Wiktenauer logo.png

Difference between revisions of "Francesco Fernando Alfieri"

From Wiktenauer
Jump to navigation Jump to search
m
(9 intermediate revisions by the same user not shown)
Line 19: Line 19:
 
| education            =  
 
| education            =  
 
| alma_mater          =  
 
| alma_mater          =  
| patron              =  
+
| patron              = Lodovico Vidman
  
 
| period              =  
 
| period              =  
Line 48: Line 48:
 
| below                =  
 
| below                =  
 
}}
 
}}
'''Francesco Fernando Alfieri''' was a [[century::17th century]] [[nationality::Italian]] [[fencing master]]. Little is known about his life, but ''Alfieri'' means "Ensign" which might be a military title rather than a family name. In his fencing treatise of 1640, he identifies himself as a master-at-arms to the Accademia Delia in Padua, and indicates that he had long experience at that time
+
'''Francesco Fernando Alfieri''' was a [[century::17th century]] [[nationality::Italian]] [[fencing master]]. He was Master of Arms of the Accademia Delia in his native Padua, most likely from 1632 until some point in the mid 1650s,<ref>Del Negro, Piero. ''L’Accademia Delia e gli esercizi cavallereschi della nobilità padovana nel Seicento e Settecento'' in ''Il gioco e la guerra nel secondo millennio''. Edited by Piero Del Negro and Gherardo Ortalli. Treviso: Fondazione Benetton Studi Ricerche, 2008.</ref> his predecessors being fellow Paudans: Bartolomeo Tagliaferro and Gaspare Magnanino. While not the first military academy in the Italian peninsula, it is recorded as the first state academy, with generous support from the city's coffers. The academy appointed Masters in only three disciplines: fencing, equitation, and mathematics, famously turning down Galileo Galilei for the position of professor of mathematics in 1610.
 +
 
 +
Founded in 1608, the Accademia Delia served as an elite finishing school for the sons of Paduan nobility, a military academy for future cavalry officers, continuing in this form until 1801. The academy's statutes provided for a maximum of sixty students, but in practice there were often fewer. 1632, the year Alfieri began his tenure, bore witness to a difficult period in Padua. In 1631 the city had suffered a terrible epidemic, bringing its population from 30,000 to a mere 13,000, with many of the academy's students losing their lives.
 +
 
 +
Nevertheless the academy occupied a position of considerable prestige in Paduan society, and in the entire Veneto region. For example on 18 April 1638, in the year Alfieri published La Bandiera, the academy hosted an extravagant festival, with contests and displays of fencing and jousting. This was watched by thousands of spectators, and concluded with a mass in the church of Santa Giustina, with a musical score composed for the occasion by Claudio Monteverdi.
  
 
In 1638, Alfieri published a treatise on flag drill entitled ''[[La Bandiera (Francesco Fernando Alfieri)|La Bandiera]]'' ("The Banner"). This was followed in 1640 by ''[[La Scherma (Francesco Fernando Alfieri)|La Scherma]]'' ("On Fencing"), in which he treats the use of the [[rapier]]. Not content with these works, in 1641 he released ''[[La Picca (Francesco Fernando Alfieri)|La Picca]]'' ("The Pike"), which not only covers [[pike]] drill, but also includes a complete reprint of ''La Bandiera'' (complete with title page dated 1638). His treatise on rapier seems to have been especially popular, as it was reprinted in 1646 and then received a new edition in 1653 titled ''[[L’arte di ben maneggiare la spada (Francesco Fernando Alfieri)|L’arte di ben maneggiare la spada]]'' ("The Art of Handling the Sword Well"), which not only includes the entirety of the 1640 edition, but also adds a concluding section on the [[spadone]].
 
In 1638, Alfieri published a treatise on flag drill entitled ''[[La Bandiera (Francesco Fernando Alfieri)|La Bandiera]]'' ("The Banner"). This was followed in 1640 by ''[[La Scherma (Francesco Fernando Alfieri)|La Scherma]]'' ("On Fencing"), in which he treats the use of the [[rapier]]. Not content with these works, in 1641 he released ''[[La Picca (Francesco Fernando Alfieri)|La Picca]]'' ("The Pike"), which not only covers [[pike]] drill, but also includes a complete reprint of ''La Bandiera'' (complete with title page dated 1638). His treatise on rapier seems to have been especially popular, as it was reprinted in 1646 and then received a new edition in 1653 titled ''[[L’arte di ben maneggiare la spada (Francesco Fernando Alfieri)|L’arte di ben maneggiare la spada]]'' ("The Art of Handling the Sword Well"), which not only includes the entirety of the 1640 edition, but also adds a concluding section on the [[spadone]].
 +
 +
Alfieri dedicates his ''La Bandiera'' and ''La Picca'' to Lodovico Vidman, whom he indicates was his former student and patron, with ''L’arte di ben maneggiare la spada'' dedicated to Lodovico's brother Martino (''La Scherma'' being dedicated to the students at the Accademia Delia in general). The Vidman (or Widmann) family were an extremely wealthy merchant family, originally from Carinthia in present-day Austria, but settled in Venice. Generous patrons of the arts, in the course of the first half of the seventeenth century they were ennobled first by the Holy Roman Emperor, then by the Venetian Senate.
 +
 
{{TOC limit|3}}
 
{{TOC limit|3}}
 
== Treatise ==
 
== Treatise ==
Line 674: Line 681:
 
|-  
 
|-  
 
| [[file:La Picca (Alfieri) 13.png|400x400px|center]]
 
| [[file:La Picca (Alfieri) 13.png|400x400px|center]]
|  
+
| <p>On sliding the pike, and on the sword</p>
 +
<p>Chapter XII</p>
 +
<p>In this design we see the method for sliding the pike back, until it rests on your left hand near the head. The soldier finds his left flank forward, and wishing to avail himself of his arms, and not abandon them, flips over his left hand, which he must use to pass the pike over his head. With this motion he returns to his natural posture, holding the pike, and after can easily put his hand to his sword, without disordering himself by drawing it over his left arm, without moving his feet. </p>
 +
<p>In this way he can easily employ both of them together, to better resist, and fight with the advantage of two weapons, which is obvious to those who know how important this is, and who dedicate themselves to the military arts. However, the prudent never have their fill of practising and learning: demonstrating their strength and agility by throwing the pike in different ways, letting it slide from the point down to the butt, and extracting a thousand new discoveries, all contributing to the completeness of this art. </p>
 +
 
| {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|36|lbl=30}}
 
| {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|36|lbl=30}}
  
 
|-  
 
|-  
 
| [[file:La Picca (Alfieri) 14.png|400x400px|center]]
 
| [[file:La Picca (Alfieri) 14.png|400x400px|center]]
|  
+
| <p>On the pike and sword in battle</p>
 +
<p>Chapter XIII</p>
 +
<p>Here we demonstrate the use of the pike with the sword. It takes great skill to slide the pike as needed, back and forth with your left hand, a member which itself is weak and poorly disposed, rendered able only through practice. In switching arms, you perform various slides of the pike, always staying in good order, the weapons ready to defend and attack; whether advancing and pressing the enemy, or retreating.  Nor will they impede you changing face, and executing what is suggested by good judgement and necessity, when the solider does not have to change course in these two extremes.</p>
 +
 
 
| {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|38|lbl=32}}
 
| {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|38|lbl=32}}
  
 
|-  
 
|-  
 
| [[file:La Picca (Alfieri) 15.png|400x400px|center]]
 
| [[file:La Picca (Alfieri) 15.png|400x400px|center]]
|  
+
| <p>On raising the pike to your shoulder while holding your sword in hand</p>
 +
<p>Chapter XIV</p>
 +
<p>The material in this chapter reveals many new discoveries, such as simultaneously changing face and switching hands, sliding, launching the pike, and everything that constitutes the art.</p>
 +
<p>The present method is very proper, quick, and the surest of all. The solider finds himself as shown in the design. Wishing to raise the haft he must lift his elbow level with his shoulder. With it firmly in place he will quickly pass his hand under his neck, and he will grasp the pike by turning his palm. Then he extends his arm, and the haft falls to the ground with ostentatious grace.</p>
 +
 
 
| {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|40|lbl=34}}
 
| {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|40|lbl=34}}
  
 
|-  
 
|-  
 
| class="noline" | [[file:La Picca (Alfieri) 16.png|400x400px|center]]
 
| class="noline" | [[file:La Picca (Alfieri) 16.png|400x400px|center]]
| class="noline" |
+
| <p>On raising the pike to your shoulder while holding your sword in hand</p>
 +
<p>Chapter XV</p>
 +
<p>All professors labour to develop what has been discovered, or to refine it. We have demonstrated the progress of the art, without too many subtle niceties, which are difficult to represent without being verbose, and which can only be learned under the discipline of someone teaching. </p>
 +
<p>We are at the last lesson, and this one in itself is very clear, even though it has its particularities, in many regards not very common. I know that in any place where you find the pike, that without abandoning it you can sheath your sword. However, having it raised, resting straight on your shoulder, keeping the butt by the point of your foot, as presented by the figure, staying nicely firm and tight, is a method with much grace and great facility. </p>
 +
<p>Afterwards you are free to take the pole depending upon on your intention and the occasion, and with the sword at your side you can adopt a regular stance, and with a gravity that does not show affectation, you can make peace with your labours. </p>
 +
 
 
| class="noline" |  
 
| class="noline" |  
 
{{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|42|lbl=36|p=1}} {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|44|lbl=38|p=1}}
 
{{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|42|lbl=36|p=1}} {{pagetb|Page:La Picca (Francesco Fernando Alfieri) 1641.pdf|44|lbl=38|p=1}}
 +
|-
 +
|
 +
| <p>Conclusion of this work</p>
 +
<p>Chapter XVI</p>
 +
<p>There were the brief lessons that I promised, and here is the summary to which I alluded at the start. I did not speak at length in my explanations, to avoid repeating the same things many times, and because in a sense the figures speak for themselves. My spirit is great, but my strength betrays me. Nonetheless I wish to show you in another book the "spadone", the use of hafted weapons at the barriers, the use of the poleaxe, and of sabres. <ref> Alfieri published his treatise on the spadone in 1653, unfortunately there is no evidence the other works suggested here were ever produced.
  
 +
The reference to the sabre is noteworthy, since the earliest technical coverage of the sabre in an Italian treatise by Marcelli in 1686, over forty years later. Alfieri refers to the sabre in the plural as sable, the singular of which would be sabla. This is much closer to the Spanish word sable, or the Polish word szabla for example than to the modern Italian term sciabola, or the term Marcelli uses (sciabla), which arguably suggests connections outside the Italian peninsula.</ref>  In the meantime, receive this sign of my affection, and if I was not able to delight you much with words, perhaps you will find me more practised in action. </p>
 +
 +
|
 
|}
 
|}
 
{{master end}}
 
{{master end}}
Line 1,970: Line 2,001:
 
  | source link = https://sword.school/articles/la-bandiera/
 
  | source link = https://sword.school/articles/la-bandiera/
 
  | source title= The School of the Sword
 
  | source title= The School of the Sword
 +
| license    = noncommercial
 +
}}
 +
{{sourcebox
 +
| work        = Translation (Pike)
 +
| authors    = [[Piermarco Terminiello]]
 +
| source link =
 +
| source title= Private communication
 
  | license    = noncommercial
 
  | license    = noncommercial
 
}}
 
}}

Revision as of 16:20, 18 November 2020

Francesco Fernando Alfieri

Portrait from 1640
Born 16th century (?)
Died 17th century
Occupation Fencing master
Nationality Italian
Patron Lodovico Vidman
Genres Fencing manual
Language Italian
Notable work(s)

Francesco Fernando Alfieri was a 17th century Italian fencing master. He was Master of Arms of the Accademia Delia in his native Padua, most likely from 1632 until some point in the mid 1650s,[1] his predecessors being fellow Paudans: Bartolomeo Tagliaferro and Gaspare Magnanino. While not the first military academy in the Italian peninsula, it is recorded as the first state academy, with generous support from the city's coffers. The academy appointed Masters in only three disciplines: fencing, equitation, and mathematics, famously turning down Galileo Galilei for the position of professor of mathematics in 1610.

Founded in 1608, the Accademia Delia served as an elite finishing school for the sons of Paduan nobility, a military academy for future cavalry officers, continuing in this form until 1801. The academy's statutes provided for a maximum of sixty students, but in practice there were often fewer. 1632, the year Alfieri began his tenure, bore witness to a difficult period in Padua. In 1631 the city had suffered a terrible epidemic, bringing its population from 30,000 to a mere 13,000, with many of the academy's students losing their lives.

Nevertheless the academy occupied a position of considerable prestige in Paduan society, and in the entire Veneto region. For example on 18 April 1638, in the year Alfieri published La Bandiera, the academy hosted an extravagant festival, with contests and displays of fencing and jousting. This was watched by thousands of spectators, and concluded with a mass in the church of Santa Giustina, with a musical score composed for the occasion by Claudio Monteverdi.

In 1638, Alfieri published a treatise on flag drill entitled La Bandiera ("The Banner"). This was followed in 1640 by La Scherma ("On Fencing"), in which he treats the use of the rapier. Not content with these works, in 1641 he released La Picca ("The Pike"), which not only covers pike drill, but also includes a complete reprint of La Bandiera (complete with title page dated 1638). His treatise on rapier seems to have been especially popular, as it was reprinted in 1646 and then received a new edition in 1653 titled L’arte di ben maneggiare la spada ("The Art of Handling the Sword Well"), which not only includes the entirety of the 1640 edition, but also adds a concluding section on the spadone.

Alfieri dedicates his La Bandiera and La Picca to Lodovico Vidman, whom he indicates was his former student and patron, with L’arte di ben maneggiare la spada dedicated to Lodovico's brother Martino (La Scherma being dedicated to the students at the Accademia Delia in general). The Vidman (or Widmann) family were an extremely wealthy merchant family, originally from Carinthia in present-day Austria, but settled in Venice. Generous patrons of the arts, in the course of the first half of the seventeenth century they were ennobled first by the Holy Roman Emperor, then by the Venetian Senate.

Treatise

Additional Resources

References

  1. Del Negro, Piero. L’Accademia Delia e gli esercizi cavallereschi della nobilità padovana nel Seicento e Settecento in Il gioco e la guerra nel secondo millennio. Edited by Piero Del Negro and Gherardo Ortalli. Treviso: Fondazione Benetton Studi Ricerche, 2008.
  2. This passage is later self-plagiarised by Alfieri in the introduction to his treatise on the spadone of 1653.
  3. Although taken somewhat out of context, Alfieri appears to be referring to Numbers 21:8: “And the LORD said unto Moses, Make thee a fiery serpent, and set it upon a pole” (King James Bible).
  4. Here Alfieri employs a practically untranslatable idiom “tenero di sale”, which refers to a dish lacking in salt but also ironically to a foolish, naïve or credulous person. The translator has replaced this with an approximately equivalent English idiom.
  5. Note the use of fencing terminology to describe actions with the flag, which continues throughout the treatise.
  6. Montanti (singular montante) in fencing terminology refers to rising blows.
  7. Literally “totally covered”, this describes a guard or posture in which your opponent has no direct line of attack, as demonstrated for example in chapters XXV and XXXIV of Alfieri's 1640 treatise on rapier fencing.
  8. Note that this final plate is simply reused from chapter I.
  9. Again this passage is later self-plagiarised in the conclusion to Alfieri's 1653 treatise on the spadone.
  10. According to tradition Lysis of Taras was both a student of Pythagoras and teacher to Epaminondas, although since this would make him impossibly old perhaps two historical figures were conflated. Epaminondas was a renowned Theban general from whom Philip learned in his youth, as a hostage in Thebes.
  11. The braccio (plural: braccia) was an Italian pre-metric unit of measurement. Its length varied by region, although the Venetian and Paduan braccio appear to have been approximately 68.3cm. This was would make Alfieri’s pike approximately 6.12 meters (or 20 foot) long.
  12. Plate armour designed to protect the upper thighs.
  13. A type of helmet, first used by the Spanish, usually with a flat brim and a crest from front to back.
  14. Alfieri published his treatise on the spadone in 1653, unfortunately there is no evidence the other works suggested here were ever produced. The reference to the sabre is noteworthy, since the earliest technical coverage of the sabre in an Italian treatise by Marcelli in 1686, over forty years later. Alfieri refers to the sabre in the plural as sable, the singular of which would be sabla. This is much closer to the Spanish word sable, or the Polish word szabla for example than to the modern Italian term sciabola, or the term Marcelli uses (sciabla), which arguably suggests connections outside the Italian peninsula.