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Difference between revisions of "Nicoletto Giganti"

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{{under construction}}
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{{Infobox writer
 
{{Infobox writer
 
| name                = [[name::Nicoletto Giganti]]
 
| name                = [[name::Nicoletto Giganti]]
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{| class="master"
 
{| class="master"
 
|-  
 
|-  
! <p>Images<br/></p>
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! <p>Images<br/>from the 1606</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>Italian (1606)<br/>by [[Jeff Vansteenkiste]]</p>
+
! <p>Italian (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>German (1619)<br/>by [[Jan Schäfer]]</p>
+
! <p>German (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Jan Schäfer]]</p>
! <p>French (1644)<br/>Open for editting</p>
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! <p>French (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Olivier Delannoy]]</p>
  
 
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| class="noline" | <p>'''SCHOOL, OR THEATRE''' In which different manners and methods of parrying and wounding with the single sword and sword and dagger are represented; ''Where every scholar will be able to exercise and become practised in the profession of arms''
 
| class="noline" | <p>'''SCHOOL, OR THEATRE''' In which different manners and methods of parrying and wounding with the single sword and sword and dagger are represented; ''Where every scholar will be able to exercise and become practised in the profession of arms''
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|1|lbl=i}}
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|1|lbl=i}}
| class="noline" | [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
  
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{| class="master"
 
{| class="master"
 
|-  
 
|-  
! <p>Images<br/></p>
+
! <p>Images<br/>from the 1606</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>Italian (1606)<br/>by [[Jeff Vansteenkiste]]</p>
+
! <p>Italian (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>German (1619)<br/>by [[Jan Schäfer]]</p>
+
! <p>German (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Jan Schäfer]]</p>
! <p>French (1644)<br/>Open for editting</p>
+
! <p>French (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Olivier Delannoy]]</p>
 +
 
 +
|-
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|
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| <p>[1] '''Guards and Counterguards'''</p>
 +
 
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<p>It is necessary for someone wanting to become a professor of the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss the guards and counterguards, or postures and counterpostures, of the sword. This, because coming to some incident of contention it is first necessary to understand this to be able to secure oneself against the enemy. To place oneself in guard then, many things must be observed, as can be seen in my figures: standing firm over the feet, that are low and the foundation of the entire body, in a just pace, restrained rather than long in order to be able to increase it, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, ready to parry and wound so that the enemy throwing either a thrust or cut can be parried and wounded in the same tempo, with the vita disposed and ready because lacking the disposition and readiness of that it will be an easy thing for the enemy to put it into disorder with a dritto, a riverso, a thrust, or in another manner, and even if such a person parried they would remain in danger. It is advised to let the dagger watch the enemy’s sword, because if the enemy throws it will parry that. Always aim the sword at the uncovered part of the enemy so that the enemy is wounded when throwing. This is all the artifice of this profession. Moreover, one must note that all the motions of the sword are guards to one who knows them, and all guards are good to one who practices, as on the contrary no motion is a guard to one who does not understand, and they are not good for one who does not know how to use them.</p>
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{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|22|lbl=02|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/23|1|lbl=03|p=1}}
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{{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/10|2|lbl=01|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/11|1|lbl=02|p=1}}
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{{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/10|4|lbl=01|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/11|4|lbl=02|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[1] '''GUARDS AND COUNTERGUARDS'''</p>
+
| <p>This profession does not require more than science and exercise, and this exercise presents the science. Placing oneself uncovered in guard is artifice and done because the enemy disorders themselves when throwing and ends up in danger. Placing oneself covered is also artifice because in binding the enemy can be wounded. In this way it is understood that every guard aids one who has skill and understands, and no guard is valuable to he who does not have skill or understanding. This is enough about the guards.</p>
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| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/23|2|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/11|2|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/11|5|lbl=-}}
  
<p>It is necessary for someone wanting to become a professor of the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss the guards and counterguards, or postures and counterpostures, of the sword. This, because coming to some incident of contention it is first necessary to understand this to be able to secure oneself against the enemy. To place oneself in guard then, many things must be observed, as can be seen in my figures: standing firm over the feet, that are low and the foundation of the entire body, in a just pace, restrained rather than long in order to be able to increase it, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, ready to parry and wound so that the enemy throwing either a thrust or cut can be parried and wounded in the same tempo, with the vita disposed and ready because lacking the disposition and readiness of that it will be an easy thing for the enemy to put it into disorder with a dritto, a riverso, a thrust, or in another manner, and even if such a person parried they would remain in danger. It is advised to let the dagger watch the enemy’s sword, because if the enemy throws it will parry that. Always aim the sword at the uncovered part of the enemy so that the enemy is wounded when throwing. This is all the artifice of this profession. Moreover, one must note that all the motions of the sword are guards to one who knows them, and all guards are good to one who practices, as on the contrary no motion is a guard to one who does not understand, and they are not good for one who does not know how to use them. This profession does not require more than science and exercise, and this exercise presents the science. Placing oneself uncovered in guard is artifice and done because the enemy disorders themselves when throwing and ends up in danger. Placing oneself covered is also artifice because in binding the enemy can be wounded. In this way it is understood that every guard aids one who has skill and understands, and no guard is valuable to he who does not have skill or understanding. This is enough about the guards. 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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|-
 
|  
 
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{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|22|lbl=02|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|23|lbl=03|p=1}}
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| <p>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>
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/23|3|lbl=-}}
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|
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{{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/11|3|lbl=-|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|1|lbl=03|p=1}}
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|  
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{{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/11|6|lbl=-|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|5|lbl=03|p=1}}
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|-  
 
|  
 
|  
 +
| <p>[2] '''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>
 +
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/24|1|lbl=04}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|2|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|6|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[2] '''TEMPO AND MEASURE'''</p>
+
| <p>Therefore, having discussed the guards and counterguards it remains to discuss tempo and measure in order to know how to, then to accommodate an understanding of when one must parry and wound.</p>
 +
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/24|2|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|3|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|7|lbl=-}}
  
<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. Therefore, having discussed the guards and counterguards it remains to discuss tempo and measure in order to know how to, then to accommodate an understanding of when one must parry and wound. Therefore, measure means when the sword can reach the enemy. When it cannot it is called being out of measure. 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. If he disengages, in the disengagement one can wound him, and this is a tempo. If he changes guard, while he changes is a tempo. If he turns, it is a tempo. If he binds to come to measure, while he walks before arriving in measure is a tempo to wound him. If he throws, parrying and wounding in a tempo also is a tempo. If the enemy stays still in guard and waits and you advance to bind him and throw where he is uncovered when you are in measure, it is a tempo, because in every motion of the dagger, sword, foot, and vita such as changing guard, is a tempo in such a way that all these things are tempi: because they contain different intervals, and while the enemy makes one of these motions, he will certainly be wounded because while a person moves they cannot wound. It is necessary to understand this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.''</p>
+
|-
 
|  
 
|  
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|24|lbl=04|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|25|lbl=05|p=1}}
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| <p>Therefore, measure means when the sword can reach the enemy. When it cannot it is called being out of measure.</p>
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
+
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/24|3|lbl=-}}
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|
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{{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|4|lbl=-|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|1|lbl=04|p=1}}
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{{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/12|8|lbl=-|p=1}} {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|4|lbl=04|p=1}}
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 +
|-
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|
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| <p>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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{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/24|4|lbl=-|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/25|1|lbl=05|p=1}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|2|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|5|lbl=-}}
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| <p>If he disengages, in the disengagement one can wound him, and this is a tempo. If he changes guard, while he changes is a tempo. If he turns, it is a tempo. If he binds to come to measure, while he walks before arriving in measure is a tempo to wound him. If he throws, parrying and wounding in a tempo also is a tempo. If the enemy stays still in guard and waits and you advance to bind him and throw where he is uncovered when you are in measure, it is a tempo, because in every motion of the dagger, sword, foot, and vita such as changing guard, is a tempo in such a way that all these things are tempi: because they contain different intervals, and while the enemy makes one of these motions, he will certainly be wounded because while a person moves they cannot wound. It is necessary to understand this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.</p>
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| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/25|2|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|3|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/13|6|lbl=-}}
  
 
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| <p>[31] '''PARRYING STOCCATE''' THAT COME AT THE CHEST WITH THE SINGLE SWORD</p>
 
| <p>[31] '''PARRYING STOCCATE''' THAT COME AT THE CHEST WITH THE SINGLE SWORD</p>
  
<p>Seen in this figure is the safe method of parrying thrusts that come at your chest, wounding the chest. It is done in different ways because some may pass at a distance, others stay in measure, and others inside the measure, but one who has understanding of tempo and knows how to parry well as my figure demonstrates will parry all the methods. From which you note that, being with your enemy with the swords equal and he passes in order to wound you in the chest, by necessity in that same tempo follow his sword with yours, lowering, however, the point of yours and raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword wound him in the chest, holding your left hand over the hilt of his sword. Then, the stoccata given, disengage the sword in the way described above, returning backward outside of measure.</p>
+
<p>''Seen in this figure is the safe method of parrying thrusts that come at your chest, wounding the chest. It is done in different ways because some may pass at a distance, others stay in measure, and others inside the measure, but one who has understanding of tempo and knows how to parry well as my figure demonstrates will parry all the methods. From which you note that, being with your enemy with the swords equal and he passes in order to wound you in the chest, by necessity in that same tempo follow his sword with yours, lowering, however, the point of yours and raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword wound him in the chest, holding your left hand over the hilt of his sword. Then, the stoccata given, disengage the sword in the way described above, returning backward outside of measure.''</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|63|lbl=43}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|63|lbl=43}}
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| <p>[32] '''THE THRUST IN THE FACE''' TURNING YOUR WRIST</p>
 
| <p>[32] '''THE THRUST IN THE FACE''' TURNING YOUR WRIST</p>
  
<p>With this figure you are taught a very beautiful method of wounding your enemy’s face, and it consists entirely of seizing the occasion of being with the swords equal, causing your enemy to be in the motion of parrying by giving him suspicion that you want to disengage the sword. In the same tempo, turn your wrist, put your left hand on the guard of his sword, and increase with the foot in one tempo so that you strike him in the face, as you see. Doing it properly it cannot be parried. Having given that, increase with your left hand over the hilt of the enemy sword and redisengaging the sword you can give him two or three stoccate where you like. Then return backward outside of measure, always holding your sword over theirs, as above.</p>
+
<p>''With this figure you are taught a very beautiful method of wounding your enemy’s face, and it consists entirely of seizing the occasion of being with the swords equal, causing your enemy to be in the motion of parrying by giving him suspicion that you want to disengage the sword. In the same tempo, turn your wrist, put your left hand on the guard of his sword, and increase with the foot in one tempo so that you strike him in the face, as you see. Doing it properly it cannot be parried. Having given that, increase with your left hand over the hilt of the enemy sword and redisengaging the sword you can give him two or three stoccate where you like. Then return backward outside of measure, always holding your sword over theirs, as above.''</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|65|lbl=45}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|65|lbl=45}}
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
 
| [http://fechtgeschichte.blogspot.de/2014/08/das-fechtbuch-des-nicolai-giganti-in.html Text to copy over]
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| rowspan="2" | <p>[33] '''THE COUNTERDISENGAGE AT A DISTANCE'''</p>
 
| rowspan="2" | <p>[33] '''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>
+
<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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{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|68|lbl=48|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|69|lbl=49|p=1}}
 
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|68|lbl=48|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|69|lbl=49|p=1}}
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{| class="master"
 
{| class="master"
 
|-  
 
|-  
! <p>Images<br/></p>
+
! <p>Images<br/>from the 1606</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>Italian Version(1606)<br/>by [[Jeff Vansteenkiste]]</p>
+
! <p>Italian (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>German Version (1619)<br/>by [[Jan Schäfer]]</p>
+
! <p>German (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Jan Schäfer]]</p>
! <p>French (1644)<br/>Open for editting</p>
+
! <p>French (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Olivier Delannoy</p>
  
 
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Revision as of 16:22, 13 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

Research on Giganti's newly-rediscovered second book is still ongoing, and it is not currently 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.