Wiktenauer logo.png

Difference between revisions of "Nicoletto Giganti"

From Wiktenauer
Jump to navigation Jump to search
Line 233: Line 233:
 
|-  
 
|-  
 
|  
 
|  
| <p>'''GUARDS AND COUNTERGUARDS'''</p>
+
| <p>[1] '''GUARDS AND COUNTERGUARDS'''</p>
  
 
<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>
 
<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>
Line 243: Line 243:
 
|-  
 
|-  
 
|  
 
|  
| <p>'''TEMPO AND MEASURE'''</p>
+
| <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. 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>
 
<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>
Line 252: Line 252:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 04 Figure 01.png|400x400px|center|Figure 1]]
+
| [[File:Giganti 01.png|400x400px|center|Figure 1]]
| <p>''The method of throwing the stoccata''</p>
+
| <p>[3] ''The method of throwing the stoccata''</p>
  
 
<p>Now that we have discussed the guards, counterguards, measures, and tempi, it is a necessary thing to demonstrate and give knowledge of how to hold the vita in order to throw a stoccata and escape since wanting to learn this art it is first necessary to understand how to carry the vita and throw stoccate that are long, as seen in this figure, and all is in throwing brief, strong, and immediate stoccate, withdrawing backward outside of measure. To throw the long stoccata, one must place themselves in a just and strong pace, short rather than long in order to be able to extend, and in throwing the stoccata stretch the sword arm, bending the knee as much as possible. The proper method of throwing the stoccata is after placing oneself in guard, it is necessary to throw the arm first, then extend forward with the vita in one tempo so that the stoccata arrives and the enemy does not perceive it. If the vita were brought forward first the enemy could notice it and, availing himself of the tempo, parry and wound in one tempo. In withdrawing backward one must first carry back the head because behind the head will follow the vita, and afterwards the foot. Carrying the foot back first and leaving the head and vita forward keeps them in great danger. Therefore, to learn this art well one must first practice throwing this stoccata. Knowing it one will learn the rest easily, and not knowing it the contrary. Be advised, Lord readers, that I will place this method of throwing the stoccata many times in my lessons at appropriate times. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
 
<p>Now that we have discussed the guards, counterguards, measures, and tempi, it is a necessary thing to demonstrate and give knowledge of how to hold the vita in order to throw a stoccata and escape since wanting to learn this art it is first necessary to understand how to carry the vita and throw stoccate that are long, as seen in this figure, and all is in throwing brief, strong, and immediate stoccate, withdrawing backward outside of measure. To throw the long stoccata, one must place themselves in a just and strong pace, short rather than long in order to be able to extend, and in throwing the stoccata stretch the sword arm, bending the knee as much as possible. The proper method of throwing the stoccata is after placing oneself in guard, it is necessary to throw the arm first, then extend forward with the vita in one tempo so that the stoccata arrives and the enemy does not perceive it. If the vita were brought forward first the enemy could notice it and, availing himself of the tempo, parry and wound in one tempo. In withdrawing backward one must first carry back the head because behind the head will follow the vita, and afterwards the foot. Carrying the foot back first and leaving the head and vita forward keeps them in great danger. Therefore, to learn this art well one must first practice throwing this stoccata. Knowing it one will learn the rest easily, and not knowing it the contrary. Be advised, Lord readers, that I will place this method of throwing the stoccata many times in my lessons at appropriate times. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
Line 262: Line 262:
 
|-  
 
|-  
 
|  
 
|  
| <p>''Why begin with the single sword''</p>
+
| <p>[4] ''Why begin with the single sword''</p>
  
 
<p>In my first book of arms I proposed to discuss only two kinds of weapons, that is, the single sword and sword and dagger, setting aside discussion of certain others. If it pleases my Lord, I will illuminate all sorts of weapons as soon as possible. Because the sword is the most common and most used weapon of all I wanted to begin with it, since one who understands playing with the sword well will also understand the handling of almost every other kind of weapon. Since it is not usual in every part of the world to carry the dagger, targa, or rotella, and as fighting with single sword occurs many times, I urge everyone to first learn to play with the single sword, despite everything one might have in frays, such as the dagger, the targa, or the rotella, since occurring as it many times does that the dagger, targa, or rotella falls from his hand, a man would have to defend himself and wound the enemy with the single sword, and because one who practices playing with the single sword will understand just as well how to parry and wound as one who has sword and dagger.</p>
 
<p>In my first book of arms I proposed to discuss only two kinds of weapons, that is, the single sword and sword and dagger, setting aside discussion of certain others. If it pleases my Lord, I will illuminate all sorts of weapons as soon as possible. Because the sword is the most common and most used weapon of all I wanted to begin with it, since one who understands playing with the sword well will also understand the handling of almost every other kind of weapon. Since it is not usual in every part of the world to carry the dagger, targa, or rotella, and as fighting with single sword occurs many times, I urge everyone to first learn to play with the single sword, despite everything one might have in frays, such as the dagger, the targa, or the rotella, since occurring as it many times does that the dagger, targa, or rotella falls from his hand, a man would have to defend himself and wound the enemy with the single sword, and because one who practices playing with the single sword will understand just as well how to parry and wound as one who has sword and dagger.</p>
Line 270: Line 270:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 05 Figure 02.png|400x400px|center|Figure 2]]<br/>[[File:Scola, overo teatro (Giganti) 06 Figure 03.png|400x400px|center|Figure 3]]
+
| [[File:Giganti 02.png|400x400px|center|Figure 2]]<br/>[[File:Giganti 03.png|400x400px|center|Figure 3]]
 +
| <p>[5] '''GUARDS, OR POSTURES'''</p>
  
| GUARDS, OR POSTURES
+
<p>Many are the guards of the single sword, and many still the counterguards. In my first book I will not teach any other than two sorts of guards and counterguards, of which you will be able to avail yourself for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two tempi: one will be the disengage of the sword, and the other the wounding of you. In this way you will accommodate yourself against all the guards, either high or low, according to how you see your enemy accommodated, always taking care to not give opportunity and occasion to the enemy to be able to wound you in a single tempo. You will do this if you take care that the point of his sword is not toward the middle of your vita, so that pushing his sword forward quickly and strongly it will not be possible for him to wound you. Therefore, cover the enemy’s sword with yours as you see in this figure, so that the enemy’s sword is outside of your vita and he cannot wound you if he does not disengage his sword. You will settle yourself with your feet strong, stable with your vita, with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not place yourself in a counterguard and secure yourself from his sword you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an incontro and both wound each other, or he could place you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I have said above he will not be able to move nor do any action that you will not see and have opportunity to parry. These figures here are two guards with the swords forward, and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you, and as I will go about showing you in the subsequent lessons.</p>
Many are the guards of the single sword, and many still the counterguards. In my first book I will not teach any other than two sorts of guards and counterguards, of which you will be able to avail yourself for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two tempi: one will be the disengage of the sword, and the other the wounding of you. In this way you will accommodate yourself against all the guards, either high or low, according to how you see your enemy accommodated, always taking care to not give opportunity and occasion to the enemy to be able to wound you in a single tempo. You will do this if you take care that the point of his sword is not toward the middle of your vita, so that pushing his sword forward quickly and strongly it will not be possible for him to wound you. Therefore, cover the enemy’s sword with yours as you see in this figure, so that the enemy’s sword is outside of your vita and he cannot wound you if he does not disengage his sword. You will settle yourself with your feet strong, stable with your vita, with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not place yourself in a counterguard and secure yourself from his sword you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an incontro and both wound each other, or he could place you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I have said above he will not be able to move nor do any action that you will not see and have opportunity to parry. These figures here are two guards with the swords forward, and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you, and as I will go about showing you in the subsequent lessons.
+
|  
| GUARDIE, OVERO POSTURE.
+
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|30|lbl=10|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|31|lbl=11|p=1}}
 
 
MOLTE sono le guardie di spada sola, & molte ancora le contraguardie. Io in questo mio primo libro non ne insegnerò altro, che due sorti di guardie, & contraguardie; delle quali voi vene potrete servire per ogni lettione delle figure di questo libro. Prima adunque che si venga à fare quanto havete nell’animo, dovete andare à stringere l’inimico fuori di misura assicurandovi dalla sua spada col mettere la vostra sopra la sua, in modo che non vi possi ferire se non con due tempi, uno sarà il cavar della spada, & l’altro il ferirvi; & in questa maniera vi accommodarete contra tutte le guardie, ò alte, ò basse, secondo che vedrete accommodato il vostro nemico; avertnedo sempre di non dare commodità, & occasione al nemico, che vi possa ferire d’un tempo solo; & questo sarete se avertirete che la punta della sua spada non sia per mezo la vostra vita, acciò spingendo egli presto, & forte inanzi la sua spada, non vi possi ferire. Coprirete adunque la spada del nemico con la vostra, come vedete in questa figura, si che la spada nemica sia fuori della vostra vita, & non vi possi ferire, se non cava la sua spada, vi accommodarete con li piedi forti, saldo con la vita, con il braccio della spada disteso, & forte per riparere, & ferire, come vi mostra la figura; che se voi vedete il nemico in una guardia alta, ò bassa, & che voi non vi metteste contra quella sua guardia, & non vi assicuraste dalla spada nemica; sareste in pericolo, abenche il vostro nemico havesse minor scientia, & manco prattica di voi: poiche potreste fare dell’incontro, & ferirvi ambodue: overo egli vi potrebbe mettere in parato, overo in obedienza, con finte, ò con cavate di spada, ò altre cose che si possono fare; che se vi assicurarete dalla spada nemica, come ho detto di sopra,egli non si potrà muovere, ne fare atto alcuno, che voi non vene avvediate, & habbiate commodità di ripararvi. Queste figure che quì sono, saranno due guardie con le spade inanzi, & due contraguardie con il coprir la spada; una si fà andando à stringere l’inimico di dentrovia, & l’altra andando di fuori, come vi mostrano queste figure, & come io vi andrò mostrando nelle seguenti lettioni.
 
 
| [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]
 
|  
 
|  
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 07 Figure 04.png|400x400px|center|Figure 4]]
+
| rowspan="2" | [[File:Giganti 04.png|400x400px|center|Figure 4]]
| EXPLANATION OF WOUNDING IN TEMPO
+
| <p>[6] '''EXPLANATION OF WOUNDING IN TEMPO'''</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. This done, the enemy wounded or not, to secure yourself return backward outside of measure with your sword over that of the enemy, never abandoning it.<br/>
+
<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. This done, the enemy wounded or not, to secure yourself return backward outside of measure with your sword over that of the enemy, never abandoning it.''</p>
In the case that the enemy does not disengage his sword to wound you, I want you to advance to bind him outside of measure and immediately throw him a thrust where he is uncovered, returning backward outside of measure and resting your sword over his.
+
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/33|1|lbl=13}}
| DICHIARATIONE DI FERIR DI TEMPO.
 
 
 
VI insegna questa figura à ferire il vostro nemico nel tempo, ch’egli cava la sua spada; & questo farete andando à stringere il nemico fuori di misura, ponendo la vostra spada sopra la sua di dentro via, come vi mostra la figura della prima guardia, si che egli non potrà ferirvi, se non cava la spada; & voi allhora in quell’istesso tempo, ch’egli cava per ferirvi, spingete innanzi la vostra spada, voltando in un medesimo tempo il nodo della mano, che lo ferirete nel viso, come si vede nella figura. Che se per caso voi volesti riparare, & poi ferire, non si riuscirebbe; poiche l’inimico haverebbe tempo di riparare, & voi sareste in pericolo: ma se voi nel tempo, ch’egli cava la sua spada; entrate subito innanzi con la vostra, volgendo il nodo della mano, raparando; l’inimico difficilmente potrà rapararsi. Fatto che haverete questo, & ferito che sia, o non sia l’inimico; voi per assicurarvi ritornate indietro fuori di misura con la vostra spada sopra quella dell’inimico, non abbandonandola mai.<br/>
 
Et per caso l’inimico non cavasse la sua spada per ferirvi, voglio che andiate à stringerlo dentro della misura; & di subito gli tiriate una punta ove è discoperto; ritornando in dietro fuori di misura, appoggiando la vostra sopra la sua.
 
 
| [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]
 
|  
 
|  
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 08 Figure 05.png|400x400px|center|Figure 5]]
+
| <p>[7] ''In the case that the enemy does not disengage his sword to wound you, I want you to advance to bind him outside of measure and immediately throw him a thrust where he is uncovered, returning backward outside of measure and resting your sword over his.''</p>
| THE PROPER METHOD OF GOING TO BIND THE ENEMY AND STRIKE HIM while he disengages the sword
+
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/33|2|lbl=-}}
 +
|  
 +
|  
  
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. To perform this game well much practice is necessary, since from this one learns to parry and wound with skill and great speed. Take care to always be balanced with your vita and to parry strongly with the forte of your sword because if your enemy throws strongly at you, parrying strongly will make him disconcerted and you will be able to wound him where he is uncovered. This must be the first lesson that one learns with the single sword, since all the others that I have placed in this book arise from it. Knowing how to do this in the tempo teaches you to parry all the cuts and resolute thrusts that can come for the head, which I will teach hand in hand in the subsequent lessons.
+
|-
| IL VERO MODO D’ANDAR A STRINGER IL NEMICO, E DARGLI, mentre cava la Spada.
+
| [[File:Giganti 05.png|400x400px|center|Figure 5]]
 +
| <p>[8] '''THE PROPER METHOD OF GOING TO BIND''' THE ENEMY AND STRIKE HIM while he disengages the sword</p>
  
IMparate da questa figura, che se il vostro nemico fusse in una guardia con la Spada alla parte sinistra, alta, overo bassa, andatelo à stringere di fuoravia della sua Spada fuori di misura, con la vostra Spada sopra la sua, tanto che à pena la tocchi, con un passo giusto, e forte; con la vostra Spada in atto di riparare, & ferire, con l’occhio vivo, come vedete nella seconda Figura delle guardie, & contraguardie. Et stando voi in questo modo accommodato, il vostro nemico non vi potrà ferire di punta, se non cava la spada, & mentre egli cava, voltate il nodo della mano, & in un medesimo tempo tirateli una stoccata, come v’insegna la quarta figura; & tirato che gli haverete questa stoccata, subito in un medesimo tempo ritorniate indietro fuori di misura pogiando la vostra spada sopra la sua; occioche se egli volesse di novo cavare, gli tornerete à tirare la medesima stoccata volgendo il nodo della mano, come di sopra, tornando fuori di misura: & tante volte che egli caverà, tante altre usare il medesimo modo di volger il nodo della mano, & tirarli la stoccata. A voler far bene questo giuoco, bisogna essercitarsi molto, poiche da questo si impara il saper riparare, & ferire con destrezza, & prestezza grande; Avvertendo di star sempre saldo con la vita, & di riparare forte con il forte della vostra spada; poiche se l’inimico vostro vi tirerà forte, riprarando voi forte, egli resterà disconcertato, & lo potrete ferire, ove sarà disoperto. Questa, doverà esser la prima lettione, che si deve imparare di spada sola; poiche da questa nascono tutte l’altri, che ho posto in questo libro; & sapendo fare questa à tempo, vi insegna à riparare tutte le coltellate, & tutte le punte rusolute, che posono venire per testa, come insegnerò di mano in mano nelle seguenti lettioni.
+
<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. To perform this game well much practice is necessary, since from this one learns to parry and wound with skill and great speed. Take care to always be balanced with your vita and to parry strongly with the forte of your sword because if your enemy throws strongly at you, parrying strongly will make him disconcerted and you will be able to wound him where he is uncovered. This must be the first lesson that one learns with the single sword, since all the others that I have placed in this book arise from it. Knowing how to do this in the tempo teaches you to parry all the cuts and resolute thrusts that can come for the head, which I will teach hand in hand in the subsequent lessons.''</p>
 +
|
 +
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|35|lbl=15|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/36|1|lbl=16|p=1}}
 
| [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]
 
|  
 
|  
Line 306: Line 306:
 
|-  
 
|-  
 
|  
 
|  
| THE PROPER METHOD OF DISENGAGING THE SWORD
+
| <p>[9] '''THE PROPER METHOD''' OF DISENGAGING THE SWORD</p>
  
The two figures that were placed here above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. But note that your enemy being settled in whichever sort of guard he wants, you having gone to bind him, throw a stoccata at him where he is uncovered and if he knows as much as you, you will always be with your swords equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust in the same tempo where you find him uncovered. This is the proper and safe method to disengage the sword and wound in one tempo. If you were to disengage your sword without turning your wrist you would give a tempo and place to the enemy to wound you, as you will see quite well in exercising and trying it yourself. If the enemy were to parry return to disengage in the aforesaid way, always turning your wrist. As many times as he parries, disengage as many other times in the above way, which is safest, then throw the stoccata at him in the tempo that you disengage. This method of disengaging is no less necessary than what we taught in the explanation of the previous figure of the method of parrying, since this is the main thing that one seeks in knowing how to manage the single sword. Therefore I exhort everyone to practice well in these two things, since being in measure against the enemy, as soon as it is the tempo to disengage the sword, one would know how to disengage quickly and well, and as soon as it is the tempo of parrying, to understand parrying similarly well.
+
<p>''The two figures that were placed here above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. But note that your enemy being settled in whichever sort of guard he wants, you having gone to bind him, throw a stoccata at him where he is uncovered and if he knows as much as you, you will always be with your swords equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust in the same tempo where you find him uncovered. This is the proper and safe method to disengage the sword and wound in one tempo. If you were to disengage your sword without turning your wrist you would give a tempo and place to the enemy to wound you, as you will see quite well in exercising and trying it yourself. If the enemy were to parry return to disengage in the aforesaid way, always turning your wrist. As many times as he parries, disengage as many other times in the above way, which is safest, then throw the stoccata at him in the tempo that you disengage. This method of disengaging is no less necessary than what we taught in the explanation of the previous figure of the method of parrying, since this is the main thing that one seeks in knowing how to manage the single sword. Therefore I exhort everyone to practice well in these two things, since being in measure against the enemy, as soon as it is the tempo to disengage the sword, one would know how to disengage quickly and well, and as soon as it is the tempo of parrying, to understand parrying similarly well.''</p>
| DEL VERO MODO DI CAVAR LA SPADA.
+
|  
 
+
{{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/36|2|lbl=-|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|37|lbl=17|p=1}}
IN queste due figure, c’habbiamo messo quì di sopra, insegnato habbiamo à ferire l’inimico, mentre cava la sua spada. Et perche non resti cosa in queste mie lettioni, che non sia più che chiara, voglio mostrarvi il modo di saper cavar la spada. Però notate, che essendo il vostro nemico accommodato in qual si voglia sorte di guardia, & andato che sarete à stringerlo, tirategli una stoccata ove è discoperto: & se egli saprà tanto, quanto voi, sarete sempre con le spade del pari. Ma voglio, che voi allhora caviate la spada sotto li fornimenti di quella dell’inimico, volgendo il nodo della mano con prestezza, e tirando una punta in un medesimo tempo. Ove lo ritrovate discoperto, che questo è il vero, & sicuro modo di saper cavare la spada, & ferire in un tempo. Che se voi cavaste la vostra spada senza volger il nodo della mano, dareste tempo, & loco all’inimico di ferirvi; come nell’essercitarvi, & provarvi lo vederete benissimo. Et se l’inimico riparasse, tornarete à cavare nel modo sopradetto, volgendo sempre il nodo della mano, & quante volte egli riparerà, tante altre cavare nel modo di sopra, il quale è sicurissimo, & poi tirargli la stoccata in quel medesimo tempo, che cavate. Et questo modo di cavare non è manco necessario di quello, che habbiamo insegnato nella dechiaratione della anteposta figura del modo di saper riparar; poiche questa è la principal cosa, che si ricerca nel saper maneggiar la spada sola. Si che essorto ogn’uno à essercitarsi bene in queste due cose, poiche essendo in misura contra l’inimico, come è tempo di cavare la spada, la sappia cavar presto, & bene; & come è tempo di riparare, saper ripare similmente bene.
 
 
| [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]
 
|  
 
|  
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 09 Figure 06.png|400x400px|center|Figure 6]]
+
| [[File:Giganti 06.png|400x400px|center|Figure 6]]
| THE INSIDE COUNTERDISENGAGE OF THE SWORD
+
| <p>[10] '''THE INSIDE COUNTERDISENGAGE OF THE SWORD'''</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.
 
| DELLA CONTRACAVATIONE DENTRO DELLA SPADA.
 
  
IN questa Figura vi represento, & mostro un’altro modo di riparere, & ferire per via di contracavatione; la quale si fà in questo modo, che havendo voi coperto la Spada del vostro inimico, si che se vi vuol ferire, gli bisogna cavare; voglio che mentre egli cava, caviate ancora voi, si che la vostra spada torni nel suo primo luogo, coprendo quella dell’inimico; ma nel cavar che farete, servendovi del tempo, gli tirerete una stoccata ove è discoperto, volgendo la vita alquanto verso alla parte destra, & tenendo il braccio innanzi disteso, che se egli vi viene per ferirvi, si ferirà da sua posta; & tirato che haverete la stoccata, tornate indietro fuori di misura.
+
<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>
 +
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|39|lbl=19}}
 
| [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]
 
|  
 
|  
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 10 Figure 07.png|400x400px|center|Figure 7]]
+
| [[File:Giganti 07.png|400x400px|center|Figure 7]]
 
| THE COUNTERDISENGAGE<br/>OF THE SWORD ON THE OUTSIDE
 
| THE COUNTERDISENGAGE<br/>OF THE SWORD ON THE OUTSIDE
  
Line 338: Line 335:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 11 Figure 08.png|400x400px|center|Figure 8]]
+
| [[File:Giganti 08.png|400x400px|center|Figure 8]]
 
| EXPLANATION<br/>OF THE FEINT<br/>Making a show of disengaging the sword with your wrist
 
| EXPLANATION<br/>OF THE FEINT<br/>Making a show of disengaging the sword with your wrist
  
Line 356: Line 353:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 12 Figure 09.png|400x400px|center|Figure 9]]
+
| [[File:Giganti 09.png|400x400px|center|Figure 9]]
 
| METHOD OF WOUNDING IN THE CHEST<br/>WITH THE SINGLE SWORD WHEN THEY  ARE IN<br/>measure with the swords equal
 
| METHOD OF WOUNDING IN THE CHEST<br/>WITH THE SINGLE SWORD WHEN THEY  ARE IN<br/>measure with the swords equal
  
Line 367: Line 364:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 13 Figure 10.png|400x400px|center|Figure 10]]
+
| [[File:Giganti 10.png|400x400px|center|Figure 10]]
 
| THE PASS WITH FEINT AT A DISTANCE
 
| THE PASS WITH FEINT AT A DISTANCE
  
Line 389: Line 386:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 14 Figure 11.png|400x400px|center|Figure 11]]
+
| [[File:Giganti 11.png|400x400px|center|Figure 11]]
 
| THE FEINT TO THE FACE AT A DISTANCE
 
| THE FEINT TO THE FACE AT A DISTANCE
  
Line 400: Line 397:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 15 Figure 12.png|400x400px|center|Figure 12]]
+
| [[File:Giganti 12.png|400x400px|center|Figure 12]]
 
| THE PROPER METHOD TO GIVE<br/>A THRUST WITH THE SINGLE SWORD<br/>WHILE THE ENEMY THROWS<br/>a cut
 
| THE PROPER METHOD TO GIVE<br/>A THRUST WITH THE SINGLE SWORD<br/>WHILE THE ENEMY THROWS<br/>a cut
  
Line 413: Line 410:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 16 Figure 13.png|400x400px|center|Figure 13]]
+
| [[File:Giganti 13.png|400x400px|center|Figure 13]]
 
| THE PROPER WAY TO SAFELY WOUND<br/>with both hands and the single sword
 
| THE PROPER WAY TO SAFELY WOUND<br/>with both hands and the single sword
  
Line 426: Line 423:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 17 Figure 14.png|400x400px|center|Figure 14]]
+
| [[File:Giganti 14.png|400x400px|center|Figure 14]]
 
| THE PROPER WAY<br/>TO PARRY THE CUT<br/>OR RIVERSO, THAT COMES AT THE LEG
 
| THE PROPER WAY<br/>TO PARRY THE CUT<br/>OR RIVERSO, THAT COMES AT THE LEG
  
Line 439: Line 436:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 18 Figure 15.png|400x400px|center|Figure 15]]
+
| [[File:Giganti 15.png|400x400px|center|Figure 15]]
 
| THE INQUARTATA<br/>OR SLIP OF THE VITA
 
| THE INQUARTATA<br/>OR SLIP OF THE VITA
  
Line 498: Line 495:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 19 Figure 16.png|400x400px|center|Figure 16]]
+
| [[File:Giganti 16.png|400x400px|center|Figure 16]]
 
| PARRYING STOCCATE<br/>THAT COME AT THE CHEST WITH THE SINGLE SWORD
 
| PARRYING STOCCATE<br/>THAT COME AT THE CHEST WITH THE SINGLE SWORD
  
Line 509: Line 506:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 20 Figure 17.png|400x400px|center|Figure 17]]
+
| [[File:Giganti 17.png|400x400px|center|Figure 17]]
 
| THE THRUST<br/>IN THE FACE<br/>TURNING YOUR WRIST
 
| THE THRUST<br/>IN THE FACE<br/>TURNING YOUR WRIST
  
Line 520: Line 517:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 21 Figure 18.png|400x400px|center|Figure 18]]<br/>[[File:Scola, overo teatro (Giganti) 22 Figure 19.png|400x400px|center|Figure 19]]
+
| [[File:Giganti 18.png|400x400px|center|Figure 18]]<br/>[[File:Giganti 19.png|400x400px|center|Figure 19]]
 
| THE COUNTERDISENGAGE AT A DISTANCE
 
| THE COUNTERDISENGAGE AT A DISTANCE
 
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.
 
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.
Line 530: Line 527:
  
 
|-  
 
|-  
| class="noline" | [[File:Scola, overo teatro (Giganti) 23 Figure 20.png|400x400px|center|Figure 20]]
+
| class="noline" | [[File:Giganti 20.png|400x400px|center|Figure 20]]
 
| class="noline" | METHOD OF PLAYING WITH THE SINGLE SWORD,<br/>while the enemy has sword and dagger
 
| class="noline" | METHOD OF PLAYING WITH THE SINGLE SWORD,<br/>while the enemy has sword and dagger
  
Line 556: Line 553:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 24 Figure 21.png|400x400px|center|Figure 21]]
+
| [[File:Giganti 21.png|400x400px|center|Figure 21]]
 
| METHOD OF PARRYING THE STOCCATA THAT COMES<br/>at the face from the right side with sword and dagger
 
| METHOD OF PARRYING THE STOCCATA THAT COMES<br/>at the face from the right side with sword and dagger
  
Line 567: Line 564:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 25 Figure 22.png|400x400px|center|Figure 22]]
+
| [[File:Giganti 22.png|400x400px|center|Figure 22]]
 
| THE PROPER METHOD OF PARRYING<br/>THE STOCCATA<br/>THAT COMES TOWARD YOUR LEFT FLANK
 
| THE PROPER METHOD OF PARRYING<br/>THE STOCCATA<br/>THAT COMES TOWARD YOUR LEFT FLANK
  
Line 578: Line 575:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 26 Figure 23.png|400x400px|center|Figure 23]]
+
| [[File:Giganti 23.png|400x400px|center|Figure 23]]
 
| METHOD OF PARRYING<br/>A THRUST THAT COMES<br/>AT YOUR RIGHT FLANK WITH SWORD<br/>AND DAGGER
 
| METHOD OF PARRYING<br/>A THRUST THAT COMES<br/>AT YOUR RIGHT FLANK WITH SWORD<br/>AND DAGGER
  
Line 591: Line 588:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 27 Figure 24.png|400x400px|center|Figure 24]]
+
| [[File:Giganti 24.png|400x400px|center|Figure 24]]
 
| METHOD OF PARRYING<br/>THE THRUST OF SWORD<br/>AND DAGGER AT YOUR FACE
 
| METHOD OF PARRYING<br/>THE THRUST OF SWORD<br/>AND DAGGER AT YOUR FACE
  
Line 602: Line 599:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 28 Figure 25.png|400x400px|center|Figure 25]]
+
| [[File:Giganti 25.png|400x400px|center|Figure 25]]
 
| METHOD OF PARRYING<br/>THE CUT<br/>ON THE HEAD WITH SWORD AND DAGGER
 
| METHOD OF PARRYING<br/>THE CUT<br/>ON THE HEAD WITH SWORD AND DAGGER
  
Line 613: Line 610:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 29 Figure 26.png|400x400px|center|Figure 26]]
+
| [[File:Giganti 26.png|400x400px|center|Figure 26]]
 
| METHOD OF PARRYING<br/>A RIVERSO<br/>WITH THE DAGGER
 
| METHOD OF PARRYING<br/>A RIVERSO<br/>WITH THE DAGGER
  
Line 626: Line 623:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 30 Figure 27.png|400x400px|center|Figure 27]]
+
| [[File:Giganti 27.png|400x400px|center|Figure 27]]
 
| THRUST THROWN AT THE CHEST<br/>WITH THE SWORD<br/>AND DAGGER
 
| THRUST THROWN AT THE CHEST<br/>WITH THE SWORD<br/>AND DAGGER
  
Line 637: Line 634:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 31 Figure 28.png|400x400px|center|Figure 28]]
+
| [[File:Giganti 28.png|400x400px|center|Figure 28]]
 
| THROWING THE STOCCATA<br/>WHILE THE ENEMY<br/>MOVES
 
| THROWING THE STOCCATA<br/>WHILE THE ENEMY<br/>MOVES
  
Line 648: Line 645:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 32 Figure 29.png|400x400px|center|Figure 29]]
+
| [[File:Giganti 29.png|400x400px|center|Figure 29]]
 
| THRUST THROWN<br/>OVER THE DAGGER
 
| THRUST THROWN<br/>OVER THE DAGGER
  
Line 659: Line 656:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 33 Figure 30.png|400x400px|center|Figure 30]]
+
| [[File:Giganti 30.png|400x400px|center|Figure 30]]
 
| Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to one who understands tempo and measure. In war one who knows how to make guards with artifice will always deceive the enemy.
 
| Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to one who understands tempo and measure. In war one who knows how to make guards with artifice will always deceive the enemy.
  
Line 676: Line 673:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 34 Figure 31.png|400x400px|center|Figure 31]]
+
| [[File:Giganti 31.png|400x400px|center|Figure 31]]
 
| ARTIFICIAL GUARD<br/>UNCOVERING THE RIGHT<br/>SIDE
 
| ARTIFICIAL GUARD<br/>UNCOVERING THE RIGHT<br/>SIDE
  
Line 687: Line 684:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 35 Figure 32.png|400x400px|center|Figure 32]]
+
| [[File:Giganti 32.png|400x400px|center|Figure 32]]
 
| ARTIFICIAL GUARD<br/>UNCOVERING THE CHEST
 
| ARTIFICIAL GUARD<br/>UNCOVERING THE CHEST
  
Line 698: Line 695:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 36 Figure 33.png|400x400px|center|Figure 33]]
+
| [[File:Giganti 33.png|400x400px|center|Figure 33]]
 
| FEINT WITH SWORD<br/>AND DAGGER<br/>IN ORDER TO WOUND OVER THE DAGGER
 
| FEINT WITH SWORD<br/>AND DAGGER<br/>IN ORDER TO WOUND OVER THE DAGGER
  
Line 709: Line 706:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 37 Figure 34.png|400x400px|center|Figure 34]]
+
| [[File:Giganti 34.png|400x400px|center|Figure 34]]
 
| FEINT<br/>WITH SWORD AND DAGGER<br/>IN ORDER TO WOUND IN THE CHEST
 
| FEINT<br/>WITH SWORD AND DAGGER<br/>IN ORDER TO WOUND IN THE CHEST
  
Line 720: Line 717:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 38 Figure 35.png|400x400px|center|Figure 35]]
+
| [[File:Giganti 35.png|400x400px|center|Figure 35]]
 
| FEINT<br/>WITH SWORD AND DAGGER<br/>AT THE FACE<br/>Disengaging the sword over the point of the dagger
 
| FEINT<br/>WITH SWORD AND DAGGER<br/>AT THE FACE<br/>Disengaging the sword over the point of the dagger
  
Line 731: Line 728:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 39 Figure 36.png|400x400px|center|Figure 36]]
+
| [[File:Giganti 36.png|400x400px|center|Figure 36]]
 
| PARRYING THE<br/>LONG STOCCATA<br/>WITH THE SWORD<br/>BY BRINGING<br/>the vita back
 
| PARRYING THE<br/>LONG STOCCATA<br/>WITH THE SWORD<br/>BY BRINGING<br/>the vita back
  
Line 742: Line 739:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 40 Figure 37.png|400x400px|center|Figure 37]]
+
| [[File:Giganti 37.png|400x400px|center|Figure 37]]
 
| PARRYING WITH<br/>THE DAGGER,<br/>BRINGING THE VITA BACK
 
| PARRYING WITH<br/>THE DAGGER,<br/>BRINGING THE VITA BACK
  
Line 753: Line 750:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 41 Figure 38.png|400x400px|center|Figure 38]]
+
| [[File:Giganti 38.png|400x400px|center|Figure 38]]
 
| PARRYING WITH<br/>THE DAGGER,<br/>CARRYING THE VITA<br/>BACK,<br/>and wounding with the sword in the same tempo
 
| PARRYING WITH<br/>THE DAGGER,<br/>CARRYING THE VITA<br/>BACK,<br/>and wounding with the sword in the same tempo
  
Line 764: Line 761:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 42 Figure 39.png|400x400px|center|Figure 39]]
+
| [[File:Giganti 39.png|400x400px|center|Figure 39]]
 
| THE THRUST AT THE FACE<br/>PARRYING WITH THE SWORD
 
| THE THRUST AT THE FACE<br/>PARRYING WITH THE SWORD
  
Line 775: Line 772:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 43 Figure 40.png|400x400px|center|Figure 40]]
+
| [[File:Giganti 40.png|400x400px|center|Figure 40]]
 
| THE PASS<br/>WITH SWORD AND DAGGER<br/>IN ORDER TO COME<br/>TO GRIPS<br/>and wound with the dagger in the face
 
| THE PASS<br/>WITH SWORD AND DAGGER<br/>IN ORDER TO COME<br/>TO GRIPS<br/>and wound with the dagger in the face
  
Line 786: Line 783:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 44 Figure 41.png|400x400px|center|Figure 41]]
+
| [[File:Giganti 41.png|400x400px|center|Figure 41]]
 
| THE THRUST<br/>WITH THE SWORD AND DAGGER<br/>THROWN ON THE SIDE<br/>of the right shoulder
 
| THE THRUST<br/>WITH THE SWORD AND DAGGER<br/>THROWN ON THE SIDE<br/>of the right shoulder
  
Line 797: Line 794:
  
 
|-  
 
|-  
| class="noline" | [[File:Scola, overo teatro (Giganti) 45 Figure 42.png|400x400px|center|Figure 42]]
+
| class="noline" | [[File:Giganti 42.png|400x400px|center|Figure 42]]
 
| class="noline" | PASSING<br/>WITH THE FOOT<br/>WITH SWORD<br/>AND DAGGER
 
| class="noline" | PASSING<br/>WITH THE FOOT<br/>WITH SWORD<br/>AND DAGGER
  

Revision as of 00:04, 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.