Wiktenauer logo.png

Difference between revisions of "Fiore de'i Liberi"

From Wiktenauer
Jump to navigation Jump to search
(3 intermediate revisions by the same user not shown)
Line 118: Line 118:
 
! <p>{{rating|B|Completed Translation (from the Getty)}}<br/>by [[translator::Colin Hatcher]]</p>
 
! <p>{{rating|B|Completed Translation (from the Getty)}}<br/>by [[translator::Colin Hatcher]]</p>
 
! <p>{{rating|B|Completed Translation (from the Morgan)}}<br/>by [[translator::Michael Chidester]]</p>
 
! <p>{{rating|B|Completed Translation (from the Morgan)}}<br/>by [[translator::Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699)<br/>by [[Michael Chidester]]</p>
+
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699){{edit index| Fior di Battaglia (MS XXIV)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 598: Line 598:
 
! <p>{{rating|C|Draft Translation (from the Pisani Dossi)}}<br/>by [[translator::Michael Chidester]]</p>
 
! <p>{{rating|C|Draft Translation (from the Pisani Dossi)}}<br/>by [[translator::Michael Chidester]]</p>
 
! <p>[Paris does not contain Preface]</p>
 
! <p>[Paris does not contain Preface]</p>
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699)<br/>by [[Michael Chidester]]</p>
+
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699){{edit index| Fior di Battaglia (MS XXIV)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 696: Line 696:
 
! <p>{{rating|B|Completed Translation (from the Pisani Dossi)}}<br/>by [[translator::Michael Chidester]]</p>
 
! <p>{{rating|B|Completed Translation (from the Pisani Dossi)}}<br/>by [[translator::Michael Chidester]]</p>
 
! <p>[Paris does not contain Preface]</p>
 
! <p>[Paris does not contain Preface]</p>
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699)<br/>by [[Michael Chidester]]</p>
+
! <p>[[Fior di Battaglia (MS XXIV)|San Daniele del Friuli Transcription]] (1699){{edit index| Fior di Battaglia (MS XXIV)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 1,129: Line 1,129:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 1,286: Line 1,286:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 1,866: Line 1,866:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 1,978: Line 1,978:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 2,231: Line 2,231:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 2,584: Line 2,584:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 2,678: Line 2,678:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]] and [[Michael Chidester]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 2,841: Line 2,841:
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Francesco Novati]]</p>
+
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
Line 2,988: Line 2,988:
 
  | width = 240em
 
  | width = 240em
 
}}
 
}}
{{:Fiore de'i Liberi/Dagger/5th master}}
+
{| class="master"
{{master subsection end}}
+
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>{{rating|B|Completed Translation (from the Getty and PD)}}<br/>by [[translator::Colin Hatcher]]</p>
 +
! <p>{{rating|C|Draft Translation (from the Paris)}}<br/>by [[translator::Kendra Brown]] and [[translator::Rebecca Garber]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
  
{{master subsection begin
+
|-
| title = 6th Master
+
|  
| width = 240em
+
| [[File:Pisani-Dossi MS 10a-e.png|400px|center]]
}}
+
| <p>[66] <em>I want each of my students to know<br/>That you cannot defend against the collar grab unless you move quickly.<br/>And with the strike that I make against your elbow,<br/>I will quickly feel your arm dislocate.</em></p>
{{:Fiore de'i Liberi/Dagger/6th master}}
 
{{master subsection end}}
 
  
{{master subsection begin
+
<p>I am the Fifth Dagger Remedy Master who defends against the collar grab made by this player. Before he can strike me with his dagger I destroy his arm like this, because the grip he has on me is actually to my advantage. And I can do all of the covers, holds and binds of the other remedy masters and their students who came before me. And I say this from experience: all who study this art should be aware that you cannot successfully defend the collar grab unless you move quickly.</p>
| title = 7th Master
+
| <p>''You would grasp my chest. Thus far you have not been able to wound me.<br/>I will, nevertheless, dislocate this, your shoulder, during wrestling.''</p>
| width = 240em
+
|  
}}
+
| <p><br/><br/><br/><br/></p>
{{:Fiore de'i Liberi/Dagger/7th master}}
+
{{section|Page:MS Ludwig XV 13 38r.jpg|38r-d}}
{{master subsection end}}
+
| {{section|Page:Pisani-Dossi MS 10a.jpg|10a-e}}
 +
| {{section|Page:MS Latin 11269 33v.jpg|33v-d}}
  
{{master subsection begin
+
|-
| title = 8th Master
+
|  
| width = 240em
+
| [[File:Pisani-Dossi MS 10a-f.png|400px|center]]
}}
+
| <p>[67] <em>After striking against your elbow, I will continue on<br/>To quickly seek to find your dagger.</em></p>
{{:Fiore de'i Liberi/Dagger/8th master}}
 
{{master subsection end}}
 
  
{{master subsection begin
+
<p>This is another way to destroy the arm. And from this play I can move to other plays and holds…</p>
| title = 9th Master
+
| <p>''I would now strike close by your elbow. You will then move past me,<br/>And I, the strong one, will unexpectedly attempt your dagger.''</p>
| width = 240em
+
|  
}}
+
| rowspan="2" | <p><br/><br/></p>
{{:Fiore de'i Liberi/Dagger/9th master}}
 
{{master subsection end}}
 
{{master end}}
 
  
{{master begin
+
{{section|Page:MS Ludwig XV 13 38v.jpg|38v-a}}
| title = Dagger vs. Sword
+
| {{section|Page:Pisani-Dossi MS 10a.jpg|10a-f}}
| width = 240em
+
| {{section|Page:MS Latin 11269 34r.jpg|34r-b}}
}}
 
{{:Fiore de'i Liberi/Sword vs. Dagger}}
 
{{master end}}
 
  
{{master begin
+
|-
| title = Sword in One Hand
+
|
| width = 240em
+
| [[File:Pisani-Dossi MS 16b-d.png|400px|center]]
}}
+
| <p>[68] <em>I will get rid of your spear with my arms in this way,<br/>Then I will turn and hit you,<br/>And if I cannot do it this way<br/>Then I will use the technique I described before.</em></p>
{{:Fiore de'i Liberi/Sword in One Hand}}
+
 
{{master end}}
+
<p>…Also, if you are pinned by a spear then by making this strike against it you will either unpin yourself or break off the haft from the spearhead.</p>
 +
|  
 +
|
 +
| {{section|Page:Pisani-Dossi MS 16b.jpg|16b-d}}
 +
|
  
{{master begin
+
|-
| title = Sword in Two Hands
+
|  
| width = 100%
+
| [[File:Pisani-Dossi MS 16b-c.png|400px|center]]
}}
+
| <p>[69] <em>If I want to get this spear off me,<br/>I had better hit it hard from above,<br/>So that I will break the staff of your spear<br/>And then I will want to come to the close.</em></p>
{{master subsection begin
 
| title = Introduction
 
| width = 240em
 
}}
 
{{:Fiore de'i Liberi/Sword in Two Hands}}
 
{{master subsection end}}
 
  
{{master subsection begin
+
<p>This is another way to make you let go, and is also a better method of breaking off the head of a spear…</p>
| title = Wide Plays
+
|
| width = 240em
+
|  
}}
+
| rowspan="2" | <p><br/><br/><br/><br/></p>
{{:Fiore de'i Liberi/Sword in Two Hands/Wide Play}}
 
{{master subsection end}}
 
  
{{master subsection begin
+
{{section|Page:MS Ludwig XV 13 38v.jpg|38v-b}}
| title = Close Plays
+
| {{section|Page:Pisani-Dossi MS 16b.jpg|16b-c}}
| width = 240em
+
|
}}
 
{{:Fiore de'i Liberi/Sword in Two Hands/Narrow Play}}
 
{{master subsection end}}
 
{{master end}}
 
  
{{master begin
+
|-
| title = Sword vs. Spear
+
|
| width = 240em
+
| [[File:Pisani-Dossi MS 10b-a.png|400px|center]]
}}
+
| <p>[70] <em>By striking to your wrist or to your elbow,<br/>I will either dislocate it, or you will quickly let go.</em></p>
{{:Fiore de'i Liberi/Sword vs. Spear}}
 
{{master end}}
 
  
{{master begin
+
<p>…Also if I strike you hard in the wrist joint of the hand holding my collar, I am certain to dislocate it unless you let go.</p>
| title = Sword in Armor
+
 
  | width = 240em
+
<p>I wish to tell you the counter. As the student strikes down with his arms to dislodge the player's hand, the player quickly withdraws his hand from the student’s collar, and he then quickly strikes the student in the chest with his dagger.</p>
}}
+
| <p>''Either I will strike over the elbow, or near the fist,<br/>And in this place I will dislocate the wretched one. Henceforth you will quit the entire chest.''<ref>Note: ''pectora'' is plural, perhaps meant to indicate both halves of the chest.</ref></p>
{{:Fiore de'i Liberi/Sword in Armor}}
 
{{master end}}
 
  
{{master begin
+
|  
| title = Axe in Armor
+
| {{section|Page:Pisani-Dossi MS 10b.jpg|10b-a}}
| width = 240em
+
| {{section|Page:MS Latin 11269 34r.jpg|34r-d}}
}}
 
{{:Fiore de'i Liberi/Poleaxe}}
 
{{master end}}
 
  
{{master begin
+
|-
| title = Spear
+
|  
| width = 240em
+
| [[File:Pisani-Dossi MS 10b-c.png|400px|center]]
}}
+
| <p>[71] <em>I am confident and certain that you will go to the ground,<br/>And I care little or nothing for your dagger.</em></p>
{{:Fiore de'i Liberi/Spear}}
 
{{master end}}
 
  
{{master begin
+
<p>This play will make you let go of me. And in addition, if I advance my right foot behind your left foot, you will be thrown to the ground without fail. And if this play is not enough, I will try others on your dagger, because my heart and my eyes are never focused anywhere other than upon taking away your dagger quickly and without delay.</p>
| title = Spear vs. Other Weapons
+
| <p>''I am able to safely believe that you will go into the ground now;<br/>Neither will your dagger be able to accomplish harming me.</p>
| width = 240em
+
|  
}}
+
| <p><br/><br/></p>
{{:Fiore de'i Liberi/Spear vs. Other Weapons}}
 
{{master end}}
 
  
{{master begin
+
{{section|Page:MS Ludwig XV 13 38v.jpg|38v-c}}
| title = Mounted Fencing
+
| {{section|Page:Pisani-Dossi MS 10b.jpg|10b-c}}
| width = 240em
+
| {{section|Page:MS Latin 11269 34v.jpg|34v-d}}
}}
 
{{:Fiore de'i Liberi/Mounted Fencing}}
 
{{master end}}
 
  
{{master begin
+
|-
| title = Copyright and License Summary
+
|  
| width = 100%
+
| [[File:Pisani-Dossi MS 10b-b.png|400px|center]]
}}
+
| <p>[72] <em>I choose to try this method of throwing you to the ground,<br/>And if this does not work I will try a different play.</em></p>
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].
 
  
<section begin="sourcebox"/>{{sourcebox header}}
+
<p>I will throw you to the ground like this, before your dagger can get near me. And if your dagger comes down the center line to strike at me, I will release my grip and deal with your dagger, so that you will not be able to injure me in any way. Then with the remedy plays I will make you suffer.</p>
{{sourcebox
+
| <p>''I put to the test where I would at once lay you sharply on your back.<ref>Or “I put to the test where I would at once bend you back acutely.”</reF><br/>If, perchance, I do not strew you, I will [scribal error] <actually try> something better.''</p>
| work        = Illustrations (Getty)
+
|
| authors    = [[J. Paul Getty Museum]]
+
| <p><br/><br/></p>
| source link =  
+
 
| source title= Digital images courtesy of the Getty's [http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=1706 Open Content Program]
+
{{section|Page:MS Ludwig XV 13 38v.jpg|38v-d}}
| license    = getty
+
| {{section|Page:Pisani-Dossi MS 10b.jpg|10b-b}}
}}
+
| {{section|Page:MS Latin 11269 34v.jpg|34v-b}}
{{sourcebox
+
 
| work        = Illustrations (Morgan)
+
|-
| authors    = [[Morgan Library & Museum]]
+
|
| source link =  
+
| [[File:Pisani-Dossi MS 10b-d.png|400px|center]]
| source title= [[Tratt‍ato della sch‍erma (MS M.383)/Images|Princeton Institute of Christian Art]]
+
| <p>[73] <em>You will find out that over my right shoulder<br/>I will not fail to break your arm.</em></p>
| license    = public domain
+
 
}}
+
<p>This player had me grabbed by the collar, but before he could strike me with his dagger I quickly seized his left hand with my hands and pulled his arm over my shoulder so as to dislocate it, and then I completely dislocated it. But this play is safer to do in armor than unarmored.</p>
{{sourcebox
+
| <p>''I will not have been cheated of breaking the left shoulder;<ref>Or “I will not be deceived while breaking the left shoulder.”</ref><br/>I am holding that which is loaded<ref>Or possibly “weighed”.</ref> down on the right using the leg during wrestling.''</p>
| work        = Illustrations (Novati)
+
|
| authors    = [[Francesco Novati]]
+
| <p><br/><br/></p>
| source link =  
+
 
| source title= [[:File:Flos Dvellatorvm in Armis, sine Armis, Eqvester, Pedester (Novati).pdf|''Flos Dvellatorvm in Armis, sine Armis, Eqvester, Pedester'']]
+
{{section|Page:MS Ludwig XV 13 15r.jpg|15r-a}}
| license    = public domain 0
+
| {{section|Page:Pisani-Dossi MS 10b.jpg|10b-d}}
}}
+
| {{section|Page:MS Latin 11269 35r.jpg|35r-b}}
{{sourcebox
+
 
| work        = Illustrations (Paris)
+
|-
| authors    = [[Bibliothèque Nationale de France]]
+
|
| source link = http://gallica.bnf.fr/ark:/12148/btv1b8514426f
+
| [[File:Pisani-Dossi MS 10b-e.png|400px|center]]
| source title= Bibliothèque Nationale de France
+
| <p>[74] <em>By the way I seize you and hold you,<br/>I will force you to the ground shoulders first.</em></p>
| license    = permission
+
 
}}
+
<p>In this way I will hurl you to the ground without fail. And I will surely take your dagger. And if you are armored that may help you, since I will be aiming to take your life with your own dagger. But even if we are armoured, this art will not fail me. And if you are unarmored and very quick, other plays can be made besides this one.</p>
{{sourcebox
+
 
| work        = Translation
+
<p>''[In the Getty and Paris, the Scholar's right foot is inside (in front) of his opponent's left leg.]''</p>
| authors    = [[Colin Hatcher]]
+
| <p>''I hold you using this form, and I will catch the lamenting one;<br/>Now, with the leg, you will be strewn as deep into the earth as possible.''</p>
| source link =  
+
|
| source title= Private communication
+
| <p><br/><br/></p>
| license    = noncommercial
+
 
}}
+
{{section|Page:MS Ludwig XV 13 15r.jpg|15r-b}}
{{sourcebox
+
| {{section|Page:Pisani-Dossi MS 10b.jpg|10b-e}}
| work        = Translation
+
| {{section|Page:MS Latin 11269 35r.jpg|35r-d}}
| authors    = [[Michael Chidester]]
+
 
| source link =  
+
|-
| source title= Wiktenauer
+
|
| license    = noncommercial
+
| [[File:Pisani-Dossi MS 10b-f.png|400px|center]]
}}
+
| <p>[75] <em>To take your dagger I make a cover like this,<br/>And then with other plays I will make you suffer.</em></p>
{{sourcebox
+
 
| work        = Translation
+
<p>This cover is very good in armor or without armor. And against any strong man such a cover is good for covering an attack from below as well as from above. And from this play you can enter into a middle bind as shown in the third play of the First Dagger Remedy Master. And if the cover is made in response to an attack from below, the student will put the player into a lower lock also known as “the strong key”, as shown in the sixth play [38] of the Third [Dagger] Remedy Master who plays to the reverse hand attack.</p>
| authors    = [[Kendra Brown]] and [[Rebecca Garber]]
+
| <p>''Now I make this cover, for which reason <read: in order that> I would be able to take away the dagger,<br/>Not to mention [that] I can strike you using many plays.''</p>
| source link = http://wiktenauer.com/images/1/17/Florius_Translation_-_Kendra_Brown_and_Rebecca_Garber.pdf
+
|
| source title= Cambridge HEMA Society
+
|
| license    = copyrighted
+
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 15r.jpg|15r-c}}
 +
| {{section|Page:Pisani-Dossi MS 10b.jpg|10b-f}}
 +
| {{section|Page:MS Latin 11269 35v.jpg|35v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 11a-a.png|400px|center]]
 +
| <p>[76] <em>If I can turn this arm of yours,<br/>Then I will force you into the lower lock.</em></p>
 +
 
 +
<p>If I can turn this arm I will be certain to put you into the lower lock also known as “the strong key”. I will however be able to do this more safely if I am armored. I could also do something else against you: if I grip your left hand firmly and seize you under your left knee with my right hand, then I will not lack the strength to put you to the ground.</p>
 +
| <p>''If I can now twist your shoulder while fighting,<br/>I will readily cause [that] you will be overwhelmed in the lower key.''</p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 15r.jpg|15r-d}}
 +
| {{section|Page:Pisani-Dossi MS 11a.jpg|11a-a}}
 +
| {{section|Page:MS Latin 11269 35v.jpg|35v-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 11a-b.png|400px|center]]
 +
| <p>[77] <em>Whether you try to strike at me from above or below,<br/>You will lose your dagger from this crossing.</em></p>
 +
 
 +
<p>With arms crossed I await you without fear. And I don't care whether you come at me from above or below, because however you come at me, you will be bound. You will be locked either in the middle lock or the lower lock. And if I wished to make the plays of the Fourth Dagger Remedy Master, I would cause you great harm with these plays. And I will have no difficulty in taking your dagger.</p>
 +
 
 +
<p>''[In the Getty, the Scholar's left foot is forward.]''</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 15v.jpg|15v-a}}
 +
| {{section|Page:Pisani-Dossi MS 11a.jpg|11a-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 11a-c.png|400px|center]]
 +
| <p>[78] <em>By holding your arm with my two hands,<br/>I will take away the dagger from you, as you deserve.</em></p>
 +
 
 +
<p>This grip is sufficient to prevent you being able to touch me with your dagger. And from here I can do the play that comes after me. And I could also certainly do other plays to you. I disregard the other plays for now, however, because this one is good for me and very fast.</p>
 +
| <p>''Now because I am holding you using both hands during wrestling,<br/>I certainly would take hold of [your] dagger just as if you had truly deserved.''</p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 15v.jpg|15v-b}}
 +
| {{section|Page:Pisani-Dossi MS 11a.jpg|11a-c}}
 +
| {{section|Page:MS Latin 11269 36r.jpg|36r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 11a-d.png|400px|center]]
 +
| <p>[79] <em>The student who came before me did not make this play,<br/>So I show how to take away the dagger in his place.</em></p>
 +
 
 +
<p>This is the play referred to by the student who came before me, and I take away this dagger as he indicated. And to disarm him I push his dagger downwards and to the right as written above. And then by making a turn with his dagger I will thrust the point into his chest without fail.</p>
 +
 
 +
<p>''[In the Getty and Paris, the Scholar's left foot is forward, and his opponent's right foot is forward.]''</p>
 +
| <p>''Now I teach taking the dagger away while wrestling the associate;<br/>This first student does not know how to play.''</p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 15v.jpg|15v-c}}
 +
| {{section|Page:Pisani-Dossi MS 11a.jpg|11a-d}}
 +
| {{section|Page:MS Latin 11269 36r.jpg|36r-d}}
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:MS Ludwig XV 13 15v-d.jpg|400px|center]]
 +
| class="noline" | <p>[80] So that this student cannot dislocate my arm, I pull it towards me and bend it. And the farther I pull it towards me and bend it, the better, because in this way I make the counter to the Remedy Master of the close play of the dagger.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 15v.jpg|15v-d}}
 +
| class="noline" |
 +
| class="noline" |
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = 6th Master
 +
| width = 240em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
| [[File:MS Latin 11269 36v-a.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 11a-e.png|400px|center]]
 +
| <p>[81] <em>There is no man who knows more about dagger versus dagger than I.<br/>Whether in armor or without, I will gravely injure you,<br/>And when fighting at the barrier I truly love<br/>To vanquish everyone with these close plays.</em></p>
 +
 
 +
I am the Sixth [Dagger Remedy] Master and I tell you that this cover is good either in armor or without armor. And with this cover I can cover attacks from all directions and enter into all of the holds and binds, and strike to finish, as the students who follow me will show. And each of my students will make this cover, and then they will make the plays shown after, as they are qualified to do.
 +
| <p>''I do not recognize the man with whom I can’t play.<br/>If we both lead while turning dagger in dagger,<br/>Either I would be armed [with both], or by chance we would be without weapons,<br/>And that movement is pleasing, provided that it would be a close play.''</p>
 +
|
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 16r.jpg|16r-a}}
 +
| {{section|Page:Pisani-Dossi MS 11a.jpg|11a-e}}
 +
| {{section|Page:MS Latin 11269 36v.jpg|36v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 16r-b.jpg|400px|center]]
 +
| <p>[82] I made the cover of the Sixth [Dagger Remedy] Master who preceded me. And as soon as I have made this grip I will be able to strike you. And because I position my left hand in this way, I will not fail to take away your dagger. I can also put you in the middle bind, which is the third play [3] of the First Dagger Remedy Master. I could also make other plays against you, without abandoning my dagger.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 16r.jpg|16r-b}}
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 11b-a.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 16r-c.jpg|400px|center]]
 +
| <p>[83] <em>From the cover of my Master which is so perfect,<br/>I will strike you in the chest with a half turn of my dagger.</em></p>
 +
 
 +
I have made this half turn from the cover of my Sixth Master and I have quickly positioned myself to strike you. And even if you were armored I would care little, for in that case I would thrust this dagger in your face. However, as you can see, in this case I have thrust it into your chest because you are not armored and you do not know the close range game.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 16r.jpg|16r-c}}
 +
| {{section|Page:Pisani-Dossi MS 11b.jpg|11b-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 11b-b.png|400px|center]]
 +
| <p>[84] <em>With my Master’s cover and with a half turn to the outside,<br/>I can still strike or bind you or take away your dagger.</em></p>
 +
 
 +
I have not abandoned the cover of my Sixth [Dagger Remedy] Master. I turn my left arm over your right. And moving my right foot at the same time as my left arm I turn myself to the outside. You are now partly bound, and you will have to admit that you will quickly lose your dagger. And I make this play so quickly that I have no concern or fear of your counter.
 +
 
 +
''[In the Paris, the Scholar wears a crown, and both he and his opponent have their right feet forward.]''
 +
|
 +
|
 +
|
 +
<br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 16r.jpg|16r-d}}
 +
| {{section|Page:Pisani-Dossi MS 11b.jpg|11b-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 11a-f.png|400px|center]]
 +
| <p>[85] <em>From the cover my Master made<br/>With this grip and cover I will give you grief.</em></p>
 +
 
 +
Having made the cover of my Master, I made this grip. And I can strike you whether you are armored or unarmored. And I can also put you into the lower lock of the first scholar of the Fourth Dagger Remedy Master.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 16v.jpg|16v-a}}
 +
| {{section|Page:Pisani-Dossi MS 11a.jpg|11a-f}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 16v-b.jpg|400px|center]]
 +
| <p>[86] Without abandoning the cover of the Sixth [Dagger Remedy] Master, I make this turn [with my dagger]. Your right hand will lose the dagger, and seeing that you have been reversed, my dagger will quickly strike you, and your dagger will be lost to you. Also I can make a turn with my left arm and make you suffer in the lower lock.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 16v.jpg|16v-b}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12a-a.png|400px|center]]
 +
| <p>[87] <em>If you and I are both armored,<br/>I will thrust the knife into your hand, as you can see.</em></p>
 +
 
 +
<del>Although I am placed after the counter-remedy to the Sixth Master, I should logically be placed before him, because</del> I am a student of the Sixth [Dagger Remedy] Master and my play belongs to him. And this play makes more sense in armor than unarmored, because if he is armored I can strike him in the hand where he cannot fully protect himself; whereas if he is unarmored, I would aim to strike him in the face or in the chest, or in some other vulnerable place.
 +
 
 +
''[This play has been moved to its proper location as given in Fiore's explanation.]''
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 16v.jpg|16v-d}}
 +
| {{section|Page:Pisani-Dossi MS 12a.jpg|12a-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 11b-d.png|400px|center]]
 +
| <p>[88] <em>With my left hand I will turn you and expose you<br/>And with this counter, I will be able to strike you hard.</em></p>
 +
 
 +
I make the counter-remedy of the Sixth King [Dagger Remedy Master], turning your body with an elbow push, and in this way I can strike you, because with this elbow push that I quickly do, I will be able to defend against many close plays. And this is a particularly good counter-remedy to the all of the holds of the close-range game.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 16v.jpg|16v-c}}
 +
| {{section|Page:Pisani-Dossi MS 11b.jpg|11b-d}}
 +
|
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:Pisani-Dossi MS 11b-c.png|400px|center]]
 +
| class="noline" | <p>[89] <em>With my left hand placed in my defense as shown,<br/>I will quickly cause you harm with this counter.</em></p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 11b.jpg|11b-c}}
 +
| class="noline" |
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = 7th Master
 +
| width = 240em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
| rowspan="2" |
 +
| rowspan="2" | [[File:Pisani-Dossi MS 11b-e.png|400px|center]]
 +
| class="noline" | <p>[90] <em>If I am armored this is a good cover to choose,<br/>And from here I can enter quickly into the middle bind,<br/>And the fight will be over<br/>For there is no good defense against it.</em></p>
 +
| class="noline" | <p>''I, well-fortified, make this cover in arms,<br/>And suddenly, I will enter<ref>N.B. “I will enter” begins the fourth line in the Latin. It was moved to fit English sentence structure.</ref> into the middle key, which ends all<br/>Wars; neither is any strong against the conducting of war,<br/>Nor is any opposition able to oppose me.''</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 11b.jpg|11b-e}}
 +
| class="noline" | {{section|Page:MS Latin 11269 36v.jpg|36v-c}}
 +
 
 +
|-
 +
| <p>I am the Seventh [Dagger Remedy] Master and I play with arms crossed. And this cover is better made when armored than unarmored. The plays that I can do from this cover are the plays that came before me, especially the middle bind which is the third play of the first Dagger Remedy Master. Also I can turn you by pushing your right elbow with my left hand. And I can strike you quickly in the head or in the shoulder…</p>
 +
|
 +
|
 +
| rowspan="3" | {{section|Page:MS Ludwig XV 13 17r.jpg|17r-a}}
 +
|
 +
|
 +
 
 +
|-
 +
| rowspan="2" |
 +
| rowspan="2" | [[File:Pisani-Dossi MS 12a-c.png|400px|center]]
 +
| class="noline" | <p>[91] <em>In armour this is a very strong cover<br/>Because from here you can bind either above or below;<br/>One way you go to the lower bind,<br/>The other way you go to the upper bind or the middle bind.</em></p>
 +
| class="noline" | <p>''That movement certainly prevails over the dagger while held in the cross[ing],<br/>And on the other hand it can work above and beneath in armor.<br/>This lower play openly goes to the outside <br/>Bind. The middle [bind] lies below, or perhaps [the] highest.''</p>
 +
| class="noline" |
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 12a.jpg|12a-c}}
 +
| class="noline" | {{section|Page:MS Latin 11269 37r.jpg|37r-c}}
 +
 
 +
|-
 +
| <p>…And this cover is better for binding than any other cover, and is a very strong cover to make against the dagger.</p>
 +
 
 +
<p>''[In the Paris, this Scholar wears a crown.]''</p>
 +
|
 +
|
 +
|
 +
|
 +
 
 +
|-
 +
| class="noline" rowspan="2" |
 +
| class="noline" rowspan="2" | [[File:Pisani-Dossi MS 11b-f.png|400px|center]]
 +
| class="noline" | <p>[92] <em>You will not be able to put me into the middle bind,<br/>Whereas I am going to strike you as I turn you.</em></p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 11b.jpg|11b-f}}
 +
| class="noline" |
 +
 
 +
|-
 +
| class="noline" | <p>This is the counter remedy to the plays of the Seventh [Dagger Remedy] Master who came before me. With the push that I make to his right elbow, let me tell you that this counter-remedy is good against all close range plays of the dagger, the poleaxe, and the sword, whether in armor or unarmored. And once I have pushed his elbow I should quickly strike him in the shoulder.</p>
 +
 
 +
<p>''[In the Getty, the Master's right foot is forward.]''</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 17r.jpg|17r-b}}
 +
| class="noline" |
 +
| class="noline" |
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = 8th Master
 +
| width = 240em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 17r-c.jpg|400px|center]]
 +
| <p>[93]<br/><br/><br/><br/>&nbsp;</p>
 +
 
 +
<p>I am the Eighth [Dagger Remedy] Master and I cross with my dagger. And this cover is good both armored or unarmored. And some of my plays are shown before me, and some are shown after me…</p>
 +
| <p>''In this way, I carry my dagger while fighting during the cross[ing]. Any defense<br/>Which the dagger offers does not oppose itself in the play,<br/>But I will be strong to lay waste in playing using many moves.''</p>
 +
|
 +
| rowspan="2" | <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 17r.jpg|17r-c}}
 +
|
 +
| {{section|Page:MS Latin 11269 37r.jpg|37r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Cod.1324 31v-c.jpg|400px|center]]
 +
| <p>[94] …In the play that is shown before me, three plays back [72], the ''Zugadore'' was struck in his hand with the point of his opponent's dagger. Similarly in this play I could strike downwards to his hand just as in the earlier play I struck upwards to his hand.</p>
 +
 
 +
<p>Also, I could seize his hand at the wrist with my left hand, and then strike him hard with my right hand, just as you will find demonstrated by the ninth student [108] of the Ninth [Dagger Remedy] Master, who strikes the ''Zugadore'' in the chest. Also, I could do the last play that follows after [109] where I drop my own dagger and take his.</p>
 +
|
 +
|
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 17r-d.jpg|400px|center]]
 +
| <p>[95] I am the counter-remedy to the Eighth [Dagger Remedy] Master that preceded me, and to all of his students…</p>
 +
 
 +
''[This counter was moved before [97] and [98] because it is unclear how they relate to the Eight Master.]''
 +
|
 +
|
 +
| rowspan="2" | {{section|Page:MS Ludwig XV 13 17r.jpg|17r-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12a-b.png|400px|center]]
 +
| <p>[96] <em>After this turn that I make you do<br/>I will strike you and force you to the ground.</em></p>
 +
 
 +
<p>…If I extend my left hand to his elbow, I can push it so strongly that I can strike him obliquely. Also, as I make him turn I can throw my arm around his neck and hurt him in a variety of possible ways.</p>
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 12a.jpg|12a-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 17v-a.jpg|400px|center]]
 +
| <p>[97] This is a guard that is a strong cover in armor or unarmored. It is a good cover because from it you can quickly put your opponent into a lower lock or “strong key.” This is what is depicted by the sixth play [54] of the Third [Dagger Remedy] Master who defends against the reverse hand strike and who uses his left arm to bind the ''Zugadore''’s right arm.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 17v.jpg|17v-a}}
 +
|
 +
|
 +
 
 +
|-
 +
| class="noline" | [[File:MS Ludwig XV 13 17v-b.jpg|400px|center]]
 +
| class="noline" | [[File:Cod.1324 29r-a.jpg|400px|center]]
 +
| class="noline" | <p>[98] This cover that I make like this with arms crossed is good in armor or unarmored. And my play puts the Zugadore into the lower lock, which is also called the “strong key,” which the scholar who preceded me told you about, namely the sixth play [54] of the Third Master who defends with his right hand against the reverse hand strike. And this play is made similarly to the play that immediately preceded me, but is begun in a slightly different way.</p>
 +
 
 +
<p>And our counter–remedy again is the elbow push.</p>
 +
 
 +
''[The Master in the right image is missing both garter and crown.]''
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 17v.jpg|17v-b}}
 +
| class="noline" |
 +
| class="noline" |
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = 9th Master
 +
| width = 240em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12a-d.png|400px|center]]
 +
| <p>[100] <em>From this grip that I have I can do many plays.<br/>Take away the dagger, break, strike or bind.<br/>And the quickest is to take the dagger from your hand,<br/>so as to avoid any risk of harm from the player.</em></p>
 +
 
 +
I am the Ninth King [and Dagger Remedy Master] and I no longer have a dagger. And this grip that I make from the low attack is similar to the grip made by the Fourth King [and Dagger Remedy Master], only this one is made against the low attack instead of the high attack, and my plays are not the same as his. This grip is good whether in armor or unarmored, and from it you can make many good strong plays, as shown below. Whether in armor or unarmored there is no doubt of their effectiveness.
 +
|
 +
|
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 17v.jpg|17v-c}}
 +
| {{section|Page:Pisani-Dossi MS 12a.jpg|12a-d}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12a-e.png|400px|center]]
 +
| <p>[101] <em>If I rotate the dagger close to your elbow,<br/>Your dagger will be mine for certain.</em></p>
 +
 
 +
I have followed on from the ''presa'' of the Ninth [Dagger Remedy] Master. Taking my right hand from the grip, I seize your dagger as shown and I rotate it upwards close to your elbow. And I will then thrust the point into your face for certain, or I will deal with you as the next student will demonstrate.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 17v.jpg|17v-d}}
 +
| {{section|Page:Pisani-Dossi MS 12a.jpg|12a-e}}
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 12b-c.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 18r-a.jpg|400px|center]]
 +
| <p>[102] <em>The first student of this Master<br/>Takes away the dagger and makes this play.</em></p>
 +
 
 +
I complete the play of the student who came before me, and from his grip this is how he should finish his play. Other students will make different plays from his grip. Watch those who follow, and you will see their techniques.
 +
| <p>''The student will perhaps be able to make this play of that master [of yours],<br/>And would have snatched the powerful dagger away.''</p>
 +
 
 +
<p>''[In the Paris, the Scholar wears a Master's crown.]''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 18r.jpg|18r-a}}
 +
| {{section|Page:Pisani-Dossi MS 12b.jpg|12b-c}}
 +
| {{section|Page:MS Latin 11269 37v.jpg|37v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12b-b.png|400px|center]]
 +
| <p>[103] <em>I can dislocate your arm like this,<br/>And I can also bind you in the lower bind.</em></p>
 +
 
 +
<p>My Master's grip has already been demonstrated. Here my right hand leaves his grip. And if I grip you under your elbow, I can dislocate your arm. And also from this grip I can put you into a bind, namely the “strong key” [lower bind], which is one the third King and [Dagger Remedy] Master showed in his plays In his sixth play [38] he shows you how this one is done.</p>
 +
 
 +
<p>''[In the Getty, the Scholar's right foot is forward.]''</p>
 +
| <p>''I can truly dislocate your shoulder in this same way;<br/>Furthermore, I can lead to using the lower key.''</p>
 +
 
 +
<p>''[In the Paris, the Scholar wears a crown.]''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 18r.jpg|18r-b}}
 +
| {{section|Page:Pisani-Dossi MS 12b.jpg|12b-b}}
 +
| {{section|Page:MS Latin 11269 38r.jpg|38r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12b-a.png|400px|center]]
 +
| <p>[104] <em>If I can give your arm a half turn,<br/>You will quickly find yourself in the lower bind.</em></p>
 +
 
 +
<p>I have arrived at this position from the grip of my Master [Ninth Dagger Remedy Master], and I do not remain in this grip but move into the lower bind, also known as the “strong key.” This I can do without difficulty, and I can then easily take your dagger.</p>
 +
 
 +
<p>''[In the Getty, the Scholar's right foot is forward.]''</p>
 +
| <p>''I prepare to take away your life using the <br/>Lower bind, if by chance I can twist your shoulder.''</p>
 +
 
 +
<p>''[In the Paris, the Scholar wears a crown.]''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 18r.jpg|18r-c}}
 +
| {{section|Page:Pisani-Dossi MS 12b.jpg|12b-a}}
 +
| {{section|Page:MS Latin 11269 38r.jpg|38r-a}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 18r-d.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 12a-f.png|400px|center]]
 +
| <p>[105] <em>Without releasing my grip I enter underneath your arm,<br/>And from behind your shoulder I will hurt you grievously.</em></p>
 +
 
 +
<p>I have not abandoned the grip of my Master [the Ninth Dagger Remedy Master], but I have quickly entered under his right arm, to dislocate it with this grip. I can do this whether he is wearing armor or not, and once I have him held from behind and in my power, I will show him no mercy as I hurt him.</p>
 +
| <p>''Behold! I crossed beneath the shoulder during play,<br/>And furthermore, I left behind the taking. But I will burden the back.''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 18r.jpg|18r-d}}
 +
| {{section|Page:Pisani-Dossi MS 12a.jpg|12a-f}}
 +
| {{section|Page:MS Latin 11269 37v.jpg|37v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12b-d.png|400px|center]]
 +
| <p>[106] <em>Although this play is not often employed,<br/>It can be done well, if you practice it.</em></p>
 +
 
 +
<p>I did not abandon the grip of my Master [the Ninth Dagger Remedy Master] and the ''Zugadore'' saw that he could not break my grip on his arm. And as he pressed downwards towards the ground with his dagger, I quickly reached through his legs from behind and grabbed his right hand with my left hand. And once I had a good grip on his hand, I passed behind him. And as you can see in the picture, he cannot dismount his own arm without falling. And I can now also do the play that follows me. If I let go of the dagger with my right hand, and I grab his foot I will send him crashing to the ground, and I cannot fail to take his dagger.</p>
 +
| <p>''It is granted that this play could scarcely be learned by this art,<br/>Yet this one honestly succeeds by means of the practiced man.''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 18v.jpg|18v-a}}
 +
| {{section|Page:Pisani-Dossi MS 12b.jpg|12b-d}}
 +
| {{section|Page:MS Latin 11269 43r.jpg|43r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 18v-b.jpg|400px|center]]
 +
| <p>[107] The student who preceded me performed the first part of this play, and I make the finish by driving him into the ground, as has already been explained. Although this play is not commonly performed in the art, I wish to show you that I have a complete knowledge of it. </p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 18v.jpg|18v-b}}
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:Cod.1324 31r-c.jpg|400px|center]]
 +
| [[File:MS Ludwig XV 13 18v-c.jpg|400px|center]]
 +
| <p>[108] I made the cover of my Master [the Ninth Dagger Remedy Master] and then quickly I gripped him in this way with my left hand. And then I drew my dagger and thrust it into his chest. And if I do not have time to draw my dagger, I will make the play that follows me. </p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 18v.jpg|18v-c}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 18v-d.jpg|400px|center]]
 +
| <p>[109] With this play I complete the play of the student who preceded me, who left his [sheathed] dagger where it was and instead decided to take your live dagger. I have already explained how this play is performed.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 18v.jpg|18v-d}}
 +
|
 +
|
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" style="text-align:center; vertical-align:middle;" | [No Image]
 +
| class="noline" | <p>[110] The Counter-remedy to this Ninth [Dagger Remedy] Master's play is as follows: when the ''Zugadore'' with his left hand has seized your right hand that has the dagger, then you should quickly seize your dagger near the point and strongly draw or pull it back towards you so that he has to let go of it, or alternately press the dagger point into his elbow to make him think twice.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 18v.jpg|18v-f}}
 +
| class="noline" |
 +
| class="noline" |
 +
 
 +
|}
 +
{{master subsection end}}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Dagger vs. Sword
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 35a-a.png|400px|center]]
 +
| <p>[1] <em>I know how to cover cuts and thrusts with my dagger.<br/>Come one by one, that this play will not fail.<br/>And my Scholar will show the proof:<br/>Doing it according to what you find depicted.</em></p>
 +
 
 +
Here begin sword against dagger plays, and you will have a significant advantage if you know how to do these.<ref>Meaning “if you know how to use a dagger to fight against a sword”.</ref> The Master waits in a guard named Boar’s Tusk, a guard that will protect me from both cuts and thrusts. As I beat back<ref>The word Fiore uses is “rebatter” which means “to beat back”. This suggests a hard block, not a gentle parry.</ref> my opponent’s sword, I pass backwards with my right foot, for I know the Narrow Play so well it cannot fail me. Attack me one by one as you wish. None of you will escape as I destroy each of you with this turn of my dagger.<ref>Fiore just writes “with a turn” (“in un voltare”), but I have added language to make it clearer that he is talking about the move with his dagger as well as the footwork.</ref>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
Here the sword and the dagger begin to play. The advantage is great to he who knows how to do it. The Master awaits in this guard with the dagger, and the guard is called Boar's Tusk. Come cuts or thrusts, I know how to guard myself from these: I will withdraw my right foot as I deflect. I understand the narrow play so well that I cannot possibly fail. Come one by one whoever wants to work against me, and if you don't flee from me, I will waste you in one turning.
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 18r.jpg|18r-d}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19r.jpg|19r-a}}
 +
| {{section|Page:Pisani-Dossi MS 35a.jpg|35a-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 35a-b.png|400px|center]]
 +
| <p>[2] <em>The proof is found depicted here:<br/>You see that I can strike you without difficulty.</em></p>
 +
 
 +
I have made the cover against the thrust that my Master showed you, and now I quickly strike my opponent in the face or the chest. With dagger versus sword you should always aim to close with your opponent.<ref>Here Fiore literally says “you need the close game”. Note that “zogo stretto” can  mean both “Narrow Play”, or the “Narrow Game”, or simply “close range”. Here I believe the translation “close with your opponent” works best.</ref> Here, since I am at close range I can strike you effectively, and like it or not, you will have to endure it.
 +
 
 +
''[In the Getty, the Scholar's left foot is outside of (behind) his opponent's.]''
 +
| <p>''This is made plain in the picture, constructed with great care, having been pointed out by a witness.<br/>And henceforth you will see how I am able to subdue utterly with the dagger.''</p>
 +
 
 +
My Master makes this cover against the thrust and immediately strikes to the face or to the chest. And with dagger against sword, I always seek the narrow play. Here I am in the narrow and I can strike you well. Like it or not, you must suffer.
 +
 
 +
''[In the Paris, this Scholar is the Master and his left foot is outside of (behind) his opponent's.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 18v.jpg|18v-a}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19r.jpg|19r-b}}
 +
| {{section|Page:Pisani-Dossi MS 35a.jpg|35a-b}}
 +
| {{section|Page:MS Latin 11269 20r.jpg|20r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 35a-c.png|400px|center]]
 +
| <p>[3] <em>The sword has won against the dagger here,<br/>Because I have turned you and pushed you.</em></p>
 +
 
 +
If the attacker<ref>“Zugadore” means “player”. Here I’ve used “attacker” to make the translation more understandable.</ref> in the previous picture had known how to defend himself, he would have reached across with his left hand and seized the opponent behind his left elbow, turning him in the manner shown here. Then he would have no need of a counter to the remedy of the dagger Master.<ref>Fiore is pointing out that this play is made early, after the opponent has made cover with his dagger but before the opponent has had time to launch a Remedy. Since the Remedy was never launched, no Counter is needed. Note Fiore calls the man with the dagger “the Master who waits in guard with his dagger”. I have shortened this to “dagger Master”.</ref>
 +
| <p>''Your dagger is not strong; I set your back in motion so that I have compelled [you] to turn<br/>Around. You will not be able to reveal to me [your] sad face.''</p>
 +
 
 +
If the Player that came before me had known to do this defense, he would have put his left hand to the Scholar behind his elbow in this way, turning him in the way that is demonstrated here. Then I should have had no need to make the counter to the Master who is in guard with the dagger.
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 18v.jpg|18v-b}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19r.jpg|19r-c}}
 +
| {{section|Page:Pisani-Dossi MS 35a.jpg|35a-c}}
 +
| {{section|Page:MS Latin 11269 20r.jpg|20r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 35a-d.png|400px|center]]
 +
| <p>[4] <em>If someone would attack me with a sword to my head,<br/>I would make this cover with a quick catch;<br/>I would turn him with the left hand<br/>And then I would strike with a dagger in his back.</em></p>
 +
 
 +
If the dagger Master is attacked with a downward strike to the head, he passes forward immediately making the cover shown, turns his opponent by pushing his elbow, and then strikes him immediately. He can also bind the opponent’s sword with his arm, as shown in the fourth play of the sword in one hand.<ref>See Getty 20v-c and 20v-d.</ref> You will also find this Middle Bind shown in the third play of the dagger,<ref>See Getty 10v-c.</ref> which is made a hands-breadth from the face.<ref>I can see no relevance to Fiore’s comment here that the middle bind is made “a hands-breadth from the face”. The middle bind technique in the dagger section is NOT made close to either your own face or your opponent’s face. It remains a mystery, other than to point out that the entire text of the Getty is written in loose rhyme. Here Fiore chooses the word “spana” to rhyme with the earlier word “mezana”. That appears to me to be the sole reason for its use here.</ref>
 +
| <p>''And whoever would have struck the sword into me and under the crown of the head,<br/>I will have made this covering, the elbow having been seized by the left [hand];<br/>And using my own hand, the back of the one playing would be turned.<br/>Thence the dagger would have struck, his kidneys having been penetrated.''</p>
 +
 
 +
If, to the Master that stands in guard with the dagger against the sword, someone comes attacking with a downward blow to his head, he steps forward and he makes this cover quickly, and from the turn [the Master] pushes his elbow and then he can immediately strike him. Also, he can bind the sword with his arm in the way that the fourth play of the sword in one hand is done, and you can also find the Middle Bind in the third play of the dagger (where the hold is a hand's width from the face).
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 18v.jpg|18v-c}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19r.jpg|19r-d}}
 +
| {{section|Page:Pisani-Dossi MS 35a.jpg|35a-d}}
 +
| {{section|Page:MS Latin 11269 20v.jpg|20v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 35b-a.png|400px|center]]
 +
| <p>[5] <em>Because you have not struck me in the back,<br/>I make this counter without trouble.</em></p>
 +
|
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 35b.jpg|35b-a}}
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 35b-b.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 19v-a.jpg|400px|center]]
 +
| <p>[6] <em>This match is one of dagger to sword:<br/>The sword invites against the dagger that he holds,<br/>And he will demonstrate through his Scholar<br/>The way in which this play may be done.</em></p>
 +
 
 +
This is one way to defeat<ref>Meaning here is a play where the attacker with the dagger is defeated.</ref> dagger against sword. The man with the dagger grabs the man with the sword by the collar<ref>''Cavezo'' means “collar”, that is, the front of the tunic up at the neck. In modern terminology it is a lapel grab.</ref> and warns: “I will strike you with my dagger before you can draw your sword from its scabbard.” The man with the sword says “Try and strike me then, for I am ready.” And as the man with the dagger attacks, the man with the sword responds in the manner shown in the next picture.
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
This is a match which is of the dagger against the sword. He who has a dagger and holds the swordsman by the chest says "I will strike with my dagger before you draw your sword from the scabbard." He of the sword says "Attack, for I am ready." And with that, the swordsman does that which is depicted hereafter.
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 18v.jpg|18v-d}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19v.jpg|19v-a}}
 +
| {{section|Page:Pisani-Dossi MS 35b.jpg|35b-b}}
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 35b-c.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 19v-b.jpg|400px|center]]
 +
| <p>[7] <em>In this fashion the sword defends against the dagger:<br/>I will strike you with the sword; the dagger can do nothing.</em></p>
 +
 
 +
When the man with the dagger raises his arm to strike me, I immediately press the sheath of my sword against his dagger arm in such a way that his arm is jammed. I then quickly draw my sword, and I can strike him before he has a chance to even touch me with his dagger. I could also take the dagger from his hand using the method of the First Dagger Remedy Master,<ref>See Getty 10v-a.</ref> or I could put him into the middle bind, using the third play of the First Dagger Remedy Master.<ref>See Getty 10v-c.</ref>
 +
| <p><br/><br/></p>
 +
 
 +
When he lifts his arm to give it to me with the dagger, instantly I put my scabbard on his dagger arm in such a way that he cannot give me grief. And quickly I draw my sword, and I can strike before he can touch me with his dagger. Also, I can take the dagger from his hand in the same way as does the First Master of dagger. And again, I can bind him in the Middle Bind, which is the third play of the dagger (of the First Master who is Remedy).
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 17r.jpg|17r-a}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19v.jpg|19v-b}}
 +
| {{section|Page:Pisani-Dossi MS 35b.jpg|35b-c}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 19v-c.jpg|400px|center]]
 +
| <p>[8] <br/>&nbsp;</p>
 +
 
 +
Here is another way for the sword to defeat the dagger. In this one I hold my sword with its point on the ground, as you see drawn here, and I say to the man with the dagger, who has grabbed me by the collar: “Go ahead and attack me with your dagger from this position. And when you try I will strike against your arm with my sword still in the scabbard, then I will draw my sword as I pass backwards with my right foot, and in this way I will be able to strike you with my sword before you are able to strike me with your dagger.<ref>The conclusion to this play is not illustrated in ''Fior di Battaglia'', but does appear in ''[[Die Blume des Kampfes|Blume des Kampfes]]''; see [[:Page:Cod.5278 202r.png|Cod.5278 202r]], [[:Page:MS B.26 032v.png|MS B.26 32v]], and [[:Page:Cod.10799 199r.jpg|Cod.10799 199r]].</ref>
 +
| <p>''That best moving of what will have been played, and [is] careful in the art.<br/>I would neither cover nor likewise strike the point to that left unprotected.''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19v.jpg|19v-c}}
 +
|
 +
| {{section|Page:MS Latin 11269 20v.jpg|20v-d}}
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 35b-d.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 19v-d.jpg|400px|center]]
 +
| <p>[9] <em>This is another odd match:<br/>The sword makes an invitation against the dagger.<br/>The sword will make the play of the Scholar<br/>And will demonstrate that the dagger can do nothing.</em></p>
 +
 
 +
This is a similar defense to the one shown before, although it is done slightly differently. As the man with dagger raises his arm to strike, I quickly raise my sheathed sword up under his dagger, aiming the point of my sheathed sword into his face, while at the same time passing back with my lead foot.<ref>Fiore literally says “returning my foot that is in front to the back”. This refers to a passing step backwards with the right foot.</ref> From here I can strike him as you see drawn in the next picture.
 +
 
 +
''[In the Getty, the Scholar wears a crown.]''
 +
|
 +
|
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 19v.jpg|19v-d}}
 +
| {{section|Page:Pisani-Dossi MS 35b.jpg|35b-d}}
 +
|
 +
 
 +
|-
 +
| class="noline" | [[File:Pisani-Dossi MS 36a-a.png|400px|center]]
 +
| class="noline" | [[File:MS Ludwig XV 13 20r-a.jpg|400px|center]]
 +
| class="noline" | <p>[10] <em>I will strike the eye in your face with my scabbard<br/>And I won't refrain from striking you with the sword.</em></p>
 +
 
 +
This is the continuation of the play of the Master who made the preceding defense. And I am performing it exactly as he said to do it. And as you can plainly see, you will give me no trouble with your dagger.
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | <br/><br/>
 +
{{section|Page:MS Ludwig XV 13 20r.jpg|20r-a}}
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 36a.jpg|36a-a}}
 +
| class="noline" |
 +
 
 +
|}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Sword in One Hand
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
| rowspan="2" | [[File:MS Ludwig XV 13 20r-c.jpg|400px|center]]
 +
| rowspan="2" | [[File:MS Ludwig XV 13 20r-d.jpg|400px|center]]
 +
| <p>[1] Here are three opponents who all want to kill this Master. The first aims to kill him with a thrust. The second intends a cut. The third will throw his sword at the master like a spear. If the Master can perform a mighty deed<ref>A “grande fatto” is something of great worth, like a mighty deed.</ref> and avoid being killed, then God will have indeed blessed him with great skill.<ref>“Tristo” can mean “sad”, but it can also mean “crafty”, “clever”, or “skillful”</ref></p>
 +
| <p>We are three players that wish to strike this Master. One would strike with the point, another the edge, and another wants to throw his sword against the aforesaid Master, so that it will be a great feat indeed if this Master is not killed. May God make him suffer.</p>
 +
| {{section|Page:MS M.383 17v.jpg|17v-a}}
 +
| {{section|Page:MS Ludwig XV 13 20r.jpg|20r-c}}
 +
|
 +
|
 +
 
 +
|-
 +
| <p>[2] ''Whether throwing the sword or striking cuts and thrusts,<br/>Nothing will trouble me because of the guard that I hold.<br/>Come one by one whoever wants to go against me<br/>Because I want to contend with them all.<br/>And whoever wants to see covers and strikes,<br/>Taking the sword and binding without fail,<br/>Watch what my Scholars know how to do:<br/>If you don't find a counter, they have no equal.''</p>
 +
 
 +
<p>You are cowards<ref>“Cativi” means “cowardly wretches”. Here Fiore’s Master is talking directly to the three men who seek his death.</ref> and know little of this art. You are all words without any deeds. I challenge you to come at me one after another, if you dare, and even if there are a hundred of you, I will destroy all of you from this powerful guard. …</p>
 +
| <p>''If a wild one throws a sword, or if<br/>The other would prepare to cut to pieces, still that one would only favor me with the point;<br/>This caution teaches, in order that I would not be ridiculed or alarmed.<br/><br/><br/><br/>''</p>
 +
 
 +
<p>You are wicked and of this art you know little; you do things that words cannot describe. Come one by one whoever knows what to do and is able, and even if you are a hundred I will waste all of you with this guard (which is so good and strong). …</p>
 +
| rowspan="2" | <p><br/><br/><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 17v.jpg|17v-b}}
 +
| rowspan="2" | <p><br/><br/><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 20r.jpg|20r-d}}
 +
| {{section|Page:Pisani-Dossi MS 13a.jpg|13a-c}}
 +
| {{section|Page:MS Latin 11269 10r.jpg|10r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 13a-d.png|400px|center]]
 +
| <p>[3] ''With a step, I have made a cover with my sword<br/>And it has quickly entered into your chest.''</p>
 +
 
 +
<p>…I will advance my front foot a little off the line, and with my left foot I will step crosswise,<ref>“ala traversa”—crosswise. Here this means sideways.</ref> and as I do so I will cross your swords, beating them aside and leaving you unprotected. I will then strike you without fail. And even if you throw your spear or sword at me, I will beat them all aside in the same manner I described above, stepping<ref>Remember, “passando” might mean “passing” (passing step) or it might mean simply “stepping”.</ref> off the line as you will see me demonstrate in the plays that follow, and which you would do well to study. And even though I am only holding the sword in one hand, I can still perform all of my art, as you will see demonstrated in this book.</p>
 +
| <p>''Taking a step, I cover my limb using my raging sword;<br/>Thence I will penetrate your breast immediately with it.''</p>
 +
 
 +
<p>…I advance my forward foot slightly out of the way, and with my left I step to the side. I cover myself during that step, beating your swords and finding you uncovered, and I will be certain to strike you. And whether lance or sword is thrown at me, I will beat them all just as I have said, stepping out of the way according to that which you see in my plays hereafter. Watch what I show to you, and with the sword in one hand I will make my art.</p>
 +
| {{section|Page:Pisani-Dossi MS 13a.jpg|13a-d}}
 +
| {{section|Page:MS Latin 11269 10v.jpg|10v-b}}
 +
 
 +
|-
 +
| [[File:MS M.383 19r-a.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 13b-a.png|400px|center]]
 +
| <p>[4] ''In order to wound you again with this, my point,<br/>I have added my left hand to the sword.''</p>
 +
 
 +
<p>This is a play where if you wish to make this kind of thrust, you should be armoured. If your opponent strikes at you with a thrust or a cut, you first make your cover, and then quickly counter attack as shown.</p>
 +
 
 +
<p>''[The Getty resembles the Pisani Dossi, including the lack of armor.]''</p>
 +
| <p>''In order to do it again, I will strike a bargain with you using my gloomy point;<br/>Then the left hand retains that sword with strength.''</p>
 +
 
 +
<p>This is a play in which he who wants to thrust the point wants to be armored. When someone strikes at you with the point, or with the edge, make the cover and immediately thrust this in the way that is depicted.</p>
 +
 
 +
<p>''[The Paris resembles the Pisani Dossi, including the lack of armor.]''</p>
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 19r.jpg|19r-a}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 21v.jpg|21v-c}}
 +
| {{section|Page:Pisani-Dossi MS 13b.jpg|13b-a}}
 +
| {{section|Page:MS Latin 11269 10v.jpg|10v-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 13b-b.png|400px|center]]
 +
| <p>[5] ''Here I have struck you in your head<br/>From the cover that I have made so quickly.''</p>
 +
| <p>''Here I struck the forehead, causing a bloody wound,<br/>Because in giving this [wound], I cover myself in rapid motion with a cover.''</p>
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 13b.jpg|13b-b}}
 +
| {{section|Page:MS Latin 11269 11r.jpg|11r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 14a-a.png|400px|center]]
 +
| <p>[6] ''Again I have struck your head without stepping<br/>Because of the good cover that I knew to make.''</p>
 +
 
 +
<p>I have rendered you completely unprotected, and now I will easily strike you in the head. And if I choose to pass forward with my rear foot, I can perform close range techniques against you, such as locks, dislocations and grapples.</p>
 +
| <p><br/><br/></p>
 +
 
 +
<p>I have found you completely uncovered and I have struck you in the head for certain. And if I want to step forward with my rear foot, I can make many narrow plays against you (that is, the binds and breaks of grappling).</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 17v.jpg|17v-d}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 20v.jpg|20v-b}}
 +
| {{section|Page:Pisani-Dossi MS 14a.jpg|14a-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 13b-d.png|400px|center]]
 +
| <p>[7] ''In this way, I uncover you to strike you with my point<br/>To defend myself from you from each neglect and shame.''</p>
 +
 
 +
<p>I have done what my teacher<ref>“Magistro” means both “Master” and “Teacher”. The translation “teacher” works well here.</ref> told me to do. That is to say I stepped off the line making a strong cover. And having rendered my opponent unprotected I now easily place a thrust into his face. And with my left hand I will demonstrate that I can take his sword, and send it to the ground.</p>
 +
| <p>''I uncover you in order to strike a bargain with the point extended. I will avenge after this;<br/>The soul having been ground into small pieces, we will be perfected.''<ref>Lit. “made to the fingernails”, an expression meaning to be a perfect person.</ref></p>
 +
 
 +
<p>I have done that which the Master has said—that is, I stepped out of the way making a good cover. And I found the player uncovered such that I certainly want to thrust my point in his face. And I want to try this with my left hand, to see if I can make your sword hit the ground.</p>
 +
 
 +
<p>''[In the Paris, the Scholar wears a crown.]''</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 17v.jpg|17v-c}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 20v.jpg|20v-a}}
 +
| {{section|Page:Pisani-Dossi MS 13b.jpg|13b-d}}
 +
| {{section|Page:MS Latin 11269 11v.jpg|11v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 13b-c.png|400px|center]]
 +
| <p>[8] ''Because of the hand that I have put beneath your hilt,<br/>If your sword doesn't hit the ground, call me feeble.<br/>&nbsp;''</p>
 +
 
 +
From this position I can easily strike or stab you. And if I advance my front foot forward, I can lock you in the middle bind, as shown in the third play of the first Remedy Master of the dagger.<ref>Getty 10v-c</ref> Alternately I can do the play shown next, and strike and lock you as shown there.
 +
 
 +
''[In the Getty, the Scholar's opponent has his right foot forward.]''
 +
| <p>''You would mock me with your voice, and I shall call you blind;<br/>If your sword, when I catch it by the hilt openly,<br/>Will not fall to the ground, your weakness will remain henceforth.''</p>
 +
|
 +
| <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 20v.jpg|20v-c}}
 +
| {{section|Page:Pisani-Dossi MS 13b.jpg|13b-c}}
 +
| {{section|Page:MS Latin 11269 11r.jpg|11r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 14a-c.png|400px|center]]
 +
| <p>[9] ''With my left arm, I have bound your right<br/>And will you be presented with many strikes.''</p>
 +
 
 +
<p>Here both your sword and your arm are effectively trapped, and you will not be able to escape before I strike you as described, because you have shown you know nothing of this play.</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 20v.jpg|20v-d}}
 +
| {{section|Page:Pisani-Dossi MS 14a.jpg|14a-c}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 14a-b.png|400px|center]]
 +
| <p>[10] <em>Because of the way in which I have caught your sword,<br/>Quickly I will have your hand empty.</em></p>
 +
 
 +
<p>Here I can easily strike you while taking your sword, and by rotating it in your hand I will make you drop it as the only way to prevent yourself being thrown to the ground.</p>
 +
| <p>''I decide to pluck the sword out of your slow hands;<br/>This more-clever hand snatched that of yours in such a manner.''<ref>Romans used dative to describe body parts</ref></p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 21r.jpg|21r-a}}
 +
| {{section|Page:Pisani-Dossi MS 14a.jpg|14a-b}}
 +
| {{section|Page:MS Latin 11269 11v.jpg|11v-d}}
 +
 
 +
|-
 +
| [[File:MS Latin 11269 12r-d.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 14a-d.png|400px|center]]
 +
| <p>[11] ''I will make you turn with the left hand<br/>And in that, I want to give you a great blow.''</p>
 +
 
 +
<p>Here I can strike you from the front, but this is not enough. By gripping your elbow I make you turn away, then I wrap<ref>“Butare” actually means to “cast” or “throw”. I decided “wrap” would work better here.</ref> my sword around your neck from behind, and you will have no defense to this.</p>
 +
| <p>''At any time, with the hand, I would have turned the elbow, turning my sword around.<br/>I make you covered in blood. I cannot be deceived.''</p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 21r.jpg|21r-b}}
 +
| {{section|Page:Pisani-Dossi MS 14a.jpg|14a-d}}
 +
| {{section|Page:MS Latin 11269 12r.jpg|12r-d}}
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 14b-a.png|400px|center]]
 +
| [[File:MS Latin 11269 12r-b.png|400px|center]]
 +
| <p>[12] ''Because of the turn that I have given you by your elbow<br/>I believe I have cut you across the throat.''</p>
 +
 
 +
<p>In the previous drawing I told you I would turn you and then quickly wrap my sword around your neck, as shown here. And if now I fail to cut your throat, then I am a pathetic fool.</p>
 +
 
 +
<p>''[The Getty resembles the Pisani Dossi.]''</p>
 +
| <p>''Now I consider cutting the middle of your neck using the sword;<br/>Then, therefore, I am superior because I throw this forearm back.''</p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 21r.jpg|21r-c}}
 +
| {{section|Page:Pisani-Dossi MS 14b.jpg|14b-a}}
 +
| {{section|Page:MS Latin 11269 12r.jpg|12r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 14b-b.png|400px|center]]
 +
| <p>[13] <em>This is a good break of the point on the ground<br/>And in this fashion you will come to be in the narrow.</em></p>
 +
 
 +
<p>You aimed<ref>“Zitassi” means “cast” as in “threw”.</ref> a thrust at me and I beat it to the ground. Do you see how you are now unprotected and can be struck? And I can also turn you and do you even more harm, by striking you from behind.</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 21r.jpg|21r-d}}
 +
| {{section|Page:Pisani-Dossi MS 14b.jpg|14b-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 14b-c.png|400px|center]]
 +
| <p>[14] <em>I have sending you to the ground in my thoughts:<br/>Again, you are uncovered so that I can strike you.</em></p>
 +
 
 +
<p>Because I turned you by pushing your elbow, I have quickly come to this position and from here I can throw you to the ground, where you will no longer be able to fight me or anyone else.</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 21v.jpg|21v-a}}
 +
| {{section|Page:Pisani-Dossi MS 14b.jpg|14b-c}}
 +
|
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:Pisani-Dossi MS 14b-d.png|400px|center]]
 +
| class="noline" | <p>[15] <em>Either your sword is bent or it is broken<br/>And I can strike you from above or from below with mine.</em></p>
 +
 
 +
<p>This opponent struck at my head, and I beat his sword to the ground, coming to the position you see depicted here. Now after forcing you to turn away I will aggressively<ref>“Ardito” means “bold”, “passionate” (“ardent”). But here I went after the meaning as I understand it, which is with intensity, thus “aggressively”.</ref> wrap my sword around your neck.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 21v.jpg|21v-b}}
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 14b.jpg|14b-d}}
 +
| class="noline" |
 +
 
 +
|}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Sword in Two Hands
 +
| width = 100%
 +
}}
 +
{{master subsection begin
 +
| title = Introduction
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 22r-a.jpg|400px|center]]
 +
| [[File:MS Ludwig XV 13 22r-b.jpg|400px|center]]
 +
| <p>[1] We are two guards that are similar to each other, and yet each one is a counter to the other. And for all other guards in this art, guards that are similar are counters to each other, with the exception of the guards that stand ready to thrust—the Long Guard, the Short Guard and the Middle Iron Gate. For when it is thrust against thrust the weapon with the longer reach will strike first. And whatever one of these guards can do so can the other.</p>
 +
 
 +
<p>And from each guard you can make a “turn in place” or a half turn. A turn in place is when without actually stepping<ref>The expression “stando fermo” translates literally as “remaining firm”. In the context of Fiore’s art I interpret this “volta” when referring to step (footwork) to refer to weight transfers between the two feet with the feet turning slightly on the balls of the feet, but without actually stepping. Used in relation to the crossed swords, I translate “stando fermo” as “maintaining pressure”. In my interpretation this refers to crossed swords in front of the opponent’s sword attack, maintaining strong pressure against his blade, crossing his blade at the “front”, i.e. the incoming sword, and then thrusting to the “back”, i.e. at the opponent’s body. The “volta” or “turn” of the sword involved here is a clockwise ''rotation'' of the sword around its long axis, i.e. a “screwing” motion as you turn the sword from crossguard more vertical to crossguard more horizontal. This motion is of course the Germanic tradition “winden” or “winding” of the sword. Thus I translate “volta stabile” as a “turn in place”.</ref> you can play to the front and then to the rear on the same side. A half turn is when you make a step forwards or backwards and can switch sides to play on the other side from a forwards or backwards position. A full turn is when you circle one foot around the other, one remaining where it is while the other rotates around it.</p>
 +
 
 +
<p>Furthermore you should know that the sword can make the same three movements, namely stable turn, half turn and full turn.</p>
 +
 
 +
<p>Both of these guards drawn below are named the Guard of the Lady.</p>
 +
 
 +
<p>Also, there are four types of movement<ref>Fiore’s word is actually “cose”—“things”. In this context it is better translated as “movements”, “steps” or “footwork”.</ref> in this art, namely passing forwards, returning,<ref>“Tornare” literally means “to return”. Thus it is a “returning” step. Note it does NOT mean “to turn”. In certain instances “tornare” refers simply to a passing step backwards, i.e. the reverse of a passing step forwards. Elsewhere it is used by Fiore to show a second movement that returns along the path the first movement took.</ref> advancing,<ref>“Accressere” means literally “to increase”. The noun form would be “accresso” or “accressimento”. As I interpret it it refers to a shuffle step in any direction where the lead foot moves out away from the body first, resulting in an increase in distance between the feet. Fiore does not include passing steps forward or backward under this term.</ref> and withdrawing.<ref>“Discressere” means literally “to decrease”. The noun form would be “discresso” or “discressimento”. As I interpret it this refers to a shuffle step in any direction where the first foot that moves, moves back towards the body, i.e. the distance between the feet is shortened (decreased). A shuffle step forwards thus is made up of two of Fiore’s “cose”: first an “accresso” as the lead foot moves forward, then a “discresso”, as the rear foot moves forwards too.</ref></p>
 +
 
 +
<p>''[Text spans both images.]''</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 22r.jpg|22r-a}}
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 22r-c.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 17b-a.png|400px|center]]
 +
| <p>[2] ''Six Masters we are, and we dispute one to another<br/>Each does something that the others do not:<br/>And every one of them holds his sword in guard;<br/>We will explain and demonstrate that which they are.''</p>
 +
 
 +
<p>''For throwing I am well-prepared,<br/>On a big step I will make a bargain.''</p>
 +
 
 +
<p>We are six guards and each of us is different from the other, and I am the first to speak of my purpose. My method is to throw my sword. The other guards follow after me. I believe they will tell you themselves about their particular virtues.</p>
 +
|
 +
|
 +
| <p><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 22r.jpg|22r-c}}
 +
| {{section|Page:Pisani-Dossi MS 17b.jpg|17b-t}}
 +
 
 +
{{section|Page:Pisani-Dossi MS 17b.jpg|17b-a}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 22r-d.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 17b-b.png|400px|center]]
 +
| <p>[3] ''Against the grip of hand and also the throw,<br/>With this guard, I know well how to ward.''</p>
 +
 
 +
<p>I am a good guard, in armor or without armor, and against a spear or a sword thrown from the hand, I am confident I will not be harmed, because I know how to beat them aside and thus evade them.</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 22r.jpg|22r-d}}
 +
| {{section|Page:Pisani-Dossi MS 17b.jpg|17b-b}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 22v-a.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 17b-c.png|400px|center]]
 +
| <p>[4] ''In order to strike farther and to step stronger<br/>Against armor I want to stand in this way.''</p>
 +
 
 +
<p>I am the guard to use if you want to extend a long thrust, because my grip on the sword increases its reach. I am good to use against you if you and I are armored, because I can make a quick thrust to the front which will not miss you.</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 22v.jpg|22v-a}}
 +
| {{section|Page:Pisani-Dossi MS 17b.jpg|17b-c}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 22v-b.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 17b-d.png|400px|center]]
 +
| <p>[5] ''Against dagger and against sword, armored<br/>And unarmored, I want to be found in this way.''</p>
 +
 
 +
<p>I am a good guard against sword, axe and dagger if I am armored, because I grip the sword with my left hand at the middle. And this is particularly useful against the dagger, which can do more harm to me at close range than the other weapons.</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 22v.jpg|22v-b}}
 +
| {{section|Page:Pisani-Dossi MS 17b.jpg|17b-d}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 22v-c.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 17b-e.png|400px|center]]
 +
| <p>[6] ''This grip is the noble Stance of the Queen:<br/>She defends against cutting and thrusting in every way.''</p>
 +
 
 +
<p>I am named the Guard or Post of the Lady, and<ref>The word Fiore uses is not “and” (“e”) but is “perche”, which usually translates as “because”. But if we translate the line with “because” then it reads “I am named the guard or post of the Lady, because I am distinct from the other sword grips.” That line then makes no sense at all, and certainly does NOT tell us WHY the high guard over the shoulder is named “Guard of the Lady”. I’ve changed it to make more sense.</ref> I am different from the four<ref>Fiore actually says “these other guards” (“queste altra prese”), not “the four sword guards shown above” but I have changed this so that the sentence makes more sense. Fiore is comparing the Guard of the Lady, which is number five out of the six guards shown in this section, with the previous four guards. This section is one of Fiore’s most poorly written passages, very hard to understand and a challenge to translate!</ref> sword guards<ref>Fiore uses the expression “prese de spada” which means literally “grips of the sword”. He means the guards.</ref> that came before me, even though they are themselves different from each other.<ref>This sentence is confusing. I have therefore made an interpretive translation to make sense of the sentence. Here I believe Fiore means that the Guard of the Lady is different from the prior four guards shown, which are all low guards, in that the Guard of the Lady is a high guard (held above the shoulder).</ref> And although the next guard that opposes me seems to be my guard also, you will note that I am not using my sword reversed as a poleaxe, whereas that is how he is using his.<ref>The sixth guard is indeed also the Guard of the Lady but the sword is held reversed so as to use it like a poleaxe. The character in the drawing here is simply pointing out that while you might think the two guards (fifth and sixth) are the same guard (both hold the weapon high on the right shoulder), they are different in that the sixth is wielding the sword reversed like an axe. The text of the sixth guard points out that notwithstanding this, this guard too is named “Guard of the Lady”.</ref></p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 22v.jpg|22v-c}}
 +
| {{section|Page:Pisani-Dossi MS 17b.jpg|17b-e}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 22v-d.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 17b-f.png|400px|center]]
 +
| <p>[7] ''This sword I use for a sword and an axe:<ref>For more information about this sword, see Armored Sword 29.</ref><br/>With harness and without, whoever can take me, go ahead.''</p>
 +
 
 +
<p>This sword is being used as both a sword and a poleaxe. And its great force can stop any attack from a lighter weapon. This guard is also the High Guard of the Lady, who with her skill can fool the other guards, because you will think she is going to attack you with a strike, but instead she will attack you with a thrust. All I have to do is raise my arms above my head, and I can then quickly launch a thrust at you.</p>
 +
|
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 22v.jpg|22v-d}}
 +
| {{section|Page:Pisani-Dossi MS 17b.jpg|17b-f}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 23r-a.jpg|400px|center]]
 +
| <p>[8] {{red|b=1|Downward Blows}}</p>
 +
 
 +
<p>''We are downward blows and we dispute<br/>By cleaving the teeth with proper intention:<br/>We have not delayed in wounding<br/>And we return to guard from move to move.''</p>
 +
 
 +
<p>We are the downward blows.<ref>Fiore sometimes spells the word “fendente” for the plural, and sometimes “fendenti”.</ref> In this art our method is to cut with precision<ref>“Cum rasone” literally means “with reason”, which makes no sense. I decided to translate this as “with precision”, since “rasone” suggests mental calculation is involved.</ref> from the teeth down to the knee. And we can easily end up in any of the low guards. We are highly effective<ref>Fiore actually says “cum inzegno”—“cleverly”. But there is nothing “clever” about a fendente strike. It is a big downward hit. So I changed this word to “effectively”.</ref> in breaking the other guards, and with each blow we leave a trail<ref>Fiore actually uses the word “sangue segno”—“a sign of blood”, but I think the expression “trail of blood” works better.</ref> of blood. We downward blows strike fast, and thereafter we return to our guard back the way we came.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 23r.jpg|lbl=-|23r-attl}}
 +
 
 +
<p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23r.jpg|23r-a}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 12b.jpg|12b-e}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 12b-f.png|400px|center]]
 +
| <p>[9] {{red|b=1|Under Blows}}</p>
 +
 
 +
<p>''We are the blows called Under,<br/>Who always seek to strike the hands;<br/>And we dispute from the knees up<br/>And we teach a lesson by returning with downward blows.''</p>
 +
 
 +
<p>We are the rising blows, and we go from the knee to the middle of the forehead, following the same path that the downward blows follow. And we return<ref>Another use of the “returning” concept—here making it clear that the verb is “return” not “turn” by spelling it “retornamo”—“we return”.</ref> down the same path as we ascend, unless we choose to remain high in the Long Guard.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 23r.jpg|lbl=-|23r-bttl}}
 +
 
 +
<p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23r.jpg|23r-b}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 12b.jpg|12b-f}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 13a-a.png|400px|center]]
 +
| <p>[10] {{red|b=1|Middle Blows}}</p>
 +
 
 +
<p>''We middle blows go thwarting;<br/>From the knee and above we go wounding;<br/>And we beat the thrusts out of the way<br/>And, redoubling the blow, striking is our deal;<br/>And if we of the middle blow enter cleaving,<br/>We waste many people with such blows.''</p>
 +
 
 +
<p>We are the middle blows, and we are so-called because we go crosswise through the middle of the path of both the downward blows and the rising blows. And we strike with the true edge of the sword from the right, and with the false edge of the sword from the left. And our path could be anywhere between the knee and the head.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 23r.jpg|lbl=-|23r-cttl}}
 +
 
 +
<p><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23r.jpg|23r-c}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 13a.jpg|13a-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 13a-b.png|400px|center]]
 +
| <p>[11] {{red|b=1|The Thrusts}}</p>
 +
 
 +
<p>''Thrusts we are, of greatest offense<br/>And we make our dispute to all strikes;<br/>Venomous we are, more than a serpent,<br/>And we kill more people than any strike;<br/>And our thrusts to the blows do say:<br/>So little do you cut that we sew like a needle.''</p>
 +
 
 +
<p>We are the cruel and deadly thrusts. Our target is the body’s center line, and we can strike anywhere between the groin and the forehead. And we thrusts can be made in five ways: two of us can be made from high guards, one from each side, and two can be made from low guards, also one from each side. The fifth one comes from a center line guard, and can be made from Middle Iron Gate, the Short Guard, or the Long Guard.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 23r.jpg|lbl=-|23r-dttl}}
 +
 
 +
<p><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23r.jpg|23r-d}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 13a.jpg|13a-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 18a-a.png|400px|center]]
 +
| <p>[12] {{red|b=1|The Iron Gate (Powerful)}}<ref>“Pulsativa” actually means “good for hitting”. Fiore names only a few of his guards “pulsativa”, namely the ones from which you can strike really hard. Hence my choice of the translation “powerful”.</ref></p>
 +
 
 +
<p>''We are called stances and guards by name,<br/>And we are each one similar and contrary to another;<br/>And following the way we stand and are positioned,<br/>We will demonstrate how to make one against another.''</p>
 +
 
 +
<p>''The Full Iron Gate, I am low to the ground<br/>So that I always restrain cuts and thrusts.''</p>
 +
 
 +
<p>Here begin the guards of the two handed sword, of which there are twelve. The first is the low<ref>The word is “tutta” Iron Gate. While this is sometimes translated as “Whole Iron Gate”, “Full Iron Gate” or “Complete Iron Gate” (“tutta” also meaning “all”), none of these translations make much sense to me. I note however that in the Morgan manuscript (Morgan 6r-b) Fiore uses “tuta” to refer to the base of the sword (at the crossguard). Thus in that case “Tuta” or “Tutta” carries the meaning of “at the base”, from where I get my translation “Iron Gate at the base”, or simply “low Iron Gate”.</ref> Iron Gate, which is a very strong guard, and a good guard in which to wait for an attack by every kind of hand-held weapon, whatever its length,<ref>Fiore’s words are “longa e curta” (“long and short”). I’ve liberally translated that as “whatever its length.”</ref> as long as you have a good sword that is not too long. And from this guard if you make cover with a passing step you move to the Narrow Game.<ref>“Strette” literally means “narrow”. At times Fiore uses it to refer to swordplay made when the defender covers (crosses swords) in front of the opponent’s blade with the right foot forward instead of the left. Fiore terms this configuration (both parties’ right foot leading at the crossed swords position, with the defender’s sword crossed in front of the attack), the “Narrow Game”, or “Zogho Stretto”. Why this “game” is “narrow” is beyond the scope of these footnotes.</ref> Or you can exchange thrusts, striking home with yours.<ref>Fiore is referring here to the “scambiar de punta” (“Exchange of Thrusts”) of Getty 26v-a.</ref> Or, as you step, you can beat the opponent’s thrust to the ground.<ref>Fiore is referring here to the “rompere de punta” (“Breaking of the Thrust”) of Getty 26v-c.</ref> And this guard can cover attacks from all angles.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''Each one <read: us> calls the position by name, and the deceptive guard.<br/>The second is similar to another, and indeed to the counter.<br/>And just as this has been placed, so we understand similar action.''</p>
 +
 
 +
<p>''I am called the Iron Gate, equal to the earth from all;<br/>I always prepare something again, chop and strike with the point.''</p>
 +
 
 +
<p>Here commence the guards of the sword in two hands, and there are 12 guards, and the first is the Full Iron Gate which stands in great strength and is good for awaiting all hand-held weapons, both extended and withdrawn, as long as she has good sword (not one of too much length). She steps with a cover and goes to the narrow, she exchanges thrusts and she delivers her own; she also beats thrusts to the ground and always goes with steps, and against all blows she makes a cover. And whoever joins a brawl with her will make great defense without fatigue.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/><br/><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 12r.jpg|12r-a}}
 +
| {{section|Page:MS Ludwig XV 13 23v.jpg|lbl=-|23v-attl}}
 +
 
 +
<p><br/><br/><br/><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23v.jpg|23v-a}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 18a.jpg|18a-t|lbl=18a}}
 +
 
 +
<p>{{section|Page:Pisani-Dossi MS 18a.jpg|18a-a|p=1}}</p>
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 12v.jpg|12v-t|lbl=12v}}
 +
 
 +
<p>{{section|Page:MS Latin 11269 12v.jpg|12v-a|p=1}}</p>
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 23v-b.jpg|400px|center]]
 +
| <p>[14] {{red|b=1|The Stance of the Queen on the Right (Powerful)}}</p>
 +
 
 +
<p>''I am the Stance of the Queen, noble and proud<br/>For making defense in every manner;<br/>And whoever wants to contend against me<br/>Will want to find a longer sword than mine.''</p>
 +
 
 +
<p>This is the Guard of the Lady,<ref>I have deliberately translated this “Guard of the Lady” and not “Lady’s Guard” so as to leave open the possibility of a link between Donna and the Madonna. “Donna” means a “Lady”, with perhaps a reference to “Our Lady”, the Madonna.</ref> from which you can make all seven of the sword’s strikes and cover them too. And from this guard you can break the other guards with the strong blows you can make, and you can also quickly exchange thrusts. Advance your front foot offline, and then pass diagonally with your rear foot. This will take you to a position where your opponent is unprotected, and you will then be able to quickly strike him.<ref>The last two words “per certo” (“for sure”) serve no purpose other than to rhyme with “discoperto”, so I have omitted them.</ref></p>
 +
| <p><br/></p>
 +
 
 +
<p>''Brave, elevated, I am the Lady’s Position, high,<br/>And in any quarter by this manner I defend limbs with fury.<br/><br/><br/>''</p>
 +
 
 +
<p>This is the Stance of the Queen,<ref>“Donna” means noble lady or mistress, and is also the name of the chess piece. I use the latter translation because I believe the name is a reference to the versatility of the guard.</ref> which can make all seven blows of the sword and can also cover all blows. She breaks the other guards through the great blows that she makes, and she is always ready for the exchange of thrusts: the foot which is in front advances out of the way and the one behind steps to the side. And her companion is made uncovered, and that one can immediately strike him for certain.</p>
 +
|
 +
<br/>
 +
 
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 12r.jpg|12r-b}}
 +
| {{section|Page:MS Ludwig XV 13 23v.jpg|lbl=-|23v-bttl}}
 +
 
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23v.jpg|23v-b}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:Pisani-Dossi MS 18a.jpg|18a-b}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Latin 11269 12v.jpg|12v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 18a-c.png|400px|center]]
 +
| <p>[15] {{red|b=1|The Stance of the Window (Fluid)}}</p>
 +
 
 +
<p>''I am the royal Stance of the True Window<br/>And I am always ready for the whole art.''</p>
 +
 
 +
<p>This is the Window Guard who is always quick, skillful<ref>“Di malizie” can mean “malicious” but can also mean “skillful”. I’ve chosen “skillful” as it makes more sense here.</ref> and deceptive. She is a master at covering and striking. She threatens all opposing guards, whether high guards or low guards. She moves quickly from this guard to other guards to confuse her opponent. And she is a very good guard from which to make powerful thrusts, break the opponent’s thrust or exchange points.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am this the regal Position, certainly, of the True Window,<br/>And fleeting,<ref>I.e. quick.</ref> I always disclose in accordance with my clear art.''</p>
 +
 
 +
<p>This is the Stance of the Casement Window on the right, which is always ready with malice and trickery, and she is the Master of covering and of striking and with all the guards she makes her disputes (with the high and with the low). She often goes from one guard to another in order to fool her companion, and she throws great thrusts, and knows how to break and to exchange them—those plays she can make very well.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 12r.jpg|12r-c}}
 +
| {{section|Page:MS Ludwig XV 13 23v.jpg|lbl=-|23v-cttl}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23v.jpg|23v-c}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 18a.jpg|18a-c}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 12v.jpg|12v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 18a-d.png|400px|center]]
 +
| <p>[16] {{red|b=1|The Middle Iron Gate (Stable)}}</p>
 +
 
 +
<p>''The Middle Iron Gate, I am strongest<br/>For giving death with thrusts and downward blows:<br/>And by extending my sword, I feel that<br/>From the narrow play I always defend myself.''</p>
 +
 
 +
<p>This is Half Iron Door, because it stays in the middle and is a strong guard. But, she wants a long sword. She throws strong thrusts and beats with force the swords upwards, and returns with a downward blow for the head or arms, and returns to its guard. But it is called Door, because it is strong and it is a strong guard that badly it can break without danger, and without coming to the close.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am the strong Iron, and named<ref>This is an additional instance of “dicor,” which on 19v we identified as a pun (also meaning consecrated) when used to describe the True Cross.</ref> Door<ref>Note that this verse says “janua” rather than “porta” in the previous Iron stance; we’ve rendered “porta” as gate and “janua” as door.</ref> in the Middle,<br/>And I give heavy blows, and I seek death with the point.<br/><br/><br/>''</p>
 +
 
 +
<p>This is the Middle Iron Gate because she stands in the middle, and she is a strong guard but she doesn't want her sword extended. She throws strong thrusts and beats swords upward with strength, and returns with a downward blow through the head or through the arms and then simply returns to her guard. But she is well-named "gate" because she is strong; she is a strong guard that cannot be broken easily without danger and coming to the narrow.</p>
 +
|
 +
<br/>
 +
 
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 12r.jpg|12r-d}}
 +
| {{section|Page:MS Ludwig XV 13 24r.jpg|lbl=-|24r-bttl}}
 +
 
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 24r.jpg|24r-b}}
 +
|
 +
<br/>
 +
{{section|Page:Pisani-Dossi MS 18a.jpg|18a-d}}
 +
|
 +
<br/>
 +
{{section|Page:MS Latin 11269 12v.jpg|12v-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 18b-a.png|400px|center]]
 +
| <p>[17] {{red|b=1|The Extended Stance (Fluid)}}</p>
 +
 
 +
<p>''I am the Extended Stance with my short sword<br/>And I often strike the throat with cunning.''</p>
 +
 
 +
<p>This guard is the Long Guard, which is full of deception. She is skilled in probing<ref>The word Fiore uses is actually “tastando”—“tasting”. I’ve translated this as “probing”.</ref> the guards to see if she can deceive her opponent. If she needs to strike the opponent with a thrust, she is well-suited to do it. As for the opponent’s blows, she knows how to avoid them and then strike back with blows of her own. This guard employs deception more than any other guard.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I remain the short sword, but, however, in this Position I am called<br/>Long, very often cutting the neck using this clever device.''</p>
 +
 
 +
<p>This is the Extended Stance which is full of deceit; she probes the other guards to see if she can deceive a companion. If she can strike with a thrust, she knows how to do it well; she voids the blows and she can wound when she is able. More than any other guard, her tactic is deception.</p>
 +
|
 +
<p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 12v.jpg|12v-a}}
 +
| {{section|Page:MS Ludwig XV 13 24r.jpg|lbl=-|24r-attl}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 24r.jpg|24r-a}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 18b.jpg|18b-a}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 13r.jpg|13r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 18b-b.png|400px|center]]
 +
| <p>[18] {{red|b=1|The Headband Stance called the Crown (Fluid)}}</p>
 +
 
 +
<p>''The Headband Stance, I am called the Crown;<br/>I will pardon no one, not from the edge nor from the point.''</p>
 +
 
 +
<p>This is the Forehead Guard,<ref>Frontale means “front” or “forehead” (The “frontale” is the name given to the armor a war horse wears around its head, protecting its forehead all the way down its nose). So the guard could translate as simply the Front Guard. I like the name Forehead Guard because Fiore links it to another part of the head when he says it is also named (by others) the Crown Guard.</ref> called by some instructors<ref>“Magistro” can mean “Master”, or simply “Instructor”.</ref> the Crown Guard. She is a very good guard for crossing swords,<ref>“Making the cross” i.e. crossing the opponent’s incoming sword with yours, is one of the fundamental skills of Fiore’s system.</ref> and is also very good against thrusts. If she is attacked with a high thrust, she crosses swords  while stepping  off line . If she is attacked with a low thrust, she also steps offline, but this time she drives the opponent’s sword to the ground . She can also do other things. For example, in response to a thrust she can pass backwards with the front foot and respond with a downward strike to the head or arms, ending in the Boar’s Tusk, then she can quickly throw a thrust or two with advancing steps, then deliver a downward strike, ending in that same guard.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am called the famous Crown, the Frontlet Position itself.<br/>I don’t spare each one,<ref>I.e. I show compassion to no one</ref> destroying with cuts and the point.''</p>
 +
 
 +
<p>This is the Headband Stance, and some Masters call her the Stance of the Crown. She is good at crossing, and she is also good against thrusts because if a point comes attacking upwards, she crosses, stepping out of the way. And she also steps out of the way if a point comes attacking low, beating the thrust to the ground. Again, she can do it differently, such that in the attack of a thrust she returns her foot behind and comes with a downward blow through the head and through the arms and goes to the Boar's Tusk, and then suddenly throws a thrust or two with an advance of her foot and returns with a downward blow from her own guard.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 12v.jpg|12v-b}}
 +
| {{section|Page:MS Ludwig XV 13 24v.jpg|lbl=-|24v-cttl}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 24v.jpg|24v-c}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 18b.jpg|18b-b}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 13r.jpg|13r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 18b-c.png|400px|center]]
 +
| <p>[19] {{red|b=1|[The Stance of the Queen on the Right]}}</p>
 +
 
 +
<p>''Again, I am the Stance of the Queen against the Boar's Tusk;<br/>With malice and trickery, I will give of [my sword] in a brawl.''</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am the Boar’s Tooth Position placed opposite the Lady’s,<ref>The text contains an error here; the illustration shows the Lady’s Position, not the Boar’s Tooth.</reF><br/>Bearing wily<ref>''Versito'': full of stratagems, wily, cunning</ref> hindrance to many chest[s].''<ref>A revelation: the umlauts placed over the words seem to correspond with two words which form the name of a guard but which are not placed near each other.</ref></p>
 +
 
 +
<p>This is the Stance of the Queen, which can make all seven blows of the sword and can also cover all blows. She breaks the other guards through the great blows that she makes, and she is always ready for the exchange of thrusts: the foot which is in front advances out of the way and the one behind steps to the side. And her companion is made uncovered, and that one can immediately strike him for certain.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 12v.jpg|12v-c}}
 +
|
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 18b.jpg|18b-c}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 13r.jpg|13r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 18b-d.png|400px|center]]
 +
| <p>[20] {{red|b=1|The Wild Boar's Tusk (Stable)}}</p>
 +
 
 +
<p>''I am the strong Stance of the Boar's Tusk.<br/><br/>My tactic against all the guards is to probe.''</p>
 +
 
 +
<p>This is the Boar’s Tusk,<ref>“Dente” means “tooth”, but Fiore is clearly here using the image of the boar’s tusks. The wild boar, when fighting, hooks diagonally with its tusks (elongated lower teeth).</ref> because it strikes the way the wild boar strikes.<ref>My translation here is fairly liberal. Fiore says literally “because it takes its method of striking from the wild boar.”</ref> Sometimes it makes powerful thrusts from below up into the face, without stepping forward, and it returns along the same path with a downward strike to the arms. Other times as it thrusts the point of the sword high into the face, it advances the front foot forwards, then returns to its guard with a downward strike to the head or the arms. Then it quickly launches another thrust with another advance of the front foot. And this guard can mount a good defense against the Narrow Game.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am the Position of the Wild Boar, brave and immoderate of strength,<br/>Well-proved to extend with all precautions.''</p>
 +
 
 +
<p>This is the Wild Boar's Tusk since the tusk of a wild boar has a similar method of striking. She attacks with great underhand thrusts ending in the face and doesn't move a step, and then returns with a downward blow down to the arms. And sometimes she throws her point to the face and goes with the point high, and in that throw of the point she suddenly advances the foot which is in front and returns to her guard, and immediately throws another thrust with an advance of the foot, and thus defends well against the narrow play.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 12v.jpg|12v-d}}
 +
| {{section|Page:MS Ludwig XV 13 24r.jpg|lbl=-|24r-dttl}}
 +
 
 +
<p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 24r.jpg|24r-d}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:Pisani-Dossi MS 18b.jpg|18b-d}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Latin 11269 13r.jpg|13r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 19a-a.png|400px|center]]
 +
| <p>[21] {{red|b=1|The Shortened Stance (Stable)}}</p>
 +
 
 +
<p>''I am the Shortened Stance and I hold my sword long;<br/>Often I thrust the point and then return with cunning.<br/><br/>''</p>
 +
 
 +
<p>This is the Short Guard that is more effective with a longer sword. It is a deceptive guard but it is risky to wait in. It is constantly moving, trying to see if it can enter with a thrust and a step against the opponent. And this guard is more effective in armor than without armor.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am this, the Shorter Position, and I go back over the long sword.<br/>I often threaten with the point; nevertheless, thenceforth I return thither.''</p>
 +
 
 +
<p>This is the Shortened Stance, which wants a long sword, and she is a malicious guard which doesn't have stability. Also, she always moves and watches to see if she can enter with her point and with a step against her companion, and more appropriate is this guard in armor than without armor.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 13r.jpg|13r-a}}
 +
| {{section|Page:MS Ludwig XV 13 24r.jpg|lbl=-|24r-cttl}}
 +
 
 +
<p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 24r.jpg|24r-c}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:Pisani-Dossi MS 19a.jpg|19a-a}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Latin 11269 13v.jpg|13v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 19a-b.png|400px|center]]
 +
| <p>[22] {{red|b=1|The Stance of the Queen on the Left (Powerful)}}</p>
 +
 
 +
<p>''I am the left Stance of the True Window;<br/><br/>I am just as swift in this one as from the right.<br/>''</p>
 +
 
 +
<p>This is the Guard of the Lady on the left, and she is always quick to cover or strike. She generates powerful blows and easily breaks the thrust, driving it to the ground. Also, because of her skill in traversing, she can quickly enter into the Narrow Game, a game she is very familiar with.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I<ref>The umlaut theory falls down here: there’s only one.  Possibly, the “i” in ''ipse'' is meant to have two dots, which would make the pair here “I Myself.”</ref> am called the On the Left Position itself, and Of the True Window.<br/>Thus, I am certainly fast on the right, just as this way on the left.''</p>
 +
 
 +
<p>This is the Stance of the Queen on the left, and she is always ready to cover and to strike. She makes great blows and breaks the thrusts, beating them to the ground, and she enters into the narrow play by knowing how to thwart. Such a guard knows how to make these plays well.</p>
 +
| <p><br/></p>
 +
 
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 13r.jpg|13r-b}}
 +
| {{section|Page:MS Ludwig XV 13 23v.jpg|lbl=-|23v-dttl}}
 +
 
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 23v.jpg|23v-d}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:Pisani-Dossi MS 19a.jpg|19a-b}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Latin 11269 13v.jpg|13v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 19a-c.png|400px|center]]
 +
| <p>[23] {{red|b=1|The Stance of the Long Tail (Stable)}}</p>
 +
 
 +
<p>''Stance of the Long Tail, I am extended to the ground<br/>Forward and backward, I always make offense:<br/>And if I step forward and enter with a downward blow,<br/>I come to the narrow play without fail.''</p>
 +
 
 +
<p>This is the Long Tail Guard Guard that extends behind you down to the ground. She can attack with a thrust, and can also move forwards to cover and strike. And if she passes forward while striking downwards she can easily enter the Narrow Game. This is a good guard to wait in, because you can quickly transition from it into other guards.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''Behold! I am dragged forward into the ground, the Long Tail Position. And before<br/>And after I very often drive, piercing blows to blows.<br/><br/>''</p>
 +
 
 +
<p>This is the Stance of the Long Tail which is extended toward the ground. She can thrust the point behind and she can cover and strike in front, and if she steps forward and attacks with a downward blow, into the narrow play she enters without failure. And such a guard is good for waiting, because from her someone can enter into the others quickly.</p>
 +
| <p><br/></p>
 +
 
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 13r.jpg|13r-c}}
 +
| {{section|Page:MS Ludwig XV 13 24v.jpg|lbl=-|24v-attl}}
 +
 
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 24v.jpg|24v-a}}
 +
|
 +
<br/>
 +
{{section|Page:Pisani-Dossi MS 19a.jpg|19a-c}}
 +
|
 +
<br/>
 +
{{section|Page:MS Latin 11269 13v.jpg|13v-c}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 24v-b.jpg|400px|center]]
 +
| [[File:MS Latin 11269 13v-d.png|400px|center]]
 +
| <p>[24] {{red|b=1|The Two-Horned Stance (Fluid)}}</p>
 +
 
 +
<p>''I make myself called the Stance of the Anvil<br/>If I have enough deceit, I will not challenge it.<br/><br/>''</p>
 +
 
 +
<p>This is the Two Horned Guard, which is held so strongly locked in position that its point cannot be moved off the center line. And this guard can do all of the things that the Long Guard can do. And the same is true of the Window Guard and the Forehead Guard.</p>
 +
 
 +
<p>''[In [[:File:Pisani-Dossi MS 19a-d.png|the Novati]], the left hand is not reversed; this may be due to an error on the part of the artist hired to clean up the Pisani Dossi manuscript images before publication.]''</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am surely called by all the actual Two-Horned<ref>The superscript says “certainly I”; we believe this note represents an incorrect reading of the line, and have not incorporated it into our translation.</ref> Position.<br/>Don’t even ask how deceptive, how clever I would be according to you.''</p>
 +
 
 +
<p>This is the Stance of the Two-Horned Anvil, which is so strongly enclosed that she always remains with her point toward the middle of the way. And she can do that which the Extended Stance can do, and this can similarly be said of the Stance of the Window and the Headband Stance.</p>
 +
|
 +
<br/>
 +
 
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 13r.jpg|13r-d}}
 +
| {{section|Page:MS Ludwig XV 13 24v.jpg|lbl=-|24v-bttl}}
 +
 
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 24v.jpg|24v-b}}
 +
|
 +
<br/>
 +
{{section|Page:Pisani-Dossi MS 19a.jpg|19a-d}}
 +
|
 +
<br/>
 +
{{section|Page:MS Latin 11269 13v.jpg|13v-d}}
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:MS Ludwig XV 13 24v-d.jpg|400px|center]]
 +
| class="noline" | <p>[25] {{red|b=1|The Stance of the Boar's Tusk in the Middle (Stable)}}</p>
 +
 
 +
<p>This is the Middle Boar’s Tusk, so named because the boar has two tusks, one low and this one in the middle, by which I mean this one stays on the center line. And the Middle Boar’s Tusk can do whatever the Low Boar’s Tusk can do. Just as the wild boar strikes diagonally with its tusks, so you strike diagonally with your sword, in such a way as to displace<ref>The expression “ala traversa” here just means crossing swords diagonally, but based on what comes after this I prefer my translation.</ref> your opponent’s sword, from which position, having uncovered your opponent, you can launch thrusts, or destroy his hands, head or his arms.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 24v.jpg|lbl=-|24v-dttl}}
 +
 
 +
{{section|Page:MS Ludwig XV 13 24v.jpg|24v-d}}
 +
| class="noline" |
 +
| class="noline" |
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = Wide Plays
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| style="text-align:center; vertical-align:middle;" | [No Image]
 +
| <p>[26] I am the sword, deadly against all weapons. Neither spear, nor poleaxe, nor dagger can prevail against me. I can be used at long range or close range, or I can be held in the half sword grip and move to the Narrow Game. I can be used to take away the opponent’s sword, or move to grapple. My skill lies in breaking and binding. I am also skilled in covering and striking, with which I seek always to finish the fight. I will crush anyone who opposes me.<ref>The word Fiore uses is “languire” to make someone collapse, without either strength or spirit.</ref> I am of royal blood. I dispense justice, advance the cause of good and destroy evil. To those who learn my crossings I will grant great fame and renown in the art of armed fighting.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 25r.jpg|25r-t}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 25r-c.jpg|400px|center]]
 +
| <p>[27] <em>By crossing with you at the tip of the sword<br/>I have settled my point in your chest from the other side.</em></p>
 +
 
 +
<p>Here begins the Wide Play of the sword in two hands.<ref>“Spada a doy man” means “two handed sword” or “sword in two hands”. I prefer the latter however, because Fiore’s “sword in one hand” (shown elsewhere) is not a single hand or arming sword. It is the Italian “longsword” being wielded in one hand. In both “sword in one hand” and “sword in two hands” the same sword is being used—the two handed sword. So strictly speaking here this section is “the two handed sword being used with two hands”.</ref><br/><br/></p>
 +
 
 +
<p>This Master who is crossed at the point of his sword with this player says: “When I am crossed at the points, I quickly switch my sword to the other side, and strike him from that side with a downward blow to his head or his arms. Alternately, I can place a thrust into his face, as the next picture will show.”</p>
 +
 
 +
<p>''[In the Pisani Dossi, the player is wearing a crown.]''</p>
 +
| <p>''I hold the sword constricted in the cross[ing] with the point.<br/>Of the others I am first; I burden the chest with the point.''</p>
 +
 
 +
<p>Here begins the wide play of the sword in two hands with a little crossing; the honor will be to whoever will know to make it.</p>
 +
 
 +
<p>This Master who is here crossed with this player says "When I am crossed at the tip of the sword, I quickly give a turn to my sword and thus I strike with a downward blow from the other side (that is, through the head and through the arms), or I thrust the point into his face as you see hereafter in my depiction."</p>
 +
 
 +
<p>''[In the Paris, both Masters have their right feet forward. In the Morgan, the player is wearing a garter and crown.]''</p>
 +
|
 +
<br/><br/>
 +
 
 +
<p>{{section|Page:MS M.383 13v.jpg|13v-t|lbl=13v|p=1}}</p>
 +
 
 +
{{section|Page:MS M.383 13v.jpg|13v-a|lbl=13v-a}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 25r.jpg|25r-c}}
 +
| {{section|Page:Pisani-Dossi MS 19b.jpg|19b-a}}
 +
| {{section|Page:MS Latin 11269 14r.jpg|14r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 19b-b.png|400px|center]]
 +
| <p>[28] <em>With the strike of which the Master spoke who came before,<br/>I have quickly put the point of my sword in your throat.</em></p>
 +
 
 +
<p>I have placed a thrust into his face, as the previous Master said. Also, I could have done what he told you, that is, when my sword was crossed on the right I could have quickly switched sides to the left, striking his head or arms with a downward blow.”<ref>In translating this text I have left out the repetition of the expression “what the previous Master told you”, as it is redundant. Generally when I translate Fiore I try to make the text make sense to the modern reader. This may sometimes mean leaving words out, altering an expression, or altering the tense of verbs entirely.</ref></p>
 +
| <p>''Now hear my discussion of the earlier master:<br/>The impatient point of the sword approaches the juicy throat.''</p>
 +
 
 +
<p>I have set my point in his face as said my Master who came before. Also, I could have made the [other] play that he said—that is, to have attacked with my sword immediately when I was beside the crossing of the right side: from the other side (that is, from the left) I should have immediately turned my sword into a downward blow to the head and to the arms, as has said my Master that came before.</p>
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 13v.jpg|13v-b}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 25r.jpg|25r-d}}
 +
| {{section|Page:Pisani-Dossi MS 19b.jpg|19b-b}}
 +
| {{section|Page:MS Latin 11269 14r.jpg|14r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 25v-a.jpg|400px|center]]
 +
| <p>[29] <em>By crossing at mid-sword, I will strike your left arm;<br/>I will do this quickly because the time is short.<br/>&nbsp;</em></p>
 +
 
 +
<p>I too am crossed in the Wide Play, but this time at the middle of the swords. And immediately after making my cross I let my sword drop down<ref>“discorrere” means to run backwards and forwards. This suggests a sawing motion if applied to the sword, i.e. a push forward and a pull back.</ref> to slide forwards and backwards over his hands. Or, if I choose to pass forward with my right foot and move offline, I can then make a thrust into your chest, as you will see drawn next.</p>
 +
 
 +
<p>''[In the Pisani Dossi, the player is wearing a crown.]''</p>
 +
| <p>''I, the clever one, holding the sword now in the middle, with the sword<br/>As if in a cross, would certainly beat your left<ref>''Levum'' previously appeared on 13v; it is likely ''laevum'' (“left”, rather than ''levum'', “light” in the weight sense) despite not having the ae ligature used on earlier pages in this text (an e with a narrow loop sticking off the lower left side, pointing down and left). Several of these e-for-ae substitutions have happened; maybe he has stopped using the ae symbol.</ref> shoulder<br/>So much this time, however greatly briefness would be recommended.''</p>
 +
 
 +
<p>Again I am crossed here for the long play, at mid-sword. And immediately when I am crossed, I allow my sword to run off over his hands, and if I want to step out of the way with my right foot, I can thrust my point into his chest as is depicted hereafter.</p>
 +
 
 +
<p>''[In the Morgan, the player is wearing a garter and crown.]''</p>
 +
|
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 13v.jpg|13v-c}}
 +
|
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 25v.jpg|25v-a}}
 +
| {{section|Page:Pisani-Dossi MS 19b.jpg|19b-c}}
 +
| {{section|Page:MS Latin 11269 14v.jpg|14v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 19b-d.png|400px|center]]
 +
| <p>[30] <em>From the Master who crosses at mid-sword,<br/>I do that which he said well.</em></p>
 +
Here you see me completing the play of my teacher. I have made his cover, and then immediately I do what he said to do, that is I strike first to my opponent’s arms, and then I continue with a thrust into his chest.
 +
| <p>''I strike a bargain with you just as that earlier master before said.<br/>He who holds back the sword in the cross[ing], he would be able to deceive.''</p>
 +
 
 +
<p>The play of my Master I have completed, in that I have made his cover and I have quickly executed his saying: I have struck first his arms, and then I have placed my point in his chest.</p>
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 13v.jpg|13v-d}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 25v.jpg|25v-b}}
 +
| {{section|Page:Pisani-Dossi MS 19b.jpg|19b-d}}
 +
| {{section|Page:MS Latin 11269 14v.jpg|14v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 20a-a.png|400px|center]]
 +
| <p>[31] <em>Also from this same crossing<br/>I have grasped your sword in this way:<br/>And before your sword escapes my hand,<br/>By striking I will deal with you like a foul villain.</em></p>
 +
 
 +
<p>My master previously<ref> “Denanzi” or “denanci” means “in front of” when applied to position, and “previously” or “before” when applied to time.</ref> instructed me that when I am crossed at mid-swords with my opponent, I should immediately advance forward and seize his sword as shown, and then strike him with a cut or a thrust.<ref>Fiore rarely uses the word “taglio” when talking of the sword striking as opposed to thrusting. For hitting he usually uses the word “colpo”, a “blow”.</ref> Also I could destroy his leg as you see drawn next, by stomping with my foot against the side of his knee or under the kneecap.<ref>Fiore actually writes “against the back of his leg or under his knee” which makes no sense. The stomp depicted is effective against the inside of the knee joint from the side or just under the kneecap from the front. This is an example where my personal knowledge of the mechanics of this stomp contradicts the literal text, and where the literal text thus makes no sense.</ref></p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
<p>My Master who came before has taught me that when I am crossed at the mid-sword, I should immediately advance forward and grab his sword (as in this match) in order to strike him with edge or point. Also, I can waste his leg in the way that you will be able to see depicted hereafter by striking with my foot over the back of his leg or under his knee.</p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 14r.jpg|14r-a}}
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 25v.jpg|25v-c}}
 +
| {{section|Page:Pisani-Dossi MS 20a.jpg|20a-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 20a-b.png|400px|center]]
 +
| <p>[32] <em>There is no question of the saying of the earlier Master,<br/>And I make with intent the play that he has said.</em></p>
 +
 
 +
As the previous student told you, our Master taught us this technique.<ref>“Zogho” translates as “play” or “game” but could also translate as “technique”.</ref> Here I show you how it’s done, and as you can see my opponent can do nothing to stop me.
 +
|
 +
<br/><br/>
 +
 
 +
The Scholar who came before me says of his Master and mine that he has taught this play, and I do it to crumple [my opponent]. Without a doubt, to do it is little trouble to me.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 14r.jpg|14r-b}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 25v.jpg|25v-d}}
 +
| {{section|Page:Pisani-Dossi MS 20a.jpg|20a-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 20a-c.png|400px|center]]
 +
| <p>[33] <em>I have uncovered you well by stepping out of the way<br/>And I will surely strike your arm while turning.</em></p>
 +
 
 +
This play is named “The Peasant’s Strike”<ref>A “Villano” is a peasant, i.e. a person not of noble birth. Fiore uses the term “Villano” to refer to a man lacking in skill. Fiore’s art, in Fiore’s own words, was not taught to commoners. The “Peasant’s Strike” is an over committed and uncontrolled downward strike, a strike that does not stop on the center line but continues to the ground. Because it is uncontrolled it lies outside Fiore’s Arte e Scientia. Thus it is attributed to a Peasant, who is unskilled in sword-fighting.</ref> and you do it like this: take a narrow stance<ref>Another example where the word “passo” does NOT mean “a passing step”. Here it translates best as “a stance” (foot position).</ref> with your left foot forward, and wait for the Peasant to attack first with his sword. When he launches his attack, immediately advance your left foot to the left off the line,<ref>Fiore actually writes that you should move your left foot off the line “inverso la parte dritta”, which translates “towards the right side”. However, you are NOT moving your left foot to your right side but to your left side. The translation “towards the right side” only makes sense if you translate it as “towards your opponent’s right side.”</ref> and step diagonally off line to the left with your right foot, receiving his strike in the middle of your sword. Now let his sword slide off yours to the ground, and then quickly counter-attack with a downward strike to his head or arms, or a thrust into his chest as you see drawn in the next picture. This is also a good play if you are fighting sword versus poleaxe, or against a heavy or light staff.
 +
 
 +
''[In the Getty, the Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
 
 +
This play is called the Villain's Strike, and is made in this way: that is, that one should await the villain in this way until he strikes with his sword. And he who awaits the blow should stand in a small stance with the left foot forward. And in that moment when the villain attacks to harm you, advance your left foot out of the way against the right side.<ref>I understand "against the right side" to mean "toward the left side", but it's an odd expression.</ref> And with your right foot step out of the way to the side, catching his blow at the mid-sword and allowing his sword to run off toward the ground, and then quickly respond with a downward blow (through the head or through the arms) or with your point in the chest as depicted here, this is also good.
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 14r.jpg|14r-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 26r.jpg|26r-a}}
 +
| {{section|Page:Pisani-Dossi MS 20a.jpg|20a-c}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 20a-d.png|400px|center]]
 +
| <p>[34] <em>The strike to your arms, that play I make,<br/>And from the narrow play I will cause you other trouble.</em></p>
 +
 
 +
In the previous drawing you saw the Peasant’s Strike, in which you saw a thrust well-placed into the attacker’s chest. And alternatively he could have struck a downward blow to the opponent’s head or the arms, as I explained previously. Also, if the opponent seeks to counter me by striking back up with a rising blow to my arms from the left, I quickly advance my left foot and place my sword over his, and from this position he can do nothing to me.
 +
|
 +
<br/><br/>
 +
 
 +
This is the Villain's Strike which appeared here before me, so that I have put my point into his chest well. And so I could [also] have made a cut through the head and through the arms with a downward blow as was said before. Also, if the player wanted to come against me such that he would strike me with a backhand blow under my arms, I would immediately advance my left foot and thrust my sword over his, and then he cannot do anything to me.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 14r.jpg|14r-d}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 26r.jpg|26r-b}}
 +
| {{section|Page:Pisani-Dossi MS 20a.jpg|20a-d}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 20b-a.png|400px|center]]
 +
| <p>[35] <em>When a sword flies for your leg<br/>Make a downward blow to his face or around to his throat:<br/>His arms will be wasted more quickly than his head,<br/>Because the distance is manifest for a shorter time.</em></p>
 +
 
 +
If your opponent strikes to your leg, withdraw your front foot, or pass backwards and strike downwards to his head, as shown in the drawing. With a two handed sword it is unwise to strike to the knee or below, because it is too dangerous for the one striking. If you attack your opponent’s leg, you leave yourself completely uncovered. Now, if you have fallen to the ground, then it is all right to strike at your opponent’s legs, but otherwise it is not a good idea, as you should generally oppose his sword with your sword.
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
When one strikes for your leg, withdraw the foot which is forward or return it behind, and throw a downward blow to his head as depicted here. Note that the sword in two hands should not attack from the knee down, because the danger to he that attacks is too great. He that attacks for the leg remains wholly uncovered, unless he would drop to the ground—then he could strike the leg well, but otherwise [he could] not when fighting sword to sword.
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 14v.jpg|14v-a}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 26r.jpg|26r-c}}
 +
| {{section|Page:Pisani-Dossi MS 20b.jpg|20b-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 20b-b.png|400px|center]]
 +
| <p>[36] <em>When I am crossed with someone and come to the narrow,<br/>I strike his testicles with my right foot.</em></p>
 +
 
 +
This play, where I strike you with a kick to the groin, is made to hurt you so much that your cover will falter. When you make this play you should do it quickly, to prevent your opponent from being able to counter it.
 +
 
 +
The counter to this play must be done quickly, and is made by the player grabbing the student’s right leg with his left hand, and then throwing him to the ground.
 +
|
 +
<br/><br/>
 +
 
 +
In this match I strike you with my foot in your testicles, and I do it to give you pain and to make your cover waver. Thus, in making this play I want to do it suddenly so that the counter is doubtful.
 +
 
 +
The counter of this play wants to be made quickly, such that the player should catch the Scholar by the right leg with his left hand, and then he can throw him to the ground.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 14v.jpg|14v-b}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 26r.jpg|26r-d}}
 +
| {{section|Page:Pisani-Dossi MS 20b.jpg|20b-b}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 26v-a.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 20b-c.png|400px|center]]
 +
| <p>[37] <em>This is a cruel exchange of thrusts:<br/>In the art, a more deceptive thrust than this cannot be made.<br/>You attacked me with the point and I have given you this;<br/>And I can make more secure it by voiding out of the way.</em></p>
 +
 
 +
This play is named “The Exchange of Points”,<ref>“Scambiar de punta” could translate as either “exchange of points” or “exchange of thrusts”. Both work here, but I favor the translation “exchange of points”.</ref> and it is done like this: when your opponent thrusts at you, quickly advance your front foot off the line, and with the other foot step to the side,<ref>“Passa a la traversa” means “step crosswise”. I've used "step to the side". You will note that only a few words later Fiore uses the word “traversando” which here means “crossing” as in “crossing swords.”</ref> also moving off the line, crossing his sword with your hands<ref>Fiore actually says “brazzi” (“arms”) low, but he means your hands.</ref> low and with your point high into his face, or chest, as you see drawn here.
 +
| <p>''If, suddenly, we turn our sword by means of the play,<br/>Thus we have the strength to injure the head using the palm during the play.<br/><br/><br/>''</p>
 +
 
 +
This play, which is called the Exchange of Thrusts, is made in this way: that is, that when he attacks with the point, quickly advance your forward foot out of the way and with your other foot step to the side (also out of the way), crossing his sword with your arms low and with the point of your sword up in his face or in his chest, as is depicted here.
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 14v.jpg|14v-c}}
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 26v.jpg|26v-a}}
 +
| {{section|Page:Pisani-Dossi MS 20b.jpg|20b-c}}
 +
| {{section|Page:MS Latin 11269 15r.jpg|15r-a}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 26v-b.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 20b-d.png|400px|center]]
 +
| <p>[38] <em>Because of your hilt, which I hold in my hand,<br/>I will make you bleed with my point in your face.</em></p>
 +
 
 +
This play comes from the exchange of points that came before me. If you make the thrust, and your opponent fails to immediately position his point either into your face or into your chest, perhaps because you are in armor, then you should quickly pass forward with your left foot, and seize his sword as shown here. Then strike him hard with your sword, since you have his sword gripped and he cannot escape.
 +
| <p>''Although you hold me with hands, anything is overthrown. I would<br/>Strike you in this way, [your] dripping<ref>''Madentem'' means dripping with either sweat or tears.</ref> face having been split with the point.''</p>
 +
 
 +
From this exchange of thrusts that came before me comes this play. Given that the Scholar who came before me did not immediately thrust his point into the face of the player, or that he failed such that he could not thrust into [the player's] face nor into his chest, or that the player was armored, then immediately the Scholar should step with his left foot forward, and he should grab [the player] in this manner, and his sword should throw a good strike because the player has his sword caught and he cannot flee.
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 14v.jpg|14v-d}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 26v.jpg|26v-b}}
 +
| {{section|Page:Pisani-Dossi MS 20b.jpg|20b-d}}
 +
| {{section|Page:MS Latin 11269 15r.jpg|15r-c}}
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 21a-b.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 26v-c.jpg|400px|center]]
 +
| <p>[39] <em>Here we stand crossed near the ground:<br/>And more knowledge of plays will be given.</em></p>
 +
 
 +
This is another defense you can make against the thrust. When someone thrusts at you as described in the “Exchange of Thrusts”,<ref>There is a pun here, since this play could be called both “Exchange of Thrusts” and/or “Exchange of Points” (“punta”).</ref> two plays before me, then you must advance and step off the line. You should do the same thing in this play, except that in the “Exchange of Points” you thrust back with your hands low and your point high, as I explained earlier. But in this play, which is named “Breaking the Thrust”,<ref>There is a pun here too, since this play could be called both “Breaking the Thrust” and/or “Breaking the Point” (“punta”).</ref> you proceed with your hands high and as you advances and step off the line you strike downwards, crossing the opponent’s thrust at mid-sword, and driving it to the ground. Then you quickly close to grapple.<ref>“Le strette” (“La stretta”) means “close range” here.</ref>
 +
| <p>''We remain in the form of the cross now in this playing.<br/>The knowledgeable one will always have more conquering plays.''</p>
 +
 
 +
''[The Paris resembles the Pisani Dossi image.]''
 +
|
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 26v.jpg|26v-c}}
 +
| {{section|Page:Pisani-Dossi MS 21a.jpg|21a-b}}
 +
| {{section|Page:MS Latin 11269 15v.jpg|15v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 26v-d.jpg|400px|center]]
 +
| <p>[40] <em>I beat your point to the ground very quickly<br/>And in this way, I strike you without a doubt.</em></p>
 +
 
 +
The student who preceded me beat his opponent’s sword to the ground. Now I am going to complete his play, as follows: after I beat my opponent’s sword to the ground I stomp on it with my right foot.<ref>Fiore literally writes: “I put with strength my right foot above his sword.” I’ve translated all that simply as “I stomp on it.”</ref> This will either break it or prevent him from being able to lift it. But wait—there’s more. As soon as I have pinned his sword to the ground with my foot, I strike him with the false edge of my sword under his beard or into his neck. And then immediately I will return with a downward strike of my sword to his arms or his hands, as you see drawn here.
 +
 
 +
''[In the Pisani Dossi, the Scholar stomps with his left foot and his opponent's right foot is forward; the Scholar's opponent is also left-handed.]''
 +
| <p>''Now your wicked hand would suddenly drag the point through the <br/>Earth. Henceforth, I would strike you immediately with a high wound.''</p>
 +
|
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 26v.jpg|26v-d}}
 +
| {{section|Page:Pisani-Dossi MS 21a.jpg|21a-a}}
 +
| {{section|Page:MS Latin 11269 15v.jpg|15v-d}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 27r-a.jpg|400px|center]]
 +
| <p>[41] <em>From the crossing at the ground which the Scholar makes<br/>I come to cut your face because of my swiftness;<br/>And your sword will end up bent or broken<br/>And it will no more be able to work or deal.</em></p>
 +
 
 +
Here is another drawing of the “Breaking the Thrust” play, that you saw first two drawings previously. After I have beaten his sword to the ground I quickly pin it to the ground with my right foot, and then strike him in the head, as you see shown here.
 +
 
 +
''[In the Pisani Dossi, the Scholar stomps with his left foot and his opponent's right foot is forward.]''
 +
| <p>''So, of course, quickly I would tear open your face by means of this action.<br/>The student teaches [that] by means of this cross[ing], the leading sword [was] covered<br/>By the ground. But your sword will depart either bent<br/>Or broken, and never will you be able to wield that sword <by laboring>.''</p>
 +
|
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 27r.jpg|27r-a}}
 +
| {{section|Page:Pisani-Dossi MS 21a.jpg|21a-c}}
 +
| {{section|Page:MS Latin 11269 26r.jpg|26r-b}}
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 21a-d.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 27r-b.jpg|400px|center]]
 +
| <p>[42] <em>From the play that came before, I enter into this one:<br/>I make it quickly and cut your face.</em></p>
 +
 
 +
This is another play that flows from the “Breaking of the Thrust” play. After I break his thrust, if he raises his sword to cover as I strike upwards, I quickly drop the hilt of my sword inside his right arm, near his right hand, then I grab my blade near the point with my left hand, and then strike him in his face.<ref>Fiore says strike to the head, but clearly in this play the sword blade will strike into the opponent’s face. Thus it would not be an effective move if the opponent had a steel visor protecting his face.</ref> Or alternatively, if I chose, I could drive my sword edge into his neck, slicing him across his throat.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 27r.jpg|27r-b}}
 +
| {{section|Page:Pisani-Dossi MS 21a.jpg|21a-d}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 21b-a.png|400px|center]]
 +
| <p>[43] <em>I will make you turn by pinching your elbow<br/>And with that, I will strike you without any delay.</em></p>
 +
 
 +
Also, after I have beaten aside or crossed my opponent’s sword, I can press my left hand to his right elbow and push strongly. This will turn him and leave him unprotected, after which I can strike him.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 27r.jpg|27r-c}}
 +
| {{section|Page:Pisani-Dossi MS 21b.jpg|21b-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 21b-b.png|400px|center]]
 +
| <p>[44] <em>Because of the turn that I have given you by the elbow<br/>I have quickly struck your head from behind.</em></p>
 +
 
 +
The student who preceded me spoke truly when he told you that he could turn the opponent and cut to his head. In addition, before you could turn back to make cover I would give you a major wound in your back with the point of my sword.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 27r.jpg|27r-d}}
 +
| {{section|Page:Pisani-Dossi MS 21b.jpg|21b-b}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Latin 11269 28v-c.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 21b-c.png|400px|center]]
 +
| <p>[45] <em>I appear to come from the right, but I enter on the left<br/>To give you this thrust with great pain and harm;<br/>I make myself called Deceitful Thrust by name;<br/>And I am so cruel as I exchange the point of the sword.</em></p>
 +
 
 +
This play is named “The False Point” or “The Short Point”,<ref>Other translations translate “Punta Falsa” as “False Thrust”. However, this is not a false thrust. It is a false (pretend) strike. The final killshot is a thrust, as Fiore says “into the throat or chest”, but that thrust is not “false”, i.e. not a feint. Therefore I choose to translate it as “False Point” or “Short Point”.</ref> and I will explain how to do it. I make it look like I am making a powerful attack against my opponent with a crosswise strike to his head. As he makes cover I strike his sword but only lightly. Then I quickly turn my sword to the other side of his blade, gripping my sword with my left hand at about mid-sword. From there I can quickly make a thrust into his throat or chest. This play is however better in armor than without armor.
 +
 
 +
''[The Getty resembles the Pisani Dossi image.]''
 +
| <p>''I steal in on [you] in the sly part from the honest part;<ref>Or “I extend underneath into the oblique part from the straight part.”</ref><br/>Therefore, you will quit this sorrowful life by means of the point.''</p>
 +
|
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 27v.jpg|27v-a}}
 +
| {{section|Page:Pisani-Dossi MS 21b.jpg|21b-c}}
 +
| {{section|Page:MS Latin 11269 28v.jpg|28v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 21b-d.png|400px|center]]
 +
| <p>[46] <em>To the Deceitful Thrust that you wanted to strike at me,<br/>I have struck the counter by turning myself and my sword <br/>Such that I have positioned my point in your face,<br/>In this way I have removed all of your plays.</em></p>
 +
 
 +
This play is the counter to the previous play, the False Point or the Short Point. And this counter is made like as follows: when the student strikes my sword lightly and then turns his sword around to the other side, I turn my sword around his in exactly the same way, stepping sideways to the left as I do so to gain his unprotected side. From here I can make a thrust into his face. And this counter is good both with or without armor.
 +
|
 +
|
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 27v.jpg|27v-b}}
 +
| {{section|Page:Pisani-Dossi MS 21b.jpg|21b-d}}
 +
|
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" style="text-align:center; vertical-align:middle;" | [No Image]
 +
| class="noline" | <p>[47] Here ends the Wide Play of the sword in two hands, made up of plays that are all connected to each other, including remedies and counters from both the right and left sides, and counter-thrusts and counter-cuts to each situation, with breaks, covers, strikes and locks, all things that can be easily understood.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 27v.jpg|27v-c}}
 +
| class="noline" |
 +
| class="noline" |
 +
 
 +
|}
 +
 
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = Close Plays
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| style="text-align:center; vertical-align:middle;" | [No Image]
 +
| <p>[48] Here we begin the Narrow Play of the two handed sword, in which you will see all manner of covers, strikes, locks, dislocations, sword disarms and throws to the ground. There will also be the remedies and the counters needed for each situation, whether you are attacking or defending.</p>
 +
| <p>Here begins the play of the sword in two hands, the narrow play, the method of breaking all thrusts and cuts, in the which will be every method of covering, striking, and binding, and dislocations, and grapples, and takings of the sword, and beating to the ground in diverse ways. And there will be remedies and counters of every category that should offend or defend.</p>
 +
| {{section|Page:MS M.383 16r.jpg|16r-t}}
 +
| {{section|Page:MS Ludwig XV 13 27v.jpg|27v-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 28r-a.jpg|400px|center]]
 +
| <p>[49] <em>Because of the way that we stand here crossed,<br/>The play is given to whoever knows more and is swifter:<br/>But since many plays are made from such a crossing,<br/>We will only be making the strongest counters.</em></p>
 +
 
 +
<p>We stand with crossed swords, and from this crossing either one of us can make all of the plays that follow. And as I told you earlier, these plays will follow one after the other.</p>
 +
 
 +
<p>''[In the Pisani Dossi, the Scholar is wearing a crown.]''</p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
<p>We stand here crossed and from this crossing that we make, all the plays that follow us can be made, and by one of us as easily as the other. And all of these plays will follow, one after the other, as was previously said.</p>
 +
 
 +
<p>''[In the Morgan, the Scholar is wearing a crown.]''</p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 16r.jpg|16r-a}}
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 28r.jpg|28r-a}}
 +
| {{section|Page:Pisani-Dossi MS 22a.jpg|22a-a}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Latin 11269 26r-c.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 28r-b.jpg|400px|center]]
 +
| <p>[50] <em>Because of your hilt which I hold in my hand,<br/>I will strike you and your sword will be forfeit to me.<br/>&nbsp;</em></p>
 +
 
 +
<p>Using the crossing my Master made with his right foot forward, I now complete the first play as follows: I pass forward with my left foot, and I reach over my right arm with my left hand, seizing his sword-grip in the middle, between his hands. And from here I can strike him with either my edge or my point. This grip can be made when fighting with the two-handed sword or the one-handed sword. And I can make this grip by reaching either under or over the crossed swords.</p>
 +
| <p>''I would strike, and I will hold your sword; restrained by no<br/>Pledge, you conduct yourself so disgracefully<br/>By laws holding me, [which] pierced, you will now die.''</p>
 +
 
 +
<p>From the crossing that the Master has made with his right foot forward, I complete the first play—that is, I step with my left foot and I pass my left hand over my [right] arm and grasp the hilt of his sword in between his hands (in the middle of the hilt), and then I could strike with edge and point. And this catch can be made as easily with the sword in one hand as with the sword in two hands, and this catch can be made as easily crossing under the hands as over.</p>
 +
 
 +
<p>''[In the Paris, the Scholar's sword is in front of his arm.]''</p>
 +
| <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 16r.jpg|16r-b}}
 +
| <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 28r.jpg|28r-b}}
 +
| {{section|Page:Pisani-Dossi MS 22a.jpg|22a-b}}
 +
| {{section|Page:MS Latin 11269 26r.jpg|26r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 22a-c.png|400px|center]]
 +
| <p>[51] <em>Because my sword has received a blow<br/>And because of this catch, my pommel strikes you in the face.</em></p>
 +
 
 +
<p>This is another play that flows from the crossing of my Master. And from that crossing I can make this play and all of the others that follow. In this play I grip my opponent at the elbow as shown, and then strike him in the face with the pommel of my sword. After that I can also strike him in the head with a downward strike before he has a chance to make cover against me.</p>
 +
| <p>''I strike to your face using this hilt, obviously ferocious.<br/>This because you had knocked the sword using the deepest touch.''</p>
 +
 
 +
<p>This is another play that comes from the crossing of my Master, and as he is crossed, he can make this play and the others that follow after—that is, he can make or grasp the player in this way to strike him in the face with the pommel of his sword. Also, he can strike him in the head with a downward blow before [the player] could make a cover ready.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 16r.jpg|16r-c}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 28r.jpg|28r-c}}
 +
| {{section|Page:Pisani-Dossi MS 22a.jpg|22a-c}}
 +
| {{section|Page:MS Latin 11269 26v.jpg|26v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 22a-d.png|400px|center]]
 +
| <p>[52] <em>This is another strike with my pommel,<br/>Following which the art and the Masters are ready.</em></p>
 +
 
 +
<p>This is another pommel strike, which is effective against a man with or without armor. Make this strike quickly if his face is unprotected, and you will certainly hurt him. I can tell you from experience that with this strike you’ll have him spitting out four teeth. From here, if you wish, you can also throw your sword around his neck, as my fellow student will show you next.</p>
 +
| <p>''This second blow is striking the companion in return using the hilt,<br/>While yet in this place [both] the art and master himself would be speeds.''<ref>The compound subject in the Latin necessitates the plural comparison, but would be rendered with a singular in English.</ref></p>
 +
 
 +
<p>This is another strike of the pommel and it can be done quickly; if his face is uncovered then do it without fear, because it may be done armored or unarmored. You will bore four teeth from his mouth with this play (as has been proven), and if you wanted, you could throw the sword to his neck as does the Scholar who is after me.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 16r.jpg|16r-d}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 28r.jpg|28r-d}}
 +
| {{section|Page:Pisani-Dossi MS 22a.jpg|22a-d}}
 +
| {{section|Page:MS Latin 11269 26v.jpg|26v-c}}
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 22b-a.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 28v-a.jpg|400px|center]]
 +
| <p>[53] <em>I send you to the ground in this match;<br/>I have not failed to thrust my sword to your neck.</em></p>
 +
 
 +
<p>As the student who preceded me told you, after doing the previous play I now put the sword-edge into your neck. And from here, if I discover that you have no neck armor, I will easily cut your throat.</p>
 +
| <p>''I, the great one, throw you to the ground, you anticipating something,<br/>I am not cheating to put the sword to your neck using this action.''</p>
 +
 
 +
<p>From the play that came before me and as the Scholar has said, I have placed my sword at your neck and I could cut your throat well because I feel that you do not have an armored collar.</p>
 +
 
 +
<p>''[The Morgan and Paris resemble the Getty, but the Scholar's right foot is inside of (behind) his opponent's right foot.]''</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 16v.jpg|16v-a}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 28v.jpg|28v-a}}
 +
| {{section|Page:Pisani-Dossi MS 22b.jpg|22b-a}}
 +
| {{section|Page:MS Latin 11269 27r.jpg|27r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 22b-c.png|400px|center]]
 +
| <p>[54] <em>From the right cover I have caught you so well,<br/>That I will lay you out on the ground.</em></p>
 +
| <p>''A covering more on the right foretells when I will catch [you] by the throat;<br/>You, sad, are then laid out into the dark earth.''</p>
 +
 
 +
<p>This play is made in this fashion: that is, that one goes with a middle blow against a middle blow to his left side, and then quickly goes to the narrow with a cover. He throws his sword to the neck of his companion, at the same time grasping his right hand with his left (as you see depicted here). He can then throw him to the ground without fail, thrusting his right foot behind [the player's] right.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 15r.jpg|15r-c}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 22b.jpg|22b-c}}
 +
| {{section|Page:MS Latin 11269 30r.jpg|30r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 30r-b.jpg|400px|center]]
 +
| <p>[55] <br/><br/></p>
 +
 
 +
<p>This play is performed as follows: against a crosswise strike from his left, you meet it with a crosswise strike of your own from your left.<ref>I’ve added some language here to make the description understandable.</ref> Then you quickly move to close range under cover, and then throw your sword around your opponent’s neck, as you see drawn here. From here you can easily throw him to the ground.</p>
 +
 
 +
<p>''[In the Pisani Dossi MS, the Scholar's right foot is outside (in front) of his opponent's right foot.]''</p>
 +
| <p>''During a similar play, we bring you down into the deep earth.<br/>I will accomplish this also; nevertheless I myself &lt;I&gt; remain on my feet.''</p>
 +
 
 +
<p>This is another catch to throw someone to the ground, sword and all—that is, that this Scholar crosses with the player on the right side and steps into the narrow; he pinches the right elbow of the player with his left hand, and then quickly he throws his sword to [the player's] neck, grasping his own sword at the middle (his right foot behind the right of the player). In this way, he throws [the player] to the ground with little honor.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 15r.jpg|15r-d}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 30r.jpg|30r-b}}
 +
|
 +
| {{section|Page:MS Latin 11269 30r.jpg|30r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 29r-d.jpg|400px|center]]
 +
| <p>[56] If he covers from his right side, seize his sword with your left hand as shown and strike him with a thrust or a cut. Then after striking him hard, if you wish, you can drop your own sword and cut his face or neck with his own sword, in the manner shown by the student in the next picture.<ref>Fiore actually writes “per lo mood ch’è depento”, “in the manner shown”, but this move is actually not shown until the next drawing.</ref></p>
 +
| <p>This is another method of throwing someone to the ground, and it is done in this fashion: the Scholar crosses with the player on the right side and comes to the narrow. He grasps the sword of the player with his left hand (passing the middle of the sword), …</p>
 +
 
 +
<p>''[Text accompanies subsequent image.]''</p>
 +
| rowspan="2" | {{section|Page:MS M.383 15v.jpg|15v-a}}
 +
| {{section|Page:MS Ludwig XV 13 29r.jpg|29r-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 22b-b.png|400px|center]]
 +
| <p>[57] <em>I have in hand the catch that I have sought with you<br/>For throwing you to the ground with your sword.</em></p>
 +
 
 +
<p>Following on from the play of the student before me, I cut my opponent’s face with his own sword, then force him to the ground. Here I am demonstrating just how effective this art really is.</p>
 +
| <p>''I undertake with my hands the special taking for a<br/>Long time, so that I am able to pitch you, miserable one, into the earth.''</p>
 +
 
 +
<p>…and immediately he throws his sword to the ground and thrusts the player's own sword to his neck, grasping the hilt in the middle—that is, between the hands of the player—with his right foot behind [the player's] right. And in this fashion he throws him to the ground with his own sword.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 29v.jpg|29v-a}}
 +
| {{section|Page:Pisani-Dossi MS 22b.jpg|22b-b}}
 +
| {{section|Page:MS Latin 11269 30v.jpg|30v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 23b-a.png|400px|center]]
 +
| <p>[58] <em>This is the cover of the backhand<br/>For making plays of the greatest deceptiveness.</em></p>
 +
|
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 23b.jpg|23b-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 23b-b.png|400px|center]]
 +
| <p>[59] <em>From the cover of the backhand have I enclosed you here:<br/>You will not be defended from the narrow play nor from strikes.</em></p>
 +
|
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 23b.jpg|23b-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 23b-c.png|400px|center]]
 +
| <p>[60] <em>This is a strong catch that comes from the backhand:<br/>You are finished striking and your sword is lost.</em></p>
 +
|
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 23b.jpg|23b-c}}
 +
|
 +
 
 +
|-
 +
| [[File:Cod.1324 21v-a.jpg|400px|center]]
 +
| [[File:MS Ludwig XV 13 29r-c.jpg|400px|center]]
 +
| <p>[61] If he covers from his left side, grab his left hand including his pommel with your left hand, and pull it upwards and backwards. From there you will be able to strike him with thrusts and cuts.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 29r.jpg|29r-c}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Latin 11269 28r-b.png|400px|center]]
 +
| <p>[62]</p>
 +
| <p>''In order for you to be able to overthrow my sword, with the left hand<br/>You have come. But here also, you yourself will die by means of the counter.''</p>
 +
 
 +
<p>''[This Master appears to be missing his crown.]''</p>
 +
|
 +
|
 +
|
 +
| {{section|Page:MS Latin 11269 28r.jpg|28r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 23a-c.png|400px|center]]
 +
| <p>[63] <em>In this fashion I have bound you so well<br/>That you would be trapped in armor or without:<br/>And your sword will be useless against me;<br/>I make this counter of the taking of the sword with certainty.</em></p>
 +
 
 +
<p>If I am crossed at Narrow Play with someone, I can quickly make this move<ref>A presa is a grappling move, a grip (hold) or a grapple.</ref> to prevent him from attacking me by taking my sword, or a lock.</p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
<p>This is another counter against the taking of the sword, and it can be made readily and quickly in this fashion. When one comes to cross with you and steps or advances close with his left foot forward, then grasp his hand at the wrist with your left hand (from under his hilt) and turn his sword toward your left side in such fashion as is depicted here. And thus you strike him in the chest, or in the belly, or wherever he likes least.</p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 16v.jpg|16v-d}}
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 30r.jpg|30r-a}}
 +
| {{section|Page:Pisani-Dossi MS 23a.jpg|23a-c}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 28v-d.jpg|400px|center]]
 +
| <p>[64] When I am crossed I move to the Narrow Game, and I place the hilt of my sword between your two hands. Then I push your two hands upwards so that your sword is high. From here I throw my left arm over your arms from the left, binding<ref>Fiore uses “ferero” which translates as “strike” or “wound”, but this is clearly a bind.</ref> them with your sword pinned under my left arm. Then I will strike multiple times until I am exhausted. The student who follows me will show you what happens next.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 28v.jpg|28v-d}}
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 23a-a.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 29r-a.jpg|400px|center]]
 +
| <p>[65] <em>I locked your arms with my left arm,<br/>And this play is better armored than unarmored:<br/>Also, I counter the taking of the sword,<br/>According to where Master Fiore put me.</em></p>
 +
 
 +
<p>The student who is before me has completed the play which I said to do. Your arms have been bound in ''ligadura mezana'' (middle bind). Your sword is prisoner, and it can not help you. And with mine I can cause you a lot of injuries. Without doubt I can put my sword to your neck. I can immediately do the play which is after me.</p>
 +
|
 +
|
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 29r.jpg|29r-a}}
 +
| {{section|Page:Pisani-Dossi MS 23a.jpg|23a-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 29r-b.jpg|400px|center]]
 +
| <p>[66] This play follows on from the previous one, where the student struck his opponent multiple times while using his left arm to keep the opponent’s arms and sword pinned. Now I throw my sword at my opponent’s neck as depicted. Then I throw him to the ground to complete the play.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 29r.jpg|29r-b}}
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:MS Latin 11269 28v-a.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 23a-d.png|400px|center]]
 +
| <p>[67] <em>I have locked your hand with my sword,<br/>And I will give you a bargain with many strikes to your head;<br/>And I make the counter to the middle taking of the sword:<br/>This bind I have made which arises thus.</em></p>
 +
| <p>''On my sword I enclose the palm. You, miserable, also endure many wounds<br/>To the crown of your head. But whatever I bring about<br/>Myself, I make the counter<ref>While ''contra'' is not normally a noun and ''contrario'' has been the noun for counter thus far, it seems to work best here to make ''contra'' a noun.</ref> with the sword. And it has very much superior<br/>Power in the bind, because it furnishes very many deeds.''</p>
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 23a.jpg|23a-d}}
 +
| {{section|Page:MS Latin 11269 28v.jpg|28v-a}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 28v-b.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 22b-d.png|400px|center]]
 +
| <p>[68] <em>I have hindered your sword with my arm,<br/>And I have fixed the point of mine in your face:<br/>And I make the counter to the takings of the sword<br/>And all the various other narrow plays.</em></p>
 +
 
 +
<p>When I am crossed, I pass with a cover, and I injure you in your arms in this part. And this thrust you get in the face. And if I advance the left foot, both your arms will be bound. Or, that in the other play after me of grabbing you, you are bound at the sword by the hilt's retention.</p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
<p>From the crossed swords I pass with cover and bind<ref>Again Fiore actually says “fiero in gli toy brazzi”, “I hurt your arms”. But the move is a bind.</ref> your arms as shown, then I thrust my sword into your face. And if I advance the left foot forward I can bind both your arms. Or alternately I can do the play shown next, where I bind your sword by gripping your cross-guard.<ref>“Elsa”, “elso”, “elzo”,”elço” are all variations on the word for “hilt”. But the picture clearly shows the bind is around his sword blade and the grip is made on the opponent’s cross-guard, not his sword handle. Hence I have translated “elzo” as “cross-guard”.</ref></p>
 +
 
 +
<p>''[In the Paris, the Master is missing his crown. In the Morgan and Paris, the Master has his hand in position but hasn't grabbed his opponent's arm.]''</p>
 +
| <p><br/><br/><br/><br/></p>
 +
{{section|Page:MS M.383 16v.jpg|16v-b}}
 +
| <p><br/><br/><br/><br/></p>
 +
{{section|Page:MS Ludwig XV 13 28v.jpg|28v-b}}
 +
| {{section|Page:Pisani-Dossi MS 22b.jpg|22b-d}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 23a-b.png|400px|center]]
 +
| <p>[69] <em>I have trapped your sword by the hilt,<br/>And I will make you a great bargain with my edge and my point:<br/>Also, I am the counter to the sword in the raised hand;<br/>I can strike you and you are not able to touch me with the sword.</em></p>
 +
 
 +
<p>This is the grip that the student before me said to do to you. I can injure you without danger. I retain your sword's hilt, I will give you cuts and thrusts cheaply (with no risk?). And this play breaks all sword-disarms, and doing it immediately spoils the narrow play.</p>
 +
 
 +
<p>''[In the Getty, the Master is missing his crown.]''</p>
 +
| <p>''I, the very strong, seize your sword in the cross[ing].<br/>From here I would pierce you, already gloomy, with the <br/>Cutting point. And I am called “counter of the sword”, raising<br/>The hand higher. And I prevail to strike a bargain openly with your limb.<br/>You will not be able to touch the sword with any violations.''</p>
 +
 
 +
<p>Here I am making the bind that the previous student told you about, and from this position I can strike you with impunity. I have your sword bound by its cross-guard, and from here I can strike you with both cuts and thrusts. In addition, if done quickly this play can defeat all attempts to take my sword, and if it is done quickly enough it will defeat the opponent’s Narrow Game.</p>
 +
 
 +
<p>''[In the Paris, the Master is missing his crown.]''</p>
 +
| <p><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 16v.jpg|16v-c}}
 +
| <p><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 28v.jpg|28v-c}}
 +
| {{section|Page:Pisani-Dossi MS 23a.jpg|23a-b}}
 +
| {{section|Page:MS Latin 11269 27r.jpg|27r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 29v-b.jpg|400px|center]]
 +
| <p>[70] This play is taken from the first play of the First Dagger Remedy Master, who places his left hand over the opponent’s wrist<ref>Fiore actually writes that you grip him “below the dagger” Fiore means you grip the opponent’s dagger arm around the wrist. This play is taken from the dagger play at Getty 10v-a. I’ve changed the language to make this understandable.</ref> to take the dagger from his hand. In similar fashion the student here places his left hand over the opponent’s right forearm, rotating it outwards to remove the sword from his right hand…<ref>I’ve again added some language here to make this play more understandable.</ref></p>
 +
| <p>''Using the sword to strike back, I become acquainted with your very own shoulder,<br/>Or I would pierce you, or even at once I would confine this <that> arms.''</p>
 +
|
 +
| rowspan="2" | {{section|Page:MS Ludwig XV 13 29v.jpg|29v-b}}
 +
|
 +
| {{section|Page:MS Latin 11269 27v.jpg|27v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Latin 11269 27v-c.png|400px|center]]
 +
| <p>[71] <br/><br/></p>
 +
 
 +
<p>…Or from here he can transition to a middle bind, as shown in the second play of the above-mentioned First Dagger Remedy Master.<ref>The second play of the First Dagger Remedy Master (the middle bind) is found at Getty 10v-c.</ref> And that bind belongs to this student.<ref>“Ligadura” translates as “bind”, or “lock”, as in binding or locking a joint so that it cannot move. By “That bind belongs to this student” Fiore means that it is this student from this position who could demonstrate it for us.</ref></p>
 +
| <p>''How prudently I drive your very own shoulder and sword by means of [their being]<br/>Joined together. And soon I am able to strike a bargain with you.''</p>
 +
|
 +
|
 +
| {{section|Page:MS Latin 11269 27v.jpg|27v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 23b-d.png|400px|center]]
 +
| <p>[72] <em>You wanted to lock my sword under your arm<br/>But the counter makes evil come to you here.</em></p>
 +
 
 +
<p>I am the counter to the student who preceded me, if he tries to use the second play of the First Dagger Remedy Master against me that you heard about previously, and this is how I am done. And when I do this play I doubt you will be able to remain on your feet holding your sword.<ref>Meaning he is going to drive you forwards face first into the ground. Note, this counter is also seen in the dagger plays and is taken from Getty 10v-d.</ref></p>
 +
| <p>''You wanted to confine the sword under your very own deceptive<br/>Shoulder. I am the counter, and this overthrows you to the greatest extent.''</p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 29v.jpg|29v-c}}
 +
| {{section|Page:Pisani-Dossi MS 23b.jpg|23b-d}}
 +
| {{section|Page:MS Latin 11269 28r.jpg|28r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 29v-d.jpg|400px|center]]
 +
| <p>[73] I am also a counter to the student who tried to use the second play of the First Dagger Remedy Master against me.<ref>Meaning another counter against the student in Getty 29v-b.</ref> From the previous picture, if I now start to cut into his throat, he will stand up a little, and then if I move quickly, I can throw him backwards to the ground.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 29v.jpg|29v-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 24a-a.png|400px|center]]
 +
| <p>[74] <em>From the cover on the right side, thus have I caught you:<br/>My sword will be in your face, and you will be laid out on the ground.</em></p>
 +
| <p>''You will be on your back again on the earth, and my sword will hold<br/>Your face. This thoroughly teaches the covering of the powerful right.''</p>
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 24a.jpg|24a-a}}
 +
| {{section|Page:MS Latin 11269 30v.jpg|30v-c}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 30r-c.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 24a-b.png|400px|center]]
 +
| <p>[75] <em>This taking of the sword is called Above;<br/>Which was made a thousand times and more by Fiore Furlano.</em></p>
 +
 
 +
<p>This is a high sword disarm. With my left hand I pin his hands, while at the same time I press forwards against his blade with the grip of my sword so that he loses his grip on his sword. Then I will deal him several good strikes. The student who comes after me will show how this play finishes with the opponent’s sword lying on the ground.</p>
 +
| <p>''That movement by which I rob the man during the playing with the sword<br/>Is called by nearly all “the high on the right” in close fighting weapons,<br/>Which I, Florius, myself demonstrated by many exchanges.''</p>
 +
 
 +
<p>This is the taking of the sword from above: with the hilt of my sword I push forward and with my left hand I grasp his arms in such a way that it would serve him well to lose his sword. And then the Scholar who is after will make a bargain with great strikes. This play he demonstrates as the sword of the player is positioned on the ground.</p>
 +
 
 +
<p>''[In the Paris, the Scholar reaches in front of his opponent's sword, and his foot is outside of (behind) his opponent's.]''</p>
 +
| <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 15r.jpg|15r-a}}
 +
| <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 30r.jpg|30r-c}}
 +
| {{section|Page:Pisani-Dossi MS 24a.jpg|24a-b}}
 +
| {{section|Page:MS Latin 11269 29r.jpg|29r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 30r-d.jpg|400px|center]]
 +
| <p>[76] Following the disarm performed by the student who came before me, you will feel your sword fall to the ground. And now there is no question as to whether I can strike you.</p>
 +
| <p>Because of the catch of the Scholar who came before me which I have made, your sword has fallen to the ground. You can feel that I could thus make you truly wounded.</p>
 +
| {{section|Page:MS M.383 15r.jpg|15r-b}}
 +
| {{section|Page:MS Ludwig XV 13 30r.jpg|30r-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 24a-c.png|400px|center]]
 +
| <p>[77] <em>Here I make the taking of the sword in the middle,<br/>And I will give you grief with my sword or yours.<br/>&nbsp;</em></p>
 +
 
 +
<p>This is how you do the middle sword disarm. The rotation of the opponent’s sword is the same as in the first disarm, but the grip on his arm is not the same.</p>
 +
 
 +
<p>''[In the Getty, the Scholar's left foot is outside (in front) of his opponent's.]''</p>
 +
| <p>''I immediately execute the “middle sword taking” <br/>Blow, pressing your limbs using a raging sword,<br/>Either with my own, or by chance yours, which you rely on to be present.''</p>
 +
 
 +
<p>This is the taking of the sword from the middle: whoever knows how to make such turnings of the sword makes this one just as the first is made, save only that the catch is not the same. The first taking of the sword binds both of the arms, but I do not want to have such trouble so I separate one arm and hand from the other. He is not so strong that he could hold [his sword] and keep it from falling. As was said above, I am the taking of the sword from the middle, which was made a thousand times by Fiore Furlano.</p>
 +
 
 +
<p>''[In the Morgan, the Scholar's left foot is outside (in front) of his opponent's.]''</p>
 +
| <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 15v.jpg|15v-b}}
 +
| <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 30v.jpg|30v-a}}
 +
| {{section|Page:Pisani-Dossi MS 24a.jpg|24a-c}}
 +
| {{section|Page:MS Latin 11269 29r.jpg|29r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 24a-d.png|400px|center]]
 +
| <p>[78] <em>This is the taking of the sword from below:<br/>It will be made well by whoever is a gifted Master in the art.</em></p>
 +
 
 +
<p>This is another sword disarm, named the low disarm. The low disarm is performed in a similar way to the high disarm, with the same rotation of the opponent’s sword, following the same path. With your right hand you press his blade forwards, making his sword handle rotate upwards, and you must keep your left hand on his handle as it turns.</p>
 +
| <p>''The sharp sword is seized thus in the lower position,<br/>Because a skilled person in this art would make anything endure.''</p>
 +
 
 +
<p>This is another taking of the sword, called Below: make this one in the same way as you do those from above and from [the middle]<ref>Text says "from below", but appears to be referring to the previous two sword-takings.</ref>—that is, with a turn of the sword. This one follows the way of the others, with the right hand carrying forward a full rotation with the hilt, and the left hand should follow with a full turn.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 15v.jpg|15v-c}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 30v.jpg|30v-b}}
 +
| {{section|Page:Pisani-Dossi MS 24a.jpg|24a-d}}
 +
| {{section|Page:MS Latin 11269 29v.jpg|29v-b}}
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:Pisani-Dossi MS 24b-a.png|400px|center]]
 +
| class="noline" | <p>[79] <em>I take this sword for my own:<br/>I will do you villainy with a rotation and a taking.<br/>&nbsp;</em></p>
 +
 
 +
<p>Here’s another way you can take his sword if you are crossed at close range: put your right hand above his and grab his sword at mid-blade keeping it upright, then immediately drop your sword to the ground. Now with your left hand you grab your opponent’s sword under the pommel, and turn it to his left.<ref>Fiore says “a man riversa”, which means “to the left”. The turn however is clockwise, which is to your right. That means HIS left.</ref> Then immediately your opponent will be forced to release his sword.</p>
 +
| class="noline" | <p>''I consider the sword to be mine, which you certainly see.<br/>And by means of turning, I would certainly provide shame for you.<br/>And also I would draw back using my very own hands, unless the fates disagree.''</p>
 +
 
 +
<p>This is another taking of the sword, and it is done in this way: that when one is crossed in the narrow, the Scholar should thrust his right hand under his [sword] and grasp that of the player at the middle or above, immediately releasing his own sword to hit the ground, and with his left hand he should grasp under the pommel of the player's sword and give it a full rotation to the right, and then suddenly the player will have his sword lost and the Scholar, righting [the stolen] sword with a half turn, can strike the player.</p>
 +
| class="noline" | <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 15v.jpg|15v-d}}
 +
| class="noline" | <p><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 30v.jpg|30v-c}}
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 24b.jpg|24b-a}}
 +
| class="noline" | {{section|Page:MS Latin 11269 29v.jpg|29v-d}}
 +
 
 +
|}
 +
 
 +
{{master subsection end}}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Sword vs. Spear
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
| rowspan="2" | [[File:MS Ludwig XV 13 31r-a.jpg|400px|center]]
 +
| rowspan="2" | [[File:MS Ludwig XV 13 31r-b.jpg|400px|center]]
 +
| <p>[1] Here are three friends who seek to kill this Master, who is waiting for them with his two handed sword. The first intends to throw his sword at the Master like a spear. The second aims to strike him with a cut or a thrust. The third intends to throw two spears he has made ready, as you see drawn here.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 31r.jpg|31r-a}}
 +
|
 +
|
 +
 
 +
|-
 +
| <p>[2] I wait in this guard—the Boar’s Tusk—for these three to attack, but I could also wait in other guards, for example, left side Guard of the Lady or left side Window Guard, and with any of these I would be able to defend just as well as I can with the Boar’s Tusk. Each of these guards uses the same method of defense. I wait unperturbed for them to come at me one after the other, and my defense will not fail against cuts, thrusts, nor any handheld weapon they throw at me. I advance my right front foot off the line and with my left I step  obliquely, beating the incoming weapon aside towards my opponent’s left side. And in this way I make my defense, first by making cover and then quickly counter attacking.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 31r.jpg|31r-b}}
 +
|
 +
|
 +
 
 +
|-
 +
| class="noline" | [[File:Pisani-Dossi MS 16b-a.png|400px|center]]
 +
| class="noline" | [[File:Pisani-Dossi MS 16b-b.png|400px|center]]
 +
| class="noline" | <p>[3] <em>We are two Masters that await the throw<br/>We have little care of lances, darts, and swords.<br/>And the defense that we make with our swords<br/>We could similarly [use to] defend ourselves with staffs<br/>With the step and the beat that we make;<br/>In the narrow, the edge and the point we use.<br/>And even if it were Pulicano, who was a great thrower,<br/>Against us he would not have honor.</em></p>
 +
| class="noline" | <p><br/><br/><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
<p>I wait here in the Boar's Tusk for I know all cuts and thrusts, and I know how to turn away thrown lances, and swords, and darts, and I know how to recover from everything. And that which I do, the Stance of the Long Tail (''Posta de Coda Longa'') could also do: I step out of the way to the side, beating aside that which comes thrown toward me. When I have deflected the point I am doubtful of the advance of the weapon; so that the person doesn't strike me through another turn, it is best that I beat [his weapon] quickly.</p>
 +
| class="noline" | <p><br/><br/><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 18r.jpg|18r-b}}
 +
| class="noline" |
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 16b.jpg|16b-b}}
 +
| class="noline" |
 +
 
 +
|}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Sword in Armor
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| style="text-align:center; vertical-align:middle;" | [No Image]
 +
| <p>[1] <em>We are six guards for armored fencing,<br/>Which art we know how to perform in its completeness.<br/>And this art concludes everything in the right truth:<br/>It applies poleax, sword, and dagger to great extremes.<br/>And here we'll explain how the art can come:<br/>Masters and students will do it without lying.</em></p>
 +
 
 +
<p>We are 6 masters who are very knowledgeable in the art of armed fighting, and each one of us is an expert in this art. Hand-held weapons do not worry us, because we know how to defend against any cuts and thrusts that may come our way.</p>
 +
| <p>''We are in deeds of arms six greatly skillful acts.<br/>Whatever master of arms will acquire these, <br/>He will surpass sword or dagger and then two-edged ax.<br/><br/><br/><br/>''</p>
 +
 
 +
<p>Here begins the sword in armor, and great will be the Master who can make these plays. These Masters are six and each one is in guard; they will not delay in covering and striking. And whoever knows most in this, their art, will have a part in all of the following plays.</p>
 +
| <p><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10r.jpg|10r-t|lbl=10r}}
 +
| <p><br/><br/><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-a1|lbl=32v-a}}
 +
| {{section|Page:Pisani-Dossi MS 25a.jpg|25a-t|lbl=25a}}
 +
| {{section|Page:MS Latin 11269 19v.jpg|19v-t|lbl=19v}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 25a-a.png|400px|center]]
 +
| <p>[2] {{red|b=1|The Shortened Stance, the Serpent}}</p>
 +
 
 +
<p><em>I am the Shortened Stance, the Serpent,<br/>And I have a fine point for passing through armor.</em></p>
 +
 
 +
<p>I am the Short Serpent Guard, and I consider myself superior to the other guards. And when I thrust those I strike will be well-marked.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am the Short Position itself.  I am called by the proper name Serpentinus;<br/>I am skilled at penetrating with a point.''</p>
 +
 
 +
<p>In the Shortened Stance, the Serpent, do I want to come. If you are not well-armored, I will make you feel it! I hold myself better than any other guard for striking with the point. Because of my edges, I sign myself with the cross, and nothing can you do to me. In armor and without I want to prove it.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10r.jpg|10r-a}}
 +
| {{section|Page:MS Ludwig XV 13 32v.jpg|32v-attl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-a2|lbl=-}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-a}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 19v.jpg|19v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 25a-b.png|400px|center]]
 +
| <p>[3] {{red|b=1|The Stance of the True Cross}}</p>
 +
 
 +
<p><em>I am the stance called the True Cross<br/>And cuts and thrusts mean nothing to me.</em></p>
 +
 
 +
<p>I choose to use the True Cross Guard against you. And your thrust will fail to strike me. I will make cover to your attack as I make my step, and my thrust will strike you without fail. Neither you or the other guards concern me, because I am so well versed in the art of armed fighting that my crossing cannot fail me. Step, cross and strike, and this art will never fail you.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''In this Position of the Leopard,<ref>The position shown is called True Cross in Fiore’s other manuscripts, whereas Vadi calls it the Leopard’s Tail. Vadi also has a Serene Leopard, but it is Fiore’s Bastard Cross (which is called the True Cross in this manuscript).</ref> I truly observe the Serene One,<br/>And always checking the deepest cuttings of the point.''</p>
 +
 
 +
<p>I am the Stance of the True Cross which I want to make to counter you. Your thrusts will not enter into me. I cover myself from you in the step that I make and my thrust will injure you without fail, so that you and the other guards can do little to me. I know armored fencing so well that I can never fail in the crossing (for stepping, crossing, and striking, the art wants these things without fail), and I break all your thrusts and I certainly will not fail: I come over and through, I go under the point and upward.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10r.jpg|10r-b}}
 +
| {{section|Page:MS Ludwig XV 13 32v.jpg|32v-bttl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-b}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-b}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 18r.jpg|18r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 25a-c.png|400px|center]]
 +
| <p>[4] {{red|b=1|The Raised Serpent}}</p>
 +
 
 +
<p><em>I am the Raised Serpent,<br/>I shoot great thrusts down low.<br/>I also cover against cuts and thrusts,<br/>Those strikes are little trouble to me.</em></p>
 +
 
 +
<p>I am the High Serpent and I am well positioned to give great underhand thrusts, since I begin high but end low. I will throw a great thrust into you as I step. That is my skill and I do it well. Your cuts do not concern me in the slightest, because when it is time to hand out great thrusts, you’ll get a large portion from me.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am called Serpentinus, and Raised. And, point high,<br/>I put my members below the lowest flat [of the sword].<br/><br/><br/>''</p>
 +
 
 +
<p>I am the Serpent and I am High and well-armored. I quickly make great underhand thrusts because I am high and return down low. I'll drive a strong thrust to you with a step: this is my art and I know how to do it well. I have not a care for your edges, for I know the art and I will give you the better part of my point.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10r.jpg|10r-c}}
 +
| {{section|Page:MS Ludwig XV 13 32v.jpg|32v-cttl|lbl=-}}
 +
 
 +
<p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-c}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-c}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 18r.jpg|18r-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 25a-d.png|400px|center]]
 +
| <p>[5] {{red|b=1|The Middle Iron Gate}}</p>
 +
 
 +
<p><em>I am the Iron Gate in the Middle:<br/>And I am always ready to throw great thrusts.</em></p>
 +
 
 +
<p>My name is Middle iron Gate, and whether you are armoured or unarmored I make strong thrusts. I step offline with my left foot and I put a thrust into your face. I can also place my point and blade between your arms in such a way that I will put you into the middle bind, as depicted and identified earlier.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am the guard in the formerly established Middle Iron Gate.<br/>I do not do much harm with the point, and I am always frightful.''</p>
 +
 
 +
<p>Of Iron, I am called the Middle Gate, because in armor or out I give strong thrusts. And I will step out of the way with my left foot and thrust my point in your face, or I will enter [with] my point and with the edge between your arms and force you into the Middle Bind (which was previously depicted and named).</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10r.jpg|10r-d}}
 +
| {{section|Page:MS Ludwig XV 13 32v.jpg|32v-dttl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-d}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-d}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 19v.jpg|19v-d}}
 +
 
 +
|-
 +
| [[File:MS Latin 11269 19v-c.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 25b-a.png|400px|center]]
 +
| <p>[6] {{red|b=1|The Archer's Stance}}</p>
 +
 
 +
<p><em>I am the Archer's Stance, the sentinel,<br/>And I am always ready to strike and cover.</em></p>
 +
 
 +
<p>I am known as the Archer’s Guard, and I throw great thrusts as I step offline. And if strikes or thrusts come against me, I make a strong cover, and then immediately I strike with my counter. This is my skill, and I never vary from it.</p>
 +
 
 +
<p>''[The Getty resembles the Pisani Dossi image.]''</p>
 +
| <p><br/></p>
 +
 
 +
<p>''Here the sword will shift into a Malignant Position by penetrating;<br/>Now I cover with my arm, for I hold my limb strongly upright.''</p>
 +
 
 +
<p>The Archer's Stance, by this name I am called. Great thrusts I give while stepping out of the way. And if you come against me with a blow of the edge, I make a good cover and quickly I strike my counter. This is my art and it does not change.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10v.jpg|10v-a}}
 +
| {{section|Page:MS Ludwig XV 13 33r.jpg|33r-attl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-a}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 25b.jpg|25b-a}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 19v.jpg|19v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 25b-b.png|400px|center]]
 +
| <p>[7] {{red|b=1|The Stance of the Bastard Cross}}</p>
 +
 
 +
<p><em>Of the Stance of the Cross, I am the Bastard,<br/>And I will not delay in making her plays.</em></p>
 +
 
 +
<p>I am the Hybrid Cross Guard, and I am related to the True Cross Guard, in that anything it can do, I can do also. I make strong covers, thrusts or cuts, usually avoiding your strike by stepping offline, and my strikes are my greatest asset.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am the Position consecrated<ref>''Dicor'' could be a present passive indicative first person conjugation of either ''dicere'' (say, talk, name/call, et c) or ''dicare'' (dedicate, consecrate, deify, devote)—since the stances are usually named using the verb ''vocor'', perhaps this was intentionally chosen as a pun. Also, in other Fiore texts this is the Bastard Cross.</ref> as the True Cross by many masters.<br/>The point is not a nuisance to me, nor will the cutting edge harm [me].''</p>
 +
 
 +
<p>Of the True Cross I am the Bastard Stance (''Posta di Crose Bastarda''); that which she can do, I also choose to do. For my strategy, I make good covers, thrusts, and cuts, always while voiding blows out of the way, and with my blows I make my greatest bargain.</p>
 +
| <p><br/></p>
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10v.jpg|10v-b}}
 +
| {{section|Page:MS Ludwig XV 13 33r.jpg|33r-bttl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-b}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:Pisani-Dossi MS 25b.jpg|25b-b}}
 +
| <p><br/></p>
 +
 
 +
{{section|Page:MS Latin 11269 19v.jpg|19v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 33r-c.jpg|400px|center]]
 +
| <p>[8] <em>With this cover I believe that I can waste anyone,<br/>Following that which you see the Scholar do.</em></p>
 +
 
 +
<p>This cover is made from the True Cross Guard, when I step diagonally offline. And so that you can see what can be done from this cover, my students will show the plays that follow it, and since they are experienced in mortal combat, they will show these skills without hesitation.</p>
 +
 
 +
<p>''[In the Pisani Dossi, the Master is missing his crown.]''</p>
 +
| <p>''By using this covering, you would now be sure to repel whomsoever,<br/>Just as you will see the students play at any time.''</p>
 +
 
 +
<p>I come with this cover from the Stance of the True Cross, stepping out of the way to the side. And you will see what I can do from this cover; through my Scholars I can show it, because they make my complimentary plays (those that are for combat to the death). The art they will show without a doubt.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10v.jpg|10v-c}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-c}}
 +
| {{section|Page:Pisani-Dossi MS 25b.jpg|25b-c}}
 +
| {{section|Page:MS Latin 11269 18r.jpg|18r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 25b-d.png|400px|center]]
 +
| <p>[9] <em>This thrust exits from the Master's cover,<br/>And the other plays hereafter may well arise.</em></p>
 +
 
 +
<p>I am the first student of the Master who came before me, and I make this thrust from his cover. You should also know that you can make this thrust from the True Cross Guard and from the Hybrid Cross Guard. As the opponent makes his thrust, the Master or his student who is waiting in one of these guards (or posts) keeps his body low and steps offline crossing the opponent's sword, with his point high into the opponent's face or chest, and with the hilt of his sword kept low, as shown here.</p>
 +
 
 +
<p>''[In the Getty, the Scholar's opponent's right foot is forward.]''</p>
 +
| <p>''I would do other plays if ever it will be pleasing;<br/>This point escapes from the deepest covering of the master.''</p>
 +
 
 +
<p>I am the first Scholar of the Master that came before me, and I make this thrust because it is from his cover. Also, I say that this thrust could quickly be made from the Stance of the True Cross and from the Stance of the Bastard Cross, and I say that immediately as the player throws a thrust to the Master (or Scholar) who was in the aforesaid guards (or stances), the Master (or Scholar) should move lower with his body and step out of the way, crossing the way and thrusting upwards to his face or chest (the cross of the sword held low) as is depicted here.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 10v.jpg|10v-d}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-d}}
 +
| {{section|Page:Pisani-Dossi MS 25b.jpg|25b-d}}
 +
| {{section|Page:MS Latin 11269 18v.jpg|18v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 33v-a.jpg|400px|center]]
 +
| <p>[10] If I see my thrust cannot penetrate his chest, or his face due to his visor, I can lift his visor in order to thrust into his face. And if this does not satisfy me, I can apply other stronger plays.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 33v.jpg|33v-a}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 33v-b.jpg|400px|center]]
 +
| <p>[11] When I closed with this opponent, his armor prevented me from striking him as shown in the previous play. So instead I push strongly against his elbow and make him turn away. Let’s see now if his armor is strong enough when he is attacked from behind.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 33v.jpg|33v-b}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 33v-c.jpg|400px|center]]
 +
| <p>[12] <br/><br/></p>
 +
 
 +
<p>When I saw that my sword was ineffective against you, I quickly applied this grappling technique. I believe, see and feel that your armor will be useless to you when I put you in this strong lower bind, which is shown further in the next<ref>Here the word “subito” (immediately, quickly) means the picture following immediately after this one.</ref> picture.</p>
 +
| <p>''Indeed, by means of this lower bind you will depart on your face.<br/>And moreover, I strike deadly wounds in your chest.''</p>
 +
|
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 33v.jpg|33v-c}}
 +
|
 +
| {{section|Page:MS Latin 11269 17v.jpg|17v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 33v-d.jpg|400px|center]]
 +
| <p>[13] I have you locked in the lower bind or “strong key”, and from this position you cannot escape regardless of how strong you are. I could hurt you or even kill you. I could stop to write a letter and you would not even be able to see what I was doing. You have lost your sword and your helmet, you have been humiliated<ref>Literally “lost your honor”.</ref> and you’ll soon be hurting.<ref>Literally “You’ll have short comfort.” The use of “festa” here is so as to rhyme with “testa” before it.</ref></p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 33v.jpg|33v-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 26a-a.png|400px|center]]
 +
| <p>[14] <em>You go to the ground because of the point of the sword,<br/>And if I do not do you worse you will have a bargain.</em></p>
 +
 
 +
<p>This play flows from the first Master who showed the True Cross Guard or the Hybrid Cross Guard, as follows: when the opponent makes a thrust at the Student who is waiting in guard, the student quickly steps off line to make cover, and counters with a thrust to the opponent’s face. Then the student advances his left foot behind<ref>Fiore actually says “outside the lead foot”, but I’ve translated it as a step behind the lead foot to make the meaning clearer.</ref> his opponent’s lead foot as shown, in order to throw him to the ground, using the point of his sword to hook around the opponent’s neck.</p>
 +
| <p>''You will depart on your face, with the point of the sword in the ground,<br/>And then I would make the unluckier thing itself settle in your mind.''</p>
 +
 
 +
<p>When the Scholar that came before me [9] cannot finish the player with a thrust, he advances his left foot behind [the player's] right. And the point of his sword he thrusts under [the player's] throat to throw him to the ground as is depicted here.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11r.jpg|11r-a}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 34r.jpg|34r-a}}
 +
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-a}}
 +
| {{section|Page:MS Latin 11269 18v.jpg|18v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 26a-b.png|400px|center]]
 +
| <p>[15] <em>You feel the sword that I have set at your neck<br/>And I will show you death on the ground.</em></p>
 +
 
 +
<p>Also let me point out that if the Student has moved to close range, and finds himself unable to destroy his opponent with his sword, then he should use his sword to grapple as shown, that is, he should cast his sword to his opponent’s neck, then step with his right foot behind the opponent’s left foot, and throw him to the ground to the right.</p>
 +
| <p>''I hold the point above the neck, and you feel that.<br/>Now you will suffer the labor of death, the fates do not deny.''</p>
 +
 
 +
<p>This Scholar that came before me [14], if he cannot throw the player to the ground with the point of his sword and with his left foot outside of [the player's] right, he steps with his right foot in front of [the player's] left and throws his sword to his neck. And this play I make on his behalf.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11r.jpg|11r-b}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 34v.jpg|34v-b}}
 +
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-b}}
 +
| {{section|Page:MS Latin 11269 16r.jpg|16r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 34r-b.jpg|400px|center]]
 +
| <p>[16] When I move from my guard to a close range cover and am unable to strike you with a cut, I strike you with a thrust. If I cannot strike you with either, I strike you with the cross guard or with the pommel, depending on my preference.</p>
 +
 
 +
<p>And when I choose to play at close range, and my opponent believes I intend to use my sword, I switch to grappling when this gives me an advantage, or, if not, I can strike him in the face with my cross guard as I told you before, whichever I like.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 34r.jpg|34r-b}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 34r-c.jpg|400px|center]]
 +
| <p>[17] As you saw, the student who preceded me struck his opponent in the face with the crossguard of his sword. Thereafter he can quickly strike him in the face with his pommel, as you see depicted below.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 34r.jpg|34r-c}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 34r-d.jpg|400px|center]]
 +
| <p>[18] Also let me tell you that the student immediately before me who struck his opponent in the face with the pommel of his sword, could also have done what I do, that is, step with his right foot behind his opponent’s left leg, and then hook his opponent’s neck with his sword handle, in order to throw him to the ground as I do.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 34r.jpg|34r-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 26a-c.png|400px|center]]
 +
| <p>[19] <em>If I turn myself close on your left side,<br/>Your sword will be lost from your right hand.</em></p>
 +
 
 +
<p>This student is unable to strike his opponent effectively,<ref>Fiore says unable to strike “cum danno”, “with danger”. “Effectively” seems a good choice here.</ref> so he transitions to grappling as follows: he places his sword point to the inside of his opponent’s right arm. Then the student slides his sword and his left arm under the opponent’s right arm, so as to throw him to the ground, or lock him in the lower bind, known as the “strong key”.</p>
 +
| <p>''The sword will fall on your right side.<br/>I travel around quickly to the left, the limb having been drawn tight, if I am in front.''</p>
 +
 
 +
<p>Again I, who am the fourth Scholar, say that our Master can make this play from the cover which he has made—that is, that he should step with his right foot forward, and he should thrust the point of his sword under [the player's] right arm, and then follow the sword with his left arm. And when he has passed the [player's] right arm with his left arm behind the [player's] elbow, he will twist him into the Under Bind without a doubt. That which he has not done, I do for him—he will have the honor, and I the trouble.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11r.jpg|11r-c}}
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS Ludwig XV 13 34v.jpg|34v-c}}
 +
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-c}}
 +
| {{section|Page:MS Latin 11269 16r.jpg|16r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 34v-a.jpg|400px|center]]
 +
| <p>[20] This play also flows from the True Cross Guard, as follows when a student is in that guard, and an opponent comes against him and suddenly attacks him, then the student should step off the line and thrust his sword point into his face as you see me do here.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 34v.jpg|34v-a}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Latin 11269 16v-b.png|400px|center]]
 +
| <p>[21] <em>I have wasted your hand, you can feel it well,<br/>And I could strike your face with my pommel.</em></p>
 +
 
 +
<p>''[In the Pisani Dossi, the player is wearing the garter.]''</p>
 +
| <p>''You can perceive that I have beaten<ref>Lit. “pounded to pulp”.</ref> your hand<ref>Lit. “palm”.</ref> with great wounds.<br/>I would be able to make a bargain at the same time using the hilt.''</p>
 +
 
 +
<p>My Master has shown me that when I am armored and someone wants to thrust his point in my face in this way, I should thrust the edge of my sword under his left hand and I should step with my right foot behind his left, and in this fashion I can strike his face with my pommel or with my elbow, as can do this Scholar who is after me. If I can perform such a play, it would not fail me.</p>
 +
 
 +
<p>''[In the Morgan, both figures wear garters. It's unclear if this Scholar should also wear a Master's crown.]''</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11r.jpg|11r-d}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-d}}
 +
| {{section|Page:MS Latin 11269 16v.jpg|16v-b}}
 +
 
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 26b-a.png|400px|center]]
 +
| <p>[22] <em>Here I waste your hand by coming to a bind<br/>Which is so strong that I care nothing for your armor.</em></p>
 +
| <p>''Here I strike you truly in the hand; the thing<br/>I sought out with great pains will henceforth be bound to me, because he expresses contempt for grand weapons.''</p>
 +
 
 +
<p>Again, as the Scholar who came before [21] said, I will not fail in that I could make these two plays that are after me—that is, the first play strikes with the pommel to the face and slams you to the ground; the other (which is the second) follows, that if I can advance my right foot and the cross of my sword, then with that I strike you in the ear and in the cheek, and in that way you will go to the ground without fail.</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11v.jpg|11v-a}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 26b.jpg|26b-a}}
 +
| {{section|Page:MS Latin 11269 16v.jpg|16v-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 26b-b.png|400px|center]]
 +
| <p>[23] <em>I will send you to the ground with my hilt,<br/>And I will then waste you with my point.</em></p>
 +
| <p>''Learned in my art, I will turn your body face-up onto the ground.<br/>Henceforth, I will penetrate your gloomy self with my point.''</p>
 +
 
 +
<p>The previous Scholar of the Master [22] is well-informed. With my pommel, I strike you in the face and then I throw you to the ground, in such a way that neither your breastplate nor your helmet will save you.</p>
 +
 
 +
<p>''[In the Morgan, the Scholar's sword is behind his opponent's.]''</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11v.jpg|11v-b}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 26b.jpg|26b-b}}
 +
| {{section|Page:MS Latin 11269 17r.jpg|17r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 26b-c.png|400px|center]]
 +
| <p>[24] <em>You will either lose the sword from your left hand,<br/>Or you will go to the ground because of this entry I make.</em></p>
 +
| <p>''Either you will leave your very own sword from the left part,<br/>Or you, gloomy one, are going into the ground. You cannot deny this.''</p>
 +
 
 +
<p>This play has not failed, as said the second scholar that came before [22], because I could come to this play and strike you in the ear and in the cheek, and I hold myself certain of sending you to the ground. You will go to the ground and I will remain upright.</p>
 +
 
 +
<p>''[In the Morgan, the player faces away from the scholar as in the previous play.]''</p>
 +
| <p><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11v.jpg|11v-c}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 26b.jpg|26b-c}}
 +
| {{section|Page:MS Latin 11269 17r.jpg|17r-d}}
 +
 
 +
|-
 +
|
 +
| [[File:MS M.383 11v-d.png|400px|center]]
 +
| <p>[25] <em>This catch makes me safe from your sword:<br/>Mine is free and yours is imprisoned.<br/>And the fourth play which is in the art of the poleax,<br/>Troubles the sword in armor with this play.</em></p>
 +
 
 +
<p>''[In the Pisani Dossi, the Master is missing his crown.]''</p>
 +
| <p>''This taking makes <me> safe from your sword. Therefore it happens that<br/>Truly my <sword> is free. On the other hand, yours remains imprisoned.<br/>And moreover, the sword brings about the play which is considered the fourth.<br/>In the art of the two-edged axe,<ref>''Bipennifera'' (two-edged axe) likely refers to the poleaxe, even though in that section the manuscript refers to it as “three-pointed” instead.</ref> [the reader] will easily see the same kind of thing.''</p>
 +
 
 +
<p>I have little concern for the Master nor for his Scholars. I do this counter against him with good measure: that is, when he comes with the cover, I beat the elbow of his left arm with my left arm, and because of this he cannot make a defensive grapple and he can be harmed.</p>
 +
 
 +
<p>Again another counter I could make: I could turn his elbow with my left hand. Such a play is done well both armored and unarmored.</p>
 +
| <p><br/><br/><br/><br/></p>
 +
 
 +
{{section|Page:MS M.383 11v.jpg|11v-d}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 26b.jpg|26b-d}}
 +
| {{section|Page:MS Latin 11269 17v.jpg|17v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 34v-d.jpg|400px|center]]
 +
| <p>[26] This is a good strong grapple: as he makes his grip on the opponent’s right arm, the student steps with his left foot behind opponent’s left foot, and thrusts the point of his sword into his face. He can also throw him to the ground to the student’s right.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 34v.jpg|34v-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 35r-a.jpg|400px|center]]
 +
| <p>[27] This is the counter to the Remedy Master and all of his students. It is the case that every counter you use against a Remedy Master will also break the plays of all of that Remedy Master’s students. And this is true for the spear, poleaxe, sword, dagger, and grappling, that is, for the entire art.</p>
 +
 
 +
<p>Let me return to address the Remedy Master: when he is making his cover, the Counter-Remedy Master places his left hand behind his opponent’s right elbow and gives it a powerful push, turning him in order to strike him from behind as you see drawn next.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 35r.jpg|35r-a}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 35r-b.jpg|400px|center]]
 +
| <p>[28] I am the student of the Counter-Remedy Master who came before me and I complete his play as follows: when I have turned my opponent, I immediately strike him from behind, either under his right arm, or under his coif into the back of his head, or into his buttocks (excuse my language), or into the back of his knee, or in any other place where he is unprotected.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 35r.jpg|35r-b}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 35r-c.jpg|400px|center]]
 +
| <p>[29] This sword can be used as a sword or a poleaxe, and should not be sharpened from the guard down to one hand’s-width from the point. The point should be sharp and the sharp edge should be about a hand’s-width in length. The roundel below the hilt should be able to slide down the blade to a hand’s-width from the point and no further. The hilt needs to be strongly made with a heavy pommel with well-tempered spikes. The spikes should be well-tempered and sharp. The front of the sword should be as heavy as the back, and the weight should be from three and a half to five and a half pounds,<ref>A Medieval Italian pound was an approximate measure equal to 300-350 g, or 0.66 to 0.77 standard pounds. Fiore indicates here that the sword should be 5 to 7 [Italian] pounds, so taking the upper and lower values as bounds, this gives a potential range of 3.3 to 5.4 lbs. Values are derived from this link: [http://www.personal.utulsa.edu/~marc-carlson/history/measure.html Measurement in the Middle Ages].</ref> depending on how big and strong the man is and how he chooses to be armed.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 35r.jpg|35r-c}}
 +
|
 +
|
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:MS Ludwig XV 13 35r-d.jpg|400px|center]]
 +
| class="noline" | <p>[30] This other sword is fully sharpened from the hilt all the way to the point, except there is an unsharpened section in the middle<ref>The “terza” of the sword is the same as the “mezza spada” or middle of the blade.</ref> about a hand’s width, big enough for a gloved hand to be able to hold it there. Just like the previous sword, this sword should be sharp with a fine point. And the hilt should be strong with a heavy pommel and a sharp well-tempered spike.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 35r.jpg|35r-d}}
 +
| class="noline" |
 +
| class="noline" |
 +
 
 +
|}
 +
 
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Axe in Armor
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p></p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 27a-a.png|400px|center]]
 +
| <p>[1] {{red|b=1|The Stance of the Shortened Serpent}}</p>
 +
 
 +
<p>''I am the Shortened Stance, the Serpent, with axe in hand;<br/>If my thrust does not miss, I will made trouble for you.<br/>&nbsp;''</p>
 +
 
 +
<p>I am the Short Serpent Guard and I consider myself better than the other guards. And whoever receives one of my thrusts will bear the scars.<ref>Fiore literally says “will be marked”.</ref> This guard delivers a powerful thrust that can penetrate cuirasses and breastplates. Fight with me<ref>Fiore literally says “defend yourself”.</ref> if you want to see the proof.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''Behold, with grasping hands I am called the Short Spear Position<br/>Among mortals. And if the spear point would not try to deceive,<br/>Perhaps I will deceive you, Man. Jupiter is near on a mountain.''</p>
 +
|
 +
| {{section|Page:MS Ludwig XV 13 35v.jpg|lbl=-|35v-attl}}
 +
 
 +
<br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 35v.jpg|35v-a}}
 +
|
 +
<br/>
 +
{{section|Page:Pisani-Dossi MS 27a.jpg|27a-a}}
 +
|
 +
<br/>
 +
{{section|Page:MS Latin 11269 8v.jpg|8v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 27a-b.png|400px|center]]
 +
| <p>[2] {{red|b=1|The Stance of the True Cross}}</p>
 +
 
 +
<p>''I am the strong stance called the Cross:<br/>Neither blows of the axe nor thrusts can bother me.''</p>
 +
 
 +
<p>I am named the Guard of the True Cross, since I defend myself by crossing weapons, and the entire art of fencing and armed combat is based on defending yourself with the covers of crossed weapons. Strike as you wish, I’ll be waiting for you. And just as the student of the First Remedy Master of the sword in armor does, so I can do with a step and a thrust with my poleaxe.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''Behold, I am a Position of strength, and I am called the Cross. No blow is<br/>Bothersome to me, nor as yet the point of the poleaxe<ref>Literally “trident”, perhaps referring to the three striking surfaces of the weapon’s head (axe or hammer, hook, and spear point).</ref> at any time.''</p>
 +
|
 +
| {{section|Page:MS Ludwig XV 13 35v.jpg|lbl=-|35v-bttl}}
 +
 
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 35v.jpg|35v-b}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:Pisani-Dossi MS 27a.jpg|27a-b}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Latin 11269 8v.jpg|8v-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 27a-c.png|400px|center]]
 +
| <p>[3] {{red|b=1|[The Stance of the Queen]}}</p>
 +
 
 +
<p>''I am the Stance of the Queen, of pure loyalty:<br/>I make great blows from a different measure.''</p>
 +
 
 +
<p>I am the Guard of the Lady, and I go against the Boar’s Tusk guard. If he waits for me, I will make a powerful strike at him, in which I move my left foot off the line, and then I pass forwards, striking downwards at his head. And if he blocks strongly under my poleaxe with his, then even if I can’t strike him in his head I will not fail to strike his arms or hands.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''Behold, I am pure of faith standing in the Position of the Woman.<br/>And I work deadly things by doubling a strike of strikes.''</p>
 +
|
 +
|
 +
<br/>
 +
 
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 35v.jpg|35v-c}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:Pisani-Dossi MS 27a.jpg|27a-c}}
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Latin 11269 9r.jpg|9r-a}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 35v-d.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 27a-d.png|400px|center]]
 +
| <p>[4] {{red|b=1|[The Wild Boar's Tusk/Middle Iron Gate]}}</p>
 +
 
 +
<p>''I am the Boar's Tusk, full of daring:<br/>Blows of the axe can do nothing to me.''</p>
 +
 
 +
<p>If my Middle Iron Gate is opposed by the Guard of the Lady, we both know each other’s game, for we have faced each other many, many times in battle with swords and with poleaxes. And let me tell you, what she claims she can do to me, I can do better against her. Also let me tell you that if I had a sword instead of a poleaxe, then I would thrust it into my opponent’s face as follows: when I am waiting in the Middle Iron Gate with my two-handed sword, if he attacked me with his poleaxe with a powerful downward strike from the Guard of the Lady, then I quickly advance forward striking him strongly under his poleaxe as I step off the line, and then I quickly grasp my sword in the middle with my left hand and make the thrust into his face. While there is little difference between we two guards, I am the more deceptive.</p>
 +
| <p><br/></p>
 +
 
 +
<p>''I am the strong Boar’s Tooth and, horribly daring,<br/>By no means do I fear those strikes you make. It cannot be believed.''</p>
 +
 
 +
<p>''[The Paris image resembles the Pisani Dossi.]''</p>
 +
|
 +
|
 +
<br/>
 +
 
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 35v.jpg|35v-d}}
 +
|
 +
<br/>
 +
{{section|Page:Pisani-Dossi MS 27a.jpg|27a-d}}
 +
|
 +
<br/>
 +
{{section|Page:MS Latin 11269 9r.jpg|9r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 36r-a.jpg|400px|center]]
 +
| <p>[5] {{red|b=1|[The Stance of the Long Tail]}}</p>
 +
 
 +
<p>I am the Long Tail, used against the Window Guard, and I can strike at any time. With my downward strikes I can beat every poleaxe or sword to the ground, setting me up nicely for close play. As you see the plays that follow, please consider each one in sequence.</p>
 +
|
 +
|
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 36r.jpg|36r-a}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 36r-b.jpg|400px|center]]
 +
| <p>[6] {{red|b=1|[The Stance of the Casement Window on the Left]}}</p>
 +
 
 +
<p>I am named Window Guard on the left, and I am made with the right arm pulled back.<ref>Literally “I am made with a short right arm”.</ref> This is not a good guard to wait in.<ref>Literally “We do not have stability.”</ref> Everything I do is deceptive. You think that I am going to strike a downward strike, but I pass backwards and switch guards. So while I began on the left, I actually enter on the right. And I can quickly transition to the plays that follow.</p>
 +
|
 +
|
 +
|
 +
<br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 36r.jpg|36r-b}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Latin 11269 09r-c.png|400px|center]]
 +
| <p>[7] <em>I have beaten your axe to the ground;<br/>And mine will quickly be thrust in your face.</em></p>
 +
 
 +
<p>These are the plays that these guards put to the test. Each guard can do them, and each guard believes it will prevail. As is drawn here, whoever beats his opponent’s poleaxe to the ground can do these plays, and will succeed as long as the opponent fails to counter him.</p>
 +
 
 +
<p>''[In the Getty and Pisani Dossi, the Master is missing his crown.]''</p>
 +
| <p>''I will certainly throw your poleaxe down to the earth,<br/>But mine will strike the face with listless wounds.''</p>
 +
|
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 36v.jpg|36v-a}}
 +
| {{section|Page:Pisani-Dossi MS 27b.jpg|27b-a}}
 +
| {{section|Page:MS Latin 11269 9r.jpg|9r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 36v-b.jpg|400px|center]]
 +
| <p>[8] This student puts his axe between his opponent’s legs, and covers his eyes with his left hand. When the opponent, who cannot see, tries to turn, he will surely fall to the ground.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 36v.jpg|36v-b}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 27b-b.png|400px|center]]
 +
| <p>[9] <em>I have come from the Boar's Tusk with my axe,<br/>And with that I have wounded you in the face.</em></p>
 +
 
 +
<p>The previous student can also do this play when he is at close range, as you can see here. He steps with his left foot on top of his opponent’s poleaxe head, and draws back his own poleaxe, then thrusts it into his opponent’s face.</p>
 +
 
 +
<p>''[In the Getty, the Scholar's right foot is on his opponent's poleax.]''</p>
 +
| <p>''Now from the Boar’s Tooth and the particular poleaxe, ready I immediately sprang forth.  <br/>And I pierced the face using that thing with the strength of oak.''</p>
 +
 
 +
<p>''[In the Paris, the Scholar wears a crown.]''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 36v.jpg|36v-c}}
 +
| {{section|Page:Pisani-Dossi MS 27b.jpg|27b-b}}
 +
| {{section|Page:MS Latin 11269 9v.jpg|9v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 27b-c.png|400px|center]]
 +
| <p>[10] <em>I have lifted your visor—you can feel it—<br/>And I will bore out your teeth with my axe.</em></p>
 +
 
 +
<p>The previous student saw that it was not possible to strike his opponent in the face with his poleaxe, because his opponent’s visor is too strong. So he advances his left foot forward and lifts the opponent’s visor, and drives his point into his face with as much force as he can give to his poleaxe. You can add on this play to any of the previous plays, as well as to any of the plays which follow.</p>
 +
| <p>''Lo, I press your very own face with the strong hand, and you feel that.<br/>My sacred poleaxe will now extract these, your very own teeth.''</p>
 +
 
 +
<p>''[In the Paris, the Scholar wears a crown.]''</p>
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 36v.jpg|36v-d}}
 +
| {{section|Page:Pisani-Dossi MS 27b.jpg|27b-c}}
 +
| {{section|Page:MS Latin 11269 9v.jpg|9v-d}}
 +
 
 +
|-
 +
| [[File:Cod.1324 25r-a.jpg|400px|center]]
 +
| [[File:Pisani-Dossi MS 27b-d.png|400px|center]]
 +
| <p>[11] <em>Because of my hand which I have under your arm<br/>I will cause you trouble in the strong key.</em></p>
 +
 
 +
<p>With this hold<ref>“Presa” means a hold, a grip or a grapple.</ref> I can strike you in the head with my poleaxe, and with my left arm I will put you in the Strong Lower Bind, which is more deadly than any other lock.</p>
 +
 
 +
<p>''[These two images seem to show the beginning and end of the technique.]''</p>
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 37r.jpg|37r-a}}
 +
| {{section|Page:Pisani-Dossi MS 27b.jpg|27b-d}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 28a-a.png|400px|center]]
 +
| <p>[12] <em>I will make a quick rotation from this catch:<br/>Your axe will be lost, and mine will strike you in the face.<br/>&nbsp;</em></p>
 +
 
 +
<p>With a half-turn of this poleaxe I will take it from your hands. And once I have taken it from you with this particular turn, I will strike you in the head with it, as the next student shows. And I do not believe you will survive this.</p>
 +
| <p>''By means of this taking, I will possibly have made a whirling around.<br/>From here yours will be plundered, but my poleaxe will strike your forehead.<br/>In this way fate wants the strong to survive.''</p>
 +
 
 +
<p>''[In the Paris, the Scholar's right foot is forward and he wears a crown.]''</p>
 +
|
 +
|
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 37r.jpg|37r-b}}
 +
| {{section|Page:Pisani-Dossi MS 28a.jpg|28a-a}}
 +
| {{section|Page:MS Latin 11269 10r.jpg|10r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 37r-c.jpg|400px|center]]
 +
| <p>[13] This play follows on from the student before me. As he clearly told you, you will likely drop to the ground dead after being struck in the head like this. And if this blow is not enough then I can give you another. If I choose I can also drag you to the ground by your visor, which is drawn next.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 37r.jpg|37r-c}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 37r-d.jpg|400px|center]]
 +
| <p>[14] I am demonstrating what the student before me said he would do to you, that is dragging you to the ground by your visor. This is a grappling technique that is one of the better ones you can do.<ref>Fiore actually writes that this grappling move is “better than the others”, but gives us no clue as to what the “others” are.</ref></p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 37r.jpg|37r-d}}
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 36a-c.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 36a-d.png|400px|center]]
 +
| <p>[15] This play is easy to understand, and you can clearly see how I can drag him to the ground. And when I have him on the ground, I can drag him behind me. And when the long tail of my poleaxe can no longer hold him, then he’ll feel my strikes.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 37v.jpg|37v-a}}
 +
| <p><span style="font-size:85%;">&#91;[[Page:Pisani-Dossi MS 36a.jpg|36a-cd]]&#93;</span> [No text]</p>
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 37v-b.jpg|400px|center]]
 +
| <p>[16] This poleaxe of mine is filled with a powder and is hollow and perforated.<ref>As in full of holes.</ref> And this powder is so strongly corrosive that the moment it touches your eye, you will no longer be able to open it, and you may be permanently blinded.</p>
 +
 
 +
<p>I am the poleaxe, heavy, vicious and deadly. I deliver blows more powerful than any other hand-held weapon. If my first strike misses, then my poleaxe becomes risky to hold on to and is no more of any use to me. But if my first blow is powerfully made on target, then I can stop any other hand-held weapon. And if I am accompanied with good protective armor, then I can defend myself with any of the powerful striking guards of the sword.</p>
 +
 
 +
<p>My most noble lord, my Marquis, there are some vicious things shown in this book that you would never do. I show you them purely to aid your knowledge.<ref>I believe this is not an apology for the poleaxe itself but an apology for showing the dirty trick of the corrosive powder. As such it should really be placed higher up.</ref></p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 37v.jpg|37v-b}}
 +
| <p><span style="font-size:85%;">&#91;[[Page:Pisani-Dossi MS 36a.jpg|36a-b]]&#93;</span> [No text]</p>
 +
|
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:Pisani-Dossi MS 36a-b.png|400px|center]]
 +
| class="noline" | <p>[17] This is the powder that you use in the poleaxe drawn above. Take the sap of the spurge,<ref>“Titimallo” refers to a plant named spurge, genus Euphorbia. Used in medieval medicine as a laxative, spurge has a poisonous milky white latex-like sap. For more information, see [http://www.fioredeiliberi.org/getty/pollaxe.html "Pollaxe in Armour"] by [[Matt Easton]] and [http://guywindsor.net/blog/2014/06/beingwrong/#sthash.2WaPuk2R.GeiEPsy0.dpbs "Being wrong can lead to wonderful things"] by [[Guy Windsor]].</ref> and dry it in a warm oven to make a powder. Now take two ounces of this powder and one ounce of powder of ''fior d'preda'',<ref>Tom Leoni notes that this is a flower also used to create a powder commonly used as makeup. It had a swelling effect on the skin.</ref> and mix them together. Now load this powder into the poleaxe shown above. You can do this with any good caustic powder, but you won’t find a better recipe than the one in this book.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
| class="noline" | {{section|Page:MS Ludwig XV 13 37v.jpg|37v-d}}
 +
| class="noline" | <p><span style="font-size:85%;">&#91;[[Page:Pisani-Dossi MS 36a.jpg|36a-b]]&#93;</span> [No text]</p>
 +
| class="noline" |
 +
 
 +
|}
 +
 
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Spear
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| style="text-align:center; vertical-align:middle;" | [No Image]
 +
| <p>[1] <em>The extended lance which is used in hand;<br/>The more it is extended, the less it deceives.<br/>Six Masters stand in guard with it,<br/>And with a step and a beat, they suddenly strike,<br/>Both from the right side and from the left (for certain):<br/>The beat is made to the side and not up;<br/>And the beat wants to be one arm's length on the lance,<br/>And whoever goes against it will make such a failure.</em></p>
 +
|
 +
|
 +
|
 +
| {{section|Page:Pisani-Dossi MS 15b.jpg|15b-t|lbl=15b}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 39r-a.jpg|400px|center]]
 +
| [[File:MS Ludwig XV 13 39r-b.jpg|400px|center]]
 +
| <p>[2] <em>I wait in this guard with my lance shortened:<br/>My method is to beat and to exchange thrusts.</em></p>
 +
 
 +
We are three masters using spear guards that are closely related to the sword guards. I am the first, which is the Full Iron Gate. I am positioned to quickly beat aside my opponent’s spear, and to do that I step crosswise off the line with my right foot, crossing his spear and beating it to the left. When you step and beat aside together, that combination is hard to beat.
 +
| <p>''This is commonly employed: changing, and withdrawing<br/>The spear which has been extended in opposition; now I delay all with a short javelin.''</p>
 +
 
 +
We are three Masters in guard with our lances, and we conform to the grips of the sword. And I am the first, and I am set in the Full Iron Gate to beat the lance of the player quickly—that is, that I will step with my right foot out of the way to the side, and crossing his lance I will beat it to the left side such that the step and the beat are made in a single pass with the strike. This is a thing that cannot fail.
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 9r.jpg|9r-a}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 39r.jpg|39r-a}}
 +
| {{section|Page:Pisani-Dossi MS 15b.jpg|15b-a}}
 +
| {{section|Page:MS Latin 11269 6v.jpg|6v-c}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 39r-c.jpg|400px|center]]
 +
| [[File:MS Ludwig XV 13 39r-d.jpg|400px|center]]
 +
| <p>[3] <em>Your lance is extended and mine is shortened:<br/>Attack and do not flee, so I may do you villainy.<br/>&nbsp;</em></p>
 +
 
 +
I am positioned in the Middle Iron Gate. My method is to beat aside then counter-strike. Come against me as you will with short spear or staff, when I beat your weapon aside as I step I will never fail to strike you. When you are using a short spear or sword, all guards that are made with the point offline are sufficient for you to wait in when facing any long hand-held weapon. Guards that cover from the right are followed with a step and a thrust. Guards from the left side can also cover and beat aside, but these will wound with a strike, because they cannot effectively place a thrust.
 +
| <p>''Although my very own spear is shortened, nevertheless you will <br/>Go away pierced. And you would throw only if it pleased you before. Do not<br/>Flee from that place. Tearful rewards would flow to gloomy you.''</p>
 +
 
 +
I have set myself in the Middle Iron Gate with shortened lance, and to beat and to strike is always my method. Come whoever wishes with extended lance or staff and I will beat with a step and I won't botch the strike. And all the guards that stay off to the side with shortened lance or shortened sword are sufficient to await any extended hand-held weapon; those of the right side cover, and with the cover step and thrust the point, while the guards of the left side cover or beat and then strike with blows, but cannot thrust very well with the point.
 +
|
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 9r.jpg|9r-b}}
 +
|
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 39r.jpg|39r-c}}
 +
| {{section|Page:Pisani-Dossi MS 15b.jpg|15b-b}}
 +
| {{section|Page:MS Latin 11269 7r.jpg|7r-a}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 39v-a.jpg|400px|center]]
 +
| [[File:MS Ludwig XV 13 39v-b.jpg|400px|center]]
 +
| <p>[4] <em>I will beat your [lance] with my lance as I step<br/>And then I will quickly encase it in your chest.</em></p>
 +
 
 +
I am the noble Right Side Window, always ready to beat aside and counter-strike, and a long spear hardly bothers me. Also if I was using a sword I would wait for the long spear in this same guard, which beats aside and obstructs all thrusts. I can also exchange thrusts, or beat them to the ground without difficulty. I would finish this play with the play shown next.
 +
| <p>''Now penetrating, my spear refutes your javelin,<br/>And in your chest I will rush forth a great wound.''</p>
 +
 
 +
I am the noble Stance of the Casement Window on the right; I am always quick to beat and to strike, and of extended lances I care little. I would also await an extended lance with a sword by standing in this guard, which beats and retards every thrust. I could also make the exchange of thrusts, or beat them to the ground (which cannot fail). In the play hereafter I want to finish.
 +
 
 +
''[In the Paris, the Master's spear leaves his face uncovered, appearing to go behind his head.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 9r.jpg|9r-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 39v.jpg|39v-a}}
 +
| {{section|Page:Pisani-Dossi MS 15b.jpg|15b-c}}
 +
| {{section|Page:MS Latin 11269 7r.jpg|7r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 15b-d.png|400px|center]]
 +
| <p>[5] <em>This is the strike of these three previous Masters,<br/>And in this way their lance should end in your face or chest.<br/>&nbsp;</em></p>
 +
 
 +
The three guards shown above (Full iron Gate, Middle Iron Gate and the overhead Right Side Window) should all finish with this strike, which is used to end the play and demonstrate their skill. Here I show the finishing strike for each of them.
 +
 
 +
''[In the Getty, the Master is missing his crown.]''
 +
| <p>''This particular thing lies in ruins by means of the three preceding masters; it concerns striking back,<br/>And the method is to cross the man through the chest with the javelin,<br/>Or sooner the face and the visage with sad blood.''</p>
 +
 
 +
The three guards which came before should finish in this play—that is, the Full Iron Gate and the Middle Iron Gate and the Stance of the Casement Window, high on the right. In this play they finish the plays of their art. And I strike this man in the face on their behalf…
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
| rowspan="2" |
 +
<br/><br/><br/>
 +
{{section|Page:MS M.383 9r.jpg|9r-d}}
 +
|
 +
<br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 39v.jpg|39v-c}}
 +
| {{section|Page:Pisani-Dossi MS 15b.jpg|15b-d}}
 +
| {{section|Page:MS Latin 11269 7v.jpg|7v-a}}
 +
 
 +
|-
 +
| [[File:MS Latin 11269 07v-c.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 39v-d.jpg|400px|center]]
 +
| <p>[6] <br/><br/></p>
 +
 
 +
This is the counter to the three spear masters shown above, who all finish their play with the strike shown above. Let me explain how to do it: When the Master believes he has driven my spear off-line, I rotate my spear and will strike him with the butt end, which is steel-capped, like the point. Thus, the plays of these masters pose little threat to me.
 +
| <p>''So that you would not harm me more, I stir up counters in opposition,<br/>And I wedge into you, resisting, with beaten spikes.''<ref>Possibly “pulsating/throbbing teeth”.</ref></p>
 +
 
 +
…This is the counter to the three Masters of the lance that would finish in this play and in the way that was said. When the Masters believe my lance to be away from harming their persons, I give a turn to my lance and strike with its butt, since it has as good iron in the butt as in the point. The plays of these Masters bother me little.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 39v.jpg|39v-d}}
 +
|
 +
| {{section|Page:MS Latin 11269 7v.jpg|7v-d}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 16a-a.png|400px|center]]
 +
| <p>[7] <em>We are three Masters who play on the left side:<br/>Come one by one whoever wishes and we will waste him.<br/>And for the fourth Master that finishes our plays in the art,<br/>We have given him his fair share of the Crown.<br/>This guard can suffice for me against any lance,<br/>I cover myself both above and below by beating and stepping;<br/>I do it with the butt low and with the other end high,<br/>And I could make a cover and a strike without trouble.</em></p>
 +
 
 +
We are three left side guards, and I am the first, in the Boar’s Tusk. The left side guards do the same as the right side guards. We step offline advancing our lead foot, and then we strike with our thrusts on the left side. Both right side and left side guards beat aside then thrust, because other attacks with the spear are not as effective.
 +
|
 +
<br/><br/><br/><br/><br/><br/><br/><br/><br/>
 +
 
 +
We are three guards of the left side and I am the first, in the Boar's Tusk. Those guards that are on the right side do the same as we do on the left side: we step out of the way, first advancing the foot which is behind (as was said, out of the way), and with our thrusts on the right side we make a bargain. And to finish the beat, both the right side and the left converge in a thrust so that other offenses with the lance cannot follow.
 +
|
 +
<br/><br/><br/><br/><br/><br/><br/><br/><br/>
 +
{{section|Page:MS M.383 9v.jpg|9v-a}}
 +
|
 +
<br/><br/><br/><br/><br/><br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 40r.jpg|40r-a}}
 +
| {{section|Page:Pisani-Dossi MS 16a.jpg|16a-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 16a-b.png|400px|center]]
 +
| <p>[8] <em>I know how to ward any lance with this guard:<br/>Strike, for I want to harm you with mine in your chest.</em></p>
 +
 
 +
I am waiting for you in the Guard of the True Cross. You have clearly approached too close to me. I will pass backwards with my leading right foot, beating your spear offline to my right. My thrust will not fail me. Yours however will fail you.
 +
|
 +
<br/><br/>
 +
 
 +
I wait in the Stance of the True Cross, for you are too close for my play. I return backward the right foot which is in front, and I will beat your lance out of the way toward the right-hand side. My thrust will not fail: yours will be the failure.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 9v.jpg|9v-b}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 40r.jpg|40r-b}}
 +
| {{section|Page:Pisani-Dossi MS 16a.jpg|16a-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 16a-c.png|400px|center]]
 +
| <p>[9] <em>I will finish you without fail in my turn,<br/>Because I am the Master of all exchanges.</em></p>
 +
 
 +
I am positioned in the Left Side Window Guard. If I do not strike you with a thrust you will be lucky. I will step offline to the left with my left foot, with my point held high and my arms low. Then I will thrust into your face and you will have no defense. The play that follows is the finish used by all three Masters. If you try it once, you won’t wish to try it again.
 +
|
 +
<br/><br/>
 +
 
 +
I appear in the Stance of the Casement Window on the Left; if I don't strike you with the point, you will have a good deal. I will hold the point high and I will carry my arms low, and I will step out of the way to the left-hand side with the foot that is behind. Then I will thrust the point in your face without any possible defense. We three Masters can all make the play which is after me; once you try it, you will not want to taste any more.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 9v.jpg|9v-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 40r.jpg|40r-c}}
 +
| {{section|Page:Pisani-Dossi MS 16a.jpg|16a-c}}
 +
|
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:Pisani-Dossi MS 16a-d.png|400px|center]]
 +
| class="noline" | <p>[10] <em>The art of the lance makes its end here.<br/> armor and without, this is its greatest defense.</em></p>
 +
 
 +
Here we end the plays of the spear that are made from the left side against threats and attacks. These three guards shown above are carefully chosen to easily defeat the long or the short spear, since they are effective in offense or defense.
 +
 
 +
<br/>The counter to this thrust is easily done: when your thrust is beaten offline, you turn the butt of your spear and strike with that. And with that I have now shown you enough of the plays of the spear.
 +
 
 +
''[In the Getty, the Master is missing his crown.]''
 +
| class="noline" |
 +
<br/><br/>
 +
 
 +
The play of the lance finishes here and I make it from the left side; I am besotted with their plays. These three guards which were previously make me think that they will not fail against lance extended or shortened, for they are guards of great protection (in that in one jaunt they make both defense and offense).
 +
 
 +
And the counter to this thrust can be done well. When the thrust is broken with that strike, the butt should be turned [forward]. This may be enough of the play of the lance.
 +
 
 +
''<br/>[In the Morgan, the Master is missing his crown.]''
 +
| class="noline" |
 +
<br/><br/>
 +
{{section|Page:MS M.383 9v.jpg|9v-d}}
 +
| class="noline" |
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 40r.jpg|40r-d}}
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 16a.jpg|16a-d}}
 +
| class="noline" |
 +
 
 +
|}
 +
 
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Spear vs. Other Weapons
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
| rowspan="2" | [[File:MS Ludwig XV 13 31r-c.jpg|400px|center]]
 +
| rowspan="2" | [[File:MS Ludwig XV 13 31r-d.jpg|400px|center]]
 +
| <p>[11] <em>In this way I wait with the dagger and with the staff:<br/>The staff will make a cover, the dagger will strike you in the chest.<br/>And that which I do with a staff, I could also do with a sword,<br/>Although I could find much stronger plays with the sword.</em></p>
 +
 
 +
<p>This master awaits these two with their spears. The Master, who is waiting with a staff and a dagger, sees that the first intends to attack with an overhand strike, while the second intends to strike underhand. Before one opponent attacks with his spear,<ref>Fiore actually writes “When the opponent attacks…” But the guard must be assumed before the attack, not during it.</ref> the Master tilts his staff to the right, similar to the guard Full iron Gate, turning himself without moving his feet nor lifting the staff off the ground. And the Master waits in this guard. As one opponent attacks, the Master pushes the spear aside with his staff to the left, using his dagger too if needed. Following that cover, the Master steps and strikes. Both attackers with their spears will discover that this is his defense.</p>
 +
| <p>''In the same way, holding fast to dagger and staff,<br/>I delay you while the staff offers cover to me, and that<br/>Dagger strikes the breast. Nevertheless, I drive out everything the sword would have accomplished, <br/>Using the staff. However, we can use the better<br/>Plays herein easily, exercising the nimble shoulders.''</p>
 +
 
 +
<p>For this play, which is of staff and dagger against a lance, the Scholar awaits him of the lance in the Full Iron Gate, turning his body but not moving his feet from the ground nor his staff toward the right side. And as he of the lance attacks the Scholar with his lance, the Scholar advances his left foot out of the way, beating and voiding the lance. And he steps close to him without delay and with the dagger he can strike him. This play he wants to make without fail.</p>
 +
|
 +
<br/><br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 18r.jpg|18r-c}}
 +
|
 +
<br/><br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 31r.jpg|31r-c}}
 +
| {{section|Page:Pisani-Dossi MS 15a.jpg|15a-a}}
 +
| {{section|Page:MS Latin 11269 8r.jpg|8r-a}}
 +
 
 +
|-
 +
| <p>[12] This is the play of the Master who awaits the two opponents with their spears. The Master has a dagger in his right hand, and with his left hand he holds a staff vertically in front of him. He can show you this play, but I will demonstrate it for him. If my opponent had known what to do he could have easily avoided my dagger strike. If he had widened his grip on his spear, and made cover under my dagger (that is, a crossing) with the back end of his spear, then this would not have happened. If he had known how to do this counter with his spear, he would have destroyed me.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 31r.jpg|31r-d}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 15a-b.png|400px|center]]
 +
| <p>[13] <em>In that way that the previous Master has said,<br/>I strike that one in the chest with the dagger.</em></p>
 +
 
 +
<p>This is the play of the Master who waits for those two with spears. The Master has in his right hand a dagger, and he keeps a stave straight in front of him in his left hand. He can do the play in this way. And I do it for him in his place. But if this player knew how to do well, he could have avoided the dagger’s point. If he had lifted his hands with the spear, and with the rest of the spear which remains at the rear-end, he had covered under my dagger, which means crossing, it would not have happened to him. And he could have damaged me with his spear, if he knew how to do this counter to me.</p>
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 31v.jpg|31v-a}}
 +
| {{section|Page:Pisani-Dossi MS 15a.jpg|15a-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 15a-c.png|400px|center]]
 +
| <p>[14] <em>I wait here with two sticks and a dagger:<br/>The one I will throw at you and with the other I will cover, coming to the narrow,<br/>And quickly I will strike you in the chest with my dagger.</em></p>
 +
 
 +
<p>This Master defends with two cudgels against a spear, as follows: when the spear man approaches to attack, the Master with strikes at his opponent’s head with the cudgel in his right hand. Then he quickly strikes with the cudgel in his left hand so as to make cover against the spear, and then he strikes his opponent in the chest with his dagger, as is shown next.</p>
 +
| <p>''Here, I delay you with two clubs at the same time and also a dagger.<br/>But I will throw the first [club], and I will hold the remaining<br/>Covering limb in that place, when we will both press in.<br/>From here I would strike you quickly, but with the dagger in the opening of the breast.''</p>
 +
|
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 31v.jpg|31v-b}}
 +
| {{section|Page:Pisani-Dossi MS 15a.jpg|15a-c}}
 +
| {{section|Page:MS Latin 11269 8r.jpg|8r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 15a-d.png|400px|center]]
 +
| <p>[15] <em>That which the Master has said, so do I do,<br/>I have placed the dagger in your chest without trouble.</em></p>
 +
 
 +
<p>I show the play of the Master before me. If he had known the counter, he would have obstructed me as follows: he would have lifted my hands with his spear by rotating it under my dagger, and in that way he would have been able to obstruct me and destroy me. So take this, since you know nothing.</p>
 +
| <p>''This deed having been done, [that] which the master now says will be told,<br/>And however I affix this particular dagger in the breast.''</p>
 +
|
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 31v.jpg|31v-c}}
 +
| {{section|Page:Pisani-Dossi MS 15a.jpg|15a-d}}
 +
| {{section|Page:MS Latin 11269 8v.jpg|8v-a}}
 +
 
 +
|-
 +
| rowspan="2" | [[File:Pisani-Dossi MS 34a-a.png|400px|center]]
 +
| rowspan="2" | [[File:Pisani-Dossi MS 34a-b.png|400px|center]]
 +
| <p>[16] Here are three opponents who wish to kill this Master. The first intends to strike underhand, and he carries his spear at the mid-point. The second carries his lance couched and fully extended. The third intends to throw his spear. They have agreed that no one will make more than one strike each. Also they will take it in turns.</p>
 +
| <p>Here are three companions who want to strike this Master: the first wants to strike underhand and carries his weapon at the middle of the lance; the other carries his weapon in rest at the full of the lance; the third wants to throw his lance. And they are agreed that none should strike more than one blow per man, and that they should do it one by one.</p>
 +
| {{section|Page:MS M.383 8r.jpg|8r-c}}
 +
| {{section|Page:MS Ludwig XV 13 46r.jpg|46r-a}}
 +
|
 +
|
 +
 
 +
|-
 +
| <p>[17] <em>Even if Rolando and Pulicano were to make me an invitation with lances,<br/>I would await them in this match with spear or with staff;<br/>I will beat their lances and I will strike their heads<br/>As I depart from this guard.</em></p>
 +
 
 +
<p>Attack me one after another if you choose. For I am not going anywhere. I am ready and waiting for you in the Boar’s Tusk guard. When the spear is launched against me, whether fixed grip or thrown from the hand, I quickly step off line by advancing my right foot and stepping crosswise with my left foot, beating aside the spear that comes to strike me. Even if I were attacked a thousand times, my defense would not fail me even once. What I can do with my ''ghiavarina'' I could also do with a staff or a sword. The defense I make against the spear I could also make against a sword or a staff. My plays are shown next.</p>
 +
| <p>''If Roland, and likewise Pulicanus and the rude one, would attack me, the foot-soldier<br/>With ashen spear, I would wait while considering,<br/>And on the right he would hold either a javelin or a wild staff.<br/>And I will strike a more furious blow against the spears.<br/>To the greatest extent with this action I would withdraw while striking down the high heads.''</p>
 +
 
 +
<p>Come one by one whoever wants to come, and I will run from no one. Again, I am positioned in the Boar's Tusk to wait, and when the lance will come against me (carried or thrown by hand) I immediately avoid its path—that is, I advance my right foot out of the way and with my left I step on the traverse, beating the lance that comes to strike me such that of a thousand, I couldn't fail to beat even one. This I do with the spear, and with the staff or with the sword I would also do it, and the defense that I make which is against the spear, I could also make against the sword or the staff. I ask that you view the plays that are hereafter.</p>
 +
|
 +
<br/><br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 8r.jpg|8r-d}}
 +
|
 +
<br/><br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 46r.jpg|46r-b}}
 +
| {{section|Page:Pisani-Dossi MS 34a.jpg|34a-b}}
 +
| {{section|Page:MS Latin 11269 6r.jpg|6r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 34a-c.png|400px|center]]
 +
| <p>[18] <em>I cut you in the head with my spear<br/>From the guard of the Master which is so quick.</em></p>
 +
 
 +
<p>This is the play of the Master who waits with his ''ghiavarina'' in the Boar’s Tusk for an attack from the three on horseback. To enter into this play he steps off line and beats aside his opponent’s spear. And although he knows this play, I will demonstrate for him that my ''ghiavarina'' is so fast that I can strike my opponent with both thrusts or cuts against his head.</p>
 +
| <p>''Now that lance cuts your gloomy head with a great wound.<br/>And he moves with the caution of a proud master.''<ref>Or “the precaution of the proud master moves me”.</ref></p>
 +
 
 +
<p>This play belongs to the Master who came before, who awaits him of the horse with his spear in Boar's Tusk. In stepping out of the way and beating as he does, he enters into this play and so that it is understood, I do according to his word and with the edge and the point I could strike him in the head, since I carry my spear with such readiness.</p>
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 8v.jpg|8v-a}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 46r.jpg|46r-c}}
 +
| {{section|Page:Pisani-Dossi MS 34a.jpg|34a-c}}
 +
| {{section|Page:MS Latin 11269 6r.jpg|6r-d}}
 +
 
 +
|-
 +
| class="noline" |
 +
| class="noline" | [[File:Pisani-Dossi MS 34a-d.png|400px|center]]
 +
| class="noline" | <p>[19] <em>With the butt I have struck you with my spear,<br/>But I have another point which is even sharper.</em></p>
 +
 
 +
<p>This is also a play made by the Master above, who waits in the Boar’s Tusk. In his place I can make this play instead of the other: if he beats aside my spear with his spear, I rotate my spear and strike him with the butt, which is capped with well-tempered steel.</p>
 +
| class="noline" | <p>''I, the clever one, strike your lips with this hard thrust,<br/>Anticipating renewing a wound with the heavy point.''</p>
 +
 
 +
<p>Again is this the play of the aforesaid Master who was previously in the Stance of the Boar. In his stead I do this, which he also could have done: when the lance is beaten, I turn my spear and I strike him with the butt (since it is well-tempered iron).</p>
 +
| class="noline" |
 +
<br/><br/>
 +
{{section|Page:MS M.383 8v.jpg|8v-c}}
 +
| class="noline" |
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 46r.jpg|46r-d}}
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 34a.jpg|34a-d}}
 +
| class="noline" | {{section|Page:MS Latin 11269 6v.jpg|6v-b}}
 +
 
 +
|}
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Mounted Fencing
 +
| width = 240em
 +
}}
 +
 
 +
{| class="master"
 +
|-
 +
! <p>Illustrations</p>
 +
! <p>Illustrations</p>
 +
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
 +
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
 +
! <p>[[Tratt‍ato della sch‍erma (MS M.383)|Morgan Transcription]] (1400s){{edit index|Tratt‍ato della sch‍erma (MS M.383)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Fior di Battaglia (MS Ludwig XV 13)|Getty Transcription]] (1400s){{edit index|Fior di Battaglia (MS Ludwig XV 13)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi Transcription]] (1409){{edit index|Flos Duellatorum (Pisani Dossi MS)}}<br/>by [[Michael Chidester]]</p>
 +
! <p>[[Florius de Arte Luctandi (MS Latin 11269)|Paris Transcription]] (1420s){{edit index|Florius de Arte Luctandi (MS Latin 11269)}}<br/>by [[Kendra Brown]] and [[Rebecca Garber]]</p>
 +
 
 +
|-
 +
|
 +
| style="text-align:center; vertical-align:middle;" | [No Image]
 +
| <p>[1] <em>I am a noble weapon, Lance by name:<br/>In the beginning of battle I am always used.<br/>And whoever watches me with my dashing pennant<br/>Should be frightened with great dread.<br/>And if in the beginning I make my due,<br/>Axe, sword, and dagger will I upset.</em></p>
 +
| <p>Here begins the art of the noble weapon called Lance; in the beginning of battle, on horse and on foot, is its use. And whoever watches it with its dashing pennant should be frightened with great dread. And it makes great thrusts which are dangerously strong, and with a single one it can give death. And if in the first blow it makes its due, then axe, sword, and dagger will all be upset.<ref>Note that in the Morgan, this octave is used to introduce the spear, but a very similar sestet is used in the Pisani Dossi to introduce the mounted fencing. They are included here in the mounted section rather than the spear because the Pisani Dossi has a different introductory octave for the spear.</ref></p>
 +
| {{section|Page:MS M.383 9r.jpg|9r-t|lbl=9r}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 29a.jpg|29a-a}}
 +
|
 +
 
 +
|-
 +
| rowspan="2" | [[File:Pisani-Dossi MS 29a-a.png|400px|center]]
 +
| rowspan="2" | [[File:Pisani-Dossi MS 29a-b.png|400px|center]]
 +
| rowspan="2" | <p>[2] ''I carry my lance in the Boar's Tusk:<br/>To deviate yours, I will make mine enter.''</p>
 +
 
 +
I carry my lance in the guard Boar’s Tooth, because I am well-armoured and have a shorter lance than my opponent. My intention is to beat his lance offline as I raise mine diagonally. And this will result in our lances crossing each other at about an arm’s length from the point. My lance however will then run into his body, while his will pass offline far from me. And that is how this is done.
 +
 
 +
(This text applies to the drawing on the right.)<ref>Fiore means that the text of 41r-a actually applies to the drawing at 41r-b (i.e. the drawing to the right, who is the rider winning the engagement, hence the “Re” [King]). I assume this was an error by the scribe. I've expanded the line so that it is comprehensible.</ref>
 +
| rowspan="2" | <p>''[Now] I bear [my] spear, but brandishing with the Boar’s Tooth<br/>And by my hand, I would be able to mark you with contrasting colors; I will penetrate your marrow.''</p>
 +
 
 +
I carry my lance in the Stance of the Wild Boar's Tusk because I am well-armored and have a shorter lance than my companion. And so I make my strategy to beat his lance out of the way (so that it is off to one side and not high), and thus will I strike with my lance to his and enter with an arm on my haft, and my lance will run into his person. And his lance will go out of the way far from me, and in such fashion will I do it as is written and depicted here.
 +
|
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 41r.jpg|41r-a}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 3r.jpg|3r-b}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 41r.jpg|41r-b}}
 +
| {{section|Page:Pisani-Dossi MS 29a.jpg|29a-b}}
 +
| {{section|Page:MS Latin 11269 2r.jpg|2r-b}}
 +
 
 +
|-
 +
| rowspan="2" | [[File:Pisani-Dossi MS 29a-c.png|400px|center]]
 +
| rowspan="2" | [[File:Pisani-Dossi MS 29a-d.png|400px|center]]
 +
| <p>[3] ''In the Boar's Tusk I carry my lance;<br/>To beat and to strike are always my method.''</p>
 +
 
 +
This is the counter to the previous play when one rides against another with sharp steel, but one has a shorter lance than the other. When he who has the shorter lance carries it low in the Boar’s Tusk, then he with the longer lance should similarly carry his lance low, as drawn here, so that the short lance cannot beat aside the long lance.
 +
|
 +
|
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 41r.jpg|41r-c}}
 +
| {{section|Page:Pisani-Dossi MS 29a.jpg|29a-c}}
 +
|
 +
 
 +
|-
 +
| <p><em>So that you won't have advantage over me with your lance,<br/>This carry of yours I will also make with mine.</em></p>
 +
 
 +
<p>''[In the Getty, the Master on the right is missing his crown.]''</p>
 +
| <p><br/><br/></p>
 +
 
 +
This is the counter to the play of the lance which came before, that here one runs against the other with sharp iron and he has a shorter lance than the other. When he that has a short lance carries his low in the Boar's Tusk, he that has the long lance should similarly carry it low in the way which is depicted here, so that the short cannot beat the long.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 3r.jpg|3r-d}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 29a.jpg|29a-d}}
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 29b-a.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 29b-b.png|400px|center]]
 +
| <p>[4] <em>Because of the short lance that I hold, I come in the Stance of the Queen:<br/>To beat and to strike, I hold myself certain.</em></p>
 +
 
 +
This is another way to carry your lance when fighting another lance. This Master has a short lance, so he carries it in Guard of the Lady on the left as you can see, so he can beat aside his opponent’s weapon and strike him.
 +
| <p>''Behold! I come, holding the lance in the Woman’s [Position] at the chest.<br/>I do not fear touching the earth with pliant knees.<br/>And I would strike a bargain by staining, nevertheless your lance will thrust forward.''<ref>Depending on the interpretation of the final abbreviation, the last line may be read in different ways; the final verb might be ''perdet'' (loses), ''raedet'' (pillages), or ''prodet'' (thrusts forward). We have chosen the last of these as it is least specific to whether the lance in question is winning or losing the fight, which is unclear from the rest of the verse.</ref></p>
 +
 
 +
This is another way to carry the lance. This Master has a short lance and carries it in the Stance of the Queen on the Left as you can see, to beat and then to strike his companion.
 +
|
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 3v.jpg|3v-b}}
 +
|
 +
<br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 41v.jpg|41v-b}}
 +
| {{section|Page:Pisani-Dossi MS 29b.jpg|29b-b}}
 +
| {{section|Page:MS Latin 11269 2r.jpg|2r-d}}
 +
 
 +
|-
 +
| rowspan="2" | [[File:Pisani-Dossi MS 29b-c.png|400px|center]]
 +
| rowspan="2" | [[File:MS Ludwig XV 13 41v-d.jpg|400px|center]]
 +
| <p>[5] <em>To waste you or your horse, I make this throw:<br/>And I will come to you to attack with my sword.</em></p>
 +
 
 +
<p>''[In the Getty, the Master on the left is missing his crown.]''</p>
 +
| <p><br/><br/></p>
 +
 
 +
If I throw my lance into the chest of your horse, your beat will fail. And as soon as I’ve thrown my lance, I will take up the sword for my defense and with your lance you will not do me offense.
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 3v.jpg|3v-c}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 29b.jpg|29b-c}}
 +
|
 +
 
 +
|-
 +
| <p>This Master also carries his lance in Guard of the Lady on the left, in order to knock aside the spear his opponent is about to throw at him. Just as he can beat it aside using his lance, so too he could beat it aside using a staff or a short sword.</p>
 +
 
 +
<p>''[In the Pisani Dossi, the Master on the right is missing his crown.]''</p>
 +
|
 +
<p>Again, this Master carries his lance in the Stance of the Queen on the Left to beat the lance that the companion wants to throw. And that beat which he wants to strike with the lance he could also do with a staff or with a sword—except that if he throws his lance into the chest of my horse, my beat will be turned to failure.</p>
 +
 
 +
<p>''[In the Morgan, the Master on the right is missing his crown.]''</p>
 +
| {{section|Page:MS M.383 3v.jpg|3v-d}}
 +
| {{section|Page:MS Ludwig XV 13 41v.jpg|41v-d}}
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 30a-a.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 42r-b.jpg|400px|center]]
 +
| <p>[6] <em>Fleeing, I cannot make any other defense<br/>And so I turn myself to the right and will make you offense.</em></p>
 +
 
 +
This master who is fleeing is not wearing armor and rides a horse built for speed, and as he flees he constantly throws his lance point behind him so as to strike at his opponent. And if were to turn his horse to the right he could quickly enter into the Boar’s Tusk guard with his lance, or he could take the left side Guard of the Lady, to beat aside his opponent’s weapon and finish him in similar fashion to the first  and the third  plays of the lance.
 +
 
 +
''[In the Pisani Dossi, the Master is missing his crown.]''
 +
| <p>''Correct in opposition, I would make you strong pains.<br/>Whoever &lt;I&gt; runs away cannot defend his own body.''</p>
 +
 
 +
This Master who flees is not armored and is on a running horse, and he is always throwing thrusts with his lance backward to strike his companion. And if he were to turn to the right side he could easily enter into the Boar's Tusk with his lance or into the Stance of the Queen on the Left, and beat and strike as he could do in the first and third plays of the lance [on foot].
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 4r.jpg|4r-b}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 42r.jpg|42r-b}}
 +
| {{section|Page:Pisani-Dossi MS 30a.jpg|30a-b}}
 +
| {{section|Page:MS Latin 11269 3r.jpg|3r-b}}
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 30b-a.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 30b-b.png|400px|center]]
 +
| <p>[7] <em>With my sword, I will beat your lance,<br/>And with either the point or the edge I will strike you.</em></p>
 +
 
 +
This method of carrying the sword against the lance is well suited for beating aside your opponent’s lance when you are passing him on his right side. And this guard is effective against all hand held weapons, namely pole axe, staff, sword etc.
 +
| <p>''The regal Form of the Woman is suitable, and piercing you<br/>With the sword <with the point> and raging against [you], this spirit sends <br/>To the shadows; the divine will of heaven would favor that manner.''</p>
 +
 
 +
This carry of the sword against the lance is very good for beating the lance while riding to the right side of your companion. And this guard is good against all other handheld weapons—that is, against the ax, the staff, the sword, and so forth.
 +
 
 +
''[Morgan text accompanies subsequent pairing.]''
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS M.383 4r.jpg|4r-d}}
 +
|
 +
<br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 42r.jpg|42r-d}}
 +
| {{section|Page:Pisani-Dossi MS 30b.jpg|30b-b}}
 +
| {{section|Page:MS Latin 11269 2v.jpg|2v-b}}
 +
 
 +
|-
 +
| rowspan="2" | [[File:MS Ludwig XV 13 42v-a.jpg|400px|center]]
 +
| rowspan="2" | [[File:MS M.383 04r-d.png|400px|center]]
 +
| <p>[8] <em>I make the counter to your guard,<br/>And your horse I will strike without any trouble.</em></p>
 +
 
 +
This is the counter to the previous play. This Master attacks with his lance held low in order to strike his opponent’s horse either in the head or the chest, and the opponent will be unable to beat aside such a low attack with his sword.
 +
 
 +
''[In the Getty, the Master on the right is missing his crown. In the Pisani Dossi, both Masters are missing their crowns.]''
 +
|
 +
<br/><br/>
 +
 
 +
This is the counter to the play that came before. And this Master with the lance carries it low to strike the horse in the head and in the chest, because his companion cannot reach so low with his sword.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 4r.jpg|4r-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 42v.jpg|42v-a}}
 +
| {{section|Page:Pisani-Dossi MS 30a.jpg|30a-c}}
 +
|
 +
 
 +
|-
 +
|
 +
| <p>This carry of the sword is very fine, and it is called by a name that was said before: I carry my sword in the left Queen's Stance. And if this one comes to me with the lance in rest (to strike me and not my horse), I will beat his lance and I will strike him with my sword without fail. Note that the sword cannot defend below the neck of a horse.</p>
 +
 
 +
<p>''[Morgan text accompanies previous pairing.]''</p>
 +
| {{section|Page:MS M.383 4v.jpg|4v-b}}
 +
|
 +
|
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 30b-c.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 30b-d.png|400px|center]]
 +
| <p>[9] <em>So that you do not beat my lance out of the way,<br/>Under my left arm I carry it in rest.</em></p>
 +
 
 +
This is another counter of lance versus sword. In this one, the man with the lance couches his lance under his left arm, so that his lance cannot be beaten aside. And in this way he will be able to strike the man with the sword with his lance.
 +
|
 +
<br/><br/>
 +
 
 +
Again this is another counter of lance against sword. He of the lance sets his lance in rest under his left arm so that his lance cannot be beaten aside. And in this fashion he can strike him of the sword with his lance.
 +
 
 +
''[In the Morgan, the Master's opponent is wearing a crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 4v.jpg|4v-d}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 42v.jpg|42v-d}}
 +
| {{section|Page:Pisani-Dossi MS 30b.jpg|30b-d}}
 +
|
 +
 
 +
|-
 +
| rowspan="2" | [[File:Pisani-Dossi MS 31a-a.png|400px|center]]
 +
| rowspan="2" | [[File:MS Ludwig XV 13 43r-b.jpg|400px|center]]
 +
| <p>[10] <em>At mid-lance thus I come, well-enclosed<br/>So that you will delay in beating my lance.<br/>I trust I will strike your horse without fail;<br/>You will see my play carried out hereafter.</em></p>
 +
 
 +
''[In the Pisani Dossi, the Master on the right is missing his crown.]''
 +
| <p>''Drawing the members close at the same time, I, the harsh one, seize the javelin &lt;I delay the javelin&gt;<br/>In the middle. You will have been hindered in breaking [me] open. Finally,<br/>Your steed <horse>, having been struck a lethal wound, will depart.''</p>
 +
 
 +
''[In the Paris, the Master on the right is missing his crown.]''
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS M.383 5r.jpg|5r-a|blk=1}}
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
{{section|Page:MS Ludwig XV 13 43r.jpg|43r-a|blk=1}}
 +
| {{section|Page:Pisani-Dossi MS 31a.jpg|31a-a}}
 +
| {{section|Page:MS Latin 11269 2v.jpg|2v-c}}
 +
 
 +
|-
 +
| <p>Here the man with the sword awaits the man with the lance, and he is waiting in the Boar’s Tusk guard. As the man with the lance approaches him, the Master with the sword beats aside the lance to the right side, covering and striking with one turn of the sword.</p>
 +
 
 +
''[In the Getty, the Master on the left is missing his crown.]''
 +
| <p>This one with the sword awaits him with the lance. He waits in the Boar's Tusk as he with the lance comes, and then the Master with the sword beats his lance away toward the right side. And thus can the Master do with the sword—that is, he can cover in one rotation of the sword.</p>
 +
 
 +
''[In the Morgan, the Master on the left is missing his crown.]''
 +
| {{section|Page:MS M.383 5r.jpg|5r-b}}
 +
| {{section|Page:MS Ludwig XV 13 43r.jpg|43r-b}}
 +
| {{section|Page:Pisani-Dossi MS 31a.jpg|31a-b|blk=1}}
 +
| {{section|Page:MS Latin 11269 2v.jpg|2v-d|blk=1}}
 +
 
 +
|-
 +
| [[File:MS Ludwig XV 13 43r-c.jpg|400px|center]]
 +
| [[File:MS Ludwig XV 13 43r-d.jpg|400px|center]]
 +
| <p>[11] <em>So that you cannot cross your sword with my [weapon],<br/>I carry it low to waste your horse.</em></p>
 +
 
 +
This is the counter to the preceding play of lance versus sword. Here the man with the lance strikes his opponent’s (the man with the sword) horse in the head, because he cannot beat aside the lance with his sword since it is too low.
 +
 
 +
''[In the Pisani Dossi, the Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
 
 +
This is the counter of the play of the lance and the sword that came before: that is, that he with the lance strikes to the head of the horse of his enemy (that is, of him with the sword), because he cannot beat a lance or sword which is so low.
 +
 
 +
''[In the Morgan, the Master's opponent wears a crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 5r.jpg|5r-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 43r.jpg|43r-c}}
 +
| {{section|Page:Pisani-Dossi MS 31a.jpg|31a-c}}
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 31b-a.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 31b-b.png|400px|center]]
 +
| <p>[12] <em>Such a carry of the sword gives me four plays to make:<br/>I could strike with the point and the edge without fail,<br/>And also throw someone from horseback or take his sword.<br/>Seldom are these things failures to me.<br/></em></p>
 +
 
 +
This way of carrying the sword is named “the Long Tail Guard”. When you are riding to your opponent’s right side, this is a very good guard to use against the lance and all other hand held weapons. Keep firmly in your mind that thrusts and strikes from the left side should be beaten aside to your outside line, beating them diagonally upwards, not vertically. And the downward strikes should similarly be beaten aside to the outside, lifting your opponent’s sword a little as you do so. You can make these plays as these drawings show.
 +
| <p>''Truly there are four ways of carrying a sword;<br/>Verily he moves toward the plays. And by means of the sharp point being forward,<br/>I would hit you. And he will cut the open limbs with cutting,<br/>And again from your seat you will plainly depart <br/>Without a sword. And that method seldom disappoints a man.''</p>
 +
 
 +
This carry of the sword is called the Stance of the Long Tail, and it is very good against lance and sword and against all other handheld weapons, while riding to the right side of the enemy. Bear in mind well that the thrusts and the backhand blows should be beaten out to the side and not upward, and the downward blows should also be beaten to the side (lifting the sword of the enemy slightly); [this guard] can make all the plays corresponding to the figures that are depicted.
 +
|
 +
<br/><br/><br/><br/><br/>
 +
{{section|Page:MS M.383 5v.jpg|5v-b}}
 +
|
 +
<br/><br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 43v.jpg|43v-b}}
 +
| {{section|Page:Pisani-Dossi MS 31b.jpg|31b-a}}
 +
| {{section|Page:MS Latin 11269 3r.jpg|3r-d}}
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 31b-c.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 31b-d.png|400px|center]]
 +
| <p>[13] <em>Of these two guards I make no comparison;<br/>Whoever knows more, his judgment will overcome.<br/>And whoever will know to watch for deception<br/>Will be able to make the four aforesaid plays well.</em></p>
 +
 
 +
This version of the Long Tail Guard is a good guard when your opponent attacks you from his sword on his left shoulder, as this opponent is shown doing here. And be advised that this guard will work against all attacks from both the right and the left sides, and against anyone, whether right handed or left handed. Hereafter begin the plays from the Long Tail that always begin with beating aside the opponent’s weapon, as you saw drawn in the first guard of the Long Tail.
 +
 
 +
''[In the Getty, the Master on the left is missing his crown.]''
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
Again this same Stance of the Long Tail is good when one comes against you with the sword on the left-hand side, as this enemy of mine does, and know that this guard counters all blows from the right side and from the left side, and counters anyone, be they right- or left-handed. And hereafter commence the plays of the Long Tail, which always beats in the fashion that was said earlier in the first Guard of the Long Tail.
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 5v.jpg|5v-d}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 43v.jpg|43v-d}}
 +
| {{section|Page:Pisani-Dossi MS 31b.jpg|31b-c}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32a-b.png|400px|center]]
 +
| <p>[14] <em>This is an equal crossing, without advantage;<br/>Whoever has more art and malice begins the action.</em></p>
 +
|
 +
<br/><br/>
 +
 
 +
These two Masters are here crossed at the full of the sword. And that which one can do, the other can do also—that is, he can do all the plays of the sword with this crossing. But crossing is of three categories (that is, from the full of the sword to the tip of the sword), and whoever is crossed at the full of the sword can withstand a little, and whoever is crossed at middle of the sword can withstand less, and whoever at the tip of the sword can withstand nothing at all. So the sword, as such, has three matters—that is, a little, less, and nothing.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 6r.jpg|6r-b}}
 +
|
 +
| {{section|Page:Pisani-Dossi MS 32a.jpg|32a-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32a-a.png|400px|center]]
 +
| <p>[15] <em>This point I gladly have set in your throat<br/>Per the third Master [13] who demonstrates such a guard.</em></p>
 +
 
 +
This is the first play that comes from the Long Tail Guard shown above. Here the Master beats aside his opponent’s sword, and then places a thrust into his chest or his face, as you see drawn here.
 +
| <p>''I pierced through the exposed neck with the point of my sword.<br/>For instance, the third master taught me thoroughly using principles.''</p>
 +
 
 +
This is the first play which belongs to the Guard of the Long Tail which appeared here before: that is, that the Master beats the sword of his enemy and thrusts the point into his chest, or into his face as depicted here.
 +
 
 +
''[In the Paris, the Scholar wears a crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 6r.jpg|6r-a}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44r.jpg|44r-a}}
 +
| {{section|Page:Pisani-Dossi MS 32a.jpg|32a-a}}
 +
| {{section|Page:MS Latin 11269 3v.jpg|3v-a}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32a-c.png|400px|center]]
 +
| <p>[16] <em>Per the first Master that is in guard with the sword<br/>I have given this strike to your head.</em></p>
 +
 
 +
This is the second play that you can do after beating aside your opponent’s weapon. Here I strike this man over the head, because I see his head is unarmored.
 +
| <p>''Using a wound, I, the fighting one, terrify the neck with a wound.<br/>Prudent with regard to this sword,<ref>Supposing ''cuspide'' means sword and not point, ''ense'' could mean something other than sword, such as “sword technique” or “sword position”.</ref> the first master teaches me truly.''</p>
 +
 
 +
This is the second play which can give a beat. I strike this man over the head, for I see well that he is not armored on his head.
 +
 
 +
''[In the Paris, the Scholar wears a crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 6r.jpg|6r-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44r.jpg|44r-b}}
 +
| {{section|Page:Pisani-Dossi MS 32a.jpg|32a-c}}
 +
| {{section|Page:MS Latin 11269 3v.jpg|3v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32a-d.png|400px|center]]
 +
| <p>[17] <em>By crossing ahead of your sword I have deviated it<br/>And with mine I have given a great blow:<br/>And also I could have given it to you with my point;<br/>And none of the weapons that you have could stop me.</em></p>
 +
 
 +
This is the another play, the third, where, after beating aside your opponent’s sword, you grab it with your left hand and strike him in the head. You could also strike him with a thrust.
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
Here is another play, which is the third that beats the sword of his enemy; he grasps with his left hand and strikes the [enemy's] head, and he could also strike thusly with the point.
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 6r.jpg|6r-d}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44r.jpg|44r-c}}
 +
| {{section|Page:Pisani-Dossi MS 32a.jpg|32a-d}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32b-a.png|400px|center]]
 +
| <p>[18] <em>You will lose your sword because of this catch<br/>Or you will go to the ground without any defense.</em></p>
 +
 
 +
This is the fourth play, in which the student strikes his opponent in the head and then takes his sword in the manner shown here.
 +
| <p>''You, shamefaced, on account of this will either perhaps abandon your sword,<br/>Or you will lie down, prostrate on the ground; there is no preventing [this].''<ref>Rebecca notes: small words like ''et'' or ''hoc'' may be left out in order to shape it into something like meter.</ref></p>
 +
 
 +
This is the fourth play that the scholar wants to make—that is, take the sword in this way that you can see depicted here.
 +
 
 +
''[In the Paris, the Scholar wears a crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 6v.jpg|6v-a}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44r.jpg|44r-d}}
 +
| {{section|Page:Pisani-Dossi MS 32b.jpg|32b-a}}
 +
| {{section|Page:MS Latin 11269 4r.jpg|4r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32b-b.png|400px|center]]
 +
| <p>[19] <em>So that my sword would not be taken from me<br/>Against you I have made this turn:<br/>Such that that which you were wanting to do to me<br/>Through this counter I will do to you.</em></p>
 +
 
 +
This is the {{dec|s|sixth}} [fifth] play, where you take away your opponent’s sword. You use the hilt of your sword to lift his hilt upwards, which will make his sword fall from his hands.
 +
 
 +
''[This Master is missing his crown.]''
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
This is the fifth play, in which he wants to take the sword of his companion with the hilt of his sword; the other hilt he will have above, and the sword will fall from [his companion's] hand for certain.
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 6v.jpg|6v-b}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44v.jpg|44v-b}}
 +
| {{section|Page:Pisani-Dossi MS 32b.jpg|32b-b}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32b-c.png|400px|center]]
 +
| <p>[20] <em>From horse to ground it will behoove you to go;<br/>Maybe I will then know what I should do with you.</em></p>
 +
 
 +
This is the {{dec|s|fifth}} [sixth] play that flows from the cover where you beat aside his sword. Here I throw my arm around his neck and turn quickly, and with the base of my sword I drive him to the ground.
 +
 
 +
My counter is the second play that follows me, but this counter will not work if your opponent is armored.<ref>I’ve expanded this sentence so that it makes more sense.</ref>
 +
| <p>''He disengages lest I trample the beating heart on the ground.<br/>Anything that I would like concerning you I will be able to try afterward.''</p>
 +
 
 +
This is the sixth play that makes a cover with the beating of the sword. I throw my arm to his neck and quickly turn, and I will throw you to the ground, sword and all, without a doubt.
 +
 
 +
My counter is here after and is the seventh play. Well that he has not achieved being armored.
 +
 
 +
''[In the Paris, the Scholar wears a crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 6v.jpg|6v-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44v.jpg|44v-a}}
 +
| {{section|Page:Pisani-Dossi MS 32b.jpg|32b-c}}
 +
| {{section|Page:MS Latin 11269 4r.jpg|4r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 32b-d.png|400px|center]]
 +
| <p>[21] <em>If it would behoove me to go to the ground, [sword] and all,<br/>I could do no defense other than this strike.</em></p>
 +
 
 +
This is the seventh play, which is the counter to the {{dec|s|fifth}} [sixth] play above. It employs a strike to your opponent’s leg. But if your opponent is armored, you can’t trust this counter to work.
 +
|
 +
<br/><br/>
 +
 
 +
This is the seventh play which is the counter—that is, the strike that he makes to the leg of the other one. If your companion were armored, you could not rely on this.
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 6v.jpg|6v-d}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44v.jpg|44v-c}}
 +
| {{section|Page:Pisani-Dossi MS 32b.jpg|32b-d}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 44v-d.jpg|400px|center]]
 +
| <p>[22] <em>I want to make my defense against the point and the edge,<br/>Such that the sword will not be taken from me nor caught,<br/>And neither will I be thrown to the ground from my horse:<br/>I will strike your face with my pommel without fail.</em></p>
 +
 
 +
This is the eighth play, which is the counter to all of the preceding plays, but especially the plays of the mounted sword when the masters are in the Long Tail guard. When the Masters or their students are in this guard, and when I strike or thrust at them, and when they quickly beat my attack aside, then I quickly turn my sword and strike them in the face with my pommel. Then I move quickly from my position<ref>Fiore actually writes “Then I pass from my quick cover” but the words make no sense, since he is not in a cover but has just hit his opponent in the face with a pommel strike. I’ve altered it to give it more sense.</ref> and strike them in the back of the head with a horizontal backhand strike.
 +
| <p>''I now protect myself from the cutting, and also the strong point.<br/>And I strike the face with the hilt <of the grip> lest this sword be seized<br/>From me. I shall not yet be thrown to the farthest ground.''</p>
 +
 
 +
This is the eighth play and it is the counter to all the plays that came before, and especially of the plays of the sword on horseback and of the Masters that are in the Guard of the Long Tail. And when the Masters or Scholars stand in the aforesaid guard and I strike with a thrust or another blow, and they quickly beat my sword, I immediately give a turn to my sword and with my pommel I strike them in the face. And I can pass with my cover quickly and strike them behind the head with a backhand middle cut.
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 7r.jpg|7r-a}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 44v.jpg|44v-d}}
 +
| {{section|Page:Pisani-Dossi MS 33a.jpg|33a-a}}
 +
| {{section|Page:MS Latin 11269 4v.jpg|4v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 33a-b.png|400px|center]]
 +
| <p>[23] <em>So that you could not hit me in the face with your pommel,<br/>
 +
I have taken your blow with the hilt of my sword.</em></p>
 +
 
 +
I am the ninth play, which is the counter to the counter that preceded me. When he turns his sword, I quickly place my hilt as you see drawn here, so that he cannot strike me in the face with his pommel. And if I raise my sword up, and turn it to the left, you<ref>Note the switch from “he” to “you”. This is something Fiore does quite a lot.</ref> could well have your sword taken away. And if I am unable to do that, I could instead strike you with a backhand strike to the face, or with a quick turn of my sword strike you in the head with my pommel. Here ends the plays of sword against sword on horseback. If you know more of this, please share it.
 +
 
 +
Here ends the plays of sword against sword on horseback. If you know more of this, please share it.
 +
 
 +
''[This Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
 
 +
The ninth I am, who makes the counter to that which came before me, so that when he gives a turn to his sword I quickly thrust my hilt (as you see depicted) so that he cannot strike me in the face with his pommel. And if I raise my sword high and give a turn to the left, it could very well be that his sword will be taken from him. And if that fails me and I cannot do it, so quickly will I make the turn that I will give to his face with the false edge of my sword (or I will strike him in the head with my pommel).
 +
 
 +
This finishes the mounted play of sword against sword, and whoever keeps it in mind will give a good deal.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 7r.jpg|7r-b}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 45r.jpg|45r-a}}
 +
| {{section|Page:Pisani-Dossi MS 33a.jpg|33a-b}}
 +
|
 +
 
 +
|-
 +
| [[File:MS Latin 11269 05r-b.png|400px|center]]
 +
| [[File:MS Ludwig XV 13 45r-b.jpg|400px|center]]
 +
| <p>[24] <em>In such a way have I grabbed you, running up behind,<br/>That I will throw you from the horse—this I believe.</em></p>
 +
 
 +
This is a grappling play, that is a play of the arms,<ref>Abrazare comes from “A brazi”—“with the arms”.</ref> and this is how you do it: if your opponent is fleeing from you, you come up behind him to his left side. Now with your right hand grab the cheek piece of his bascinet, or if he is unarmored, grab him by the hair or by the right arm from behind his shoulder. In this way you will make him fall backwards to the ground.
 +
 
 +
''[In the Getty and Pisani Dossi, the Master is missing his crown.]''
 +
| <p>''I hold you captured by the helmet, whereby you turn your back backward.<br/>Afterward, I will send you with flying chest into the ground.''</p>
 +
 
 +
This is a play of grappling, and inasmuch as it is a play of grappling it is a play of the arms, and it is done in this way: when one flees from you and you come up behind him from the left side, grab him on the cheek of his helmet with your right hand (or, if he is unhelmed, grab him by the hair or the right arm from behind his shoulder), and in this way you will make him fall backward such that you will make him go to the ground.
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 7v.jpg|7v-a}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 45r.jpg|45r-b}}
 +
| {{section|Page:Pisani-Dossi MS 33a.jpg|33a-c}}
 +
| {{section|Page:MS Latin 11269 5r.jpg|5r-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 33a-d.png|400px|center]]
 +
| <p>[25] <em>You wanted to throw me from my horse<br/>But with this counter you will go to the ground instead.</em></p>
 +
 
 +
This is the counter to the previous play, and that play will not work when this counter is quickly applied as follows: when he grabs you from behind you quickly switch hands on the reins, and with your left hand you lock him up as shown here.
 +
| <p>''It is useful that you merely beat the ground<br/>With the trampled corpse. The counter actions accomplish this. Spiteful,<br/>You nevertheless wish to attempt that same thing on myself.''</p>
 +
 
 +
This is the counter to the play that came before; this counter goes in this way with the catch that was made: that is, that quickly when he grabs him from behind, [the Master] should immediately exchange the hand on the reins, and with his left arm he should grab him in this fashion.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 7v.jpg|7v-b}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 45r.jpg|45r-c}}
 +
| {{section|Page:Pisani-Dossi MS 33a.jpg|33a-d}}
 +
| {{section|Page:MS Latin 11269 5r.jpg|5r-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 33b-a.png|400px|center]]
 +
| <p>[26] <em>I want to lift your leg with the stirrup,<br/>And because of this, to the ground you will go.</em></p>
 +
 
 +
This student is about to throw his opponent off his horse, by grabbing the stirrup and pulling it upwards. If his opponent does not fall to the ground, he’ll be helpless in the air, and unless his opponent is tied to his horse, this play will not fail him. If he does not have his foot in the stirrup, the student can grab him by the ankle and raise him up into the air in the same way, as I described above.
 +
 
 +
''[In the Getty, the Master is missing his crown.]''
 +
| <p>''Lifting the leg simultaneously by the stirrup, this, my Powerful right [hand], turns you to the furthest. Nor will your leg be made better.''</p>
 +
 
 +
This Scholar wants to throw this one from his horse—that is, he grabs him by the stirrup and lifts him up. If he doesn't go to the ground, he would clearly be floating in the air! Assuming he isn't lashed to his horse, this play cannot fail. If he does not have his foot in a stirrup, grab him by the ankle and it will be even easier to lift him up than I said before so do as was written here earlier.
 +
 
 +
''[In the Morgan, the Master is missing his crown.]''
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 7v.jpg|7v-c}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 45r.jpg|45r-d}}
 +
| {{section|Page:Pisani-Dossi MS 33b.jpg|33b-a}}
 +
| {{section|Page:MS Latin 11269 5v.jpg|5v-b}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 33b-b.png|400px|center]]
 +
| <p>[27] <em>You wanted to throw me well from my horse;<br/>With this counter, to the ground you will go.</em></p>
 +
 
 +
Here is the counter to the previous play: when your opponent grabs your stirrup or your foot, throw your arm quickly around his neck, and in this way you will be able to unhorse him. Follow this advice and he’ll end up on the ground for sure.
 +
| <p>''Look how strongly I hold your neck by the shoulder, <in front of you><br/>Which in this way you evade the attempt: you vainly try <br/>To fling the unarmed [man] to the ground.<ref>We have rendered ''per terram'' as “to the ground” rather than “through the ground”.</ref> But the counters conquer you.''</p>
 +
 
 +
This here is the counter of the play that appeared before it, so if one grabs you by the stirrup or by the foot, throw your arm to his neck. You should do this quickly, for in this fashion you could dismount him from his horse; if you do this, he will hit the ground without fail.
 +
|
 +
<br/><br/>
 +
{{section|Page:MS M.383 7v.jpg|7v-d}}
 +
|
 +
<br/><br/>
 +
{{section|Page:MS Ludwig XV 13 45v.jpg|45v-a}}
 +
| {{section|Page:Pisani-Dossi MS 33b.jpg|33b-b}}
 +
| {{section|Page:MS Latin 11269 5v.jpg|5v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 33b-c.png|400px|center]]
 +
| <p>[28] <em>I want to throw you and your horse to the ground;<br/>The breast of mine will go to the haunches of yours:<br/>I will not release the bit of your horse,<br/>And in the end you will not avoid the ground;<br/>And when one is well-armored this is a fine hold,<br/>Because against armor you cannot make an offense.</em></p>
 +
 
 +
This is a method of throwing your opponent to the ground by throwing his horse. It’s done like this:<ref>I’ve removed the redundant repetition.</ref> when you and your mounted opponent close, ride to his right side. Then throw your right arm over the neck of his horse, and grab the bridle close to where the bit enters its mouth, and forcefully wrench it upwards and over. At the same time make sure your horse’s shoulders<ref>Petto means chest but no part of a horse is named the “chest”, so I changed this to “shoulders” which refers to the area of the horse Fiore is talking about that would ram the opponent’s horse.</ref> drive into his horse’s haunches<ref>The “groppa” means the crupper, which refers to the horse’s hind quarters.</ref> In this way you will bring down both him and his horse at the same time.
 +
 
 +
''[In the Getty, the Master is missing his crown.]''
 +
| <p>''I will throw you and your horse, prevented by none, <br/>By whose raging haunches the chest of mine will stay. <br/>I will not relinquish the resounding bridle of your quadruped <br/>While you would strike the muddy ground precipitously with the crown of the head.<br/>That best deception certainly prevails when [one is] wearing armor; afterward<br/>He himself begins to fear being unable to injure anyone in armor.''</p>
 +
 
 +
This is a play of throwing one to the ground, horse and all: that is, the Master rides to the right side of his enemy and throws his right arm over the neck of his [enemy's] horse. And he grabs the bridle of his [enemy's] horse behind the bit, rotates the head of the horse up, and he should spur his horse with his foot striking the rump or flanks. And in this way he will fall, horse and all…
 +
| rowspan="2" |
 +
<br/><br/><br/><br/><br/><br/>
 +
{{section|Page:MS M.383 8r.jpg|8r-a}}
 +
|
 +
<br/><br/><br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 45v.jpg|45v-b}}
 +
| {{section|Page:Pisani-Dossi MS 33b.jpg|33b-c}}
 +
| {{section|Page:MS Latin 11269 4v.jpg|4v-c}}
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 45v-c.jpg|400px|center]]
 +
| <p>[29] This is the counter to the play before, where you throw your opponent to the ground together with his horse. This is an easy counter: when the student throws his arm over the neck of your horse to grab the bridle, you should quickly throw your arm around the student’s neck, and you will effectively make him let go. Just do as the drawing shows.</p>
 +
|
 +
…This is the counter of the play that came before in which he wants to throw his companion to the ground along with his horse. This is an easy thing to remember, that when the Scholar throws his arm over the neck of his horse to grab the bridle, the player should quickly throw an arm to the neck of the Scholar, and thus he is forced to release it. Following that which you see depicted here, so should you do.
 +
| {{section|Page:MS Ludwig XV 13 45v.jpg|45v-c}}
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:Pisani-Dossi MS 33b-d.png|400px|center]]
 +
| <p>[30] <em>I seek to take the bridle from your hands<br/>And I want to throw it over the head of your horse:<br/>And when the bridle will be thrown over its head,<br/>With my position I will lead you to a different country.</em></p>
 +
 
 +
In this play you take the reins of your opponent’s horse out of his hands, as you see drawn here. When you and your mounted opponent close, ride to his right side, and throw your right arm over his horse’s neck and grab the reins near his left hand with your right hand turned down. Now pull the reins over his horse’s head. This play is safer to do in armor than unarmored.
 +
 
 +
''[In the Getty, the Master is missing his crown.]''
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
This is a play of taking the bridle of a horse from the hand of your companion in the way that you see depicted here. The Scholar, when he goes against another on horseback, should ride to the right side and throw his right arm over the neck of the horse, grabbing its bridle near his hand on the left-hand side, and so take the bridle off the horse's head. And this play is more secure in armor than unarmored.
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 8r.jpg|8r-b}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 45v.jpg|45v-d}}
 +
| {{section|Page:Pisani-Dossi MS 33b.jpg|33b-d}}
 +
|
 +
 
 +
|-
 +
| [[File:Pisani-Dossi MS 34b-a.png|400px|center]]
 +
| [[File:Pisani-Dossi MS 34b-b.png|400px|center]]
 +
| <p>[31] <em>This Master has lashed a cord to his saddle<br/>And to the foot of his lance, which is cruel and destructive,<br/>To throw to the neck of his enemy,<br/>In order to drag him to the ground; so do I say.</em></p>
 +
 
 +
This Master has bound one end of a strong rope to his horse’s saddle, and the other end to the butt of his lance. First he strikes his opponent, then he will cast the lance to the left side of his opponent, over his opponent’s left shoulder, and in this way he can drag his opponent from his horse.
 +
|
 +
<br/><br/><br/><br/>
 +
 
 +
This Master has lashed a strong cord (that is, one end) to the saddle of his horse, and the other end is lashed to the foot of his lance. First he wants to strike, and then to put the tied part of the lance to the left of his enemy, throwing it over his shoulder, and thereby to be able to pull him off his horse and onto the ground.
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS M.383 2v.jpg|2v-a}}
 +
|
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 46v.jpg|46v-a}}
 +
| {{section|Page:Pisani-Dossi MS 34b.jpg|34b-a}}
 +
|
 +
 
 +
|-
 +
|
 +
| [[File:MS Ludwig XV 13 46v-c.jpg|400px|center]]
 +
| <p>[32] This scoundrel was fleeing from me towards a castle. I rode so hard and fast at full rein that I caught up with him closed to his castle. And I struck him with my sword in his armpit, which is a difficult area to protect with armor. Now I withdraw to avoid retaliation from his friends.</p>
 +
|
 +
|
 +
| {{section|Page:MS Ludwig XV 13 46v.jpg|46v-c}}
 +
|
 +
|
 +
 
 +
|-
 +
| class="noline" | [[File:MS Ludwig XV 13 47r-a.jpg|400px|center]]
 +
| class="noline" | [[File:MS Ludwig XV 13 47r-b.jpg|400px|center]]
 +
| class="noline" | <p><em>Here ends the Flower of the Art of Combat,<br/>In this way one man can stand against another:<br/>Made by Fiore Furlano, son of Sir Benedetto;<br/>Those who knew him can believe his words well.</em></p>
 +
 
 +
Here ends this book that was written by Fiore the scholar, who has published here everything he knows about this art, that is to say, everything he knows about armed fighting is contained within this book. This same Fiore has named his book “The Flower of the Battle”. Let he for whom this book was made be forever praised, for his nobility and virtue have no equal, Fiore the Friulian, a simple elderly man, entrusts this book to you.
 +
| class="noline" | <p>''Florius, the most skilled authority, previously<ref>This word was the source of considerable trouble. We initially assumed, as others have, that it denoted that Fiore was deceased when the manuscript was prepared (quondam Florius, “the late Fiore”). However, further research on the word (which seemed merited since it could indicate a significant biographical fact) indicated that such a reading was simply not possible for most examples of the word in Medieval literature, e.g. “ubi quondam Deus” is probably not seeking to describe a deceased God. In fact, “quondam” is generally an adverb rather than a quasi-adjective, and some dictionaries, such as Lewis & Short, specify that it only has the meaning of “the late” if the person it is applied to is deceased. Rather than becoming trapped in a loop of circular reasoning (assuming Fiore is deceased and translating quondam that way, and then concluding that Fiore is deceased due to the translation of quondam), we interpreted the word in its more normal adverbial sense and applied it to “edidit”. For more definitions of quondam, see the entries in Logeion: http://logeion.uchicago.edu/index.html#quondam</ref> brought forth<br/>This book. It is therefore him, an accomplished,<br/>Contributing man of the Friulian people, you are honoring.</p>
 +
| class="noline" |
 +
| class="noline" |
 +
<br/><br/><br/><br/>
 +
{{section|Page:MS Ludwig XV 13 46v.jpg|46v-d}}
 +
| class="noline" | {{section|Page:Pisani-Dossi MS 36b.jpg|36b-a}}
 +
| class="noline" | {{section|Page:MS Latin 11269 44r.jpg|44r-c}}
 +
 
 +
|}
 +
 
 +
{{master end}}
 +
 
 +
{{master begin
 +
| title = Copyright and License Summary
 +
| width = 100%
 +
}}
 +
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].
 +
 
 +
<section begin="sourcebox"/>{{sourcebox header}}
 +
{{sourcebox
 +
| work        = Illustrations (Getty)
 +
| authors    = [[J. Paul Getty Museum]]
 +
| source link =  
 +
| source title= Digital images courtesy of the Getty's [http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=1706 Open Content Program]
 +
| license    = getty
 +
}}
 +
{{sourcebox
 +
| work        = Illustrations (Morgan)
 +
| authors    = [[Morgan Library & Museum]]
 +
| source link =  
 +
| source title= [[Tratt‍ato della sch‍erma (MS M.383)/Images|Princeton Institute of Christian Art]]
 +
| license    = public domain
 +
}}
 +
{{sourcebox
 +
| work        = Illustrations (Novati)
 +
| authors    = [[Francesco Novati]]
 +
| source link =  
 +
| source title= [[:File:Flos Dvellatorvm in Armis, sine Armis, Eqvester, Pedester (Novati).pdf|''Flos Dvellatorvm in Armis, sine Armis, Eqvester, Pedester'']]
 +
| license    = public domain 0
 +
}}
 +
{{sourcebox
 +
| work        = Illustrations (Paris)
 +
| authors    = [[Bibliothèque Nationale de France]]
 +
| source link = http://gallica.bnf.fr/ark:/12148/btv1b8514426f
 +</