723 110r.jpg|7|lbl=110r.7}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|f2|lbl=-}}
  
<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:Lo Schermo (Angelo Viggiani) 1575.pdf/180|8|lbl=78r.8}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''Praise of the Illustrious Signor Conte Ugo Pepoli.''</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=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|9|lbl=78r.9}}
 +
 
 +
|-
 +
|
 +
| <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>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=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/180|10|lbl=78r.10}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <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>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>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>
 
| <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}}
  
 
|-  
 
|-  
Line 3,221: Line 3,259:
 
| <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>
 
| <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}}
  
 
|-  
 
|-  
Line 3,227: Line 3,265:
 
| <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>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}}
  
 
|-  
 
|-  
Line 3,233: Line 3,271:
 
| <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>
 
| <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}}
  
 
|-  
 
|-  
Line 3,239: Line 3,277:
 
| <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>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}}
  
 
|-  
 
|-  
Line 3,245: Line 3,283:
 
| <p>ROD: I understand that he has apparently innumerable abundances of jewels of inestimable worth. </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}}
  
 
|-  
 
|-  
Line 3,251: Line 3,289:
 
| <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>
 
| <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}}
  
 
|-  
 
|-  
Line 3,257: Line 3,295:
 
| <p>BOC: And which is this? </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}}
| <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>
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|2|lbl=79r.2}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>ROD: As you like. </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>CON: It would delight me greatly to know it, if it did not trouble you to show me. </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: And I take the greatest delight in showing you. </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>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|8|lbl=110v.8}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <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>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: 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>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>
 +
 +
{{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=-}}
 +
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|7|lbl=79r.7}}
  
<p><small>''Way of doing the proposed ''schermo.</small></p>
+
|-
 +
| class="noline" | <p><small>''Way of doing the proposed ''schermo.</small></p>
  
 
<p>And so that you can understand this safe ''schermo'' of ours well, behold, I repeat, and say,</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>
  
<p><small>''How from ''guardia alta, offensiva, perfetta'' one must execute the ''punta sopramano.</small></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>that finding yourself with your right foot forward in ''guardia alta, offensiva, perfetta'', and with your weight on your left side, </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>
  
<p><small>''How one can do the ''punta sopramano'' perfectly.''</small></p>
+
{{section|Page:Cod.10723 111r.jpg|3|lbl=111r.3}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/182|f3|lbl=-}}
 +
 
 +
{{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>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>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>CON: Why? </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: 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" | <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}}
  
<p><small>''How from the punta sopramano one must go into guardia difensiva, larga, imperfetta.''</small></p>
+
|-
 +
| class="noline" | <p><small>''How from the punta sopramano one must go into guardia difensiva, larga, imperfetta.''</small></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>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" |
 +
| {{section|Page:Cod.10723 112r.jpg|2|lbl=112r.2}}
 +
| class="noline" |
  
<p><small>''Advisement that one not rest much in some defensive guard in this ''schermo.</small></p>
+
|-
 +
| class="noline" | <p><small>''Advisement that one not rest much in some defensive guard in this ''schermo.</small></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>
 
<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>
  
<p><small>''How one must do the ''rovescio tondo'' from the ''guardia difensiva, larga, imperfetta.</small></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>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>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/183|5|lbl=79v.5}}
  
<p><small>''How from the ''rovescio tondo'' one turns into ''guardia alta, offensiva, perfetta.</small></p>
+
|-
 +
| class="noline" | <p><small>''How one must do the ''rovescio tondo'' from the ''guardia difensiva, larga, imperfetta.</small></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>
+
<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>''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: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>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>
+
{{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>CON: I’m watching, but I will not be able to do it soon. </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=-}}
 +
 
 +
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|2|lbl=80r.2}}
  
 
|-  
 
|-  
|  
+
| 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><small>''Praise of the Most Illustrious ''S. Duca'' Ottavio Farnese.''</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>
 +
 
 +
{{section|Page:Cod.10723 112v.jpg|2|lbl=112v.2}}
 +
| class="noline" | {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/184|f3|lbl=-}}
  
<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/184|3|lbl=80r.3}}
|  
 
|  
 
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p><small>''Praise of the Most Illustrious House of Farnese.''</small></p>
+
| {{section|Page:Cod.10723 112v.jpg|3|lbl=112v.3}}
 +
| class="noline" |
  
<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>
+
|-
 +
| <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><small>''What entirely comprises this ''schermo.</small></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}}
  
<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>
+
|-
 +
|
 
|  
 
|  
 +
| {{section|Page:Cod.10723 113r.jpg|3|lbl=113r.3}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: It is not, therefore, a ''tempo'', as you said. </p>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 113r.jpg|4|lbl=113r.4}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <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><small>''Praise of the Most Illustrious ''S. Duca'' Ottavio Farnese.''</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>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>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><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" |  
| <p>ROD: In accord with our discussion, by “''tempo''” I intend “motion”, not the number of the motion, as you mean. </p>
+
| 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>CON: Listen to me a bit, please, Rodomonte; if you came against me wishing to offend me, what should I do? </p>
 
|  
 
|  
 
  
 
|-  
 
|-  
|
+
| <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>
| <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 113r.jpg|5|lbl=113r.5}}
|  
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/185|6|lbl=80v.6}}
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: So you want me to always use this guard? </p>
+
| <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>''One should always use the ''guardia alta, offensiva, perfetta'', appropriate to defend oneself in every case.''</small></p>
+
| <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: 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>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}}
 
|  
 
|  
| <p><small>''In order to defend the head from a ''mandritto, discendente.</small></p>
+
{{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}}
  
<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/185|8|lbl=80v.8|p=1}} {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|1|lbl=81r.1|p=1}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <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>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: 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>
 
|
 
 
|  
 
|  
 +
{{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: While your ''rovescio'' travels, my sword, which remains in descent, will soon fall and offend you in the head in this fashion. </p>
+
| <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}}
  
 
|-  
 
|-  
 
|  
 
|  
| <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 113v.jpg|3|lbl=113v.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>
 
 
|  
 
|  
 +
| {{section|Page:Cod.10723 113v.jpg|4|lbl=113v.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><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: 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: 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: In fact this is true. </p>
+
| <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>ROD: Return at ease to ''guardia stretta difensiva''. </p>
+
| <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>
| <p>CON: Here you are. </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=-}}
| <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>
+
{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|7|lbl=81r.7}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: What, then, should I do? </p>
+
| <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>
| <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>
+
{{section|Page:Cod.10723 114r.jpg|2|lbl=114r.2}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/186|f4|lbl=-}}
  
<p><small>''When it is possible to break the enemy’s sword.''</small></p>
+
{{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}}
  
<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>
+
|-
|  
+
| 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}}
| <p>CON: How should I avenge myself of the insult? </p>
+
| 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}}
| <p><small>''The punta sopramano is called “Great blow”.''</small></p>
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|4|lbl=81v.4}}
  
<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>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>CON: I am watching, and with great happiness. </p>
+
| <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}}
  
 
|-  
 
|-  
 
|  
 
|  
| <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 114v.jpg|3|lbl=114v.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 114v.jpg|4|lbl=114v.4}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>''This ''schermo'' can be reduced to a perfect guard and offense.''</small></p>
+
| <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}}
<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>
+
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/187|7|lbl=81v.7}}
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <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 114v.jpg|6|lbl=114v.6}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <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 114v.jpg|7|lbl=114v.7}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <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>
+
| <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: This I do not believe. </p>
+
| <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" |  
| <p><small>''Why he who does this schermo more, often fares worse in the quarreling.''</small></p>
+
| 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}}
  
<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>
+
|-
 +
| {{section|Page:Cod.10723 115r.jpg|3|lbl=115r.3}}
 +
| class="noline" |
  
<p><small>''Luck most often aids the ignorant.''</small></p>
+
|-
 +
| {{section|Page:Cod.10723 115r.jpg|4|lbl=115r.4}}
 +
| {{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/188|1|lbl=82r.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>
+
|-
 
|  
 
|  
 +
| <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>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>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>''Although luck is the enemy of virtue, one must not, however, remain without learning.''</small></p>
+
| <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>
  
<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>
+
{{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>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>
 
|  
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>CON: You are right; indeed, let’s go. </p>
+
| <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>BOC: And I will return to see you again tomorrow. </p>
+
| <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 we will look forward to it. </p>
+
| <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}}
 +
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| <p><small>''Luck most often aids the ignorant.''</small></p>
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<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>
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| <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>
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| <p><small>''Although luck is the enemy of virtue, one must not, however, remain without learning.''</small></p>
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<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>
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{{section|Page:Lo Schermo (Angelo Viggiani) 1575.pdf/192|f1|lbl=-|p=1}}<br/><br/>
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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>
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| <p>CON: You are right; indeed, let’s go. </p>
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| <p>BOC: And I will return to see you again tomorrow. </p>
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| <p>ROD: And we will look forward to it. </p>
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{{master begin
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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>
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! <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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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.