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! <p><includeonly><span style="font-weight:normal; font-size:85%;">&#91;{{edit|Fiore de'i Liberi/Sword in One Hand|edit}}&#93;</span> &nbsp; </includeonly>Images</p>
 
! <p><includeonly><span style="font-weight:normal; font-size:85%;">&#91;{{edit|Fiore de'i Liberi/Sword in One Hand|edit}}&#93;</span> &nbsp; </includeonly>Images</p>
 
! <p>Images</p>
 
! <p>Images</p>
! <p>''{{rating|B|PD}} by [[Michael Chidester]]''<br/>{{rating|B|Getty}} by [[Matt Easton]] and [[Eleonora Durban]]</p>
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! <p>''{{rating|B|PD}} by [[Michael Chidester]]''<br/>{{rating|B|Getty}} by [[Colin Hatcher]]</p>
 
! <p>''{{rating|none|Paris (Open for translation)}}''<br/>{{rating|B|Morgan}} by [[Michael Chidester]]</p>
 
! <p>''{{rating|none|Paris (Open for translation)}}''<br/>{{rating|B|Morgan}} 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>[[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>
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| rowspan="2" | [[File:MS Ludwig XV 13 20r-c.jpg|300px|center]]
 
| rowspan="2" | [[File:MS Ludwig XV 13 20r-c.jpg|300px|center]]
 
| rowspan="2" | [[File:MS Ludwig XV 13 20r-d.jpg|300px|center]]
 
| rowspan="2" | [[File:MS Ludwig XV 13 20r-d.jpg|300px|center]]
| <p>[1] We are three players who want to kill this master. One that will deliver a thrust, the other a cut (''taglio''), the other wants to throw his sword at the said master. So that it will be a great spectacle for him not to be killed, God make him very sorrowful.</p>
+
| <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>
 
| <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 M.383 17v.jpg|17v-a}}
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| <p>[2] <em>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.</em></p>
 
| <p>[2] <em>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.</em></p>
  
You are bad, and of this art know little. You do things which have no place in words. Come then, one by one, who can do it. And even if you were one hundred, I would wound you all, because of this guard, which is a good and powerful thing. …
+
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. …
 
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<br/><br/><br/><br/><br/><br/><br/><br/>
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| <p>[3] <em>With a step, I have made a cover with my sword<br/>And it has quickly entered into your chest.</em></p>
 
| <p>[3] <em>With a step, I have made a cover with my sword<br/>And it has quickly entered into your chest.</em></p>
  
…I advance (''acresso'') the foot which is in front a little out of the way and with the left I pass traversing. And in this passing cross beating the swords I find uncovered and surely I will make injuries. And if a spear or sword is thrown at me, all will be beaten away, as I said, passing out of the way, as you will see in my plays hereafter. I pray you to look at them. And even with a sword one-handed I will do my art, as is shown in these papers.
+
…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. The front foot moves to the left as does the rear foot. In other martial arts from this position it is usually the rear (left) leg that must move first to maintain stability. Fiore here says move the front foot first.</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><br/><br/></p>
 
| <p><br/><br/></p>
  
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| <p>[4] <em>In order to wound you again with this, my point,<br/>I have added my left hand to the sword.</em></p>
 
| <p>[4] <em>In order to wound you again with this, my point,<br/>I have added my left hand to the sword.</em></p>
  
This is a play in which, wanting to be armoured wants to put a thrust. When someone delivers thrusts and cuts, you do the cover, and immediately put this to him in the way that is drawn.
+
This is a play where if you wish to make this kind of thrust,<ref>Fiore is referring to a half sword thrust, which is a close range thrust. As you can see from the drawing, you are also leaving your opponent’s sword unbound, hence it being better if you are armored.</ref> 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.
  
 
''[The Getty image resembles the Pisani-Dossi, including the lack of armor.]''
 
''[The Getty image resembles the Pisani-Dossi, including the lack of armor.]''
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| <p>[6] <em>Again I have struck your head without stepping<br/>Because of the good cover that I knew to make.</em></p>
 
| <p>[6] <em>Again I have struck your head without stepping<br/>Because of the good cover that I knew to make.</em></p>
  
In everything I have found you uncovered, and I surely have injured you in the head. And if I want to pass forward with the rear foot, I can do a lot of ''gioco stretti'' against you; that is binds, breaks and wrestling.
+
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><br/><br/></p>
 
| <p><br/><br/></p>
  
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| <p>[7] <em>In this way, I uncover you to strike you with my point<br/>To defend myself from you from each neglect and shame.</em></p>
 
| <p>[7] <em>In this way, I uncover you to strike you with my point<br/>To defend myself from you from each neglect and shame.</em></p>
  
What the master said I have done well; that is I passed out of the way making a good cover. And I find the player uncovered, so that I surely want to put a thrust in his face. And with my left hand I want to try to make your sword go to the ground if I can.
+
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.
  
 
''[In the Paris, the Scholar wears a crown.]''
 
''[In the Paris, the Scholar wears a crown.]''
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| <p>[8] <em>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;</em></p>
 
| <p>[8] <em>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;</em></p>
  
I can injure you with a cut (''taglio'') and a thrust. Also, if I advance (''acresco'') the forward foot, I can bind you in ''ligadura mezana'', which is drawn before, at the 3rd play of the 1st Master, Dagger Remedy. Also, I can do this play which is after me. And in this way I can injure and also bind you.
+
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.]''
 
''[In the Getty, the Scholar's opponent has his right foot forward.]''
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| <p>[9] <em>With my left arm, I have bound your right<br/>And will you be presented with many strikes.</em></p>
 
| <p>[9] <em>With my left arm, I have bound your right<br/>And will you be presented with many strikes.</em></p>
  
Your sword and your arm are well entrapped, and you cannot free yourself, that you don't get hurt by my way, because you seem to know little of this play.
+
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.
  
 
''[In Vadi, the Scholar's opponent stands with his right foot forward.]''
 
''[In Vadi, the Scholar's opponent stands with his right foot forward.]''
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| <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>[10] <em>Because of the way in which I have caught your sword,<br/>Quickly I will have your hand empty.</em></p>
  
Here I can injure you well, and disarm your sword without fail, turning it around the hand, I will make you turn, in a way that it is better for you to release the sword.
+
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.
 
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| <p>[11] <em>I will make you turn with the left hand<br/>And in that, I want to give you a great blow.</em></p>
 
| <p>[11] <em>I will make you turn with the left hand<br/>And in that, I want to give you a great blow.</em></p>
  
Here I can injure you in the front, and this is not enough for me, for pinching you at the elbow I will make you turn, to injure you in the rear, and I will shove my sword at your neck, so that you will not defend yourself from this.
+
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.
 
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| <p>[12] <em>Because of the turn that I have given you by your elbow<br/>I believe I have cut you across the throat.</em></p>
 
| <p>[12] <em>Because of the turn that I have given you by your elbow<br/>I believe I have cut you across the throat.</em></p>
  
For that play which is before me, in the way I made you turn, and immediately I shoved my sword to your neck. If I do not cut your throat, then I am sorrowful and foolish.
+
n 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.
 
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| <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>[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>
  
You cast a thrust at me, and I beat it to the ground. You see you are uncovered, and I can injure you. Again, I want to make you turn, to injure you worse. And I will injure you in the middle of you back.
+
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.
 
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| <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>[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>
  
For the turn I made you do, pinching you by the elbow, to this part I have come well and immediately, for the chance to shove you to the ground, so that you do not make war on me nor any other again.
+
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.
 
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| <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>[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>
  
This one I dragged by the head, and I beat his sword. I have come to this part. Also, I will make you turn, not to fail. And I put the sword to your neck, while I am daring.
+
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
 
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Revision as of 23:51, 27 December 2015

Images

Images

PD Complete translation by Michael Chidester
Getty Complete translation by Colin Hatcher

Paris (Open for translation) Not started
Morgan Complete translation by Michael Chidester

Morgan Transcription [edit]
Open for editing

Getty Transcription [edit]
Open for editing

Pisani Dossi Transcription [edit]
by Francesco Novati

Paris Transcription [edit]
by Kendra Brown and Rebecca Garber

MS Ludwig XV 13 20r-c.jpg
MS Ludwig XV 13 20r-d.jpg

[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[1] and avoid being killed, then God will have indeed blessed him with great skill.[2]

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.

[2] Whether throwing the sword or striking cuts and thrusts,
Nothing will trouble me because of the guard that I hold.
Come one by one whoever wants to go against me
Because I want to contend with them all.
And whoever wants to see covers and strikes,
Taking the sword and binding without fail,
Watch what my Scholars know how to do:
If you don't find a counter, they have no equal.

You are cowards[3] 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. …









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). …

















[3] With a step, I have made a cover with my sword
And it has quickly entered into your chest.

…I will advance my front foot a little off the line, and with my left foot I will step crosswise,[8] 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[9] 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.



…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.

[4] In order to wound you again with this, my point,
I have added my left hand to the sword.

This is a play where if you wish to make this kind of thrust,[10] 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.

[The Getty image resembles the Pisani-Dossi, including the lack of armor.]



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.





[5] Here I have struck you in your head
From the cover that I have made so quickly.

[6] Again I have struck your head without stepping
Because of the good cover that I knew to make.

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.



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).





[7] In this way, I uncover you to strike you with my point
To defend myself from you from each neglect and shame.

I have done what my teacher[12] 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.

[In the Paris, the Scholar wears a crown.]



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.





[8] Because of the hand that I have put beneath your hilt,
If your sword doesn't hit the ground, call me feeble.
 

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.[14] 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.]




[9] With my left arm, I have bound your right
And will you be presented with many strikes.

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.

[In Vadi, the Scholar's opponent stands with his right foot forward.]



[10] Because of the way in which I have caught your sword,
Quickly I will have your hand empty.

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.



[11] I will make you turn with the left hand
And in that, I want to give you a great blow.

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[15] my sword around your neck from behind, and you will have no defense to this.



[12] Because of the turn that I have given you by your elbow
I believe I have cut you across the throat.

n 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.



[13] This is a good break of the point on the ground
And in this fashion you will come to be in the narrow.

You aimed[16] 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.



[14] I have sending you to the ground in my thoughts:
Again, you are uncovered so that I can strike you.

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.



[15] Either your sword is bent or it is broken
And I can strike you from above or from below with mine.

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[17] wrap my sword around your neck



  1. A “grande fatto” is something of great worth, like a mighty deed.
  2. “Tristo” can mean “sad”, but it can also mean “crafty”, “clever”, or “skillful”
  3. “Cativi” means “cowardly wretches”. Here Fiore’s Master is talking directly to the three men who seek his death.
  4. The "s" replaces an earlier letter that was scraped off, possible "S".
  5. Written as "e" and then corrected to "i".
  6. Word contains both an abbreviation for "r" and another letter was overwritten to "r"; it could also be read as "ferirere", but that's not a word.
  7. The second letter appears to have been corrected.
  8. “ala traversa”—crosswise. Here this means sideways. The front foot moves to the left as does the rear foot. In other martial arts from this position it is usually the rear (left) leg that must move first to maintain stability. Fiore here says move the front foot first.
  9. Remember, “passando” might mean “passing” (passing step) or it might mean simply “stepping”.
  10. Fiore is referring to a half sword thrust, which is a close range thrust. As you can see from the drawing, you are also leaving your opponent’s sword unbound, hence it being better if you are armored.
  11. Possible letter “a” above sanguineo, but nothing else. Unclear whether the “a” is the end of a mostly-erased note, or part of a word-order note that has been erased.
  12. “Magistro” means both “Master” and “Teacher”. The translation “teacher” works well here.
  13. This page is showing ink from the other side much more than usual.
  14. Getty 10v-c
  15. “Butare” actually means to “cast” or “throw”. I decided “wrap” would work better here.
  16. “Zitassi” means “cast” as in “threw”.
  17. “Ardito” means “bold”, “passionate” (“ardent”). But here I went after the meaning as I understand it, which is with intensity, thus “aggressively”.