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| '''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.'''
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| <p>New work by '''Antonio Manciolino''' of Bologna, wherein are all the instructions and advantages that are to be had in the practice of arms of every sort; newly corrected and printed.</p>
'''1531.'''
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| '''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.'''
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<p>1531.</p>
'''M D X X X I.'''
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| {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|11|lbl=1}}
  
 
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| '''[Dedication: To the Most Illustrious Don Luisi de Cordola, Duke of Sessa, Orator of the Most Serene Emperor to Adrian VI.]'''
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| <p>[Dedication: To the Most Illustrious Don Luisi de Cordola, Duke of Sessa, Orator of the Most Serene Emperor to Adrian VI.]</p>
| '''ALLO ILLVSTRISSIMO DON LVIsi de Cordola Duca di Sessa Oratore del Serenissimo Imperatore ad Adriano Sesto V.D.S.D.S.ac.F.'''
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| {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|12|lbl=1v}}
'''M'''Olti ingeniosi, & eccellenti auttori, degni di im mortale laude Illustrissimo Duca si sono sforzati non solo con la uiua uoce: li presenti: ma etiam li posteri: & successori insegnare: & amaestrare. Tamen insino alli nostri tempi (quanto ci sia noto) alcuno ha colli sua scritti dechiarato in che modo si debba defende re dali seuienti inimici: essendo da quelli assalito: se non il nostro autore: ilquale ammaestra nella sequente operetta: euadere: & schifare la uiolente & intentata morte: come uostra Illustrissima Signoria, uedera in la presente operetta: a quella dedicata: come a Capitano espertissimo in l’arte Militare per le frequente ottenute uittorie. Et se l’opera esigua a tanto eccelso Signore, risguardi quello a l’animo: & uolonta di chi la dedica: preparato ad ogni opera uerso quello: il quale Iddio faccia perfetto: & conserui d’ogni aduersa fortuna. Valete.
 
  
 
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| '''New work for learning to combat and fence with every sort of weapon, composed by Antonio Manciolino, Bolognese.'''
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| <p>'''New work for learning''' to combat and fence with every sort of weapon, composed by Antonio Manciolino of Bologna.</p>
| '''[A2r] OPERA NOVA PERIMPARARE a Combattere, & Schermire d’ogni sorte Armi, Composta per Antonio Manciolino Bolognese.'''
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<p>It is the wont of the majority of the commonest maestri of the art of the rational blows of fencing to affix in the highest and most solemn corner of their school a long array of paper, wherein they claim their chapters are written. And in truth, whosoever reads them does find them to be chapters, but rather those that wine vendors place on barrels, a thing more monstrous than human. And how can he be human, if the greed and rapacity of the maestro is openly displayed? But how human of a thing is it to help others, and to bear witness by oneself that some are not born thus rapacious and hardhearted of instinct? And in my opinion things are placed into the school only for their profit, and not that of others. Hundreds are their chapters, for in them is contained nothing other than the putting of a price on the masterful play of this art, as the virtue of arms has fallen to such baseness that it is wished by them to find her holy members sold at a price through the schools, boasting, without consideration that the dull and the subtle wits can not equally bear this yoke upon their shoulders, and that the art is not a harlot to suffer itself to be sold. And I wish to hold to a more useful path, noting that the school should be devoted to offering some instruction of the art. It is of more worth to me to be useful to my scholars with this work than, through the putting of a price to the play, to provide myself alone with great benefit. Accordingly, it will suffice me to have from scholars three things: namely reverence, faith, and reward; reverence as maestro, and likewise faith, because it behooves the student to believe according to the saying of the philosopher, that scholars are held to be the proper reward of their maestro; because without that (it is the sentiment of Cicero) the arts would perish. If, therefore, I call myself satisfied by the three aforesaid things, what loss of time in some other profit of mine could be of aid with this, my work?</p>
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{{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|13|lbl=2|p=1}} {{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|14|lbl=2v|p=1}}
  
 
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| It is the wont of the majority of the commonest maestri of the art of the rational blows of fencing to affix in the highest and most solemn corner of their school a long array of paper, wherein they claim their chapters are written. And in truth, whosoever reads them does find them to be chapters, but rather those that wine vendors place on barrels, a thing more monstrous than human. And how can he be human, if the greed and rapacity of the maestro is openly displayed? But how human of a thing is it to help others, and to bear witness by oneself that some are not born thus rapacious and hardhearted of instinct? And in my opinion things are placed into the school only for their profit, and not that of others. Hundreds are their chapters, for in them is contained nothing other than the putting of a price on the masterful play of this art, as the virtue of arms has fallen to such baseness that it is wished by them to find her holy members sold at a price through the schools, boasting, without consideration that the dull and the subtle wits can not equally bear this yoke upon their shoulders, and that the art is not a harlot to suffer itself to be sold. And I wish to hold to a more useful path, noting that the school should be devoted to offering some instruction of the art. It is of more worth to me to be useful to my scholars with this work than, through the putting of a price to the play, to provide myself alone with great benefit. Accordingly, it will suffice me to have from scholars three things: namely reverence, faith, and reward; reverence as maestro, and likewise faith, because it behooves the student to believe according to the saying of the philosopher, that scholars are held to be the proper reward of their maestro; because without that (it is the sentiment of Cicero) the arts would perish. If, therefore, I call myself satisfied by the three aforesaid things, what loss of time in some other profit of mine could be of aid with this, my work?
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| <p>'''Here begin some''' principal rules, or instructions, regarding the valorous art of fencing.</p>
| '''I''' VOLSI Dal piu de li uolgarissima maestri, de l’arte, che de li colpi ragioneuole Schermitrice, nel piu alto, & solenne canto de la Scola apporre un longo spiegamento di Carta, oue gli loro capitoli esser scritti dicono. Et nel uero, chi quelli legge, troua esser capitoli, ma quali è uenditori del uino sopra le botte fanno, cosa piu mostruosa, che humana. Et come puo te esser humana, se apertamente la ingerdiggia, & rapaci tade del maestro si dimostra. Ma come humana cosa è gio uare altrui, & far fede per se stesse alcuno non esser nato, cosi rapace, & ferrigno istinto e secondo il mio talen'''[A2v]'''to, porsi nella scola cose, che per il suo solamente, & non l’altrui profitto faccino, chenti sono questi loro capitoli, conciosiacosa che in quelli altro non si contenghi, che il poner a prezzo li maestreuoli giochi di questa arte, si come la uirtu de l’armi a tanta uiltade caduta fosse che si desseno a trouar di quelli che le sacre membra di lei per le scole a prezzo uender si uantasseno senza consideramento che l’ingegni duri con li acuti non possono parimente tirar questo giogo sopra il collo, & che l’arte non è meritrice di soporsi a prezzo. Et uolendo io tener piu utile sentiero, auisandomi che ne la scola dourebbe esser uoto di porger qualche ammaestramento, del Arte, essendomi piu grato con questa opera giouar a li scolari miei, che per metter gli giochi a prezzo esser a me stesso di grande giouamento. Imperò che a me basta hauer da li scolari trè cose, cioè Riuerentia, Fede, & premio. Riuerentia come maestro, & medesimamente fede, perche conuiene al discepolo credere secondo il detto del philosopho, el premio condeceuole sono li scolari al suo maestro tenuti, percio che senza quello (è sententia di Cicerone) che l’ar ti perirebbeno. Se adunque de le tre predette cose sodisfat to mi chiamo, a che perder tempo in altro mio profitto possendo giouar con questa mia opera.
 
  
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<p>One wishing to play must always attach himself to the most valorous of deed and reputation. Because as the glory of the victor depends on the valor of the vanquished, thus the loss is not censurable if the reputation of the victor embellishes it.</p>
| '''Here begin some principal rules, or instructions, regarding the valorous art of fencing.'''
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/15|1|lbl=3r}}
<br>One wishing to play must always attach himself to the most valorous of deed and reputation. Because as the glory of the victor depends on the valor of the vanquished, thus the loss is not censurable if the reputation of the victor embellishes it.
 
| '''[A3] INCOMINCIANO ALQVANTE Regole principali, ouero documenti sopra la ualorosa Arte del Schermire.'''
 
'''U'''Olendo alcuno giocare, deue sempre al piu ua loroso per opre & per fama ataccarsi. Perche come la gloria del uincitore dal ualore del uin to depende, cosi il perdimento non è biasmeuole se la fama del uincitore lo abbellisce.
 
  
 
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| The delight of playing with varied and diverse players makes a man cunning, perceptive, and nimble of hand, because from the variety of such practiced wits stems the shrewd and learned mother-experience of things.
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| <p>The delight of playing with varied and diverse players makes a man cunning, perceptive, and nimble of hand, because from the variety of such practiced wits stems the shrewd and learned mother-experience of things.</p>
| Il diletto di giocar con uarij & diuersi giocatori fa l’huomo scaltro: occhiuto: & delle mani snello, perche della uarietate di tanti praticati ingegni prouiene la saga ce & dotta madre esperienza delle cose.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/15|2|lbl=-}}
  
 
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| When one in playing has doubt of the other, he must never fix himself in a single guard, but change immediately from one into another. The reason being that the enemy will not be able to form some opinion.
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| <p>When one in playing has doubt of the other, he must never fix himself in a single guard, but change immediately from one into another. The reason being that the enemy will not be able to form some opinion.</p>
| Mentre uno nel giocare ha dubitanza de l’altro: non si deue mai fermarsi in una sola guardia, ma di una subito cangiarsi in l’altra. Il perche non potra d’alcuno auiso del Nemico esser giunto.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/15|3|lbl=-}}
  
 
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| Against those players who make their blows with great impetus, so that they often engender fear in their partner, there are two things that can be done: either to let his blow go in vain and to thrust immediately, shrewdly feigning to ward it; or to throw yourself forward to ward before the blow has come to force. One could also strike him in the hand, the reason being that it would interfere with his forceful throwing.
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| <p>Against those players who make their blows with great impetus, so that they often engender fear in their partner, there are two things that can be done: either to let his blow go in vain and to thrust immediately, shrewdly feigning to ward it; or to throw yourself forward to ward before the blow has come to force. One could also strike him in the hand, the reason being that it would interfere with his forceful throwing.</p>
| Contra quelli giocatori che con grande impeto i loro colpi fanno, si che souente partoriscono timore nel compagno, di due cose far l’una si puote, ouero lasciarlo andar a uoto & spigner di subito accortamente fingendo di schifare: ouero gettarsi innanzi a schifare prima che’l co po habbi preso furia. Si potrebbe anchora ferirli la mano il perche scorderebbe il tirar forte
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/15|4|lbl=-}}
  
 
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| The wounding of the hand, not of the enemy, is registered in the account of blows in play. Because the hand is the chief in exposing itself, thus in combat for earnest it is the most singular wound, because that member of the enemy must be offended which offends more than others, and this is the hand.
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| <p>The wounding of the hand, not of the enemy, is registered in the account of blows in play. Because the hand is the chief in exposing itself, thus in combat for earnest it is the most singular wound, because that member of the enemy must be offended which offends more than others, and this is the hand.</p>
| Si come il ferire della mano non del nemico è riceuuto nel conto del giocare per colpo. Perche la mano è pri miera nel scoprirsi, cosi nel combatter da douero questa è la piu singolare ferita, perche quello membro del '''[A3v]''' nemico si deue offender, ilquale te piu de glialtri offende, & questo è la mano.
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/15|5|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|1|lbl=3v|p=1}}
  
 
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| The most genteel of blows is the mandritto, because that one is the most genteel and noble which is done with more difficulty and danger; but to strike with the mandritto is done with more danger than the riverso, since it makes a man go entirely uncovered in that tempo; therefore the mandritto is more genteel.
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| <p>The most genteel of blows is the mandritto, because that one is the most genteel and noble which is done with more difficulty and danger; but to strike with the mandritto is done with more danger than the riverso, since it makes a man go entirely uncovered in that tempo; therefore the mandritto is more genteel.</p>
| Il piu gentile delli colpi è il Mandritto, perche quello è il piu gentile & nobile: che con piu malageuolezza & pericolo si fa: ma a batter di mandritto è con piu pericolo che di rouerso: conciosiacosa: che far andar l’huomo tutto scoperto in quel tempo: adunque il mandritto è piu gentile.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|2|lbl=-}}
  
 
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| One must always keep one’s eyes on the sword hand of the enemy more than on his face, because there is to be seen all that he wishes to do.
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| <p>One must always keep one’s eyes on the sword hand of the enemy more than on his face, because there is to be seen all that he wishes to do.</p>
| Si deue sempre hauer l’occhio alla mano della spada del Nemico piu che al uolto, perche iui si uede tutto quello che egli uol fare.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|3|lbl=-}}
  
 
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| The genteel warding of a blow is of no little profit nor small beauty, rather it is of equal or perhaps greater loveliness than to make a beautiful blow since many know how to throw a beautiful blow, but few have the knowledge of warding them, so that they are not offended. And such guardians rest satisfied.
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| <p>The genteel warding of a blow is of no little profit nor small beauty, rather it is of equal or perhaps greater loveliness than to make a beautiful blow since many know how to throw a beautiful blow, but few have the knowledge of warding them, so that they are not offended. And such guardians rest satisfied.</p>
| Non è di picciol profitto ne di poca bellezza il gentile schifamento di uno colpo, anzi è di equale o forse di maggiore leggiadria: che a fare il bel colpo: conciosiaco sa che molti saperanno tirar li belli colpi: ma pochi haueranno scienza di schifarli: si che offesi non siano. Et che gli guardatori restino sodisfatti.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|4|lbl=-}}
  
 
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| It is a necessary thing to know the tempos, without which the play is imperfect; accordingly be aware that when the enemy’s blow has passed your body, that the period there is a tempo to follow it with a response, more convenient than a parry.
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| <p>It is a necessary thing to know the tempos, without which the play is imperfect; accordingly be aware that when the enemy’s blow has passed your body, that the period there is a tempo to follow it with a response, more convenient than a parry.</p>
| Cosa necessaria è conoscer li tempi: senza liquali è im perfetto il gioco: però è da auertire che come il colpo del Nemico ti ha trascorso la persona, che iui el torno è tempo di seguitarlo con la riposta: che parra piu conueneuole.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|5|lbl=-}}
  
 
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| All players that look short are also to place in their hands short weapons, because their puissance would not extend to long ones.
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| <p>All players that look short are also to place in their hands short weapons, because their puissance would not extend to long ones.</p>
| Alli giucatori: che ueggono corto: sono ancho da por in mano le armi corte. Perche la loro uertude nelle longhe non si stenderebbe.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|6|lbl=-}}
  
 
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| To whomsoever as well in playing, the short weapon, or the short sword, is of greater virtue. Because it forces the players to approach, from whence they are made ideal at warding and of good eye.
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| <p>To whomsoever as well in playing, the short weapon, or the short sword, is of greater virtue. Because it forces the players to approach, from whence they are made ideal at warding and of good eye.</p>
| A qualunque anchora nel giocare l’arma corta, o la spada corta è di maggior uertude. Perche a forza fa accostar li giocatori: onde si fanno ottimi schifatori: & di bon occhio.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|7|lbl=-}}
  
 
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| In every respect it is an optimal thing to train both hands in every play with every weapon, and to know as well with one as with the other how to strike and to ward.
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| <p>In every respect it is an optimal thing to train both hands in every play with every weapon, and to know as well with one as with the other how to strike and to ward.</p>
| Per ogni rispetto è ottima cosa l’ammaestrar amen'''[A4]'''due le mani in ogni giuoco di ogni arme: & saper cosi con una: come con l’altra ferir & schifare.
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/16|8|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/17|1|lbl=4r|p=1}}
  
 
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| Thus do the high guards relate to the low wards: that the principles of the high guards is striking, and naturally the warding subsequently; and of the low guards contrarily is warding the principle, and then striking subsequently; but in these low ones alone is the giving of the thrust the natural strike.
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| <p>Thus do the high guards relate to the low wards: that the principles of the high guards is striking, and naturally the warding subsequently; and of the low guards contrarily is warding the principle, and then striking subsequently; but in these low ones alone is the giving of the thrust the natural strike.</p>
| Cosi se hanno le guardie alte: con le basse, che il principio delle guardie alte è il ferire & seguentemente il schi fare naturalmente, & delle guardie basse di contrario è il principio il schifare: & il ferire poi per seguitamento. ma in queste basse solo il dar di ponta è ferir naturale.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/17|2|lbl=-}}
  
 
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| As strikes without shieldings are not done sensibly, so shieldings without a following of a strike should not be made, waiting for the tempos nonetheless. Therefore if one always wards without responding with a blow, he would give his enemy a manifest sign of his timidity; unless with such warding one drives the enemy back, the enemy would proceed with great courage; and in truth warding should be done going forward and not back, being thus more apt to reach the enemy, as well as to weaken the enemy’s blow, if he comes against you; because striking you at close quarters he cannot harm you with that part of the sword which is from the middle back toward the hilt; but it would be far worse from the middle forward.
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| <p>As strikes without shieldings are not done sensibly, so shieldings without a following of a strike should not be made, waiting for the tempos nonetheless. Therefore if one always wards without responding with a blow, he would give his enemy a manifest sign of his timidity; unless with such warding one drives the enemy back, the enemy would proceed with great courage; and in truth warding should be done going forward and not back, being thus more apt to reach the enemy, as well as to weaken the enemy’s blow, if he comes against you; because striking you at close quarters he cannot harm you with that part of the sword which is from the middle back toward the hilt; but it would be far worse from the middle forward.</p>
| Come le ferite senza li schermi non si fanno ragioneuolmente: cosi li scherma senza seguitamento di ferita fare non si debbono, riserbando nondimeno li tempi. imperò che se uno sempre si schifasse senza risponder el colpo darebbe al nemico della sua timidezza manifesto segnale. saluo se con tale schermo non sospignesse il nemico in dietro che da gran cuore procederebbe: & nel uero fa li schermi si debbono far andando innanzi & non in dietro: si per esser piu atto di giugner il nemico come per debilire il colpo del nemico se contra te uenisse. perche ferendoti si di uicino non ti puote nuocer se non con quella parte della spada: che è dal mezzo in dietro uerso li elzi: ma molto maggior male sarebbe dal mezzo innanzi.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/17|3|lbl=-}}
  
 
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| The good player, when he plays with one who flees him, (which removes much grace from his valor, because seeing that one flee, he cannot do a perfect thing) must also himself feign to flee, because it will give spirit to the first who fled to come forward, and thus gracefully redress the miscarriage of his play.
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| <p>The good player, when he plays with one who flees him, (which removes much grace from his valor, because seeing that one flee, he cannot do a perfect thing) must also himself feign to flee, because it will give spirit to the first who fled to come forward, and thus gracefully redress the miscarriage of his play.</p>
| Il buono giocatore quando giochera con uno che lo fu ga, ilche toglie alla sua uertude molto di gratia, perche ue dendo fuggire colui, non puote far cosa perfetta: deue anchor egli finger di fuggire: ilperche dara animo al primo fuggitore di uenir innanzi, & cosi riuestira il suo giuoco della smarrita leggiadria.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/17|4|lbl=-}}
  
 
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| The players who make many blows without tempo or measure, although these may connect their enemies, are nonetheless censurable, and sooner are said to be children of luck than of art, but those are called grave and well-positioned players who seek to strike their adversary with tempo and grace.
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| <p>The players who make many blows without tempo or measure, although these may connect their enemies, are nonetheless censurable, and sooner are said to be children of luck than of art, but those are called grave and well-positioned players who seek to strike their adversary with tempo and grace.</p>
| Li giucatori che senza misura & tempo fanno li colpi spessi, quantunque di quelli il nemico per sciagura giunga '''[A4v]''' no sono nondimeno biasmeuoli et piu tosto della uentura che da l’arte sono da esser detti figli, ma quelli si chiamano giucatori graui & appostati, che cercano con tempo & con gratia ferir il suo Auersario.
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/17|5|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/18|1|lbl=4v|p=1}}
  
 
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| If one finds himself close to the enemy, he must never throw a full blow, because the sword must not distance itself from the presence for the safety of him who holds it, and this throwing of an imperfect blow is called “mezzo tempo”.
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| <p>If one finds himself close to the enemy, he must never throw a full blow, because the sword must not distance itself from the presence for the safety of him who holds it, and this throwing of an imperfect blow is called “mezzo tempo”.</p>
| Se uno si troua presso al nemico, non deue mai tirar colpo finito, Perche la spada non si deue luntanar dalla presenza per sicurezza di cui la tiene & questo tirare col po imperfetto è detto mezzo tempo.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/18|2|lbl=-}}
  
 
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| Two players finding each other to be of equal knowledge of the art, is the reason why one will not know how to give a blow to his companion with safety; and by my counsel, in one of two ways can he put himself, with luck, in hope of victory: namely, to have an eye toward throwing in that very same tempo that the enemy will have taken; or he can give to him whence it seems better for him to approach, and immediately throw himself upon him, embracing him, which having done, any will esteem that one the victor.
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| <p>Two players finding each other to be of equal knowledge of the art, is the reason why one will not know how to give a blow to his companion with safety; and by my counsel, in one of two ways can he put himself, with luck, in hope of victory: namely, to have an eye toward throwing in that very same tempo that the enemy will have taken; or he can give to him whence it seems better for him to approach, and immediately throw himself upon him, embracing him, which having done, any will esteem that one the victor.</p>
| Trouandosi duo giocatori di equale scienza de l’arte il perche l’uno non sappia dare al compagno con suo sal uamento, & gli puote per mio consiglio in una di due gui se porsi alla uentura con speranza di uittoria cioè hauer l’occhio di tirar in quel medesimo tempo che haura tolto il nemico, ouero puote dargli oue meglio gli uiene, & subito gittarsi adosso abbracciandolo, ilche ciascuno ri putera costui il uincitore.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/18|3|lbl=-}}
  
 
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| If someone wants to cause the enemy to throw a blow that he will parry in order to reach him in that tempo, it behooves him to make such a blow three or four times one after the other almost in the manner of an invitation, and because the custom of players is to ape, the adversary will be compelled to make a semblance, by which you will make him throw the blow that you wished.
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| <p>If someone wants to cause the enemy to throw a blow that he will parry in order to reach him in that tempo, it behooves him to make such a blow three or four times one after the other almost in the manner of an invitation, and because the custom of players is to ape, the adversary will be compelled to make a semblance, by which you will make him throw the blow that you wished.</p>
| Se alcuno uolesse far tirar al nemico un colpo che gli paresse per giugnerlo in quel tempo, egli conuiene che tre o quattro fiate una dopo l’altra facci cotal colpo quasi in modo di inuito, & perche costume è di giocatori far la Bertuccia, sera astretto lo auersario far il somigliante: on de li farai tirare il colpo che disiaui.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/18|4|lbl=-}}
  
 
|-  
 
|-  
| If you would wound the enemy in his upper body it will be necessary to begin the quarrel at his lower body; and similarly, wanting to reach him at the lower body; for that you will make a blow above, because defending himself in those portions with beats, it is necessary that the others will be uncovered.
+
| <p>If you would wound the enemy in his upper body it will be necessary to begin the quarrel at his lower body; and similarly, wanting to reach him at the lower body; for that you will make a blow above, because defending himself in those portions with beats, it is necessary that the others will be uncovered.</p>
| Se uoi ferir il nemico dalle soprane parti fara mistieri dalle parti di sotto cominciar la questione: & medesimamente uolendolo giugnier nelle sottane parti: da quelle di sopra farai la pugna, perche defendendosi quelli luochi com battuti, è necessario che li altri scoperti restino.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/18|5|lbl=-}}
  
 
|-  
 
|-  
| Because no blow can be thrown against which arguably there is some guard in which there is no risk, it follows that in the rising and falling from guards is shown the virtue of the players; on the great field the victory is seen to go to him, who assaults his enemy from the outset before he settles his weapons in guard, because standing caught in thought, he can be struck more easily.
+
| <p>Because no blow can be thrown against which arguably there is some guard in which there is no risk, it follows that in the rising and falling from guards is shown the virtue of the players; on the great field the victory is seen to go to him, who assaults his enemy from the outset before he settles his weapons in guard, because standing caught in thought, he can be struck more easily.</p>
| Perche nessuno colpo puote esser tirato che ragioneuol mente in qualche guardia non rieschi, seguita che nel mon'''[A5]'''tare & callare delle guardie si dimostri la uirtute de giucatori, unde grande campo che si parera alla uittoria chi assalira di nouo il nemico prima che adagi l’arme nella guardia, perche reggendosi trarotto il pensiero, piu ageuole fia il poterlo ferire.
+
|  
 +
{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/18|6|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/19|1|lbl=5r|p=1}}
  
 
|-  
 
|-  
| In defending his person, a man must always hold his arms well extended, not only so that he will come to drive the blows of the enemy to the outside at a distance from his body, but it also makes him stronger and swifter in striking.
+
| <p>In defending his person, a man must always hold his arms well extended, not only so that he will come to drive the blows of the enemy to the outside at a distance from his body, but it also makes him stronger and swifter in striking.</p>
| Sempre nel schermirsi da che parte uuoi, l’huomo deue tener le braccia ben distese, Perche solamente uerra a spigner in fuori li colpi del nemico et lontano dalla sua persona, ma lo fa piu forte & ispedito nel ferire.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/19|2|lbl=-}}
  
 
|-  
 
|-  
| The employment of heavy weapons and the delight in throwing with length and extension nourishes good energy and ideal strength, so that then coming to blows with a light weapon, a man becomes more agile.
+
| <p>The employment of heavy weapons and the delight in throwing with length and extension nourishes good energy and ideal strength, so that then coming to blows with a light weapon, a man becomes more agile.</p>
| L’adoperare l’arme graui, e’l dilettarse tirar longo & disteso, buono lena & ottima forza nodriscono, si che poscia uenendo alle mani a l’arme leggiera, l’huomo diuiene piu agile.  
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/19|3|lbl=-}}
  
 
|-  
 
|-  
| In the art of the spada da filo, one is not to depart from the low guards, because they are safer than the high ones, and the reason is, that lying in high guard, you can be reached by a thrust or a cut to the leg, and in the low ones there is not this danger.
+
| <p>In the art of the spada da filo, one is not to depart from the low guards, because they are safer than the high ones, and the reason is, that lying in high guard, you can be reached by a thrust or a cut to the leg, and in the low ones there is not this danger.</p>
| Nelle arte della spada da filo non è partirse dalle guardie basse, perche sono piu sicure delle alte, & la ragione è: che trouandoti in guardia alta potrai esser giun to di una ponta, o d’uno taglio per le gambe, che nelle bas se non è questo pericolo.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/19|4|lbl=-}}
  
 
|-  
 
|-  
| Those who will take delight in shielding against given blows with the false of the sword will turn out to be valiant players, because there cannot be parries better and stronger for them than these, since they are able to ward and to strike almost in one tempo.
+
| <p>Those who will take delight in shielding against given blows with the false of the sword will turn out to be valiant players, because there cannot be parries better and stronger for them than these, since they are able to ward and to strike almost in one tempo.</p>
| Quelli che hauranno diletto di schermir li dati colpi con il falso della spada riusceranno ualorosi giocatori, perche gli migliori & piu forti schermi non possono esser di questi conciosia cosa che schermir & ferir quasi in un tempo cosi far si possi.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/19|5|lbl=-}}
  
 
|-  
 
|-  
| Neither combating nor playing must one permit winning by an overabundance of blows, nor of presumption, because one would entirely deprive oneself of spirit, and give it to the enemy.
+
| <p>Neither combating nor playing must one permit winning by an overabundance of blows, nor of presumption, because one would entirely deprive oneself of spirit, and give it to the enemy.</p>
| Ne combattendo, ne giocando alcuno si deue lasciar uencer di soperchiamento di colpi, ne di presuntione, perche a se torrebbe, & al nemico darebbe del tutto lo animo.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/19|6|lbl=-}}
  
 
|-  
 
|-  
| The delight in the unaccompanied sword is more useful than that in other weapons, inasmuch as others less often accompany the human body; one has neither a rotella always, nor a buckler always, but one can always have the unaccompanied sword.
+
| <p>The delight in the unaccompanied sword is more useful than that in other weapons, inasmuch as others less often accompany the human body; one has neither a rotella always, nor a buckler always, but one can always have the unaccompanied sword.</p>
| Il dilettarsi de la spada sola in tanto è piu de l’altre armi gioueuole, in guanto meno delle altre si compagna '''[A5v]''' dal corpo humano ne sempre si ha rotella, ne sempre Brocchero, ma la spada sola si puote hauer sempre.
+
|  
 +
{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/19|7|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/20|1|lbl=5v|p=1}}
  
 
|-  
 
|-  
| During combat with a left-handed person, stepping continuously against his sword is the optimal protection; and when he throws a riverso, throwing a mandritto to his sword hand, or when he throws a mandritto, throwing a riverso to his hand or to his sword arm, it is not to be doubted that victory is assured.
+
| <p>During combat with a left-handed person, stepping continuously against his sword is the optimal protection; and when he throws a riverso, throwing a mandritto to his sword hand, or when he throws a mandritto, throwing a riverso to his hand or to his sword arm, it is not to be doubted that victory is assured.</p>
| Combattendo con un Mancino il passeggiar di conti nuo contra la sua spada è ottimo schermo, & mentre egli tira di riuerso il tirar di mandritto per la mano della sua spada, ouer quando egli tira di mandritto: tirar di riuerso pur per la mano: o per il braccio della spada non dubbia uettoria ui promette.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/20|2|lbl=-}}
  
 
|-  
 
|-  
| It is an entirely genteel and profitable thing in playing to step equally with one or the other foot according to the tempo and the need; nonetheless it seems to me that stepping with even feet is of great utility, because thus one can both advance forward and retreat back without inconvenience of the body, adding this as well: that a man plays more strongly thereby than by other means. And when I say “with even feet” I mean that the feet are no more distanced than something beyond a half a braccio, accompanying always the hand with the foot, and the foot with the hand.
+
| <p>It is an entirely genteel and profitable thing in playing to step equally with one or the other foot according to the tempo and the need; nonetheless it seems to me that stepping with even feet is of great utility, because thus one can both advance forward and retreat back without inconvenience of the body, adding this as well: that a man plays more strongly thereby than by other means. And when I say “with even feet” I mean that the feet are no more distanced than something beyond a half a braccio, accompanying always the hand with the foot, and the foot with the hand.</p>
| Tutto che gentile & profitteuole cosa sia nel giucare parimente passeggiar quando con l’uno & quando con l’altro piede secondo il tempo & il bisogno non di meno per quanto a me ne paia il passeggiar sempre a pie pari è di maggior utile. perche cosi si puote & crescer innanzi & ritornar in dietro sanza disagiamento della persona aggiunge ancho questo: che l’huomo cosi giuoca piu forte: che in altra guisa. & quando dico a pie pari: io intendo che gli piedi non siano lontani piu di qualche cosa oltre a mezzo braccio accompagnando sem pre la mano con il piede & il piede con la mano.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/20|3|lbl=-}}
  
 
|-  
 
|-  
| One may not be called perfect in this art, as it is likewise in others, if he does not know how to teach somebody else. Because as the philosopher says in the Ethics: that the sign of knowledge is to know how to teach.
+
| <p>One may not be called perfect in this art, as it is likewise in others, if he does not know how to teach somebody else. Because as the philosopher says in the Ethics: that the sign of knowledge is to know how to teach.</p>
| Alcuno si puo chiamare perfetto in quest’arte: come ne ancho in l’altre se non sa insegnar altrui. Perche dice il philosofo nelli Ethici: chel segno del scientiato è saper insegnare.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/20|4|lbl=-}}
  
 
|-  
 
|-  
| Playing with the two handed sword in the giuoco largo, you will always keep an eye on the distal half of the sword toward the point. But having come to the straits of the half sword, you will keep an eye on the left hand, given that the enemy cannot execute a presa other than with that one.
+
| <p>Playing with the two handed sword in the giuoco largo, you will always keep an eye on the distal half of the sword toward the point. But having come to the straits of the half sword, you will keep an eye on the left hand, given that the enemy cannot execute a presa other than with that one.</p>
| Giucando con spada da due mani nel giuoco largo haurai sempre l’occhio dal mezzo della spada innanzi uerso la punta, ma uenuti alle strette di mezza spada, haurai l’occhio a la mano manca, percio che il nemico non puote far presa, se non con quella.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/20|5|lbl=-}}
  
 
|-  
 
|-  
| The art of the half sword is quite necessary to the knowledge of whomever wishes to be a good player, insofar as that if he knew only how to play at wide measure, and were at close quarters, he would have to flee backwards in shame and danger, and would often place the victory into the hands of his enemy, or at least reveal to observers his ignorance of such art.
+
| <p>The art of the half sword is quite necessary to the knowledge of whomever wishes to be a good player, insofar as that if he knew only how to play at wide measure, and were at close quarters, he would have to flee backwards in shame and danger, and would often place the victory into the hands of his enemy, or at least reveal to observers his ignorance of such art.</p>
| L’arte della mezza spada è in tanto necessaria a la co'''[A6]'''gnitione di ciascuno che uuol esser buon giucatore: in quan to che se egli sapesse giucar solamente a largo: & che fosse ristretto, gli sarebbe forza con uituperio & pericolo ritrarsi in dietro, & souente dar la uettoria in mano del suo nemico, o almeno manifestare alli guardatori l’ignoranza sua di tal arte.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/20|6|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/21|1|lbl=6r|p=1}}
  
 
|-  
 
|-  
| If one finds himself to be at blows with one more powerful and stronger than him, he must not in any way be reduced to presas, because in such case the weaker would be compelled to lie fallen.
+
| <p>If one finds himself to be at blows with one more powerful and stronger than him, he must not in any way be reduced to presas, because in such case the weaker would be compelled to lie fallen.</p>
| Se uno si trouera esser alle mani con uno piu potente & forte di lui non deue per alcun modo ridursi alle pre se: perche in quelle il piu debole è astretto sotto giacere.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/21|2|lbl=-}}
  
 
|-  
 
|-  
| Granting the choice of arms to the stronger, he must armor the weak weightily; the reason being that in the press he will be more victorious, because reason entirely requires that the less strong have light armor.
+
| <p>Granting the choice of arms to the stronger, he must armor the weak weightily; the reason being that in the press he will be more victorious, because reason entirely requires that the less strong have light armor.</p>
| Toccando la elletta delle armi al piu forte, deue egli armar il debolo grauemente. il perche nelle prese uettoriose sia, tutto che la ragione chieda chel meno forte hab bi l’armi leggiere.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/21|3|lbl=-}}
  
 
|-  
 
|-  
| One of large stature combating with a short one, and the choice of arms going to the large, he must by every means armor them on the lower body, and not the upper, for he will have to be more apt to strike the upper body through his height. But if the choice goes to the little one, it will behoove him to make the upper body armored and leave the lower unarmored.
+
| <p>One of large stature combating with a short one, and the choice of arms going to the large, he must by every means armor them on the lower body, and not the upper, for he will have to be more apt to strike the upper body through his height. But if the choice goes to the little one, it will behoove him to make the upper body armored and leave the lower unarmored.</p>
| Combattendo uno di grande persona con un picciolo, & peruenendo la eletta delle armi al grande, deue per ogni modo armargli le sottane parti, & non le soprane, per laqual cosa sera piu atto a percuoter le parti di sopra per la grandezza sua. Ma se al picciolo toccasse la elletta, conuiene chel facci armar le parti di sopra & lasciar disarmate le sottane.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/21|4|lbl=-}}
  
 
|-  
 
|-  
| Combatants of equal valor, strength, and size can choose armor without a difference.
+
| <p>Combatants of equal valor, strength, and size can choose armor without a difference.</p>
| Gli combattitori di egual uertude, forza et grandezza sanza differenza possono ellegger le armi.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/21|5|lbl=-}}
  
 
|-  
 
|-  
| When the weapons are too short, they are said to be as much more dangerous, because that which offends at closer distance is of greater peril, since such blows, through arriving immediately, cannot easily be awarded; from whence it follows that the partisan carries more danger than the lance, and the dagger moreso than the sword.
+
| <p>When the weapons are too short, they are said to be as much more dangerous, because that which offends at closer distance is of greater peril, since such blows, through arriving immediately, cannot easily be awarded; from whence it follows that the partisan carries more danger than the lance, and the dagger moreso than the sword.</p>
| Quanto l’arme sono piu corte, tanto piu perigliose si dicono, perche quella che offende piu di uincino è di mag gior periglio, conciosiacosa che cotali colpi per la subita loro giunta non possono ageuolmente esser schermiti: Onde seguita la partesana piu della lancia: & il pugna le piu della spada recar periglio
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/21|6|lbl=-}}
  
 
|-  
 
|-  
| Of two playing together, he who strikes in response is more praiseworthy than the one who strikes the first blow, because he reveals himself sooner to become enraged than to lose vigor after the received hit.
+
| <p>Of two playing together, he who strikes in response is more praiseworthy than the one who strikes the first blow, because he reveals himself sooner to become enraged than to lose vigor after the received hit.</p>
| Giucando duo insieme è piu lodeuole chi ferisse di ri'''[A6v]'''sposta: che quello che ferisse di primo colpo: perche dimostra piu tosto incrudelirsi: che perder il uigore dopoi la re ceuuta percossa
+
|  
 +
{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/21|7|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|1|lbl=6v|p=1}}
  
 
|-  
 
|-  
| It is not licit after the received blow to make more than one response stepping forward with a crossing step; the reason being that one must do well with all of one’s wit, since with that one can recover honor.
+
| <p>It is not licit after the received blow to make more than one response stepping forward with a crossing step; the reason being that one must do well with all of one’s wit, since with that one can recover honor.</p>
| Non è lecito dopoi il receuuto colpo far piu di una ri sposta scorrendo innanzi con un uarco: ilperche con tutto l’ingegno si deue far buona: conciosiacosa che con quella si possi ricuperar l’honore.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|2|lbl=-}}
  
 
|-  
 
|-  
| The blow to the head, considering the excellence of that member, counts for three; and the blow to the foot is taken for two, having regard for the difficulty of making it so low.
+
| <p>The blow to the head, considering the excellence of that member, counts for three; and the blow to the foot is taken for two, having regard for the difficulty of making it so low.</p>
| Il colpo nella testa: per la eccellentia di tanto membro è riceuuto per tre: & il colpo nel piede si toglie per dui hauendo riguardo a la malageuolezza di farlo cosi basso.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|3|lbl=-}}
  
 
|-  
 
|-  
| A valorous player is he who redoubles his blows.
+
| <p>A valorous player is he who redoubles his blows.</p>
| Valoroso giocatore è quello che radoppia li colpi.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|4|lbl=-}}
  
 
|-  
 
|-  
| The longer weapons are opposed to the shorter ones, and therefore the lance is sooner chosen than the spiedo, holding it against the spiedo not by the base owing to the peril of its length, but in the middle with such advantage. And similarly the partisan is taken sooner than the two handed sword.
+
| <p>The longer weapons are opposed to the shorter ones, and therefore the lance is sooner chosen than the spiedo, holding it against the spiedo not by the base owing to the peril of its length, but in the middle with such advantage. And similarly the partisan is taken sooner than the two handed sword.</p>
| L’arme piu longhe sono d’antiporre a le piu corte, & percio la Lancia è piu tosto da sceglier che’l spiedo tenendola contra il spiedo non nel pedale per il periglio de la sua longhezza, ma nel mezzo con qualche uantaggio. Et medesimamente la partigiana piu tosto si deue torre che la spada de due mani.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|5|lbl=-}}
  
 
|-  
 
|-  
| The enemy is made fearful by throwing blows at him from the middle upwards, rather than from the middle downwards, because the eyes and consequently the heart of them do not remain very brave from glimpsing vanquishment.
+
| <p>The enemy is made fearful by throwing blows at him from the middle upwards, rather than from the middle downwards, because the eyes and consequently the heart of them do not remain very brave from glimpsing vanquishment.</p>
| Timore si fa al nemico tirandoli colpi da mezzo in su, che da mezzo in giu, perche li occhi & conseguentemente il core de li non molto ualorosi si lasciano di abba gliagine uincere.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|6|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| Si deue esser occhiuto che’l nemico non habbi pontino di uantaggio ne l’armi: o in altra cosa, percio che quello li potrebbe dar uittoria.
+
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|7|lbl=-}}
  
 
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|-  
| class="noline" | One must never reveal to the other any of his intentions regarding blows, but understand well those of the adversary. Because quarreling with a plain mind one must make good the other’s plans; but coming to play where honor is at stake, there it is a laudable thing to show the opposite of one’s intent.
+
| class="noline" | <p>One must never reveal to the other any of his intentions regarding blows, but understand well those of the adversary. Because quarreling with a plain mind one must make good the other’s plans; but coming to play where honor is at stake, there it is a laudable thing to show the opposite of one’s intent.</p>
| class="noline" | Non deue mai scoprire uno la sua fantasia de li colpi a l’altro: ma ben intender quella del auersario. Il per che contrastando di piano animo deue far buoni li altri disegni: ma conducendosi al gioco oue ua l’honore: iui è cosa lodeuole mostrar la sua fantasia al opposito.
+
| class="noline" | {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/22|8|lbl=-}}
  
 
|}
 
|}

Revision as of 02:11, 16 September 2020

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, Tommasso. The Complete Renaissance Swordsman: Antonio Manciolino’s Opera Nova (1531). Wheaton, IL: Freelance Academy Press, 2010. pp 11-12.