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| <p>[3] As for the counterguards, be advised that one who has knowledge of this profession will never place themselves in guard, but will seek to place themselves against the guards. Wanting to do so, be warned of this: one must place oneself outside of measure, that is, at a distance, with the sword and dagger high, strong with the vita, and with a firm and balanced pace, then consider the guard of the enemy. Afterwards approach him little by little with your sword binding his for safety, that is, almost resting your sword on his so that it covers it because he will not be able to wound if he does not disengage the sword. The reason for this is that in disengaging he performs two actions. First he disengages, which is the first tempo, then wounding, which is the second. While he disengages, in that same tempo he can come to be wounded in many ways before he has time to wound, as one will see in the figures of my book. If he changes guard for the counterguard it is necessary to follow him along with the sword forward and the dagger, always securing his sword, because in the first tempo he will always have to disengage the sword and end up wounded. It will never be possible for him to wound if not with two tempi, and from those parrying will always be a very easy thing. This is enough about guards and counterguards.</p>
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| <p>[3] As for the counterguards, be advised that one who has knowledge of this profession will never place themselves in guard, but will seek to place themselves against the guards.<ref name="counterguard">In a counterguard.</ref> Wanting to do so, be warned of this: one must place oneself outside of measure, that is, at a distance, with the sword and dagger high, strong with the vita, and with a firm and balanced pace, then consider the guard of the enemy. Afterwards approach him little by little with your sword binding his for safety, that is, almost resting your sword on his so that it covers it because he will not be able to wound if he does not disengage the sword. The reason for this is that in disengaging he performs two actions. First he disengages, which is the first tempo, then wounding, which is the second. While he disengages, in that same tempo he can come to be wounded in many ways before he has time to wound, as one will see in the figures of my book. If he changes guard for the counterguard it is necessary to follow him along with the sword forward and the dagger, always securing his sword, because in the first tempo he will always have to disengage the sword and end up wounded. It will never be possible for him to wound if not with two tempi, and from those parrying will always be a very easy thing. This is enough about guards and counterguards.</p>
 
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| <p>[4] '''Tempo and Measure'''</p>
 
| <p>[4] '''Tempo and Measure'''</p>
  
<p>One cannot know how to place oneself in guard, or against the guard, nor how to throw a thrust, an imbroccata, a mandritto, or a riverso, nor how to turn the wrist, nor how to carry the body well, or to best control the sword, or say one understands parrying and wounding, but by understanding tempo and measure which, of one who does not understand, even though they parry and wound, it could not be said that they understand parrying and wounding, because such a person in parrying as in wounding can err and incur a thousand dangers.</p>
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<p>One cannot know how to place oneself in guard, or against the guard,<ref name="counterguard"/> nor how to throw a thrust, an imbroccata, a mandritto, or a riverso, nor how to turn the wrist, nor how to carry the body well, or to best control the sword, or say one understands parrying and wounding, but by understanding tempo and measure which, of one who does not understand, even though they parry and wound, it could not be said that they understand parrying and wounding, because such a person in parrying as in wounding can err and incur a thousand dangers.</p>
 
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| <p>[7] Tempo is understood in this way: if the enemy is in guard, one needs to place oneself outside of measure and advance with one’s guard, securing oneself from the enemy’s sword with one’s own, and put one’s mind on what he wants to do.</p>
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| <p>[7] Tempo is understood in this way: if the enemy is in guard, one needs to place oneself outside of measure and advance with one’s guard, securing oneself from the enemy’s sword with one’s own, and put one’s mind on what he<ref name="the enemy">The enemy.</ref> wants to do.</p>
 
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| <p>[15] '''Explanation of Wounding in Tempo'''</p>
 
| <p>[15] '''Explanation of Wounding in Tempo'''</p>
  
<p>This figure teaches you to wound your enemy in the tempo he disengages his sword. You do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard shows you so that he will not be able to wound you if he does not disengage the sword. Then, in the same tempo that he disengages to wound you, push forward your sword, turning your wrist in the same tempo so that you wound him in the face as is seen in the figure. In the case that you were to parry and then wound it would not be successful, since the enemy would have tempo to parry and you would be in danger, but if you enter immediately forward with your sword in the tempo he disengages his, turning your wrist and parrying, the enemy will have difficulty parrying.
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<p>This figure teaches you to wound your enemy in the tempo he disengages his sword. You do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard shows you<ref>Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.</ref> so that he will not be able to wound you if he does not disengage the sword. Then, in the same tempo that he disengages to wound you, push forward your sword, turning your wrist in the same tempo so that you wound him in the face as is seen in the figure. In the case that you were to parry and then wound it would not be successful, since the enemy would have tempo to parry and you would be in danger, but if you enter immediately forward with your sword in the tempo he disengages his, turning your wrist and parrying, the enemy will have difficulty parrying.
 
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| <p>[18] '''The Proper Method of Going to Bind the Enemy and Strike Him While He Disengages the Sword'''</p>
 
| <p>[18] '''The Proper Method of Going to Bind the Enemy and Strike Him While He Disengages the Sword'''</p>
  
<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him outside of his sword outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, with lively eyes, as you see in the second figure of the guards and counterguards. You being accommodated in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same tempo throw a stoccata at him as the fourth figure teaches you. Having thrown this stoccata, immediately in the same tempo return backward outside of measure, resting your sword over his so that if he wants to disengage anew, you will return to throw to him the same stoccata, turning your wrist as above, returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the stoccata at him.</p>
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<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him outside of his sword outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, with lively eyes, as you see in the second figure of the guards and counterguards.<ref>Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.</ref> You being accommodated in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same tempo throw a stoccata at him as the fourth figure teaches you. Having thrown this stoccata, immediately in the same tempo return backward outside of measure, resting your sword over his so that if he wants to disengage anew, you will return to throw to him the same stoccata, turning your wrist as above, returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the stoccata at him.</p>
 
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| <p>[21] '''The Inside Counterdisengage of the Sword'''</p>
 
| <p>[21] '''The Inside Counterdisengage of the Sword'''</p>
  
<p>In this figure another method of parrying and wounding by way of counterdisengage is represented and shown to you, which is done in this way: having covered the sword of your enemy so that if he wants to wound you he must disengage, while he disengages I want you to also disengage so that your sword returns to its first position, covering that of the enemy. But in the disengaging that you do, availing yourself of the tempo, throw a stoccata at him where he is uncovered, turning your body a little toward the right side and holding your arm stretched forward so that if he comes to wound you he will wound himself of his own accord. Having thrown the stoccata, return backward outside of measure.</p>
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<p>In this figure<ref>Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.</ref> another method of parrying and wounding by way of counterdisengage is represented and shown to you, which is done in this way: having covered the sword of your enemy so that if he wants to wound you he must disengage, while he disengages I want you to also disengage so that your sword returns to its first position, covering that of the enemy. But in the disengaging that you do, availing yourself of the tempo, throw a stoccata at him where he is uncovered, turning your body a little toward the right side and holding your arm stretched forward so that if he comes to wound you he will wound himself of his own accord. Having thrown the stoccata, return backward outside of measure.</p>
 
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| <p>[22] '''The Counterdisengage of the Sword on the Outside'''</p>
 
| <p>[22] '''The Counterdisengage of the Sword on the Outside'''</p>
  
<p>This method of wounding by way of outside counterdisengage is similar to the inside counterdisengage, only there is a difference: that your enemy being in guard and you coming to bind, being outside of measure you must place yourself against his guard, securing yourself from his sword outside and making the enemy resolve himself to disengage. While he disengages, in the same tempo you will again disengage, turning the point of your sword under his together with your wrist, resting the forte of the edge of your sword and going along the edge of it, holding your arm long and extended, loosening the vita and lengthening the pace, as is seen in the figure, so you come to wound him without him sensing it.</p>
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<p>This method of wounding<ref>This lesson’s text refers to Figure 6.</ref> by way of outside counterdisengage is similar to the inside counterdisengage, only there is a difference: that your enemy being in guard and you coming to bind, being outside of measure you must place yourself against his guard,<ref name="counterguard"/> securing yourself from his sword outside and making the enemy resolve himself to disengage. While he disengages, in the same tempo you will again disengage, turning the point of your sword under his together with your wrist, resting the forte of the edge of your sword and going along the edge of it, holding your arm long and extended, loosening the vita and lengthening the pace, as is seen in the figure, so you come to wound him without him sensing it.</p>
 
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| [[File:Giganti 09.png|400x400px|center|Figure 9]]
 
| [[File:Giganti 09.png|400x400px|center|Figure 9]]
| <p>[29] '''Method of Wounding in the Chest with the Single Sword When They Are In''' measure with the swords equal</p>
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| <p>[29] '''Method of Wounding in the Chest with the Single Sword When They<ref>The two fencers.</ref> Are In''' measure with the swords equal</p>
  
 
<p>The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: one needs to place themselves in guard with the sword forward on the left side and if the enemy comes to bind you and cover your sword with his let him come until he finds himself in measure with you. When he is in measure with you disengage, putting your sword inside of his, straightening the point against the enemy’s face. If he does not go to parry, wound him resolutely, going as I have said above with the right edge of yours on the edge of his, turning your wrist and carrying the body across a bit. But if the enemy comes to parry and wound you while you disengage do not throw the thrust but hold it a little outside, and in the same tempo that he wants to parry and wound, redisengage your sword under the hilt of his, done aiming at the chest of the enemy so that you strike him in the chest safely, increasing a little with the sword, as you see in the present figure.''</p>
 
<p>The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: one needs to place themselves in guard with the sword forward on the left side and if the enemy comes to bind you and cover your sword with his let him come until he finds himself in measure with you. When he is in measure with you disengage, putting your sword inside of his, straightening the point against the enemy’s face. If he does not go to parry, wound him resolutely, going as I have said above with the right edge of yours on the edge of his, turning your wrist and carrying the body across a bit. But if the enemy comes to parry and wound you while you disengage do not throw the thrust but hold it a little outside, and in the same tempo that he wants to parry and wound, redisengage your sword under the hilt of his, done aiming at the chest of the enemy so that you strike him in the chest safely, increasing a little with the sword, as you see in the present figure.''</p>
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| <p>[31] '''The Pass With Feint at a Distance'''</p>
 
| <p>[31] '''The Pass With Feint at a Distance'''</p>
  
<p>This is an artificial way of passing at the enemy so that he does not perceive it, and it is of great consideration for the effect it shows, as is seen in the present figure, where one passes with a feint and wounds the enemy. It is done in this way: you need to see in what guard your enemy places himself and how he is accommodated. Go to bind him in guard, directing the point of your sword at his face, and when you find yourself almost in measure, if you see that he stays waiting and doesn’t move, throw a thrust at his face strongly as figure number . shows and if he does not parry strongly you make the effect of figure number . not having to make other feints, but if he parries you will both be with the swords equal. Immediately return backward outside of measure and put yourself in the same first guard, and when you are almost in measure feint throwing the same thrust at his face. While he goes to parry it, disengage the point of your sword underneath the hilt of the enemy’s sword with your wrist, making sure you keep the enemy sword outside your vita. Then in the same tempo pass, going with your sword over the furnishings of his, accompanying it with the left hand, and immediately put it over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you wound him if he does not see your goal. This done, leap outside of measure and replace the sword within that of the enemy, securing yourself in the above way, and beating his sword, return to wound him with two or three resolute and irreparable thrusts.</p>
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<p>This is an artificial way of passing at the enemy so that he does not perceive it, and it is of great consideration for the effect it shows, as is seen in the present figure, where one passes with a feint and wounds the enemy. It is done in this way: you need to see in what guard your enemy places himself and how he is accommodated. Go to bind him in guard, directing the point of your sword at his face, and when you find yourself almost in measure, if you see that he stays waiting and doesn’t move, throw a thrust at his face strongly as figure number [7].<ref>The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.</ref> shows and if he does not parry strongly you make the effect of figure number [8].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.</ref> not having to make other feints, but if he parries you will both be with the swords equal. Immediately return backward outside of measure and put yourself in the same first guard, and when you are almost in measure feint throwing the same thrust at his face. While he goes to parry it, disengage the point of your sword underneath the hilt of the enemy’s sword with your wrist, making sure you keep the enemy sword outside your vita. Then in the same tempo pass, going with your sword over the furnishings of his, accompanying it with the left hand, and immediately put it<ref>Your hand.</ref> over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you wound him if he does not see your goal. This done, leap outside of measure and replace the sword within that of the enemy, securing yourself in the above way, and beating his sword, return to wound him with two or three resolute and irreparable thrusts.</p>
 
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| <p>[38] Next, accommodated in guard in the aforesaid way but with your sword inside, I want you to disengage the sword in place to wound outside, and in the same tempo that you disengage the sword, place your left hand over your sword and with the strength of both hands beat the enemy sword with yours. That beaten away, immediately pass with your left foot forward as seen in the figure. So that this succeeds well, it is necessary to take care to do all these things in one tempo. That is, disengaging the sword, placing your hand over and beating the enemy sword with yours, and passing forward with the left foot. Not doing these things in one tempo you would not succeed and be in danger, as you would be with some valiant men that know how to disengage the sword quickly and well. Therefore, so that you succeed at this you must do it quickly and suddenly.</p>
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| <p>[38] Next,<ref>This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.</ref> accommodated in guard in the aforesaid way but with your sword inside, I want you to disengage the sword in place to wound outside, and in the same tempo that you disengage the sword, place your left hand over your sword and with the strength of both hands beat the enemy sword with yours. That beaten away, immediately pass with your left foot forward as seen in the figure. So that this succeeds well, it is necessary to take care to do all these things in one tempo. That is, disengaging the sword, placing your hand over and beating the enemy sword with yours, and passing forward with the left foot. Not doing these things in one tempo you would not succeed and be in danger, as you would be with some valiant men that know how to disengage the sword quickly and well. Therefore, so that you succeed at this you must do it quickly and suddenly.</p>
 
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| <p>[42] The first of these is done putting yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword at the face of the enemy. Let the enemy come to bind you, and when he is almost in measure disengage the sword in a feint a little wide, and in the tempo the enemy parries, redisengage it, returning it to its first position, running along the edge of his sword with the disengage in a way that as soon as you have disengaged you have wounded the enemy, because if you were to disengage the sword and then wound you would be in danger, since there would be two tempi. Carry the left leg and equally the left shoulder across, turning, and make the effect, giving him (as is seen in the figure) a thrust either in the face or chest without him perceiving the aim, holding the arm stiff, and with the hilt of your sword covering you, far from the sword of the enemy. Keep your eye on his face, taking care not to turn your face with the vita as some do, because you would find yourself in danger and not see your action. After this return immediately back out of measure with your sword over his, securing yourself as above.</p>
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| <p>[42] The first of these is done putting yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword at the face of the enemy. Let the enemy come to bind you, and when he is almost in measure disengage the sword in a feint a little wide, and in the tempo the enemy parries, redisengage it, returning it to its first position, running along the edge of his sword with the disengage in a way that as soon as you have disengaged you have wounded the enemy, because if you were to disengage the sword and then wound you would be in danger, since there would be two tempi. Carry the left leg and equally the left shoulder across, turning, and make the effect, giving him (as is seen in the figure) a thrust either in the face or chest without him perceiving the aim, holding the arm stiff, and with the hilt of your sword covering you, far from the sword of the enemy. Keep your eye on his face, taking care not to turn your face with the vita as some do,<ref>[[Camillo Agrippa]] (1553), for example, recommends turning the face away.</ref> because you would find yourself in danger and not see your action. After this return immediately back out of measure with your sword over his, securing yourself as above.</p>
 
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| rowspan="2" | <p>[51] '''The Counterdisengage at a Distance'''</p>
 
| rowspan="2" | <p>[51] '''The Counterdisengage at a Distance'''</p>
  
<p>This is one and the same counterdisengage at a distance against one who has their left foot forward and wants to pass by inquartata. I wanted to demonstrate to you with this figure the postures and wound so that it is possible to comprehend it well for the sake of necessity (when one is coming to bind you with their left foot forward). Stand in guard as you see in this figure, giving occasion to your enemy to throw at your chest. If he is a valiant man he will pass with his foot quickly and strongly turn his wrist in the manner of the inquartata in order to defend himself from your sword. In the same tempo that he passes, redisengage the sword under the hilt, lowering your vita as you see in the present figure so that you wound him in the face before he wounds you. In fact, while he carries his foot forward in order to pass it is not possible to parry. At times it is necessary to make the effect of this figure. Exercise well these two figures placed before.</p>
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<p>This<ref>The two preceding figures.</ref> is one and the same counterdisengage at a distance against one who has their left foot forward and wants to pass by inquartata. I wanted to demonstrate to you with this figure the postures and wound so that it is possible to comprehend it well for the sake of necessity (when one is coming to bind you with their left foot forward). Stand in guard as you see in this figure, giving occasion to your enemy to throw at your chest. If he is a valiant man he will pass with his foot quickly and strongly turn his wrist in the manner of the inquartata in order to defend himself from your sword. In the same tempo that he passes, redisengage the sword under the hilt, lowering your vita as you see in the present figure so that you wound him in the face before he wounds you. In fact, while he carries his foot forward in order to pass it is not possible to parry. At times it is necessary to make the effect of this figure. Exercise well these two figures placed before.</p>
 
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| <p>[53] If you see that he wants to fly upon you, throw yourself back and throw at him in that tempo that he moves himself to come forward. If you were to find yourself in guard with your sword in his and you would like to first parry with the dagger and then wound, in the tempo that you see that he lowers the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number Immediately after return outside of measure with your sword over his.</p>
+
| <p>[53] If you see that he wants to fly upon you, throw yourself back and throw at him in that tempo that he moves himself to come forward. If you were to find yourself in guard with your sword in his and you would like<ref>The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text and should be “he would like”.</ref> to first parry with the dagger and then wound, in the tempo that you see that he lowers the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number [21].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.</ref> Immediately after return outside of measure with your sword over his.</p>
 
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| <p>[58] '''The Proper Method of Parrying the Stoccata''' that Comes Toward Your Left Flank</p>
 
| <p>[58] '''The Proper Method of Parrying the Stoccata''' that Comes Toward Your Left Flank</p>
  
<p>In the present figure it is necessary to place yourself like in that above. If your enemy intends to throw at your left flank, stand with your dagger toward the guard of his sword and in the tempo that he throws parry with the edge of the dagger and wound the enemy in the sword shoulder in the same tempo. Nay, throw yours sooner than he throws his stoccata, staying alert with your eye and mind, collected in the vita, and in the tempo you see he wants to throw his throw yours at his shoulder and parry his in that tempo, so that he cannot parry yours because you wound in that tempo he comes forward, as is seen in the figure. The stoccata thrown, return backward outside of measure in the same way as the first figure of sword and dagger.</p>
+
<p>In the present figure it is necessary to place yourself like in that above. If your enemy intends to throw at your left flank, stand with your dagger toward the guard of his sword and in the tempo that he throws parry with the edge of the dagger and wound the enemy in the sword shoulder in the same tempo. Nay, throw yours sooner than he throws his stoccata, staying alert with your eye and mind, collected in the vita, and in the tempo you see he wants to throw his throw yours at his shoulder and parry his in that tempo, so that he cannot parry yours because you wound in that tempo he comes forward, as is seen in the figure. The stoccata thrown, return backward outside of measure in the same way as the first figure of sword and dagger.<ref name="f21">Figure 21.</ref></p>
 
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| <p>[59] '''Method of Parrying a Thrust that Comes''' at Your Right Flank with Sword and Dagger</p>
 
| <p>[59] '''Method of Parrying a Thrust that Comes''' at Your Right Flank with Sword and Dagger</p>
  
<p>As you see in this figure, if you are in this same guard described above and your enemy were to come to bind with the sword low in order to wound you in the right flank it would be necessary for you to raise your sword arm and stand in third guard for an imbroccata with the point of your sword toward his face or chest, with the dagger a little low and the arm to the guard of the enemy sword. As the enemy throws the thrust at your flank, parry and throw an imbroccata at the enemy sword shoulder in the same tempo so that you see the effect of the figure. In fact, it would be better when you see your enemy wants to throw the thrust to throw yours forward so that you will more easily wound him. The stoccata or imbroccata given, immediately return backward outside of measure.</p>
+
<p>As you see in this figure, if you are in this same guard described above and your enemy were to come to bind with the sword low in order to wound you in the right flank it would be necessary for you to raise your sword arm and stand in third guard<ref>The guard Giganti refers to here is unclear.</ref> for an imbroccata with the point of your sword toward his face or chest, with the dagger a little low and the arm to the guard of the enemy sword. As the enemy throws the thrust at your flank, parry and throw an imbroccata at the enemy sword shoulder in the same tempo so that you see the effect of the figure. In fact, it would be better when you see your enemy wants to throw the thrust to throw yours forward so that you will more easily wound him. The stoccata or imbroccata given, immediately return backward outside of measure.</p>
 
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| <p>[62] '''Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
 
| <p>[62] '''Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
  
<p>As you see, one learns from this figure to parry the cuts with the dagger that come at the top of your head. It is necessary to place oneself in the guard of the first lesson, and if your enemy comes throwing you a cut on the head meet it with your dagger edge, in that same tempo throwing the thrust to the enemy’s face and increasing forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut that comes it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your stoccata at his face so that he will need to withdraw his head a little backward. He will clamp his eyes and you will take the strength of the cut. To make this effect, it is necessary to be bold, to not be afraid of the sword or of the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long stoccata well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast the dagger from your hand and wound you on the head. If you parry with the edge holding the arm extended there will be no danger. Having thrown the thrust return backward outside of measure, as above.</p>
+
<p>As you see, one learns from this figure to parry the cuts with the dagger that come at the top of your head. It is necessary to place oneself in the guard of the first lesson,<ref>First lesson of sword and dagger – Figure 21.</ref> and if your enemy comes throwing you a cut on the head meet it with your dagger edge, in that same tempo throwing the thrust to the enemy’s face and increasing forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut that comes it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your stoccata at his face so that he will need to withdraw his head a little backward. He will clamp his eyes and you will take the strength of the cut. To make this effect, it is necessary to be bold, to not be afraid of the sword or of the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long stoccata well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast the dagger from your hand and wound you on the head. If you parry with the edge holding the arm extended there will be no danger. Having thrown the thrust return backward outside of measure, as above.</p>
 
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| <p>[63] '''Method of Parrying a Riverso with the Dagger'''</p>
 
| <p>[63] '''Method of Parrying a Riverso with the Dagger'''</p>
  
<p>As you see, one learns from this figure how to parry a riverso that comes at your face. It is necessary to place oneself in guard of the first lesson with the dagger high and strong, and when you see the riverso come go to meet it with the edge of the dagger. In the same tempo increase a little with your right foot, throwing the stoccata at his uncovered flank so that you see the effect of the figure.</p>
+
<p>As you see, one learns from this figure how to parry a riverso that comes at your face. It is necessary to place oneself in guard of the first lesson<ref name="f21"/> with the dagger high and strong, and when you see the riverso come go to meet it with the edge of the dagger. In the same tempo increase a little with your right foot, throwing the stoccata at his uncovered flank so that you see the effect of the figure.</p>
 
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| <p>[64] Be aware that all six of these figures are of one manner, but it is necessary to parry and wound in one tempo. If you were to delay an instant from parrying to wounding, you would not create the effect. To create the effect it is necessary to exercise, to practice, and the stoccata given, to immediately return backward outside of measure.</p>
+
| <p>[64] Be aware that all six of these figures<ref name="f21-6">Figures 21-26.</ref> are of one manner, but it is necessary to parry and wound in one tempo. If you were to delay an instant from parrying to wounding, you would not create the effect. To create the effect it is necessary to exercise, to practice, and the stoccata given, to immediately return backward outside of measure.</p>
 
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| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
 
| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
  
<p>The first quality that one who delights in making a profession of arms must have is the knowledge of how to approach to bind the enemy, give a stoccata to him, and return in guard outside of measure. To do this it is necessary to have understanding of the counterguards and know how to throw the stoccata where you see the enemy is uncovered. If he were a little uncovered in the chest it would be necessary to approach to bind him slowly, with the sword low, holding the point toward the enemy’s chest with the dagger to the guard of his sword, and when you are in measure throw the sword first, then the vita, and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the vita you will give him the stoccata in the chest and he will not perceive it. Otherwise, if you were to move the vita first and then throw the stoccata, since he could see it and be able to parry and respond in the same tempo you would then be in danger. Having thrown the stoccata, immediately retreat outside of measure, standing in guard with your weapons ready to parry and wound because the enemy seeing himself wounded will become disconcerted enough to throw either a thrust or cut at you. You will then parry and wound in one tempo as described in the first six figures. The importance of this figure consists (after having thrown) in knowing how to return outside of measure. In order to return safely it is necessary (as has been said above) to carry your head back first so that the vita will come, and the leg, because if you were to pull your leg first you would be in danger either of falling or of your enemy wounding you since your head would go forward. This one of the principal things that you learn.</p>
+
<p>The first quality that one who delights in making a profession of arms must have is the knowledge of how to approach to bind the enemy, give a stoccata to him, and return in guard outside of measure. To do this it is necessary to have understanding of the counterguards and know how to throw the stoccata where you see the enemy is uncovered. If he were a little uncovered in the chest it would be necessary to approach to bind him slowly, with the sword low, holding the point toward the enemy’s chest with the dagger to the guard of his sword, and when you are in measure throw the sword first, then the vita, and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the vita you will give him the stoccata in the chest and he will not perceive it. Otherwise, if you were to move the vita first and then throw the stoccata, since he could see it and be able to parry and respond in the same tempo you would then be in danger. Having thrown the stoccata, immediately retreat outside of measure, standing in guard with your weapons ready to parry and wound because the enemy seeing himself wounded will become disconcerted enough to throw either a thrust or cut at you. You will then parry and wound in one tempo as described in the first six figures.<ref name="f21-6"> The importance of this figure consists (after having thrown) in knowing how to return outside of measure. In order to return safely it is necessary (as has been said above) to carry your head back first so that the vita will come, and the leg, because if you were to pull your leg first you would be in danger either of falling or of your enemy wounding you since your head would go forward. This one of the principal things that you learn.</p>
 
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| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
 
| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
  
<p>To give a stoccata to someone who holds the dagger low it is necessary (as one sees in this figure) to approach him to bind on the side of the dagger, and when you are in measure first throw the sword, and then the vita, raising your wrist a little so that you make the effect. Then return backward in the way described in Figure …….</p>
+
<p>To give a stoccata to someone who holds the dagger low it is necessary (as one sees in this figure) to approach him to bind on the side of the dagger, and when you are in measure first throw the sword, and then the vita, raising your wrist a little so that you make the effect. Then return backward in the way described in Figure …….<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference.</ref></p>
 
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| <p>[69] It is very difficult to defend oneself from one who is practiced at first throwing the sword, then the vita, and after this quickly returning backward in the way described in lesson ….., who understands approaching to bind with tempo, and when he is in measure throwing where the enemy is uncovered, since it is necessary that he is uncovered somewhere, as the sword and dagger cannot cover everything and where he is uncovered it is necessary to approach him to bind in the described way.</p>
+
| <p>[69] It is very difficult to defend oneself from one who is practiced at first throwing the sword, then the vita, and after this quickly returning backward in the way described in lesson ….<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27</ref> who understands approaching to bind with tempo, and when he is in measure throwing where the enemy is uncovered, since it is necessary that he<ref name="the enemy"/> is uncovered somewhere, as the sword and dagger cannot cover everything and where he is uncovered it is necessary to approach him to bind in the described way.</p>
 
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| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
 
| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
  
<p>In this other guard, where the chest is uncovered, it is because your enemy cannot wound you either on the side of the sword or on that of the dagger, because coming in order to wound you he will throw at your ribcage, that being the only thing uncovered. While he throws, parry and wound in the same tempo, either in the right shoulder or the face, these being closest to you. You can also perform feints in this guard, pass with your foot, and all that you have learned in the other guards. It is also good with the choleric, who throw resolutely and do not perform feints. With those that have tempo and measure and know well how to throw a resolute thrust and a feint it is not to be used. Instead, bind with the weapons and seek to cover the enemy sword with yours outside of measure where you can parry and wound safely according to the occasion.</p>
+
<p>In this other guard, where the chest is uncovered, it is<ref>The chest is uncovered.</ref> because your enemy cannot wound you either on the side of the sword or on that of the dagger, because coming in order to wound you he will throw at your ribcage, that being the only thing uncovered. While he throws, parry and wound in the same tempo, either in the right shoulder or the face, these being closest to you. You can also perform feints in this guard, pass with your foot, and all that you have learned in the other guards. It is also good with the choleric, who throw resolutely and do not perform feints. With those that have tempo and measure and know well how to throw a resolute thrust and a feint it is not to be used. Instead, bind with the weapons and seek to cover the enemy sword with yours outside of measure where you can parry and wound safely according to the occasion.</p>
 
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| <p>[80] '''Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
 
| <p>[80] '''Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
  
<p>This feint is not any different from the last, except that wounds over the dagger and this underneath. One does this with the same rule as the other. In this you have to hold the sword high, and when you have the enemy close throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”. If he does not parry nothing else will happen, but if he parries, you must present the point to him, not more or less, standing with your pace and foot firm, and while he goes to the parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest so that he will not perceive it. Then return backward outside of measure, securing yourself as above.</p>
+
<p>This feint is not any different from the last, except that wounds over the dagger and this underneath. One does this with the same rule as the other. In this you have to hold the sword high, and when you have the enemy close throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”.<ref>''“Scannare”'' – to slaughter or cut the throat of.</ref> If he does not parry nothing else will happen, but if he parries, you must present the point to him, not more or less, standing with your pace and foot firm, and while he goes to the parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest so that he will not perceive it. Then return backward outside of measure, securing yourself as above.</p>
 
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| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
 
| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
  
<p>Someone in this profession who wants to be a valiant man will never place himself in guard, but will stand well outside of measure, consider the guard of the enemy, approach to bind him little by little at his uncovered place and when he is in measure will throw according to the method of the present figure, in which the right shoulder is uncovered, taking care to approach to bind him from the side of the sword. If he sees that he stands in guard in order to wait, he will throw the stoccata strongly in the described way, turning his wrist on the side of the enemy’s sword, as is seen. After the stoccata is thrown, return outside of measure as above.</p>
+
<p>Someone in this profession who wants to be a valiant man will never place himself in guard, but will stand well outside of measure, consider the guard of the enemy, approach to bind him little by little at his uncovered place and when he is in measure will throw according to the method of the present figure, in which the right shoulder<ref>Of the enemy.</ref> is uncovered, taking care to approach to bind him from the side of the sword. If he<ref>Our fencer.</ref> sees that he<ref name="the enemy"/> stands in guard in order to wait, he will throw the stoccata strongly in the described way, turning his wrist on the side of the enemy’s sword, as is seen. After the stoccata is thrown, return outside of measure as above.</p>
 
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Revision as of 05:39, 14 July 2020

Nicoletto Giganti
Born 1550-1560
Fossombrone, Italy
Died after 1622
Venice, Italy (?)
Occupation
Nationality Italian
Citizenship Republic of Venice
Patron Cosimo II de Medici
Influenced Bondì di Mazo (?)
Genres Fencing manual
Language Italian
Notable work(s)

Nicoletto Giganti (Niccoletto, Nicolat; 1550s-after 1622[1]) was a 16th – 17th century Italian soldier and fencing master. He was likely born to a noble family in Fossombrone in central Italy,[2] and only later became a citizen of Venice as he stated on the title page of his 1606 treatise. Little is known of Giganti’s life, but in the dedication to his 1606 treatise he counts twenty seven years of professional experience (possibly referring to service in the Venetian military, a long tradition of the Giganti family).[3] The preface to his 1608 treatise describes him as a Mastro d'Arme of the Order of St. Stephen in Pisa, giving some further clues to his career.

In 1606, Giganti published a popular treatise on the use of the rapier (both single and with the dagger) titled Scola, overo teatro ("School or Fencing Hall"). This treatise is structured as a series of progressively more complex lessons, and Tom Leoni opines that this treatise is the best pedagogical work on rapier fencing of the early 17th century.[4] It is also the first treatise to fully articulate the principle of the lunge.

In 1608, Giganti made good the promise in his first book that he would publish a second volume.[5] Titled Libro secondo di Niccoletto Giganti Venetiano, it covers the same weapons as the first as well as rapier and buckler, rapier and cloak, rapier and shield, single dagger, and mixed weapon encounters. This text in turn promises two additional works, on the dagger and on cutting with the rapier, but there is no record of these books ever being published.

While Giganti's second book quickly disappeared from history, his first seems to have been quite popular: reprints, mostly unauthorized, sprang up many times over the subsequent decades, both in the original Italian and, beginning in 1619, in French and German translations. This unauthorized dual-language edition also included book 2 of Salvator Fabris' 1606 treatise Lo Schermo, overo Scienza d’Arme which, coupled with the loss of Giganti's true second book, is probably what has lead many later bibliographers to accuse Giganti himself of plagiarism.

Treatise

Giganti, like many 17th century authors, had a tendency to write incredibly long, multi-page paragraphs, which quickly become difficult to follow. Jacques de Zeter's 1619 dual-language edition often breaks these up into more manageable chunks, and so his layout is reflected in these concordances.

Research on Giganti's newly-rediscovered second book is still ongoing, and it cannot yet be included in the tables below.

Additional Resources

  • Giganti, Nicoletto; Pendragon, Joshua; Terminiello, Piermarco. The 'Lost' Second Book of Nicoletto Giganti (1608): A Rapier Fencing Treatise. Vulpes, 2013. ISBN 978-1909348318
  • Leoni, Tom. Venetian Rapier: The School, or Salle. Nicoletto Giganti's 1606 Rapier Fencing Curriculum. Wheaton, IL: Freelance Academy Press, 2010. ISBN 978-0-9825911-2-3
  • Mediema, Aaron Taylor. Nicoletto Giganti's the School of the Sword: A New Translation by Aaron Taylor Miedema. Legacy Books Press, 2014. ISBN 978-1927537077

References

  1. Leoni, p xii.
  2. Lancellotti, Francesco Maria. Quadro letterario degli uomini illustri della città di Fossombrone. In Colucci, Giuseppe. Antichità picene, XXVIII. Fermo, 1796. p 33.
  3. Calcaterra, Francesco. Corti e cortigiani nella Roma barocca. Rome, 2012. p 76.
  4. Leoni, p xi.
  5. This treatise was considered lost for centuries, and as early as 1673 the Sicilian master Giuseppe Morsicato Pallavicini stated that this second book was never published at all. See La seconda parte della scherma illustrata. Palermo, 1673. p v.
  6. 6.0 6.1 6.2 In a counterguard.
  7. 7.0 7.1 7.2 The enemy.
  8. Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.
  9. Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.
  10. Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.
  11. This lesson’s text refers to Figure 6.
  12. The two fencers.
  13. The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.
  14. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.
  15. Your hand.
  16. This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.
  17. Camillo Agrippa (1553), for example, recommends turning the face away.
  18. The two preceding figures.
  19. The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text and should be “he would like”.
  20. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.
  21. 21.0 21.1 Figure 21.
  22. The guard Giganti refers to here is unclear.
  23. First lesson of sword and dagger – Figure 21.
  24. Figures 21-26.
  25. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27
  26. The chest is uncovered.
  27. “Scannare” – to slaughter or cut the throat of.
  28. Of the enemy.
  29. Our fencer.