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| <p>[36] '''Capitolo 12 of the sword alone.'''
 
| <p>[36] '''Capitolo 12 of the sword alone.'''
  
<p>Desiring combat against your opponent with only the sharp sword, first settle yourself with the right foot forward and with the sword in porta di ferro stretta, and without casting any blow you will constrain him in this way, recall the left foot near the right, and then direct your right forward.</p>
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<p>Desiring combat against your opponent with only the sharp sword, first settle yourself with the right foot forward and with the sword in porta di ferro stretta, and without throwing any blow you will constrain him in this way, gather the left foot near the right, and then send your right foot forward.</p>
  
<p>The opponent finding himself so constrained will either attack or retreat, but if he pushes a thrust, you shall hit it with the false edge turning a mezzo riverso to the thigh and to defend yourself throw a falso to the sword hand from below not exceeding Guardia di Faccia and finish cutting into Porta di Ferro Stretta.</p>
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<p>The opponent finding himself so constrained will either attack or retreat, but if he pushes a thrust, hit it with the false edge and turn a mezzo riverso to the thigh, and to defend yourself throw a falso to the sword hand from below not exceeding Guardia di Faccia and finish by cutting into Porta di Ferro Stretta.</p>
 
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| <p>[37] But if he drives a thrust to the face in order to beset you with a mandritto or a riverso cancel it with the false edge and when he throws the mandritto to the head avoid the blow going with your sword into Guardia di Testa and wound him with the same blow (a mandritto) to the head or leg as you wish.</p>
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| <p>[37] But if he drives a thrust to the face in order to attack with a mandritto or a riverso defeat it with the false edge and when he throws the mandritto to the head avoid the blow by going with your sword into Guardia di Testa and wound him with the same blow (a mandritto) to the head or leg as you wish.</p>
 
| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/106|2|lbl=-}}
 
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| <p>[38] But in the case he wants to give a riverso, or a mandritto to the leg. Against the mandritto withdraw the right foot to the rear, giving him a mezzo mandritto to the sword hand. But wanting to resolve the riverso, you retreat backwards with the aforementioned foot in order to wound his sword arm with a mezzo riverso, and finish in the said guard porta di ferro stretta.</p>
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| <p>[38] But in the case he wants to give a riverso, or a mandritto to the leg. Against the mandritto withdraw the right foot to the rear, giving him a mezzo mandritto to the sword hand. But wanting to resolve the riverso, you retreat backwards with the aforementioned foot in order to wound his sword arm with a mezzo riverso, and finish in the said guard porta di ferro stretta.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/106|3|lbl=-}}
 
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| class="noline" | <p>[39] And when he pushes a thrust to give you a riverso to the head or the leg, but supposing the head, cancel it with the false edge of the sword without moving the feet and against the coming riverso, pass with with the left foot forwards making a mezza volta of the hand warding the blow. Then immediately traversing with the right [foot] towards his left side, give him a mandritto to the head or the leg, as you wish, that done, the left leg must follow the right.</p>
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| class="noline" | <p>[39] And when he pushes a thrust to give you a riverso to the head or the leg, but supposing the head, defeat it with the false edge of the sword without moving the feet and against the coming riverso, pass with with the left foot forwards making a half turn of the hand and ward the blow. Then immediately traverse with the right [foot] towards his left side, give him a mandritto to the head or the leg, as you wish, that done, the left leg must follow the right.
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</p>
  
<p>And if the riverso was thrown to the leg, you (passing forwards with the left foot) shall turn the point towards the ground pushing a stoccata to the flank , & removing yourself from presence with a jump backwards, where at the end settle yourself in the aforesaid guard of Porta di Ferro Stretta.</p>
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<p>And if the riverso was thrown to the leg, you (passing forwards with the left foot) shall turn the point towards the ground pushing a stoccata to the flank , & removing yourself from presence with a jump backwards, afterwards settle yourself in the aforesaid guard of Porta di Ferro Stretta.</p>
  
<p>But if you see coming from above a mandritto, or riverso, or fendente, or a thrust, whatever of these cover strongly with the false edge in order to avoid it, not exceeding Guardia di faccia. Then Immediately pass with the front foot, making a turn of the fist.</p>
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<p>But if you see coming from above a mandritto, or riverso, or fendente, or a thrust, whatever of these parry it strongly with the false edge going no further than Guardia di faccia. Then immediately step with the front foot, making a turn of the hand. That done, push a thrust to the face or into the chest, as you wish.</p>
  
<p>That done, push him a thrust in the face or in the chest, as you wish, you can also then having covered with the aforesaid false edge, cast at him a mandritto to the face, that glides below the arm and to the chest advancing the right foot somewhat forward as much as this blow requires, & that is one of the singular defenses, that this style makes possible.</p>
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<p>After parrying with the false edge you can alternatively throw a mandritto to his face, that glides below the arm and into the chest advancing the right foot somewhat forward as much as this blow requires. This [parry] is one of the singular defenses that this style makes possible.</p>
 
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Latest revision as of 00:12, 15 November 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, 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.