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{| class="wikitable floated master"
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{| class="master"
 
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|-  
! <p><includeonly><span style="font-weight:normal; font-size:85%;">&#91;{{edit|Fiore de'i Liberi/Armored Longsword|edit}}&#93;</span> &nbsp; </includeonly>Images</p>
+
! <p>Illustrations</p>
! <p>Images</p>
+
! <p>Illustrations</p>
! <p>''{{rating|B|PD}} by [[Michael Chidester]]''<br/>{{rating|start|Getty}} by [[Michael Chidester]]</p>
+
! <p>''{{rating|B|Novati Translation}} by [[Michael Chidester]]''<br/>{{rating|B|Getty Translation}} by [[Colin Hatcher]]</p>
! <p>''{{rating|none|Paris (Open for translation)}}''<br/>{{rating|B|Morgan}} by [[Michael Chidester]]</p>
+
! <p>''{{rating|C|Paris Translation}} by [[Kendra Brown]] and [[Rebecca Garber]]''<br/>{{rating|B|Morgan Translation}} by [[Michael Chidester]]</p>
! <p>[[Fior di Battaglia (MS M.383)|Morgan Transcription]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Fior di Battaglia (MS M.383)|edit]]&#93;</span><br/>Open for editing</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]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Fior di Battaglia (MS Ludwig XV 13)|edit]]&#93;</span><br/>Open for editing</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]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Flos Duellatorum (Pisani Dossi MS)|edit]]&#93;</span><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]]&nbsp;<span style="font-weight:normal; font-size:85%;">&#91;[[Index:Florius de Arte Luctandi (MS Latin 11269)|edit]]&#93;</span><br/>by [[user:Charlélie Berthaut|Charlélie Berthaut]]</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]
 
| style="text-align:center; vertical-align:middle;" | [No Image]
| <poem>'''[1]''' <em>We are six guards for armored fencing,
+
| <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>
Which art we know how to perform in its completeness.
+
 
And this art concludes everything in the right truth:
+
<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>
It applies poleax, sword, and dagger to great extremes.
+
| <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>
And here we'll explain how the art can come:
+
 
Masters and students will do it without lying.</em></poem>
+
<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>
<br/><br/><br/><br/><br/><br/>
+
 
 +
{{section|Page:MS M.383 10r.jpg|10r-t|lbl=10r}}
 +
| <p><br/><br/><br/><br/><br/><br/></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.
+
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-a1|lbl=32v-a}}
|
+
| {{section|Page:Pisani-Dossi MS 25a.jpg|25a-t|lbl=25a}}
<br/><br/><br/><br/><br/><br/>
+
| {{section|Page:MS Latin 11269 19v.jpg|19v-t|lbl=19v}}
{{section|Page:MS M.383 10r.jpg|10r-t}}
 
|
 
| {{section|Page:Pisani-Dossi MS 25a.jpg|25a-t}}
 
| {{section|Page:MS Latin 11269 19v.jpg|19v-t}}
 
  
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 24r-a.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 25a-a.png|400px|center]]
|  
+
| <p>[2] {{red|b=1|The Shortened Stance, the Serpent}}</p>
'''[2] {{red|The Shortened Stance, the Serpent}}'''
+
 
<poem style="font-style:italic;">I am the Shortened Stance, the Serpent,
+
<p><em>I am the Shortened Stance, the Serpent,<br/>And I have a fine point for passing through armor.</em></p>
And I have a fine point for passing through armor.</poem>
 
  
 +
<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>
<br/>
 
  
<br/><br/>
+
<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>
  
In the Shortened Stance, the Serpent (''Posta Breve, la Serpentina''), I want to come. If you are not well armored, I make you feel it by striking with a thrust; because of my edges, I wound better in the crossing than any other guard that I have, and you can do nothing to me. I want to prove this in armor and without.
+
<p><br/><br/></p>
|
 
<br/>
 
  
<br/><br/>
 
 
{{section|Page:MS M.383 10r.jpg|10r-a}}
 
{{section|Page:MS M.383 10r.jpg|10r-a}}
| {{section|Page:MS Ludwig XV 13 32v.jpg|lbl=1|32v-attl}}
+
| {{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>
  
<br/><br/>
 
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-a}}
 
|
 
<br/>
 
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-a}}
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-a}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:MS Latin 11269 19v.jpg|19v-a}}
 
{{section|Page:MS Latin 11269 19v.jpg|19v-a}}
  
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 24r-b.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 25a-b.png|400px|center]]
|  
+
| <p>[3] {{red|b=1|The Stance of the True Cross}}</p>
'''[3] {{red|The Stance of the True Cross}}'''
+
 
<poem style="font-style:italic;">I am the stance called the True Cross
+
<p><em>I am the stance called the True Cross<br/>And cuts and thrusts mean nothing to me.</em></p>
And cuts and thrusts mean nothing to me.</poem>
+
 
 +
<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>
  
The Stance of the True Cross (''Posta di Vera Crose'') I want to make to counter you. Your thrusts will not enter into me. I cover myself from you in the step that I will 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, striking, the art wants these things without fail).
+
<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>
|
 
<br/>
 
  
<br/><br/>
+
<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>
  
I am the Stance of the True Cross (''Posta de Vera Crose'') 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, 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><br/><br/></p>
|
 
<br/>
 
  
<br/><br/>
 
 
{{section|Page:MS M.383 10r.jpg|10r-b}}
 
{{section|Page:MS M.383 10r.jpg|10r-b}}
| {{section|Page:MS Ludwig XV 13 32v.jpg|lbl=1|32v-bttl}}
+
| {{section|Page:MS Ludwig XV 13 32v.jpg|32v-bttl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
  
<br/><br/>
 
 
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-b}}
 
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-b}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-b}}
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-b}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:MS Latin 11269 18r.jpg|18r-b}}
 
{{section|Page:MS Latin 11269 18r.jpg|18r-b}}
  
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 24r-c.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 25a-c.png|400px|center]]
|  
+
| <p>[4] {{red|b=1|The Raised Serpent}}</p>
'''[4] {{red|The Upper Serpent}}'''
+
 
<poem style="font-style:italic;">I am the Upper Serpent,
+
<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>
I shoot great thrusts down low.
+
 
I also cover against cuts and thrusts,
+
<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>
Those strikes are little trouble to me.</poem>
+
| <p><br/></p>
  
I am the Serpent and I am High (''Serpentino, lo Soprano'') and well armored. I 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>''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>
|
 
<br/>
 
  
<br/><br/><br/><br/>
+
<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>
  
I am the Serpent and I am High (''Serpentino, lo Soprano'') 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><br/><br/><br/><br/></p>
|
 
<br/>
 
  
<br/><br/><br/><br/>
 
 
{{section|Page:MS M.383 10r.jpg|10r-c}}
 
{{section|Page:MS M.383 10r.jpg|10r-c}}
| {{section|Page:MS Ludwig XV 13 32v.jpg|lbl=1|32v-cttl}}
+
| {{section|Page:MS Ludwig XV 13 32v.jpg|32v-cttl|lbl=-}}
 +
 
 +
<p><br/><br/><br/><br/></p>
  
<br/><br/><br/><br/>
 
 
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-c}}
 
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-c}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-c}}
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-c}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:MS Latin 11269 18r.jpg|18r-a}}
 
{{section|Page:MS Latin 11269 18r.jpg|18r-a}}
  
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 24r-d.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 25a-d.png|400px|center]]
|  
+
| <p>[5] {{red|b=1|The Middle Iron Gate}}</p>
'''[5] {{red|The Middle Iron Gate}}'''
+
 
<poem style="font-style:italic;">I am the Iron Gate in the Middle:
+
<p><em>I am the Iron Gate in the Middle:<br/>And I am always ready to throw great thrusts.</em></p>
And I am always ready to throw great thrusts.</poem>
+
 
 +
<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>
  
I am called the Middle Iron Gate (''Porta di Ferro Mezana'') 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 with my point and with the edge between your arms I have entered and I will force you into the Middle Bind (which was previously depicted and named).
+
<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>
|
 
<br/>
 
  
<br/><br/>
+
<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>
  
Of Iron, I am called the Middle Gate (''De ferro, mezzana porta'') 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><br/><br/></p>
|
 
<br/>
 
  
<br/><br/>
 
 
{{section|Page:MS M.383 10r.jpg|10r-d}}
 
{{section|Page:MS M.383 10r.jpg|10r-d}}
| {{section|Page:MS Ludwig XV 13 32v.jpg|lbl=1|32v-dttl}}
+
| {{section|Page:MS Ludwig XV 13 32v.jpg|32v-dttl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
  
<br/><br/>
 
 
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-d}}
 
{{section|Page:MS Ludwig XV 13 32v.jpg|32v-d}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-d}}
 
{{section|Page:Pisani-Dossi MS 25a.jpg|25a-d}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:MS Latin 11269 19v.jpg|19v-d}}
 
{{section|Page:MS Latin 11269 19v.jpg|19v-d}}
  
 
|-  
 
|-  
| [[File:MS Latin 11269 19v-c.jpg|300px|center|link=http://gallica.bnf.fr/ark:/12148/btv1b8514426f/f42.item]]
+
| [[File:MS Latin 11269 19v-c.png|400px|center]]
| [[File:Pisani-Dossi MS 24v-a.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 25b-a.png|400px|center]]
|  
+
| <p>[6] {{red|b=1|The Archer's Stance}}</p>
'''[6] {{red|The Archer's Stance}}'''
+
 
<poem style="font-style:italic;">I am the Archer's Stance, the sentinel,
+
<p><em>I am the Archer's Stance, the sentinel,<br/>And I am always ready to strike and cover.</em></p>
And I am always ready to strike and cover.</poem>
+
 
 +
<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>
  
The Archer's Stance (''Posta Sagittaria''), by this name I am called. Great thrusts are given 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 indeed is my art, in which nothing changes.
+
<p>''[The Getty resembles the Pisani Dossi image.]''</p>
 +
| <p><br/></p>
  
''[The Getty resembles the Pisani-Dossi image.]''
+
<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>
|
 
<br/>
 
  
<br/><br/>
+
<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>
  
The Archer's Stance (''Posta Sagittaria''), 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><br/><br/></p>
|
 
<br/>
 
  
<br/><br/>
 
 
{{section|Page:MS M.383 10v.jpg|10v-a}}
 
{{section|Page:MS M.383 10v.jpg|10v-a}}
| {{section|Page:MS Ludwig XV 13 33r.jpg|lbl=1|33r-attl}}
+
| {{section|Page:MS Ludwig XV 13 33r.jpg|33r-attl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
  
<br/><br/>
 
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-a}}
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-a}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:Pisani-Dossi MS 25b.jpg|25b-a}}
 
{{section|Page:Pisani-Dossi MS 25b.jpg|25b-a}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:MS Latin 11269 19v.jpg|19v-c}}
 
{{section|Page:MS Latin 11269 19v.jpg|19v-c}}
  
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 24v-b.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 25b-b.png|400px|center]]
|  
+
| <p>[7] {{red|b=1|The Stance of the Bastard Cross}}</p>
'''[7] {{red|The Stance of the Bastard Cross}}'''
+
 
<poem style="font-style:italic;">Of the Stance of the Cross, I am the Bastard,
+
<p><em>Of the Stance of the Cross, I am the Bastard,<br/>And I will not delay in making her plays.</em></p>
And I will not delay in making her plays.</poem>
+
 
 +
<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>
  
I am the Stance of the Bastard Cross (''Posta di Crose Bastarda''), of the True Cross; 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>''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>
|
 
<br/>
 
  
<br/><br/>
+
<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>
  
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><br/><br/></p>
|
 
<br/>
 
  
<br/><br/>
 
 
{{section|Page:MS M.383 10v.jpg|10v-b}}
 
{{section|Page:MS M.383 10v.jpg|10v-b}}
| {{section|Page:MS Ludwig XV 13 33r.jpg|lbl=1|33r-bttl}}
+
| {{section|Page:MS Ludwig XV 13 33r.jpg|33r-bttl|lbl=-}}
 +
 
 +
<p><br/><br/></p>
  
<br/><br/>
 
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-b}}
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-b}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:Pisani-Dossi MS 25b.jpg|25b-b}}
 
{{section|Page:Pisani-Dossi MS 25b.jpg|25b-b}}
|  
+
| <p><br/></p>
<br/>
+
 
 
{{section|Page:MS Latin 11269 19v.jpg|19v-b}}
 
{{section|Page:MS Latin 11269 19v.jpg|19v-b}}
  
 
|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 33r-c.jpg|300px|center]]
+
| [[File:MS Ludwig XV 13 33r-c.jpg|400px|center]]
| <poem>'''[8]''' <em>With this cover I believe that I can waste anyone,
+
| <p>[8] <em>With this cover I believe that I can waste anyone,<br/>Following that which you see the Scholar do.</em></p>
Following that which you see the Scholar do.</em></poem>
+
 
 +
<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>
  
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>''[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>
  
''[In the Pisani-Dossi, the Master is missing his crown.]''
+
<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>
<br/><br/>
 
  
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.
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 10v.jpg|10v-c}}
 
{{section|Page:MS M.383 10v.jpg|10v-c}}
|  
+
| <p><br/><br/></p>
<br/><br/>
+
 
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-c}}
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-c}}
 
| {{section|Page:Pisani-Dossi MS 25b.jpg|25b-c}}
 
| {{section|Page:Pisani-Dossi MS 25b.jpg|25b-c}}
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|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 24v-d.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 25b-d.png|400px|center]]
| <poem>'''[9]''' <em>This thrust comes from the Master's cover,
+
| <p>[9] <em>This thrust exits from the Master's cover,<br/>And the other plays hereafter may well arise.</em></p>
And the other plays hereafter may well arise.</em></poem>
 
  
I am the first Scholar of the Master that came before me. 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 sword of the [player] and thrusting upwards to his face or chest (the cross of the sword held low) as is depicted here.
+
<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>
  
''[In the Getty, the Scholar's opponent's right foot is forward.]''
+
<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>
<br/><br/>
 
  
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.
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 10v.jpg|10v-d}}
 
{{section|Page:MS M.383 10v.jpg|10v-d}}
|  
+
| <p><br/><br/></p>
<br/><br/>
+
 
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-d}}
 
{{section|Page:MS Ludwig XV 13 33r.jpg|33r-d}}
 
| {{section|Page:Pisani-Dossi MS 25b.jpg|25b-d}}
 
| {{section|Page:Pisani-Dossi MS 25b.jpg|25b-d}}
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 33v-a.jpg|300px|center]]
+
| [[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>
'''[10]''' When I see that my thrust cannot enter into his chest nor into his face (because of his visor), I lift the visor up and then I put the point in his face. And if this does not satisfy me, I turn to other plays of greater strength.
 
 
|  
 
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|  
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 33v-b.jpg|300px|center]]
+
| [[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>
'''[11]''' When I come to the narrow with this player to make the previous strike and because of his armor I can do nothing, I push him strongly by his elbow so that I make him turn. I will then test the strength of his back armor.
 
 
|  
 
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|  
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 33v-c.jpg|300px|center]]
+
| [[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>
 
|  
 
|  
'''[12]''' <br/><br/>
+
| <p><br/><br/></p>
  
When I see that with the sword I could do nothing to you, instantly I use this catch from grappling, so that I believe and see and feel that your armor will be worth nothing as I put you the strong Lower Bind. In this the next position, I will now show you how.
 
|
 
|
 
|
 
<br/><br/>
 
 
{{section|Page:MS Ludwig XV 13 33v.jpg|33v-c}}
 
{{section|Page:MS Ludwig XV 13 33v.jpg|33v-c}}
 
|  
 
|  
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 33v-d.jpg|300px|center]]
+
| [[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>
'''[13]''' In the Lower Bind, a strong lock, have I closed you in such a way that you cannot escape and your strength will be worth nothing. I can make you suffer or I can give you death; I could even pen a letter and you wouldn't be able to see me. You have no sword nor headgear, you have little honor, and you will have little solace.
 
 
|  
 
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|  
 
|  
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|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 25r-a.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 26a-a.png|400px|center]]
| <poem>'''[14]''' <em>You go to the ground because of the point of the sword,
+
| <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>
And if I do not do you worse you will have a bargain.</em></poem>
+
 
 +
<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>
  
This play is from our first master, the Guard of the True Cross and [also] of the Bastard. When one throws a thrust, the scholar awaits it in his guard and quickly passes out of the way while covering, and puts a thrust in [the player's] face and then advances the left foot to outside [the player's] forward foot and, in this way that is depicted, throws him to the ground as the point of the sword has advanced past his neck.
+
<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>
<br/><br/>
 
  
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.
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 11r.jpg|11r-a}}
 
{{section|Page:MS M.383 11r.jpg|11r-a}}
|  
+
| <p><br/><br/></p>
<br/><br/>
+
 
 
{{section|Page:MS Ludwig XV 13 34r.jpg|34r-a}}
 
{{section|Page:MS Ludwig XV 13 34r.jpg|34r-a}}
 
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-a}}
 
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-a}}
Line 336: Line 315:
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 25r-b.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 26a-b.png|400px|center]]
| <poem>'''[15]''' <em>You feel the sword that I have set at your neck
+
| <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>
And I will show you death on the ground.</em></poem>
 
  
Also I say that when a Scholar is come to the close, and seeing that he cannot waste his companion with his sword, that he should instead force a grapple with his sword in this fashion, that is that the Scholar should throw his sword to the neck of the player, and his right foot he should thrust behind the left foot of the player, and throw him to the ground on the right-hand side.
+
<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>
<br/><br/>
+
 
 +
<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>
  
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.
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 11r.jpg|11r-b}}
 
{{section|Page:MS M.383 11r.jpg|11r-b}}
|  
+
| <p><br/><br/></p>
<br/><br/>
+
 
 
{{section|Page:MS Ludwig XV 13 34v.jpg|34v-b}}
 
{{section|Page:MS Ludwig XV 13 34v.jpg|34v-b}}
 
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-b}}
 
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-b}}
Line 356: Line 333:
 
|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 34r-b.jpg|300px|center]]
+
| [[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>
'''[16]''' When I come out of the guard into the narrow cover, if I cannot strike with the edge then I attack with the point; and if I cannot strike with either of these two, I strike with the hilt or the pommel according to my will.
 
  
And when I am in the narrow and the player believes I want to use the sword, I can switch to grappling if I see that it benefits me, and if not, I strike him with my hilt in his face as I said earlier, according to what seems best.
+
<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>
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 34r-c.jpg|300px|center]]
+
| [[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>
'''[17]''' As you can see, the scholar from before has struck the player in the face with the hilt of his sword, and quickly thereafter he can strike with the pommel into his face as you can see here below.
 
 
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|  
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 34r-d.jpg|300px|center]]
+
| [[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>
'''[18]''' Also I say that this scholar before me that attacked the player with the pommel of the sword in the face [17], that he was able to do like I do, that is to advance his right foot behind [the player's] left, and stick the guard of his sword to [the player's] neck in order to throw him to the ground like I do.
 
 
|  
 
|  
 
|  
 
|  
Line 391: Line 365:
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 25r-c.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 26a-c.png|400px|center]]
| <poem>'''[19]''' <em>If I turn myself close on your left side,
+
| <p>[19] <em>If I turn myself close on your left side,<br/>Your sword will be lost from your right hand.</em></p>
Your sword will be lost from your right hand.</em></poem>
 
  
 +
<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>
<br/><br/>
+
| <p><br/><br/></p>
  
Again I, who am the fourth Scholar, say that our Master can make this play from the cover that 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.
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 11r.jpg|11r-c}}
 
{{section|Page:MS M.383 11r.jpg|11r-c}}
|  
+
| <p><br/><br/></p>
<br/><br/>
+
 
 
{{section|Page:MS Ludwig XV 13 34v.jpg|34v-c}}
 
{{section|Page:MS Ludwig XV 13 34v.jpg|34v-c}}
 
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-c}}
 
| {{section|Page:Pisani-Dossi MS 26a.jpg|26a-c}}
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Ludwig XV 13 34v-a.jpg|300px|center]]
+
| [[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>
'''[20]''' This play is also of the Stance of the True Cross, in this way: that is that when a scholar is in that guard, and a player comes against him and suddenly attacks, that the scholar should step out of the way and stick the point in his face as you see here done.
 
 
|  
 
|  
 
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|  
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|-  
 
|-  
 
|  
 
|  
| [[File:MS Latin 11269 16v-b.jpg|300px|center|link=http://gallica.bnf.fr/ark:/12148/btv1b8514426f/f36.item]]
+
| [[File:MS Latin 11269 16v-b.png|400px|center]]
| <poem>'''[21]''' <em>I have wasted your hand, you can feel it well,
+
| <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>
And I could strike your face with my pommel.</em></poem>
 
 
 
  
 +
<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>
  
''[In the Pisani-Dossi, the player is wearing the garter.]''
+
<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>
|
 
<br/><br/>
 
  
My Master has shown me that when I am armored and one 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 that is after me. If I can perform such a play, it would not fail me.
+
<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>
  
''[In the Morgan, both figures wear garters. Unclear if this is more properly a Master or a Scholar.]''
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 11r.jpg|11r-d}}
 
{{section|Page:MS M.383 11r.jpg|11r-d}}
 
|  
 
|  
Line 445: Line 412:
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 25v-a.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 26b-a.png|400px|center]]
| <poem>'''[22]''' <em>Here I waste your hand by coming to a bind
+
| <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>
Which is so strong that I care nothing for your armor.</em></poem>
+
| <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>
|  
+
 
<br/><br/>
+
<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>
  
Again, as the Scholar that 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.
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 11v.jpg|11v-a}}
 
{{section|Page:MS M.383 11v.jpg|11v-a}}
 
|  
 
|  
Line 461: Line 426:
 
|-  
 
|-  
 
|  
 
|  
| [[File:Pisani-Dossi MS 25v-b.jpg|300px|center]]
+
| [[File:Pisani-Dossi MS 26b-b.png|400px|center]]
| <poem>'''[23]''' <em>I will send you to the ground with my hilt,
+
| <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>
And I will then waste you with my point.</em></poem>
+
| <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>
|  
+
 
<br/><br/>
+
<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>
  
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>''[In the Morgan, the Scholar's sword is behind his opponent's.]''</p>
 +
| <p><br/><br/></p>
  
''[In the Morgan, the Scholar's sword is behind his opponent's.]''
 
|
 
<br/><br/>
 
 
{{section|Page:MS M.383 11v.jpg|11v-b}}
 
{{section|Page:MS M.383 11v.jpg|11v-b}}
 
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| <poem>'''[24]''' <em>You will either lose the sword from your left hand,
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| <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>
Or you will go to the ground because of this entry I make.</em></poem>
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| <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>
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<br/><br/>
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<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>
  
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>''[In the Morgan, the player faces away from the scholar as in the previous play.]''</p>
 +
| <p><br/><br/></p>
  
''[In the Morgan, the player faces away from the scholar as in the previous play.]''
 
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<br/><br/>
 
 
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| <poem>'''[25]''' <em>This catch makes me safe from your sword:
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| <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>
Mine is free and yours is imprisoned.
+
 
And the fourth play that is in the art of the poleax,
+
<p>''[In the Pisani Dossi, the Master is missing his crown.]''</p>
Troubles the sword in armor with this play.</em></poem>
+
| <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>
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<br/><br/><br/><br/>
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<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>
  
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>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>
  
Again another counter I could make: I could turn his elbow with my left hand. Such a play is well-done both armored and unarmored.
 
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| <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>
'''[26]''' This is a good and strong grapple: while making the catch, the scholar puts his left foot behind the left foot of the player, and the point of his sword he puts in his face. Also you can throw him to the ground opposite the right hand.
 
 
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| <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>
'''[27]''' This is the counter of the master that is remedy and of those who are his scholars. It is a fact that every counter that comes against a master remedy which counter breaks the play of the master remedy also counters all of his scholars. And this is said of lance, poleax, sword, dagger, and wrestling, and of all the art.
 
  
Returning to speak of the master remedy, this master contrary sticks his left hand behind the right elbow of the player that makes the cover of the master remedy, and gives it a forceful turn in order to strike him in the back as you see after.
+
<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>
 
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| <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>
'''[28]''' I am the scholar of the master contrary that is before me and I complete his play. When the player turns, instantly I strike from behind under his right arm, or under his coif in the base of his head, or in his buttocks (with reverence), or under his knee, or in other places that I find uncovered.
 
 
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| <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>
'''[29]''' This sword passes for a sword and for an ax, and should not be edged from the guard down to one ''somesso''<ref name="somesso">A ''somesso'' is the following measure: having all the fingers extended and the hand wide open, open the thumb to form an “L”: the ''somesso'' is that measure, i.e. four fingers plus the length of the thumb.</ref> from the point, and the point should be fine and the edge should be one ''somesso'' in length. And the rondel below the hilt wants to be able to run down to one ''somesso'' from the point and not further, and the hilt wants to be well tempered and have a good point, and the pommel wants to be heavy. And that point wants to well tempered and quite sharp. And the sword wants to be as heavy in the back is it is in the front, and wants to weigh from 5 to 7 pounds, following how large and strong the man is and how he wants to be armed.
 
 
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| 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>
'''[30]''' This other sword wants to be fully edged, from the hilt all the way to the point, save for a part in the middle of the last third which should not be edged at all, a span big enough for one hand with a large gauntlet to enter. And similarly it wants to be fine of edge and of point, and the hilt wants to be strong and sharp and well-tempered, and the pommel wants to have a good point and wants to be heavy.
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Latest revision as of 21:32, 25 June 2021

Illustrations

Illustrations

Novati Translation Complete translation by Michael Chidester
Getty Translation Complete translation by Colin Hatcher

Paris Translation Draft translation by Kendra Brown and Rebecca Garber
Morgan Translation Complete translation by Michael Chidester

Morgan Transcription (1400s) [edit]
by Michael Chidester

Getty Transcription (1400s) [edit]
by Michael Chidester

Pisani Dossi Transcription (1409) [edit]
by Michael Chidester

Paris Transcription (1420s) [edit]
by Kendra Brown and Rebecca Garber

[No Image]

[1] We are six guards for armored fencing,
Which art we know how to perform in its completeness.
And this art concludes everything in the right truth:
It applies poleax, sword, and dagger to great extremes.
And here we'll explain how the art can come:
Masters and students will do it without lying.

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.

We are in deeds of arms six greatly skillful acts.
Whatever master of arms will acquire these,
He will surpass sword or dagger and then two-edged ax.



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.













Pisani-Dossi MS 25a-a.png

[2] The Shortened Stance, the Serpent

I am the Shortened Stance, the Serpent,
And I have a fine point for passing through armor.

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.


I am the Short Position itself. I am called by the proper name Serpentinus;
I am skilled at penetrating with a point.

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.








Pisani-Dossi MS 25a-b.png

[3] The Stance of the True Cross

I am the stance called the True Cross
And cuts and thrusts mean nothing to me.

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.


In this Position of the Leopard,[1] I truly observe the Serene One,
And always checking the deepest cuttings of the point.

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.








Pisani-Dossi MS 25a-c.png

[4] The Raised Serpent

I am the Raised Serpent,
I shoot great thrusts down low.
I also cover against cuts and thrusts,
Those strikes are little trouble to me.

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.


I am called Serpentinus, and Raised. And, point high,
I put my members below the lowest flat [of the sword].


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.












Pisani-Dossi MS 25a-d.png

[5] The Middle Iron Gate

I am the Iron Gate in the Middle:
And I am always ready to throw great thrusts.

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.


I am the guard in the formerly established Middle Iron Gate.
I do not do much harm with the point, and I am always frightful.

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).








MS Latin 11269 19v-c.png
Pisani-Dossi MS 25b-a.png

[6] The Archer's Stance

I am the Archer's Stance, the sentinel,
And I am always ready to strike and cover.

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.

[The Getty resembles the Pisani Dossi image.]


Here the sword will shift into a Malignant Position by penetrating;
Now I cover with my arm, for I hold my limb strongly upright.

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.








Pisani-Dossi MS 25b-b.png

[7] The Stance of the Bastard Cross

Of the Stance of the Cross, I am the Bastard,
And I will not delay in making her plays.

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.


I am the Position consecrated[4] as the True Cross by many masters.
The point is not a nuisance to me, nor will the cutting edge harm [me].

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.








MS Ludwig XV 13 33r-c.jpg

[8] With this cover I believe that I can waste anyone,
Following that which you see the Scholar do.

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.

[In the Pisani Dossi, the Master is missing his crown.]

By using this covering, you would now be sure to repel whomsoever,
Just as you will see the students play at any time.

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.





Pisani-Dossi MS 25b-d.png

[9] This thrust exits from the Master's cover,
And the other plays hereafter may well arise.

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.

[In the Getty, the Scholar's opponent's right foot is forward.]

I would do other plays if ever it will be pleasing;
This point escapes from the deepest covering of the master.

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.





MS Ludwig XV 13 33v-a.jpg

[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.

MS Ludwig XV 13 33v-b.jpg

[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.

MS Ludwig XV 13 33v-c.jpg

[12]

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[7] picture.

Indeed, by means of this lower bind you will depart on your face.
And moreover, I strike deadly wounds in your chest.



MS Ludwig XV 13 33v-d.jpg

[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[8] and you’ll soon be hurting.[9]

Pisani-Dossi MS 26a-a.png

[14] You go to the ground because of the point of the sword,
And if I do not do you worse you will have a bargain.

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[10] 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.

You will depart on your face, with the point of the sword in the ground,
And then I would make the unluckier thing itself settle in your mind.

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.





Pisani-Dossi MS 26a-b.png

[15] You feel the sword that I have set at your neck
And I will show you death on the ground.

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.

I hold the point above the neck, and you feel that.
Now you will suffer the labor of death, the fates do not deny.

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.





MS Ludwig XV 13 34r-b.jpg

[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.

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.

MS Ludwig XV 13 34r-c.jpg

[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.

MS Ludwig XV 13 34r-d.jpg

[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.

Pisani-Dossi MS 26a-c.png

[19] If I turn myself close on your left side,
Your sword will be lost from your right hand.

This student is unable to strike his opponent effectively,[12] 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”.

The sword will fall on your right side.
I travel around quickly to the left, the limb having been drawn tight, if I am in front.

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.





MS Ludwig XV 13 34v-a.jpg

[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.

MS Latin 11269 16v-b.png

[21] I have wasted your hand, you can feel it well,
And I could strike your face with my pommel.

[In the Pisani Dossi, the player is wearing the garter.]

You can perceive that I have beaten[13] your hand[14] with great wounds.
I would be able to make a bargain at the same time using the hilt.

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.

[In the Morgan, both figures wear garters. It's unclear if this Scholar should also wear a Master's crown.]




Pisani-Dossi MS 26b-a.png

[22] Here I waste your hand by coming to a bind
Which is so strong that I care nothing for your armor.

Here I strike you truly in the hand; the thing
I sought out with great pains will henceforth be bound to me, because he expresses contempt for grand weapons.

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.



Pisani-Dossi MS 26b-b.png

[23] I will send you to the ground with my hilt,
And I will then waste you with my point.

Learned in my art, I will turn your body face-up onto the ground.
Henceforth, I will penetrate your gloomy self with my point.

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.

[In the Morgan, the Scholar's sword is behind his opponent's.]



Pisani-Dossi MS 26b-c.png

[24] You will either lose the sword from your left hand,
Or you will go to the ground because of this entry I make.

Either you will leave your very own sword from the left part,
Or you, gloomy one, are going into the ground. You cannot deny this.

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.

[In the Morgan, the player faces away from the scholar as in the previous play.]



MS M.383 11v-d.png

[25] This catch makes me safe from your sword:
Mine is free and yours is imprisoned.
And the fourth play which is in the art of the poleax,
Troubles the sword in armor with this play.

[In the Pisani Dossi, the Master is missing his crown.]

This taking makes <me> safe from your sword. Therefore it happens that
Truly my <sword> is free. On the other hand, yours remains imprisoned.
And moreover, the sword brings about the play which is considered the fourth.
In the art of the two-edged axe,[16] [the reader] will easily see the same kind of thing.

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.

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.





MS Ludwig XV 13 34v-d.jpg

[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.

MS Ludwig XV 13 35r-a.jpg

[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.

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.

MS Ludwig XV 13 35r-b.jpg

[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.

MS Ludwig XV 13 35r-c.jpg

[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,[22] depending on how big and strong the man is and how he chooses to be armed.

MS Ludwig XV 13 35r-d.jpg

[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[23] 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.

  1. 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).
  2. This may also be read as immanis but inanis is closer to the Italian
  3. Added later: "pro cum".
  4. 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.
  5. Interrupted by a sword.
  6. "lo magistro" appears twice, but neither is struck out.
  7. Here the word “subito” (immediately, quickly) means the picture following immediately after this one.
  8. Literally “lost your honor”.
  9. Literally “You’ll have short comfort.” The use of “festa” here is so as to rhyme with “testa” before it.
  10. Fiore actually says “outside the lead foot”, but I’ve translated it as a step behind the lead foot to make the meaning clearer.
  11. Corrected from "de".
  12. Fiore says unable to strike “cum danno”, “with danger”. “Effectively” seems a good choice here.
  13. Lit. “pounded to pulp”.
  14. Lit. “palm”.
  15. Added later: "scilicet manum".
  16. Bipennifera (two-edged axe) likely refers to the poleaxe, even though in that section the manuscript refers to it as “three-pointed” instead.
  17. Added later: "scilicet me".
  18. Likely haec
  19. Added later: "scilicet ensis".
  20. The period after habetur may be a later addition, since it overlaps the final stroke of the r.
  21. There's a light mark above Arte that looks like the abbreviation for haec.
  22. 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: Measurement in the Middle Ages.
  23. The “terza” of the sword is the same as the “mezza spada” or middle of the blade.