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Difference between revisions of "Antonio Manciolino"

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| <p>[2] </p>
| <p>[2]"First Charapter about the play of sword and cape"
If, by chance, you will have the cape around, you'll let it fell from the right humerus till the middle of the left arm. After doing that, you will turn the left hand to the outside, taking the said cape and unsheathing the sword with the other hand you will prettily go on coda lunga alta guard with the left foot forward.
And if, by chance, you'll see your opponent in the same guard, you will quickly advance towards him, and for your pressing he will have to strike, or to flee back. But if he well thrust a stoccata with his left foot forward, you'll step with your right foot towards his weak side (his left side) striking his sword's arm with a riverso in the manner of a cross fendente, doing this your left foot will follow behind your right foot. Then you will step back with your right foot, ending in coda lunga alta guard. </p>
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| <p>[3] </p>
| <p>[3]When you will be in that guard, You will advance with your right foot, striking an half thrust (probably a feint). 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.
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 (coda lunga alta).
If the enemy will be in that guard, like you, and he will thrust a stoccata (feint) 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 (coda lunga alta).
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 (cross step) 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 (left) foot behind the strong (right) 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 (coda lunga alta)
... </p>
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Revision as of 20:16, 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
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.


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


  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. Of the enemy, I think.
  21. Clash.
  22. Nodi.
  23. Traverses.
  24. Parry.
  25. Slice.
  26. Or bow.
  27. Punta at the face.
  28. Turned above.
  29. To the ground.
  30. Body.
  31. Turned towards your left part.
  32. The Guardia.
  33. 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.
  34. Rip/laceration.
  35. Upward.
  36. Rest position.
  37. Offend.
  38. Or do the same.
  39. Or still.
  40. Better pass forward.
  41. Sideways.
  42. Traversing.
  43. Facing.