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'''Terenziano Ceresa''' was a [[century::17th century]] [[nationality::Italian]] [[fencing master]]. Little is known about his life, although he describes himself as a native of Parma, and was nicknamed “The Hermit”, apparently due to his disdain for social contact. He appears to have been active in Ancona, where his treatise was published and where his patron resided.
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'''Luigi Barbasetti''' was an [[nationality::Italian]] [[fencing master]]. After his  
  
In 1641, he published a treatise on fencing “more from the insistence of patrons than the impulse of my nature, inimical to the presses” entitled ''[[L'Esercizio della spada regolato con la perfetta idea della scherma (Terenziano Ceresa)| L'Esercizio della spada regolato con la perfetta idea della scherma]]'' ("The Practice of the Sword Governed by the Perfect Conception of Fencing"), dedicated to his patron and student Tommaso Palunci, a nobleman from Ancona.
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Barbasetti, was decisively influenced by his first fencing master [[Guiseppe Radaelli]] in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under [[Masaniello Parise]] before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.
  
 
The treatise discusses the sword alone and the sword and dagger, and appears to develop the ideas presented by [[Salvator Fabris]] and [[Ridolfo Capoferro]]. Specifically: Ceresa describes a passing play from out of measure, reminiscent of the ''andare di risolutione'' from Fabris’ Book II, although Ceresa employs ''quarta'' as opposed to the ''terza'' preferred by Fabris; and Ceresa nominates a fifth and sixth guard (in addition to the usual four) which appear to correspond to these guards as presented by Capoferro.
 
The treatise discusses the sword alone and the sword and dagger, and appears to develop the ideas presented by [[Salvator Fabris]] and [[Ridolfo Capoferro]]. Specifically: Ceresa describes a passing play from out of measure, reminiscent of the ''andare di risolutione'' from Fabris’ Book II, although Ceresa employs ''quarta'' as opposed to the ''terza'' preferred by Fabris; and Ceresa nominates a fifth and sixth guard (in addition to the usual four) which appear to correspond to these guards as presented by Capoferro.

Revision as of 23:38, 13 January 2022

Luigi Barbasetti
Born 21.02.1859
Cividale del Friuli
Died 31.03.1948
Verona
Occupation Fencing master
Nationality Italian
Alma mater Scuola Magistrale di Scherma
Influences
Genres Fencing manual
Language Italian

Luigi Barbasetti was an Italian fencing master. After his

Barbasetti, was decisively influenced by his first fencing master Guiseppe Radaelli in Milan and completed his training as a fencing master at the Scuola Magistrale Militare di Roma under Masaniello Parise before moving on to Trieste, where contact with Austro-Hungarian officers and especially Erzherzog Franz Salvator von Österreich-Toskana should open the way for him to Vienna. At a fencing tournament in Prague in 1895, Barbasetti's private students immediately performed so well that Barbasetti was subsequently entrusted with restructuring fencing training at the Theresian Military Academy in Wiener Neustadt. Barbasetti's evolution of the Radaellan school of fencing spread rapidly throughout the Austro-Hungarian Empire and had a decisive influence on the style of fencing at the beginning of the 20th century, even beyond the borders of Austria-Hungary, which is why he is often referred to as a reformer of fencing.

The treatise discusses the sword alone and the sword and dagger, and appears to develop the ideas presented by Salvator Fabris and Ridolfo Capoferro. Specifically: Ceresa describes a passing play from out of measure, reminiscent of the andare di risolutione from Fabris’ Book II, although Ceresa employs quarta as opposed to the terza preferred by Fabris; and Ceresa nominates a fifth and sixth guard (in addition to the usual four) which appear to correspond to these guards as presented by Capoferro.

Treatise

Additional Resources

References