Wiktenauer logo.png

Difference between revisions of "Nicoletto Giganti"

From Wiktenauer
Jump to navigation Jump to search
m (→‎Treatise: Added image captions to front matter)
m (→‎Treatise: Added image captions to single sword section)
Line 227: Line 227:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 03 Nicoletto Giganti.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 03 Nicoletto Giganti.png|200px|center|Nicoletto Giganti]]
 
| GUARDS AND COUNTERGUARDS
 
| GUARDS AND COUNTERGUARDS
  
Line 249: Line 249:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 04 Figure 01.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 04 Figure 01.png|200px|center|Figure 1]]
 
| The way to throw the stoccata
 
| The way to throw the stoccata
  
Line 271: Line 271:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 05 Figure 02.png|200px|center]]<br/>[[File:Scola, overo teatro (Giganti) 06 Figure 03.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 05 Figure 02.png|200px|center|Figure 2]]<br/>[[File:Scola, overo teatro (Giganti) 06 Figure 03.png|200px|center|Figure 3]]
  
 
| GUARDS, OR POSTURES
 
| GUARDS, OR POSTURES
Line 282: Line 282:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 07 Figure 04.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 07 Figure 04.png|200px|center|Figure 4]]
 
| EXPLANATION OF WOUNDING IN TEMPO
 
| EXPLANATION OF WOUNDING IN TEMPO
  
Line 295: Line 295:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 08 Figure 05.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 08 Figure 05.png|200px|center|Figure 5]]
 
| THE PROPER WAY OF GOING TO BIND THE ENEMY AND STRIKE HIM while he disengages the sword
 
| THE PROPER WAY OF GOING TO BIND THE ENEMY AND STRIKE HIM while he disengages the sword
  
Line 317: Line 317:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 09 Figure 06.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 09 Figure 06.png|200px|center|Figure 6]]
 
| THE INSIDE COUNTERDISENGAGE OF THE SWORD
 
| THE INSIDE COUNTERDISENGAGE OF THE SWORD
  
Line 328: Line 328:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 10 Figure 07.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 10 Figure 07.png|200px|center|Figure 7]]
 
| THE COUNTERDISENGAGE<br/>OF THE SWORD OUTSIDE
 
| THE COUNTERDISENGAGE<br/>OF THE SWORD OUTSIDE
  
Line 339: Line 339:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 11 Figure 08.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 11 Figure 08.png|200px|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 357: Line 357:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 12 Figure 09.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 12 Figure 09.png|200px|center|Figure 9]]
 
| THE WAY OF WOUNDING IN THE CHEST<br/>WITH THE SINGLE SWORD WHEN THEY  ARE IN<br/>measure with the swords equal
 
| THE WAY OF WOUNDING IN THE CHEST<br/>WITH THE SINGLE SWORD WHEN THEY  ARE IN<br/>measure with the swords equal
  
Line 368: Line 368:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 13 Figure 10.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 13 Figure 10.png|200px|center|Figure 10]]
 
| THE PASS WITH FEINT AT A DISTANCE
 
| THE PASS WITH FEINT AT A DISTANCE
  
Line 390: Line 390:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 14 Figure 11.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 14 Figure 11.png|200px|center|Figure 11]]
 
| THE FEINT TO THE FACE AT A DISTANCE
 
| THE FEINT TO THE FACE AT A DISTANCE
  
Line 401: Line 401:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 15 Figure 12.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 15 Figure 12.png|200px|center|Figure 12]]
 
| THE PROPER WAY TO GIVE<br/>A THRUST WITH THE SINGLE SWORD<br/>WHILE THE ENEMY THROWS<br/>a cut
 
| THE PROPER WAY TO GIVE<br/>A THRUST WITH THE SINGLE SWORD<br/>WHILE THE ENEMY THROWS<br/>a cut
  
Line 414: Line 414:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 16 Figure 13.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 16 Figure 13.png|200px|center|Figure 13]]
 
| THE PROPER WAY TO WOUND SECURELY<br/>with both hands and the single sword
 
| THE PROPER WAY TO WOUND SECURELY<br/>with both hands and the single sword
  
Line 427: Line 427:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 17 Figure 14.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 17 Figure 14.png|200px|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 440: Line 440:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 18 Figure 15.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 18 Figure 15.png|200px|center|Figure 15]]
 
| THE INQUARTATA<br/>OR SLIP OF VITA
 
| THE INQUARTATA<br/>OR SLIP OF VITA
  
Line 499: Line 499:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 19 Figure 16.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 19 Figure 16.png|200px|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 510: Line 510:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 20 Figure 17.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 20 Figure 17.png|200px|center|Figure 17]]
 
| THE THRUST<br/>IN THE FACE<br/>TURNING YOUR WRIST
 
| THE THRUST<br/>IN THE FACE<br/>TURNING YOUR WRIST
  
Line 521: Line 521:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 21 Figure 18.png|200px|center]]<br/>[[File:Scola, overo teatro (Giganti) 22 Figure 19.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 21 Figure 18.png|200px|center|Figure 18]]<br/>[[File:Scola, overo teatro (Giganti) 22 Figure 19.png|200px|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 531: Line 531:
  
 
|-  
 
|-  
| [[File:Scola, overo teatro (Giganti) 23 Figure 20.png|200px|center]]
+
| [[File:Scola, overo teatro (Giganti) 23 Figure 20.png|200px|center|Figure 20]]
 
| THE WAY OF PLAYING WITH THE SINGLE SWORD,<br/>while the enemy has sword and dagger
 
| THE WAY OF PLAYING WITH THE SINGLE SWORD,<br/>while the enemy has sword and dagger
  

Revision as of 11:53, 31 May 2018

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.