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| <p>[3]When you will be in that guard, You will advance with your right foot, striking an half thrust <ref>probably a feint</ref>. Then immediatly you will strike an half riverso in the cape's hand, without move your sword from there. So that he will return you with a thrust, or a mandritto, or a fendente. When he'll strike a thrust, you will push his sword towards the ground with the true edge of your sword and then you will thrust a punta riversa in his chest, or you'll strike a riverso at his face.
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| <p>[3]When you will be in that guard, You will advance with your right foot, striking an half thrust <ref>probably a feint</ref>. Then immediatly you will strike an half riverso in the cape's hand, without move your sword from there. So that he will returns you with a thrust, or a mandritto, or a fendente. When he'll strikes a thrust, you will push his sword towards the ground with the true edge of your sword and then you will thrust a punta riversa in his chest, or you'll strike a riverso at his face.
But if he'll strike the mandritto or fendente, against any of these strokes you will advance with your left foot, parrying with the cape and thrusting a stoccata in his side. Then you will jump back on the said guard <ref>coda lunga alta</ref>.
+
But if he'll strikes the mandritto or fendente, against any of these strokes you will advance with your left foot, parrying with the cape and thrusting a stoccata in his side. Then you will jump back on the said guard <ref>coda lunga alta</ref>.
 
If the enemy will be in that guard, like you, and he will thrust a stoccata <ref>feint</ref> pulling back his left foot to advance with his right foot striking at you head with a mandritto. You will not move during his stoccata, but when he'll strike the mandritto to the head, you'll step back with your left foot striking his sword's hand with a mandritto and then you'll step back with your right foot making an half turn of the hand to go in the said guard <ref>coda lunga alta</ref>.
 
If the enemy will be in that guard, like you, and he will thrust a stoccata <ref>feint</ref> pulling back his left foot to advance with his right foot striking at you head with a mandritto. You will not move during his stoccata, but when he'll strike the mandritto to the head, you'll step back with your left foot striking his sword's hand with a mandritto and then you'll step back with your right foot making an half turn of the hand to go in the said guard <ref>coda lunga alta</ref>.
 
If you will be in that guard, like your enemy, and he'll strikes you with a thrust, a mandritto or a fendente. For any of these strokes you'll move your left foot towards his left side <ref>cross step</ref> putting your sword with the point towards the ground and then moving the sword like a wheel you'll take whatever of these strokes. Then you'll hurt his head or his leg with a mandritto, stepping with your right foot towards his left side, and moving your weak <ref>left</ref> foot behind the strong <ref>right</ref> foot. After doing these, you'll step back with the right foot, doing the said turn of the fist, and ending in the said guard <ref>coda lunga alta</ref>
 
If you will be in that guard, like your enemy, and he'll strikes you with a thrust, a mandritto or a fendente. For any of these strokes you'll move your left foot towards his left side <ref>cross step</ref> putting your sword with the point towards the ground and then moving the sword like a wheel you'll take whatever of these strokes. Then you'll hurt his head or his leg with a mandritto, stepping with your right foot towards his left side, and moving your weak <ref>left</ref> foot behind the strong <ref>right</ref> foot. After doing these, you'll step back with the right foot, doing the said turn of the fist, and ending in the said guard <ref>coda lunga alta</ref>
... </p>
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If the enemy did not want to get out of the guard, you could tempt him pushing an half thrust <ref>finta</ref> stepping forward with the right foot and striking with an half riverso to his leg, waiting for his reaction. If he'll makes a thrust, you'll knock his sword toward the ground with your true edge, and immediatly you'll hit him with a riverso thrust in the chest, or with a riverso to the face. But if he'll strikes to your head with a mandritto o fendente, you'll go with the sword in guardia di testa, parrying his blow, and striking to reposte with a mandritto to the head or to the leg, as you prefer. And if he'll strikes to your leg, you'll step forward with your left foot, putting your false edge under the enemy's sword, and then you'll strike with a riverso to his leg, moving your right foot behind your left foot, and then you'll thrusts a stoccata to his face, jumping back in the said guard <ref>coda lunga alta</ref>.
 +
But If your enemy will try to attract you out of guard thrusting with a right step in order to hurt your head or your advanced leg with a riverso, you will defend yourself from the thrust striking his sword's hand with an half mandritto, that will end in cinghiara porta di ferro. And when he'll stikes the riverso to your head, you will step forward with the right foot, going with the sword in guardia di testa and parrying his blow, then you'll defend your head with the cape striking his head or his leg with a mandritto. Instead if he'll strikes the riverso to your leg, you will step forward with your right foot, making and half turn of the fist, pointing the sword towards the ground and parrying the said riverso. Then immediatly you'll strike with a mandritto to his head and for defense you'll step back with the righ foot, ending in the usual guard<ref>coda lunga alta</ref> </p>
 
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/112|2|lbl=-|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|113|lbl=52r|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|114|lbl=52v|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/115|1|lbl=53r|p=1}}
 
{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/112|2|lbl=-|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|113|lbl=52r|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|114|lbl=52v|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/115|1|lbl=53r|p=1}}

Revision as of 21:03, 25 April 2021

Antonio Manciolino

Illustration from the title page of Manciolino's treatise
Born late 1400s?
Died after 1531
Occupation Fencing master
Citizenship Bolognese
Patron Don Luisi de Cordoba
Movement Dardi School
Influences
Genres Fencing manual
Language Italian
Notable work(s) Opera Nova (1531)
First printed
english edition
Leoni 2010
Concordance by Michael Chidester

Antonio Manciolino was a 16th century Italian fencing master. Little is known about this master's life; he seems to have been Bolognese by birth and he is thought to have been a student of Guido Antonio di Luca,[citation needed] the master who also taught Achille Marozzo. His fencing manual is dedicated to Don Luisi de Cordoba, Duke of Sessa, Orator of the Most Serene Emperor to Adrian VI; this dedication may indicate that Manciolino was attached as fencing master to the ducal court.

In 1531, Manciolino published a treatise on swordsmanship called Opera Nova ("A New Work"),[1] which is the oldest extant treatise in the Dardi or "Bolognese" school of swordsmanship.[2] The 1531 edition describes itself as "corrected and revised" and was probably based on an earlier version printed in ca. 1523; this date is based on the fact that Don Luisi de Cordoba was only orator to Adrian VI between September of 1522 and September of 1523.[3] Despite the breadth and detail of his work, Manciolino's efforts were overshadowed by the release of Marozzo's even more extensive work on Bolognese fencing thirteen years later.

Treatise

As Craig Pitt-Pladdy has refused our request to host his translations on Wiktenauer, we instead have links to their locations on other sites in the appropriate sections until such time as another translation appears.

Additional Resources

References

  1. The full title was Di Antonio Manciolino Bolognese opera noua, doue li sono tutti li documenti & uantaggi che si ponno ha uere nel mestier de l’armi d’ogni sorte nouamente corretta & stampata, which translates to "New Work by Antonio Manciolino, Bolognese, wherein are all the instructions and advantages that are to be had in the practice of arms of every sort; newly corrected and printed".
  2. Both Dardi and Luca are thought to have published treatises in the 15th century that have since been lost.
  3. Leoni, Tom. The Complete Renaissance Swordsman: Antonio Manciolino’s Opera Nova (1531). Wheaton, IL: Freelance Academy Press, 2010. pp 11-12.
  4. I.e., as it was in front of the right knee in porta di ferro stretta.
  5. I.e. his mandritto.
  6. Note that these “two tramazzoni” were, in both cases, singular in Ch. 9
  7. I.e. yours.
  8. This counter has no antecedent in Ch. 15.
  9. I.e. a mandritto that goes over your own left arm.
  10. Unicorn.
  11. Not specified.
  12. N.B. original says “…piede manco appresso il sinestro”, i.e. “left foot near your left”—this should be “left foot near your right”.
  13. Note that this guard is not described in the text—see Marozzo, Cap. 143, for description and illustration.
  14. This action may describe a gathering step forward with the left, as the left foot is presumably already to the rear.
  15. N.B. I have glossed over sections of the short introduction of this particular book, skipping straight to the swordplay
  16. Destro.
  17. I.e. the sword.
  18. His hand.
  19. Your hand.
  20. his left side
  21. probably a feint
  22. coda lunga alta
  23. feint
  24. coda lunga alta
  25. cross step
  26. left
  27. right
  28. coda lunga alta
  29. finta
  30. coda lunga alta
  31. coda lunga alta
  32. Of the enemy, I think.
  33. Clash.
  34. Nodi.
  35. Traverses.
  36. Parry.
  37. Slice.
  38. Or bow.
  39. Punta at the face.
  40. Turned above.
  41. To the ground.
  42. Body.
  43. Turned towards your left part.
  44. The Guardia.
  45. Spontone, according to Florio, was called a Forest Bill; as far as I can tell is a Spontoon. A Quadrello has a four-edged blade with a rondel its base, much like a rondel dagger on a staff.
  46. Rip/laceration.
  47. Upward.
  48. Rest position.
  49. Offend.
  50. Or do the same.
  51. Or still.
  52. Better pass forward.
  53. Sideways.
  54. Traversing.
  55. Facing.