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Difference between revisions of "Antonio Manciolino"

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| '''THIRD BOOK.'''
 
| '''THIRD BOOK.'''
 
[n.b. I have glossed over sections of the short introduction of this particular book, skipping straight to the swordplay]
 
[n.b. I have glossed over sections of the short introduction of this particular book, skipping straight to the swordplay]
| '''[D6] LIBRO TERZO'''
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'''A'''Ssai piu che li nostri schermitori assalti sono felici quelli nelle uergate carte, che li scarmigliati satiri alle uenatrici nim phe fanno. Percio, che cotali si dilicata alli scrittori paranno la materia, che da se le soaui parole si compongono sotto uno continouo & dolciato stilo, mentre le lanose membra de gli semicapri iddii, olle cornute loro fronti, o gli lasciui mouimenti, olli loro sempli ci & rusticani aguati componer si parecchiano, non scri uendo, ma depinte mostrando le affannate dee nel lungo corso, alcune leuantisi gli purpurei panni sopra il candido Ginocchio con le bionde ciocche de gli ricaduti capelli sopra le morbide spalle, ouero con quelli sparti & da soaue orizzamento uentilati, altre git '''[D6v]''' tatesi nelli chiarissimi & correnti fiumi, cosi istimando gli insidiatori delle loro uerginitati a Diana consegrate, fuggire, & alcune da grande lassezza uinte star dietro alle folte macchie nascose, tali nelli uisi quali le matutine rose nel apparir del sole ueggiamo souente & quelle per uitreati sudori giocciolanti ansiando con le sottili dita delle mani bianchissime render asciutti. Ma non essendo il soggetto a me di ueruna cotale leggiadria proposto, appo gli intendenti lettori meritarono perdono percio, …
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{{pagetb|Page:Opera Nova (Antonio Manciolino) 1531.pdf|69|lbl=30r|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/70|1|lbl=30v|p=1}}
  
 
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| …as it does not occur that "mandritti", "riversi", "falsi", "punti", and similar such words (which need to be understood in the art) can be changed into other names, as the signification of "to pass" does, which occurs to me continuously while writing with the pen, whence many times one comes to say that players “pass” with the left or the right foot, since one can say "pass", "cross", "glide", "guide", or "direct" the feet, and so where "right" [destro] is said, we will sometimes say "straight", or "strong", or "able", because man naturally has more strength in his right side than in his left, and equally sometimes "sinister", sometimes "left", or "weak", in order to avoid tedious regret, there being nothing more odious than the frequent repetition of the same word…
 
| …as it does not occur that "mandritti", "riversi", "falsi", "punti", and similar such words (which need to be understood in the art) can be changed into other names, as the signification of "to pass" does, which occurs to me continuously while writing with the pen, whence many times one comes to say that players “pass” with the left or the right foot, since one can say "pass", "cross", "glide", "guide", or "direct" the feet, and so where "right" [destro] is said, we will sometimes say "straight", or "strong", or "able", because man naturally has more strength in his right side than in his left, and equally sometimes "sinister", sometimes "left", or "weak", in order to avoid tedious regret, there being nothing more odious than the frequent repetition of the same word…
| …che non recando altro seco, che mandritti, riuersi, falsi, punte & simili uoci lequali (uogliendo essere nella ar te intenduto) non possono in altri nomi cangiarsi, come fara la significatione del passare, che di continuo nella scriuente penna mi corre, mentre cosi spesse fiate auiene dire, chel giocatore passi con il manco, o con il destro pie de, conciosiacosa che dir possi, passare, uarcare, ualicare, scorrere, scorgere, guidare, o condurre il piede, & doue dice destro, dicemo talhora in uece soa dritto, o forte, o ualido, perche ha l’huomo piu fortezza nelle destre parti, che nelle sinistre naturalmente, & parimente, quando sinistro, quando manco, o debole, per fuggir il tedioso rincrescimento, non essendo cosa piu odiosa che la frequen te repetitione di una medesima uoce, …
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| …per le quali cose, quan tunque mi sia palese che hauro fatica poter piacer con questo trarotto dire a quelli, le cui castigate orecchie non altro che gli dolci & dolenti canti di Filomena udir sogliono, nondimeno se hauranno polso d’huomo, deueno almeno legger questa opra per il prositto, che li ornati stili altroue non gli mancano.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/70|3|lbl=-}}
  
 
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| Hence following my decision, I say that in this third book we will teach the art of playing at half sword. Often, in playing with your enemy, in such do you bring yourself to a strait, so that it behooves you to play at half sword, but not without the greatest wit and art. Accordingly, among all others this is held to be chief, and one who does not have perfect knowledge of and an ideal foundation in this cannot otherwise be a good master; and if nonetheless he happens to be a good player or defender of himself through being gifted with quickness of hand, and yet does not know how to teach others the true art, which consists of being most secure, it has already been said of these such [persons] that they are not to be called knowledgeable, but lucky, when yet they wound someone; and it must be made manifest that all of this third book will be divided not into chapters, but into offenses and their counters, and that it be understood that the play is with the sword and small buckler.
 
| Hence following my decision, I say that in this third book we will teach the art of playing at half sword. Often, in playing with your enemy, in such do you bring yourself to a strait, so that it behooves you to play at half sword, but not without the greatest wit and art. Accordingly, among all others this is held to be chief, and one who does not have perfect knowledge of and an ideal foundation in this cannot otherwise be a good master; and if nonetheless he happens to be a good player or defender of himself through being gifted with quickness of hand, and yet does not know how to teach others the true art, which consists of being most secure, it has already been said of these such [persons] that they are not to be called knowledgeable, but lucky, when yet they wound someone; and it must be made manifest that all of this third book will be divided not into chapters, but into offenses and their counters, and that it be understood that the play is with the sword and small buckler.
| Seguitando adunque il '''[D7]''' mio instituto dico che in questo terzo libro insegnaremo l’arte di giocare a mezza spada. Imperòche souente giocando tu con il nemico, talmente ui conducete alle stret te, chel ui conuiene giocare a mezza spada, ma non sen za ingengo & arte grandissima. Però, che tra tutti gli altri questo tiene il prencipato, & colui, che di questo non haura perfetta noticia & ottimo il fondamento, per alcu na guisa non puote essere buono maestro, & se pur auie ne chel sia buono giocatore o defensore di lui medesimo per esser dotato dalla prestezza delle mani, non percio sa pra insegnar altrui la uera arte, laquale consiste in stare fortissimo, & gia è detto questi cotali non esser da chiamare scientiati, ma uenturosi, quando anchora alcuno fe rissono, & deue esser manifesto che tutto questo terzo libro sera diuiso non in Capitoli, ma nelle offensioni & lo ro contrari, si, chel gioco si intendi di spada & brocchero picciolo.
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/70|4|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/71|1|lbl=31r|p=1}}
  
 
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| Finding yourself hence with your enemy at the close of half sword, and wanting to be the agent, it will behoove you to be quickest of hand, more so than in other play, because if you will be sluggish, you will always be the patient. Beyond this, it is to be known that in not other than two ways can you find yourself with your enemy in this play: either true edge to true edge, in such fashion that the points of your swords face each other's left shoulders; or false edge to false edge, so that your swords are directed with their points at each other's right shoulders; and accordingly certain blows in order to offend and defend are born from the one manner, and others from the other.
 
| Finding yourself hence with your enemy at the close of half sword, and wanting to be the agent, it will behoove you to be quickest of hand, more so than in other play, because if you will be sluggish, you will always be the patient. Beyond this, it is to be known that in not other than two ways can you find yourself with your enemy in this play: either true edge to true edge, in such fashion that the points of your swords face each other's left shoulders; or false edge to false edge, so that your swords are directed with their points at each other's right shoulders; and accordingly certain blows in order to offend and defend are born from the one manner, and others from the other.
| '''R'''Itrouandoti adunque con il tuo nemico alle strette di mezza spada & uolendo tu essere agente ti conuiene essere prestissimo di mano piu che in altro gio co, perche se serai pigro, sempre serai il patiente, oltre a cio è da sapere che non piu, che in due guise ti puoi con il nemico trouare in questo gioco ouero a filo, a filo, in modo, che le spade, le uostre manche spalle con le pun te guardino, ouero falso con falso, si che le spade le uo stre destre spalle rimirino con le punte, & percio altri colpi per offender & difender da una maniera nascono, & altre dall’altra.
 
  
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But taking first, that which can be done finding each other false edge with false edge, I say that:
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/71|2|lbl=-}}
| But taking first, that which can be done finding each other false edge with false edge, I say that:
 
| Ma pigliando principio da quello, che far si puote trouandoui falso con falso, dico, che.
 
  
 
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| Being in the aforesaid way with your enemy in such fashion that the false edges of the swords are in contact, and you with your right foot forward, you will make yourself agent if you turn your false edge across his left temple in a gesture of a tramazzone, and immediately for your defense you must retire back with the same strong (or right, as you care to say) foot, delivering a riverso to his right temple.
 
| Being in the aforesaid way with your enemy in such fashion that the false edges of the swords are in contact, and you with your right foot forward, you will make yourself agent if you turn your false edge across his left temple in a gesture of a tramazzone, and immediately for your defense you must retire back with the same strong (or right, as you care to say) foot, delivering a riverso to his right temple.
| '''[D7v]''' Essendo nella predetta guisa con il nemico in modo, che amenduo gli falsi delle spade si bascino, & tu con il piede destro innanzi, tu ti farai agente se del tuo falso gli uolgerai uno atto di tramazzone a trauerso la sua tempia manca, & subito per tuo riparo ti dei, fatto questo, ritirare in dietro con il medesimo piede forte, o destro che dir uuoi menandogli uno riuerso per la tempia dritta.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/72|1|lbl=31v}}
  
 
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| The counter to this close will be for that one who wishes to defend himself, when the falso in the gesture of a tramazzone is turned at you in the aforesaid fashion, immediately stepping forward with your weak, or left, foot (as it pleases you to say) toward his right side, you will give him a riverso returned from low to high into his right temple.
 
| The counter to this close will be for that one who wishes to defend himself, when the falso in the gesture of a tramazzone is turned at you in the aforesaid fashion, immediately stepping forward with your weak, or left, foot (as it pleases you to say) toward his right side, you will give him a riverso returned from low to high into his right temple.
| Il contrario di questa stretta sera per colui, che si uor ra difender, che mentre ti fia uoltato il falso in atto di tra mazzone al modo predetto, tu subito scorrendo innanzi con il piede debole o manco, che dir ti piaccia, uerso le sue diritte parti, gli darai di uno riuerso di sotto in su nella destra tempia riuolto.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/72|2|lbl=-}}
  
 
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| And if you don’t succeed in offending him in the aforesaid fashion, being thus at the half sword you will give him your right foot in the belly, and then immediately retiring that same foot to the rear, you will give him in that tempo a fendente atop his head.
 
| And if you don’t succeed in offending him in the aforesaid fashion, being thus at the half sword you will give him your right foot in the belly, and then immediately retiring that same foot to the rear, you will give him in that tempo a fendente atop his head.
| Et se non ti uenisse fatto di offenderlo al modo predetto, tu cosi stando a mezza spada gli darai con il destro piede nel uentre, & quel medesimo piede subito ritornando in dietro, gli darai in quel tempo di uno fendente in su la testa.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/72|3|lbl=-}}
  
 
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| The counter to the offense is, that when he wants to give you the shoe, you will immediately strike him in the shin of the offending leg with your buckler, because his plan will not [therefore] come to fruition.
 
| The counter to the offense is, that when he wants to give you the shoe, you will immediately strike him in the shin of the offending leg with your buckler, because his plan will not [therefore] come to fruition.
| Il contrario di questa offesa è, che mentr’egli ti uorra dar del calzo, tu subito del brocchero gli percoterai il schinco della offendente gamba, perche non gli uerra fatto il suo disegno.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/72|4|lbl=-}}
  
 
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| The third way of offending will be that finding yourself with your left forward you will cross toward his left side with your right foot, pretending to strike him in the head with a mandritto; nonetheless in that pretense you will let your sword fall to the ground behind you, and immediately crossing toward his right side with your left foot, you will stick your head under his right armpit and your hand inside the thigh of his leg, and lifting him from the ground you will make him fall behind your shoulders.
 
| The third way of offending will be that finding yourself with your left forward you will cross toward his left side with your right foot, pretending to strike him in the head with a mandritto; nonetheless in that pretense you will let your sword fall to the ground behind you, and immediately crossing toward his right side with your left foot, you will stick your head under his right armpit and your hand inside the thigh of his leg, and lifting him from the ground you will make him fall behind your shoulders.
| Terzo modo di offender sera, che ritrouandoti con il sinistro innanzi tu uarcherai uerso le sue manche parti con il destro piede facendo sembiante di ferirlo di uno mandritto per testa, nondimeno in cotal uista lascerai per di dietro caderti la spada in terra, et subito uarcando con il piede manco uerso le sue destre parti, gli caccierai la tua testa sotto la sua destra lasena et la mano diritta dentro '''[D8]''' delle sue coscie delle gambe & solleuandolo da terra lo farai cader al indietro delle tue spalle.
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/72|5|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/73|1|lbl=32r|p=1}}
  
 
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| The counter of the previous close and offense is that when he pretends to give you the mandritto, you will not make any response to that pretense. But as he drops his sword in order to put his head under your armpit, retiring your right foot into large pace, you will give him a riverso to the neck.
 
| The counter of the previous close and offense is that when he pretends to give you the mandritto, you will not make any response to that pretense. But as he drops his sword in order to put his head under your armpit, retiring your right foot into large pace, you will give him a riverso to the neck.
| Il contrario della prenomata stretta et offensione, è, che mentr’egli fara il sembiante di darti del mandritto, tu non farai ueruna riposta a cotal sembiante. Ma com’egli si lascera cader la spada per porre la testa sotta la tua lasena tu ritirando a grande passo il tuo piede destro, gli darai nel collo di uno riuerso.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/73|2|lbl=-}}
  
 
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| The fourth fashion of offending will be that having your right foot forward, you will make a show of striking his left temple with a mandritto, but in that show you will let your sword turn in the manner of a molinetto, and immediately stepping with your left foot toward his right side, you will give him a riverso in his right temple.
 
| The fourth fashion of offending will be that having your right foot forward, you will make a show of striking his left temple with a mandritto, but in that show you will let your sword turn in the manner of a molinetto, and immediately stepping with your left foot toward his right side, you will give him a riverso in his right temple.
| Quarta modo di offender sera che hauendo il piede destro innanzi, tu farai uista di ferirgli la tempia sinistra di uno mandritto, ma in cotal uista lascerai uoltar la spada in guisa di uno molinetto, et subito passando con il piede manco uerso le sue diritte parti, gli darai di uno riuerso nella sua destra tempia.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/73|3|lbl=-}}
  
 
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| The counter to this is that when he makes the show of the mandritto, you will close your sword hand together with that of your buckler, and in the step that he takes of his left foot in order to give you a riverso, you will immediately cast your left leg behind your right, and deliver a mezzo mandritto to his left temple in the manner of guardia di faccia, doing which, his riverso cannot offend you.
 
| The counter to this is that when he makes the show of the mandritto, you will close your sword hand together with that of your buckler, and in the step that he takes of his left foot in order to give you a riverso, you will immediately cast your left leg behind your right, and deliver a mezzo mandritto to his left temple in the manner of guardia di faccia, doing which, his riverso cannot offend you.
| Il contrario di questa sia, che com’egli fara uista del mandritto, tu serrerai la mano della spada con quella del brocchero insieme, et nel passamento, ch’egli fara del piede manco per darti di uno riuerso, tu subito tirerai la gamba manca dietro alla destra & gli menerai di uno mezzo mandritto nella sua manca tempia in guisa di guardia di faccia, il che facendo, il suo riuerso non ti potra offendere.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/73|4|lbl=-}}
  
 
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| The fifth way of offending will be, that having the aforesaid right foot forward you will point your sword hand up from beneath on the inside of his sword hand, knocking that down enough that you can stick your false edge into his neck.
 
| The fifth way of offending will be, that having the aforesaid right foot forward you will point your sword hand up from beneath on the inside of his sword hand, knocking that down enough that you can stick your false edge into his neck.
| Quinto modo di offender sera, che hauendo il predetto destro piede innanzi, tu ponerai la tua mano della spada di sotto in su per dentro della sua mano della spada quella calcando nel in giu in tanto, che gli possi cacciare il fal so nel collo.
 
  
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The counter to this offense is that when the enemy wants to place his hand in the described fashion, you will push his sword arm toward his left side with your hand and thereby he will not achieve his intent.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/73|5|lbl=-}}
| The counter to this offense is that when the enemy wants to place his hand in the described fashion, you will push his sword arm toward his left side with your hand and thereby he will not achieve his intent.
 
| Il contrario di cotale offesa è, che men tre il nemico uorra poner la mano nel mostrato modo, tu con la tua mano spignerai il suo braccio della spada uer so le sue sinistre parti, et cosi non haura il suo intento.
 
  
 
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| The sixth way is, that finding yourself again with your right foot forward, you can cross toward his right side with your left foot, giving him your buckler hand to the outside of his sword hand, and subsequently a riverso to his neck or head.
 
| The sixth way is, that finding yourself again with your right foot forward, you can cross toward his right side with your left foot, giving him your buckler hand to the outside of his sword hand, and subsequently a riverso to his neck or head.
| '''[D8v]''' La sesta guisa è, che ritrouandoti pur con il detto pie de innanzi, tu puoi uarcare con il piede manco uerso le sue destre parti dandogli della tua mano del brocchero di fuori della mano della sua spada, & seguentemente di uno riuerso nel collo, ouero nella testa.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/74|1|lbl=32v}}
  
 
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| The counter to this sixth fashion is, that while he directs his left foot forward in order to give you his buckler hand, you will immediately give him the edge of your buckler to his approaching arm.
 
| The counter to this sixth fashion is, that while he directs his left foot forward in order to give you his buckler hand, you will immediately give him the edge of your buckler to his approaching arm.
| Il contrario di questo sesto modo è, che mentre egli guidera il piede manco innanzi per darti della mano del brocchero, tu subito gli darai del orlo del tuo brocchero nel uegnente braccio.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/74|2|lbl=-}}
  
 
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| The seventh trap, also with the right foot forward, is that you can cross into large pace with your left foot toward his right side throwing a riverso at him from low to high, and then immediately passing toward his left side with your right foot, you will give him a mandritto in the manner of a fendente, making your left leg follow behind your right.
 
| The seventh trap, also with the right foot forward, is that you can cross into large pace with your left foot toward his right side throwing a riverso at him from low to high, and then immediately passing toward his left side with your right foot, you will give him a mandritto in the manner of a fendente, making your left leg follow behind your right.
| Il settimo aguato pur con il detto piede innanzi, è, che tu puoi ualicare a grande passo con il piede manco uerso le sue destre parti tirandogli di uno riuerso di sotto in su, & dopoi subito passando con il tuo piede destro uerso le sue sinistre parti, tu gli darai di uno mandritto a guisa di fendente, facendo che la tua gamba man ca seguiti la destra per di dietro.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/74|3|lbl=-}}
  
 
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| The counter of this seventh fashion is that while he steps forward with his left foot in order to strike you with the aforesaid riverso, you will go into guardia di faccia with your buckler under your sword hand so that your hand is touched and covered by your buckler, and as he turns the mandritto in the manner of a fendente, immediately casting your right foot back you will give him a mezzo mandritto to his sword hand.
 
| The counter of this seventh fashion is that while he steps forward with his left foot in order to strike you with the aforesaid riverso, you will go into guardia di faccia with your buckler under your sword hand so that your hand is touched and covered by your buckler, and as he turns the mandritto in the manner of a fendente, immediately casting your right foot back you will give him a mezzo mandritto to his sword hand.
| Il contrario di questo settimo modo è, che mentr’egli scorrera con il sinistro piede innanzi per ferirti del an tidetto riuerso, tu anderai in guardia di faccia con il broc chero sotto la mano della spada, si, che la mano sia toc ca & coperta dal brocchero, & com’egli uolgera il man dritto a modo di fendente, tu subito gittando il piede destro in dietro gli darai di uno mezzo mandritto per la sua mano della spada.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/74|4|lbl=-}}
  
 
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| The eighth manner is, that having your left foot forward, you will step toward his left side with your right foot, throwing your sword back beneath his and in that same tempo you will put your buckler under his sword hand, striking him with your false edge in the left side of his neck. Then letting your left leg go behind your right you will arrange yourself with your sword in guardia di faccia, and then retiring to the rear with your right foot you will strike him in the temple with an extended riverso.
 
| The eighth manner is, that having your left foot forward, you will step toward his left side with your right foot, throwing your sword back beneath his and in that same tempo you will put your buckler under his sword hand, striking him with your false edge in the left side of his neck. Then letting your left leg go behind your right you will arrange yourself with your sword in guardia di faccia, and then retiring to the rear with your right foot you will strike him in the temple with an extended riverso.
| La ottaua maniera è, che hauendo il sinistro piede innanzi, tu scorrerai con il destro uerso le sue sinistre par ti, tirando in dietro la tua spada per sotto la sua, & in quello medesimo tempo ponerai il tuo brocchero sotto la sua mano della spada ferendolo con il falso nel lato '''[E1]''' manco del collo. Poi lasciando andar la gamba manca per di dietro alla destra ti agierai con la spada in guardia di faccia, & poscia ritirando in dietro il piede destro gli ferirai la tempia di uno riuerso spinto.
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{{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/74|5|lbl=-|p=1}} {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/75|1|lbl=33r|p=1}}
  
 
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| The counter to the previous is that when the enemy throws his sword back under yours, presently withdrawing your right foot back, you will assume guardia di faccia.
 
| The counter to the previous is that when the enemy throws his sword back under yours, presently withdrawing your right foot back, you will assume guardia di faccia.
| Il contrario della prenomata è, che quando il nemico tirera la spada in dietro per sotto la tua, tu di presente ritirando in dietro il tuo destro piede, ti agierai in guardia di faccia.
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| {{section|Page:Opera Nova (Antonio Manciolino) 1531.pdf/75|2|lbl=-}}
  
 
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| The ninth fashion, which will also be with the left foot forward, is that you can step forward with your right foot pretending to strike the enemy in the head with a mandritto, and in this pretense you will execute the Perugian Maneuver, that is, casting your sword and buckler away from yourself you will take him in both your arms, and having him thus strongly pressed, without detaching yourself, you will fall to a seated position and immediately you will give him your evenly raised feet heavily in his belly, and falling because of this impact, he will be found cast behind your shoulders.
 
| The ninth fashion, which will also be with the left foot forward, is that you can step forward with your right foot pretending to strike the enemy in the head with a mandritto, and in this pretense you will execute the Perugian Maneuver, that is, casting your sword and buckler away from yourself you will take him in both your arms, and having him thus strongly pressed, without detaching yourself, you will fall to a seated position and immediately you will give him your evenly raised feet heavily in his belly, and falling because of this impact, he will be found cast behind your shoulders.
| Nono modo di offendere sera pur con il sinistro innan zi è, che tu puoi scorrere con il piede destro innanzi facen do sembiante di ferir il nemico nella testa di uno mandritto, et in questo sembiante farai lo atto Perugino, cioè tu gittando uia da te la spada e’l brocchero lo piglierai in amendue le sue braccia, & hauendolo cosi fortemente preso senza staccarti ti lascerai cader sedente, & subito delli leuati piedi a pari gli darai grauemente nel uentre, per laquale percossura tomando si trouera dietro alli tuoi homeri gittato.
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| The counter to this aforesaid offense is that while he crosses with his right foot in order to feint a mandritto, being alert, you will have your eyes on his hands owing to the presa, and when you see him drop his sword and buckler, immediately retiring your right foot to the rear, you will strike him in the head with a riverso.
 
| The counter to this aforesaid offense is that while he crosses with his right foot in order to feint a mandritto, being alert, you will have your eyes on his hands owing to the presa, and when you see him drop his sword and buckler, immediately retiring your right foot to the rear, you will strike him in the head with a riverso.
| Il contrario della predetta offesa è, che mentr’egli uar chera con il piede destro per fare il sembiante del mandritto, tu stando accorto gli haurai ben l’occhio alle mani per cagione della presa, & quando gli uedrai cader la spada e’l brocchero, tu subito ritirando il piede destro al indietro gli ferirai la testa di uno riuerso.
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| The tenth fashion of offending, with the left foot forward, will be that you can pass toward his right side with your right foot, striking his sword with a winning mandritto, and then crossing toward that same right side with your left foot you will give him a riverso in the neck, making your right foot follow your left.
 
| The tenth fashion of offending, with the left foot forward, will be that you can pass toward his right side with your right foot, striking his sword with a winning mandritto, and then crossing toward that same right side with your left foot you will give him a riverso in the neck, making your right foot follow your left.
| Il decimo modo di offendere con il manco innanzi sera, che tu puoi passare con il piede destro uerso le sue destre parti percotendo la sua spada di uno ualente mandrit to, & poi uarcando uerso le medesime diritte parti con il piede manco gli darai di uno riuerso nel collo, facendo '''[E1v]''' chel piede destro seguiti il manco.
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| The counter will be that when he directs his right foot as said above in order to give you a mandritto to your sword, you will hit him/it with your sword, expecting that, but as he passes to give you the riverso, in that tempo you will turn a mezzo mandritto to his face.
 
| The counter will be that when he directs his right foot as said above in order to give you a mandritto to your sword, you will hit him/it with your sword, expecting that, but as he passes to give you the riverso, in that tempo you will turn a mezzo mandritto to his face.
| Il contrario sera, che quando egli guidera il piede for te come è detto sopra per darti del mandritto nella spada, tu lo urterai con la tua spada aspettante quello, ma co m’egli passera per ferirti del riuerso, tu in quel tempo gli uolgerai per faccia uno mezzo mandritto.
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| The eleventh fashion of offending is that finding yourself also with the left foot forward, you will cross with your right foot toward his left side and in this passing you will make a sign of striking him with a mandritto, but you will hit his thigh with a lovely riverso, and you will remain uncovered in your upper parts in order to provoke your enemy to attack those, but as he does as you wished, gliding your sword into guardia di testa you will protect yourself there, and then with your buckler hand you will take his sword to the inside of yours, giving him a fendente to the head or a thrust to the face.
 
| The eleventh fashion of offending is that finding yourself also with the left foot forward, you will cross with your right foot toward his left side and in this passing you will make a sign of striking him with a mandritto, but you will hit his thigh with a lovely riverso, and you will remain uncovered in your upper parts in order to provoke your enemy to attack those, but as he does as you wished, gliding your sword into guardia di testa you will protect yourself there, and then with your buckler hand you will take his sword to the inside of yours, giving him a fendente to the head or a thrust to the face.
| Il modo undecimo di offendere è, che trouandoti pur con il debole piede innanzi, tu ualicherai con il piede for te uerso le sue manche parti & in questo passare farai cenno di ferirlo di uno mandritto, ma percio gli percoterai la coscia di uno bello riuerso, & rimarrai scoperto dal le parti di sopra per incitar il nemico ad offendere quelle, ma come egli far lo uolesse, tu scorrendo con la spada in guardia di testa iui ti schiferai, & poi con la mano del brocchero gli prenderai la spada per il dentro della tua dandogli di uno fendente per testa, ouero di una punta nel uolto.
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| The counter to this will be that right as he is past pretending to do a mandritto, you will not make any move against that, but as he wishes to strike you in the thigh with a riverso, you will turn the point of your sword toward the ground, thereby protecting yourself from that, and throwing a fendente to his head in response.
 
| The counter to this will be that right as he is past pretending to do a mandritto, you will not make any move against that, but as he wishes to strike you in the thigh with a riverso, you will turn the point of your sword toward the ground, thereby protecting yourself from that, and throwing a fendente to his head in response.
| Il contrario di questa sera, che subito ch’egli sera scor so per far la uista del mandritto, tu per quella non farai al cuna mossa, ma come uorra ferirti del riuerso per coscia, tu uolgerai la spada con la punta uerso terra cosi riparandoti da quello, et tirandogli in risposta di uno fendente per testa.
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| The twelfth way of offending will be, that finding yourself with your right foot forward, you can throw a mandritto to his head, and if he is a good player he will hit that, so that immediately making a sign with your bent fist of giving him a riverso, despite that you will reach him with the same mandritto.
 
| The twelfth way of offending will be, that finding yourself with your right foot forward, you can throw a mandritto to his head, and if he is a good player he will hit that, so that immediately making a sign with your bent fist of giving him a riverso, despite that you will reach him with the same mandritto.
| La duodecima guisa di offender sera, che trouandoti con il piede destro innanzi, Tu puoi tirargli di uno mandritto per testa, & egli sel sera buono giucatore urtera quello, perche subito tu facendo con la piegante testa cenno di dargli di riuerso, per tutto cio lo giugnerai del medesimo mandritto.
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| The counter to this is, that as he wishes to offend your head with the mandritto, you will throw a riverso from low to high that goes into guardia di testa, protecting yourself from his mandritto. Then with your buckler hand you will immediately smack down his sword hand, striking him in the upper body, or wherever appears best to you, with a riverso.
 
| The counter to this is, that as he wishes to offend your head with the mandritto, you will throw a riverso from low to high that goes into guardia di testa, protecting yourself from his mandritto. Then with your buckler hand you will immediately smack down his sword hand, striking him in the upper body, or wherever appears best to you, with a riverso.
| Il contrario di questa sia, che come egli uorra offen'''[E2]'''derti la testa con il mandritto, tu gli tirerai uno riuerso di sotto in su, che uadi in guardia di testa schifandoti dal suo mandritto. Indi subito con la tua mano del brocchero la sua della spada in giu calcherai ferendogli le parti di so pra, oue meglio ti parra di uno riuerso.
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| The thirteenth way would be that finding yourself again with your right foot forward, you will pretend to give him a mandritto to the head, but nonetheless you will throw a riverso in the gesture of a drilled thrust.
 
| The thirteenth way would be that finding yourself again with your right foot forward, you will pretend to give him a mandritto to the head, but nonetheless you will throw a riverso in the gesture of a drilled thrust.
| Il terzodecimo modo sarebbe, che trouandoti pur con il piede dritto innanzi, tu farai uista di dargli di uno man dritto per testa nondimeno tirerai di uno riuerso in atto di una punta triuellata.
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| The counter is, that when he does the aforesaid pretense, despite that you will make no motion, but in his throwing of a riverso you will recoil your right foot back, and your sword into guardia di faccia.
 
| The counter is, that when he does the aforesaid pretense, despite that you will make no motion, but in his throwing of a riverso you will recoil your right foot back, and your sword into guardia di faccia.
| Il suo contrario è, che egli fara la predetta uista, tu per allhora non farai mossa, ma nel tirare del riuerso tu raccoglierai il piede destro al in dietro, & la spada in guardia di faccia.
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| The fourteenth way is that having the same right foot forward, you will pass forward with your left and make a half-turn of your fist with the sword, sticking him in that same turning with a thrust to the face.
 
| The fourteenth way is that having the same right foot forward, you will pass forward with your left and make a half-turn of your fist with the sword, sticking him in that same turning with a thrust to the face.
| La quartadecima guisa è, che hauendo il medesimo pie de destro innanzi, Tu passerai auanti con il manco, & fa rai con la spada una mezza uolta di pugno spignendogli nel medesimo uoltamento una punta nella faccia.
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| The counter to this is that in the passing that he makes with his left foot, diverting your right foot promptly to the rear, you will arrange yourself in coda lunga alta.
 
| The counter to this is that in the passing that he makes with his left foot, diverting your right foot promptly to the rear, you will arrange yourself in coda lunga alta.
| Il contrario di questa è, che nel passare chel fara con il debole piede, tu stornando tosto il forte al indietro, ti agierai in coda lunga alta.
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| The fifteenth offense is that being with the aforesaid foot forward you will pretend to strike him in the head with a mandritto, and the enemy, taking fear, will want to protect himself from that, and you will give him a riverso to the thigh, settling yourself into guardia di faccia.
 
| The fifteenth offense is that being with the aforesaid foot forward you will pretend to strike him in the head with a mandritto, and the enemy, taking fear, will want to protect himself from that, and you will give him a riverso to the thigh, settling yourself into guardia di faccia.
| La quintadecima offesa è, che essendo con il predetto piede innanzi, tu farai sembiante di ferirgli la testa di uno mandritto, & mentre il nemico per timore uorra da quel la schifarsi, tu gli darai di uno riuerso per coscia assetten doti in guardia di faccia.
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| Its counter will be that during the pretense shown by your enemy, you will not make a motion, but when he wants to hit you in the thigh with a riverso, recoiling your right leg to the rear you will give him a riverso of your own to his sword arm.
 
| Its counter will be that during the pretense shown by your enemy, you will not make a motion, but when he wants to hit you in the thigh with a riverso, recoiling your right leg to the rear you will give him a riverso of your own to his sword arm.
| Il suo contrario sera, che nella uista dal nemico mostrata non farai mossa, ma quando uorra percoterti la coscia con uno riuerso, tu raccogliendo il piede destro indietro gli darai di uno tuo riuerso nel braccio della spada.
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Revision as of 23:04, 17 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.

Temp

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.
  4. Note that these “two tramazzoni” were, in both cases, singular in Ch. 9
  5. This counter has no antecedent in Ch. 15.
  6. I.e. a mandritto that goes over your own left arm.
  7. Not specified.