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| <p>{{red|b=1|Chapter V Of Thrusts and Cuts}}</p>
'''Chapter V Of Thrusts and Cuts'''
+
 
<p>The sword has a point and two edges,
+
<p>The sword has a point and two edges,<br/>
But note well and understand this text,
+
But note well and understand this text,<br/>
That memory will not fail you.</p>
+
That memory will not bamboozle you:</p>
  
<p>One is the false, and the other the true,  
+
<p>One [edge] is the false, and the other the true,<br/>
And reason commands and desires,
+
And reason commands and desires<br/>
That this is fixed in your brain.</p>
+
That you keep this fixed in your brain.</p>
  
<p>Forehand and true edge go together,
+
<p>Forehand and true edge go together,<br/>
Backhand and false edge stay together,
+
Backhand and false edge stay together,<br/>
Except the fendente which wants the true.</p>
+
Except the fendente which calls for the true.</p>
  
<p>Understand my text well,
+
<p>Understand my text well,<br/>
The sword goes with seven blows
+
Seven are the blows that the sword delivers<br/>
Six cuts with the thrust that strikes.</p>
+
That would be six cuts, with the thrust.</p>
  
<p>So that you will find this seam,
+
<p>SSo that you will find this vein,<br/>
Two from above and below and two in the middle,
+
Two from above and below and two in the middle,<br/>
The thrust up the middle with deceit and suffering,
+
The thrust up the middle with deceit and pain,<br/>
That our Air is often calm.</p>
+
That often gets us out of trouble.<ref>''Che l’aer nostro fa spesso serena'', lit. “that often makes our skies serene”.</ref></p>
 
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| {{section|Page:Cod.1324 09r.jpg|9r.2}}
  
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| <p>{{red|b=1|Chapter VI. The seven blows of the sword.}}</p>
'''Chapter VI The seven blows of the sword.'''
+
 
<p>We are the fendenti and we make quarrels,
+
<p>We are the ''fendenti'' and we make quarrels,<br/>
To strike and cut often with grief,
+
To strike and cut often, with pain,<br/>
The head and the teeth with the right reason.</p>
+
The head and the teeth in a direct way.</p>
  
<p>And all guards that are made low to the ground,
+
<p>And all guards that are made low to the ground,<br/>
We break often with our cunning,
+
We break often with our cunning,<br/>
 
Passing from one to the other without trouble.</p>
 
Passing from one to the other without trouble.</p>
  
<p>The blows make a bloody mark,
+
<p>The blows make a bloody mark,<br/>
When we mix them with the rota
+
When we mix them with the rota<br/>
We support the entire art.</p>
+
We make the entire Art our support.</p>
  
<p>Fendente for striking we are well endowed,
+
<p>''Fendente'', for striking we are well endowed,<br/>
Returning to guard from pass to pass,
+
Returning to guard from pass to pass,<br/>
Note we are not slow to strike.</p>
+
Note: we are not slow to strike.</p>
  
<p>I am the rota and I have in me such a load,
+
<p>I am the ''rota'' and I have in me such a load,<br/>
That you want to mix me with the other blows,
+
If you want to mix me with the other blows,<br/>
I place a thrust often at a bow.</p>
+
I will often place a thrust in an arc.<ref>This line reads “''io metterò la punta spesso a l’archo''”. “I will place the thrust” is clear. ''Spesso a l’archo'' is literally “often at a bow”. But just as ''bistecca alla fiorentina'' is steak in the manner of Florence, so ''a l’archo'' can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.</ref></p>
  
<p>I cannot be courteous or loyal
+
<p>I cannot be courteous or loyal,<br/>
Turning I pass through forehand fendente
+
Turning I pass through the forehand fendente<br/>
 
And destroy arms and hands without delay.</p>
 
And destroy arms and hands without delay.</p>
  
<p>People call me Rota by name,
+
<p>People call me ''rota'' by name,<br/>
I seek the false of the sword
+
I seek the deception of the sword<br/>
I please the mind of he who uses me.</p>
+
I hone the mind of he who uses me.</p>
  
<p>We are volanti, always crossing
+
<p>We are ''volanti'', always crossing<br/>
And from the knee up we go,
+
And striking from the knee up,<br/>
 
Fendente and thrusts we often banish.</p>
 
Fendente and thrusts we often banish.</p>
  
<p>By crossing us pass without fail,
+
<p>The ''rota'' that come up from below<br/>
The Rota that come up from below,
+
Pass us obliquely without fail<br/>
And with the fendente warms our cheeks.</p>
+
And with the ''fendente'' warm the cheeks.<ref>This means the ''fendente'' strike us. In this last stanza, ''rota'' blows are defeating ''volante'' blows; they are parrying them and returning with a fendente to the face.</ref></p>
 
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| <p>{{red|b=1|Chapter VII. Of the thrust}}</p>
'''Chapter 7 Of the thrust.'''
+
 
<p>I am he that quarrels with
+
<p>I am she that quarrels with<br/>
All the other blows, and I am called the thrust.
+
All the other blows, and I am called the thrust.<br/>
 
I carry venom like the scorpion.</p>
 
I carry venom like the scorpion.</p>
  
<p>I feel so strong, bold and quick,
+
<p>I feel so strong, bold and ready,<br/>
Often I make the guards plough again
+
Often I make the guards waver<br/>
When I am thrown at others and confront them</p>
+
When I am thrown at others and confront them,</p>
  
By my harmful touch, when I join them.
+
<p>And when I am joined, I harm nobody with my touch.</p>
 
| {{section|Page:Cod.1324 09v.jpg|9v.2}}
 
| {{section|Page:Cod.1324 09v.jpg|9v.2}}
  
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| <p>{{red|b=1|Chapter VIII. The dispute of the cuts and thrusts}}</p>
'''Chapter VIII The quarrel of the cuts and thrusts.'''
+
 
<p>The rota with the fendente and the volante
+
<p>The ''rota'' with the ''fendente'' and the ''volante''<br/>
Say to the thrusts “we will show
+
Argue with the thrusts and show them<br/>
That you are not so dangerous”.</p>
+
That they are not so dangerous.</p>
  
<p>And when they come to us,
+
<p>And when they come to us,<br/>
All the blows can make them lose their way
+
All the blows can make them lose their way<br/>
 
Losing in this joust the chance to strike.</p>
 
Losing in this joust the chance to strike.</p>
  
<p>The blow of the sword does not lose its turn,
+
<p>The blow of the sword does not lose its turn,<br/>
Little worth the thrust to him the quick turn,
+
The thrust is worth little against he who turns quickly<br/>
It makes it go very wide, the blows going that way.</p>
+
The blows clear the way for the one who is going.<ref>As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.</ref></p>
  
<p>If you don’t have a slack memory,
+
<p>If you don’t have a quick memory,<br/>
If the thrust doesn’t strike it loses the strike
+
If the thrust doesn’t wound it loses its turn,<br/>
All the others deem it weak.</p>
+
All the other [blows] deem it weak.</p>
  
<p>Against just one the thrust finds its place,
+
<p>Against just one [opponent] the thrust finds its place,<br/>
Against more it doesn’t do its duty,
+
Against more it doesn’t do its duty,<br/>
This is found in the text and the act.</p>
+
This is found in the text and the act.<ref>That is, in theory and in practice.</ref></p>
  
<p>If the thrust throws a rota do not fear
+
<p>If the thrust throws a ''rota'' do not fear,<br/>
If it does not immediately take a good fendente,
+
If it does not immediately take a good ''fendente'',<br/>
It remains fruitless against my parry.</p>
+
It remains fruitless, it seems to me. </p>
  
<p>Keep in mind here,
+
<p>Keep in mind a little here,<br/>
If the thrust enters but does not swiftly exit,
+
If the thrust enters but does not swiftly exit,<br/>
It lets the companion strike back hard.</p>
+
It lets the companion hurt you with a strike.</p>
  
<p>Your sword is expert at slicing a blow,
+
<p>Cutting a blow, your sword is lost,<br/>
The thrust will lose its way to the strike,
+
If the point loses its way in the strike,<br/>
It is mocked with the help of the low cross.</p>
+
Or the right cross from below helps you.<ref> I read this to mean that when cutting, your point should remain in line (in the ''strada''), unless you deliberately allow it to fall, to parry up from below.</ref></p>
  
<p>I make a straight fendente at you with the sword,
+
<p>I make a forehand ''fendente'' at you with the sword,<br/>
And break you out of that guard.
+
And break you out of that guard,<br/>
 
So that you are forced into a bad spot.</p>
 
So that you are forced into a bad spot.</p>
  
<p>Do not lose a single hour of learning.
+
<p>Do not lose even an hour of learning:<br/>
The great blows with a serene hand,
+
The great motions with a serene hand,<ref>''Tempi'' here is clearly ‘motions’, rather than ‘times’.</ref><br/>
 
Will place you above the others and give you honour.</p>
 
Will place you above the others and give you honour.</p>
  
<p>Break all low guards
+
<p>Break all low guards,<br/>
Low guards await small loads,
+
Low guards await small loads,<br/>
 
And so heavy ones pass without difficulty.</p>
 
And so heavy ones pass without difficulty.</p>
  
<p>Heavy arms do not go quickly to the step,
+
<p>A heavy weapon does not pass quickly to the step,<br/>
Light ones go and come like an arrow in a bow.</p>
+
Light ones come and go like an arrow from a bow.</p>
 
| <p>{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}</p>
 
| <p>{{paget|Page:Cod.1324|10r|jpg|p=1}}<br/>{{section|Page:Cod.1324 10v.jpg|10v.1|p=1}}</p>
  
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| <p>{{red|b=1|Chapter IX. Of the Cross}}</p>
'''Chapter IX Of the Cross.'''
+
 
<p>I am the Cross with the name of Jesus
+
<p>I am the Cross with the name of Jesus<br/>
My sign is made both in front and behind
+
My sign is made both in front and behind<br/>
 
To find many more defences.</p>
 
To find many more defences.</p>
  
<p>If I find myself against a different weapon,
+
<p>If I confront a different weapon,<br/>
I do not lose my way, this has been proven
+
I do not lose my way, I have been proven;<br/>
This I often go looking for.</p>
+
This often happens because I go looking for it.</p>
  
<p>And when I find a long weapon,
+
<p>And when a long weapon finds me,<ref>This line is ambiguous; it could also read “And when a weapon finds me extended”.</ref><br/>
Then with reason I make my defence,
+
He who with reason makes my defence,<br/>
To gain the honour in every venture.</p>
+
Will gain the honour in every venture.<ref>The word Vadi uses here is ‘''inprexa''’. It is the same word as the French ‘''emprise''’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.</ref></p>
 
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| {{section|Page:Cod.1324 10v.jpg|10v.2}}
  
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| <p>{{red|b=1|Chapter X. Theory of the half sword}}</p>
'''Chapter X Discussion of the half sword.'''
+
 
<p>Wanting to follow in this great work,
+
<p>Wanting to follow in this great work,<br/>
It is necessary to explain bit by bit,
+
It is necessary to explain bit by bit,<br/>
 
All the strikes of the art.</p>
 
All the strikes of the art.</p>
  
<p>So that you will understand and use
+
<p>So that it is well understood and put into practice,<ref>This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.</ref><br/>
The system well, I wish to first make clear
+
Reason demands that I first explain<br/>
 
The turning principle of the sword.</p>
 
The turning principle of the sword.</p>
  
<p>And with arms extended
+
<p>And with arms extended go,<ref> At this point there ''menando'', (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).</ref><br/>
Bring the edge to the middle of the companion.</p>
+
Driving the edge to the middle of the companion.</p>
  
<p>And if you wish to appear great in the art,
+
<p>And if you wish to appear great in the art,<br/>
You should go from guard to guard,
+
You can go from guard to guard,<br/>
With a slow and serene hand,
+
With a slow and serene hand,<ref>A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.</ref><br/>
 
With steps that are not out of the ordinary.</p>
 
With steps that are not out of the ordinary.</p>
  
<p>If you wish to make a stramazone at someone
+
<p>If you wish to make some kind of ''stramazone'',<ref>This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The ''stramazzone'' is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)</ref><br/>
Do it with a small turn to the face
+
Do it with a small turn in front of the face,<br/>
Don’t make a very wide turn
+
Don’t make a very wide motion,<br/>
Because all long movements are for nothing.</p>
+
Because all wide motions<ref>''Largo tempo'', literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.</ref> are for nothing.</p>
  
<p>Making the roverso you will be helped,
+
<p>Making the ''roverso'' you will be helped,<br/>
Passing out of the way with the left foot,
+
Passing out of the way with the left foot,<br/>
Following with the right foot too,
+
Drawing forwards with the right foot too,<br/>
 
Keeping an eye out for a good parry.</p>
 
Keeping an eye out for a good parry.</p>
  
<p>When you wish to enter in to half sword
+
<p>When you wish to enter into half sword<br/>
As the companion lifts his sword,
+
As the companion lifts his sword,<br/>
Then don’t hold back,
+
Then don’t hold back,<br/>
Grab the tempo or it will cost you dear.</p>
+
Grab the tempo<ref>Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.</ref> or it will cost you dear.</p>
  
<p>Place yourself in the guard of the boar,
+
<p>Place yourself in the guard of the boar,<br/>
When you enter with the thrust at the face
+
When you enter with the thrust at the face<br/>
Do not leave your point in the face,
+
Do not be divided at all [from the companion],<ref>''punto divixo'': lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say ''poco e punto'' to say “a few and not at all”. So ''punto'' could be intended as ''affatto'' that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”</ref><br/>
Turn quickly a roverso fendente.</p>
+
Turn quickly a ''roverso fendente''.</p>
  
<p>And draw a mandritto, and keep this in mind.
+
<p>And strike a ''dritto''. Keep this in mind,<br/>
So that you understand my intention,
+
So that you understand my intention,<br/>
With clear reasoning,
+
With clear reasoning,<br/>
I hope to show you the way.</p>
+
I hope to thoroughly show you the way.</p>
  
<p>I don’t want your blows to be solely roverso,
+
<p>I don’t want your blows to be solely ''roverso'',<br/>
Nor just fendente, but between one and the other,
+
Nor just ''fendente'', but between one and the other,<br/>
If between is the common one.
+
Both between the common one,<ref>This is indicating a vertical downwards blow.</ref><br/>
 
Hammering the head on all sides.</p>
 
Hammering the head on all sides.</p>
  
<p>Also I advise you when you have entered,
+
<p>Also I advise you when you have entered,<br/>
Be with the legs paired with his
+
Be with the legs not too far apart,<br/>
You will be lord, and clear,
+
You will be the lord, and clear<br/>
 
To constrain and strike valiantly.</p>
 
To constrain and strike valiantly.</p>
  
<p>And when you strike a roverso fendente,
+
<p>And when you strike a ''roverso fendente'',<br/>
Bend the left knee, and note the text,
+
Bend the left knee, and note the text,<br/>
Extend the right foot,
+
Extend the right foot,<br/>
Without changing it, i.e. to the other side.</p>
+
Without changing it, i.e. to either side.</p>
  
<p>Also, if you see you are going to be attacked,
+
<p>Also, the left foot and the head are understood<br/>
The left foot and the head now,
+
To be connected now,<br/>
Because they are closer together,
+
Because the head is closer to the left foot,<ref>This line actually reads “Because it is closer to it”; I have expanded on it for clarity.</ref><br/>
So don’t use the direct line, but remain on the diagonal.</p>
+
Than to the right one, that remains sideways.</p>
  
<p>So you will be safe from every side,
+
<p>So you will be safe from every side,<br/>
So you want the fendente, strike from the right,
+
If you want to strike a forehand fendente,<br/>
You need to bend
+
You need to bend<ref>There appears to be a correction to the text: ''pigliare'' (to grab) has been modified to ''pighare'' (to bend). Rubboli has it as the former. (51)</ref><br/>
 
The right knee: and extend well the left.</p>
 
The right knee: and extend well the left.</p>
  
<p>Clearly the head will also be attacked,
+
<p>You will consider that the head is now connected,<br/>
With the right foot that is closest.
+
To the right foot that is closest.<br/>
This is the better way.
+
This is a better way<br/>
This is not the footwork of our ancestors.</p>
+
Than the footwork of our ancestors.<ref> This detailed explanation of mechanics, with the head being “connected” (''atacata'') to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.</ref></p>
  
<p>It is not necessary that anyone contradict this,
+
<p>It is necessary that no one contradicts this,<br/>
Because you will be stronger, and more secure,
+
Because you will be stronger, and more secure,<br/>
Hard in defence,
+
Hard in defence,<br/>
And make war with shorter movements.
+
And make war with the shortest motion,<br/>
And neither can anyone throw you to the ground.</p>
+
And neither can anyone make you fall.</p>
 
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| <p>{{red|b=1|Chapter XI. Theory of swordplay}}</p>
'''Chapter XI Principles of Swordplay.
+
 
<p>When you are joined at the half sword,
+
<p>When you have arrived at the half sword,<br/>
Make a mandritto or roverso,
+
Making a ''mandritto'' or ''roverso'',<br/>
Be sure to grasp the sense
+
Be sure to grasp the sense<br/>
 
Of what I say, because it is to the point.</p>
 
Of what I say, because it is to the point.</p>
  
<p>If you are there, keep a sharp eye out,
+
<p>When you feint keep a sharp eye out,<ref>The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: ''Della finta dichiaratione'' (“Explanation of the feints”), which is subtitled ''Far vista di cavar la Spada con il nodo della mano''. (“Make a feint of disengaging the sword with the wrist.”)</ref><br/>
And look quickly with the cover,
+
And make the feint short, with the cover,<br/>
And hold the sword up,
+
And hold the sword up,<br/>
 
So your arms play above your head.</p>
 
So your arms play above your head.</p>
  
<p>I cannot say in a few words,
+
<p>I cannot say in a few words,<br/>
Because the matter is of the half sword,
+
Because the actions are of the half sword,<br/>
So that you will be better pleased,
+
Where you go as you please.<ref>The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.</ref><br/>
When you parry, parry with a fendente.</p>
+
When you parry, parry with a ''fendente''.</p>
  
<p>Brush aside the sword, a little shortened,
+
<p>Brush aside the sword, a little away from you, cautiously,<br/>
Treading on that of the companion,
+
Pressing that of the companion,<br/>
You will make a good deal,
+
You will make a good deal,<br/>
Parrying well however many blows.</p>
+
Parrying well whichever blows.</p>
  
<p>When you parry the roverso, keep in front,
+
<p>When you parry the ''roverso'' do so with<br/>
The right foot, and parry as I have said.
+
The right foot forwards, and parry as I have said.<br/>
Parrying the mandritto,
+
Parrying the ''mandritto'',<br/>
Keep in front your left foot.</p>
+
Put your left foot forwards instead.</p>
  
<p>You should also keep in mind,
+
<p>You should also keep in mind,<br/>
When you strike a roverso fendente,
+
When you strike a ''roverso fendente'',<br/>
To keep a careful eye out,
+
To keep a careful eye out,<br/>
So that a mandritto doesn’t come from underneath.</p>
+
So that a ''mandritto'' doesn’t come from underneath.</p>
  
<p>And if the companion strikes and you all of a sudden
+
<p>And if the companion strikes, and you all of a sudden<br/>
Parry, making then to the head
+
Parry, making then to the head<br/>
A blow with the false edge
+
A blow with the false edge carefully,<br/>
And as he lifts it, strike a good roverso.</p>
+
And as he lifts it,<ref>“It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a ''roverso'' from below.</ref> strike a good ''roverso''</p>
  
<p>From below, through his arms,
+
<p>From below, across his arms,<br/>
Redoubling then with a quick mandritto,
+
Redoubling then with a quick ''mandritto'',<br/>
And note also this,
+
And note also this,<br/>
That you do not fail the Reason of the Art.</p>
+
That you do not fail the principles of the Art.</p>
  
<p>If you strike a mandritto, then beware,
+
<p>If you strike a ''mandritto'', then beware,<br/>
His roverso so he doesn’t strike you,
+
The ''roverso'' that he might strike.<br/>
Make it that your sword
+
Make it so that your sword also<br/>
Parries with a fendente, so you are not caught.</p>
+
Parries with a ''fendente'', so that you are not hit.</p>
  
<p>And if it comes to you then to want
+
<p>And if it comes to you then to want<br/>
To enter underneath and grab his handle.
+
To enter underneath and grab his handle,<br/>
And then do your duty,
+
And then do your duty,<br/>
Hammering his moustache with your pommel,
+
Hammering his moustache with your pommel,<ref>''Mustaccio'' is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.</ref><br/>
Being very wary that hindrance does not grab you.</p>
+
Watching out that you do not get stuck.</p>
 
|  
 
|  
 
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{{paget|Page:Cod.1324|12r|jpg|p=1}}<br/>{{section|Page:Cod.1324 12v.jpg|12v.1|p=1}}
Line 1,000: Line 1,000:
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Chapter XII. Theory of the feints of the sword}}</p>
'''Chapter XII Discussion regarding the Feints of the Sword.'''
 
<p>Again I advise you, and note my words well,
 
That when you have entered into half sword</p>
 
  
<p>You then well from every side
+
<p>Again I advise you, and note my words well,<br/>
 +
That when you have entered into half sword<br/>
 +
You then [act] well from every side,<br/>
 
Following the art with good feinting.</p>
 
Following the art with good feinting.</p>
  
<p>Feints call out to obfuscate
+
<p>Feints are considered an obfuscation,<br/>
They hide from the other’s defence.
+
They confound the opponent in the defence.<br/>
Do not let him understand,
+
They do not let him understand,<br/>
What you want to do from one side or the other.</p>
+
What you want to do on one side or the other.</p>
  
<p>I cannot show you so well,
+
<p>I cannot show you so well<br/>
With my words how to do it with a sword,
+
With my words, as I could with a sword.<br/>
Make your mind go
+
Make your mind go<br/>
To investigate the art with my sayings.</p>
+
To investigate the art with my sayings,</p>
  
<p>And grasp valour with reason
+
<p>And grasp valour with reason,<br/>
As I admonish and as I teach you  
+
As I admonish and as I teach you.<br/>
And do it with cunning
+
And make it so that with cunning<br/>
You follow that which I have written in so many verses,
+
You will follow that which I write in so many verses,<br/>
 
To discover the depths and the banks of the Art.</p>
 
To discover the depths and the banks of the Art.</p>
 
|  
 
|  
Line 1,043: Line 1,042:
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Chapter XIII. Theory of the half sword}}</p>
'''Chapter XIII Principles of the half-sword.'''
+
 
<p>Being then joined at the half sword,
+
<p>Having then arrived at the half sword,<br/>
You can well hammer more and more times,
+
You can well hammer more and more times,<br/>
Striking on only one side,
+
Striking on only one side,<br/>
 
Your feints go on the other side.</p>
 
Your feints go on the other side.</p>
  
<p>And when he loses his way with parrying,
+
<p>And when he loses his way with parrying,<br/>
And you hammer then on the other side,
+
And you hammer then on the other side,<br/>
Then you should decide
+
Then you decide<br/>
If you need to finish by closing in.</p>
+
Which ''stretta'' you should finish with.</p>
  
<p>And if you want to throw blows,
+
<p>And if you want to throw blows,<br/>
Let a fendente roverso go,
+
Let a ''fendente roverso'' go,<br/>
<sup>Turning it across</sup>And a false edge with the point in his face.</p>
+
Turning a cross-wise<ref>The line “''voltandoli atraverso''” is inserted in the margin.</ref> false edge blow<br/>
 +
With the point in his face.</p>
  
<p>Do not be divided from his point,
+
<p>Do not be divided from him,<br/>
With roverso or mandritto
+
With ''roverso'' or ''mandritto''<br/>
With whichever you can work.
+
With whichever you can work,<br/>
Because the knees bend on every side.</p>
+
As long as the knees bend on every side.</p>
  
<p>Following that which I showed you above,
+
<p>Following that which I showed you above,<br/>
 
I repeat for you again this addition,</p>
 
I repeat for you again this addition,</p>
  
<p>Always enter with the point,
+
<p>Always enter with the point,<br/>
Forcing upwards from below, finishing in the face
+
Upwards from below, until you have skewered the face,<br/>
And you can strike just at the right time.</p>
+
Use your strikes in their appropriate times.</p>
 
| {{section|Page:Cod.1324 13r.jpg|13r.2}}
 
| {{section|Page:Cod.1324 13r.jpg|13r.2}}
  
Line 1,087: Line 1,087:
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Chapter XIIII. Theory of the half tempo of the sword}}</p>
'''Chapter XIIII Theory of the half tempo of the sword'''
+
 
<p>I cannot show you in writing
+
<p>I cannot show you in writing<br/>
The theory and method of the half tempo
+
The theory and way of the half tempo<br/>
Because it remains in a knot
+
Because the shortness of the tempo and its strike<br/>
The shortness of the tempo of his strike.</p>
+
Reside in the wrist.</p>
  
<p>The half time is just one turn
+
<p>The half tempo is just one turn<br/>
Of the knot: quick and immediately striking,
+
Of the wrist: quick and immediately striking,<br/>
It can rarely fail
+
It can rarely fail<br/>
 
When it is done in good measure.</p>
 
When it is done in good measure.</p>
  
<p>If you note well my writing
+
<p>If you note well my text,<br/>
One who does not practice will parry badly
+
One who does not practice [the art] will get into trouble:<ref>Porzio and Mele (81) read this line as ''mal separa chi non na la praticha'', or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe ''separa'' as one word. I read it as ''mal se para'', or “will get into trouble”, which seems to me to fit the context better.</ref><br/>
Often the turning
+
Often the quick flight from one side to another<br/>
 
Breaks with a good edge the other’s brain.</p>
 
Breaks with a good edge the other’s brain.</p>
  
<p>Of all the art this is the jewel,
+
<p>Of all the art this is the jewel,<br/>
Because it treats as one the strike and the parry,
+
Because in one go it strikes and parries.<br/>
Oh what a valuable thing,
+
Oh what a valuable thing,<br/>
So practice it with good reason,
+
To practice it according to the good principles,<br/>
And it will let you carry the banner of the art.</p>
+
It will let you carry the banner of the Art.<ref>Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of ''gonfaloniere'', “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one ''gonfaloniere'' at a time. Guidobaldo’s father Federico was ''gonfaloniere'' from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.</ref></p>
 
| {{section|Page:Cod.1324 13v.jpg|13v.1}}
 
| {{section|Page:Cod.1324 13v.jpg|13v.1}}
  
Line 1,126: Line 1,126:
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Chapter XV. Theory of the sword against the rising blow}}</p>
'''Chapter XV Theory of the sword against the rising blow
+
 
<p>There are many who make their base
+
<p>There are many who make their base<br/>
In turning strongly from every side
+
In turning strongly from every side<br/>
So be advised,  
+
So be advised,<br/>
As his sword turns, move</p>
+
As his sword is turning, move,</p>
  
<p>And you turn and you will win the test,
+
<p>And you turn and you will win the test,<br/>
Harmonise yourself with him and also with the strikes
+
Then harmonise yourself with his strikes,<br/>
And make your going thus
+
And make your going thus<br/>
With your sword directly to his.</p>
+
With your sword behind his.</p>
  
<p>To clear your mind of illusions,
+
<p>To better explain your design,<br/>
You can also go into boar’s tooth guard,
+
You can also go into boar’s tooth guard,<br/>
And if he with the turning,
+
And if he with the turning,<br/>
And you escaping from below up.</p>
+
And you ripping up from below.<ref>The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.</ref></p>
  
<p>Listen and understand my reasoning,
+
<p>Listen and understand my reasoning,<br/>
You who are new to the art, and experts too,
+
You who are new to the art, and experts too,<br/>
I want you to be sure,
+
I want you to be sure,<br/>
 
That this is the art and the true science.</p>
 
That this is the art and the true science.</p>
  
<p>Grasp this, that is a steelyard’s trace,
+
<p>Grasp this, that is a steelyard’s trace:<ref>This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.</ref><br/>
That if the companion is in the iron door guard,
+
The companion is in the iron door guard,<br/>
Lock this into your heart,
+
Lock this into your heart,<br/>
You should be in the archer’s guard,</p>
+
Make it so you are in the archer’s guard,</p>
  
<p>Watch out that your point does not waver,
+
<p>Watch out that your point does not waver,<br/>
That of the companion covers his sword;
+
And covers the companion’s sword;<br/>
Go a little out of the way
+
Go a little out of the way<br/>
 
Straightening the sword and the hand with the point.</p>
 
Straightening the sword and the hand with the point.</p>
  
<p>When your sword is joined at the crossing,
+
<p>When your sword is joined at the crossing,<br/>
Then do the thirteenth constrained action,
+
Then do the thirteenth stretta,<br/>
As is you can plainly see
+
As is you can plainly see<br/>
Pictured in our book of seven leaves.</p>
+
Pictured in our book on page seven.<ref> This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘''carta''’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.</ref></p>
  
<p>You can also use in this art
+
<p>You can also use in this art<br/>
Striking and closing that are more handy,
+
Strikes and strette that are handier to you,<br/>
Leave the more left-handed,
+
Leave the more clumsy,<ref>''Sinestre'' is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.</ref><br/>
Keep those that favour your hand,
+
Keep those that favour your hand,<br/>
 
So you will often have honour in the art.</p>
 
So you will often have honour in the art.</p>
| {{section|Page:Cod.1324 13v.jpg|13v.2}}
+
|  
 
+
{{section|Page:Cod.1324 13v.jpg|13v.2|p=1}}<br/>{{section|Page:Cod.1324 14r.jpg|14r.1|p=1}}
{{section|Page:Cod.1324 14r.jpg|14r.1}}
 
  
 
|}
 
|}
Line 1,187: Line 1,186:
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>{{red|b=1|Chapter XVI Mastering the sword}}</p>
'''Chapter XVI Mastering the sword'''
+
 
<p>It is necessary that the sword should be
+
<p>It is necessary that the sword should be<br/>
A great shield that covers all,
+
A great shield that covers all of you,<br/>
And grasp this fruit,
+
And grasp this fruit,<br/>
That I give you for your mastery.</p>
+
That I give you for your instruction.</p>
  
<p>Be sure that your sword does not
+
<p>Be sure that your sword is never far away<br/>
Make guards or strike far away,
+
In making guards or striking<br/>
O how sensible this thing is,
+
Oh how sensible this thing is,<br/>
 
That your sword makes short movements.</p>
 
That your sword makes short movements.</p>
  
<p>Your point should watch the face,
+
<p>Make it so your point watches the face<br/>
Of the companion, in guard or striking,
+
Of the companion, in guard or striking,<br/>
You will take his courage,
+
You will take away his courage,<br/>
 
Seeing always the point staying in front of him.</p>
 
Seeing always the point staying in front of him.</p>
  
<p>And you will make your plays always forwards,
+
<p>And you will make your plays always forwards,<br/>
With your sword and with a small turn,
+
With your sword and with a small turn,<br/>
With a serene and nimble hand,
+
With a serene and relaxed hand,<br/>
Often breaking the tempo of the companion,
+
Often breaking the tempo of the companion,<br/>
You will weave a web different than spider’s.</p>
+
You will weave a web better than a spider’s.</p>
  
[END]
+
<p>'''The End.'''</p>
 
|  
 
|  
 
{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}
 
{{section|Page:Cod.1324 14r.jpg|14r.2|p=1}}<br/>{{paget|Page:Cod.1324|14v|jpg|p=1}}
Line 1,229: Line 1,228:
 
|-  
 
|-  
 
| [[File:Cod.1324 15r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15r.jpg]]
 
| [[File:Cod.1324 15r.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15r.jpg]]
| <p>I am callipers, that divide into parts,
+
| <p>I am callipers, that divide into parts,<br/>
O fencer heed my reason,
+
O fencer heed my principle,<br/>
Thus measure the tempo similarly.</p>
+
Thus [the callipers] measure the tempo similarly.<ref>This means that the tempo is measured by dividing it into parts.</ref></p>
  
<p>The nature of the bear is to turn,
+
<p>The nature of the bear is to turn<br/>
Going here, there, up and around
+
Here, there, up and down:<br/>
Thus your shoulder should move,
+
Thus your shoulder should move,<br/>
 
Sending your sword out to hunt.</p>
 
Sending your sword out to hunt.</p>
  
<p>I am a ram, always on the lookout,
+
<p>I am a ram, always on the lookout,<br/>
Naturally always looking to butt,
+
Naturally always looking to clash,<br/>
So your cut should be clever,
+
So your cut should be clever,<br/>
Always parry when there is an answer.</p>
+
Always parry when [your cut] is answered.</p>
  
<p>The right hand should be prudent,
+
<p>The right hand should be prudent,<br/>
 
Bold and deadly as a serpent.</p>
 
Bold and deadly as a serpent.</p>
  
<p>The eye with the heart should be alert,
+
<p>The eye with the heart should be alert,<br/>
 
Bold and full of foresight.</p>
 
Bold and full of foresight.</p>
  
<p>With the left hand, the sword is to thrust
+
<p>With the left hand I have the sword by the point,<br/>
Or to strike when it is joined
+
To strike already when it is joined<br/>
And if you want the strike to be complete
+
And if you want the strike to be complete<br/>
 
Make it as quick as a greyhound.</p>
 
Make it as quick as a greyhound.</p>
  
<p>And he who does not have these keys with him
+
<p>And he who does not have these keys with him<br/>
Will make little war with this play.</p>
+
Will make little war with this play.<ref>These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.</ref></p>
  
<p>The legs keys it is well said,
+
<p>The legs [are] keys it is well said,<br/>
Because you close them and also open them,</p>
+
Because you close them and also open them. </p>
  
<p>You see the sun, that makes great turns,
+
<p>You see the sun, that makes great turns,<br/>
And where it is born it returns.
+
And where it is born it returns.<br/>
The foot with the sun should return together,
+
The foot with the sun should return together,<br/>
 
If you want the play to adorn your person.</p>
 
If you want the play to adorn your person.</p>
  
<p>The left foot firm without fear,
+
<p>Plant the left foot without fear,<br/>
Make it constant like a rock
+
Make it firm like a castle,<br/>
 
And then your body will be completely safe.</p>
 
And then your body will be completely safe.</p>
  
<p>When one or other foot bothers you
+
<p>When one or other foot bothers you<br/>
Turn it quickly like a mill wheel,
+
Turn it quickly like a mill wheel,<br/>
The heart must be foresightful,
+
The heart must be foresightful,<br/>
That expects shame and honour.</p>
+
For on it depends shame and honour.<ref>This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”</ref></p>
 
| {{paget|Page:Cod.1324|15r|jpg}}
 
| {{paget|Page:Cod.1324|15r|jpg}}
  
 
|-  
 
|-  
 
| [[File:Cod.1324 15v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15v.jpg]]
 
| [[File:Cod.1324 15v.jpg|300px|center|link=http://commons.wikimedia.org/wiki/File:Cod.1324_15v.jpg]]
| <p>These are the blows of the two-handed sword,
+
| <p>These are the blows of the two-handed sword,<br/>
Not those of the mezo tempo, they remain in a knot.</p>
+
Not the ''mezzo tempo'', which remains in the wrist.</p>
  
<p>I am the rota and I often turn,
+
<p><br/></p>
Finding the falseness of the sword.</p>
 
  
<p>We are the volante, always crossing,
+
<p>I am the ''rota'' and I am often turning,<br/>
 +
I go looking for the deception of the sword.</p>
 +
 
 +
<p><br/></p>
 +
 
 +
<p>We are the ''volante'', always crossing,<br/>
 
From the knee up we go destroying.</p>
 
From the knee up we go destroying.</p>
  
<p>We are the fendenti and we start the fight,
+
<p><br/></p>
Breaking the teeth in our direct way.</p>
+
 
 +
<p>We are the ''fendenti'' and we dispute,<br/>
 +
And we break the teeth with full right.</p>
  
<p>I am the thrust, dangerous and quick,
+
<p>I am the thrust, dangerous and quick,<br/>
Mistress of the other blows.</p>
+
Great teacher of the other blows.</p>
 
| {{paget|Page:Cod.1324|15v|jpg}}
 
| {{paget|Page:Cod.1324|15v|jpg}}
  

Revision as of 19:48, 3 February 2020

Philippo di Vadi Pisano
Born 1425
Pisa, Italy
Died 1501
Urbino, Italy (?)
Occupation Fencing master
Nationality Pisa, Italy
Ethnicity Ligurian
Citizenship Pisan
Patron Guidobaldo da Montefeltro
Influences Fiore de'i Liberi
Genres Fencing manual
Language
Notable work(s) De Arte Gladiatoria Dimicandi
Manuscript(s)
First printed
english edition
Porzio and Mele, 2002
Translations

Philippo di Vadi Pisano was a 15th century Italian fencing master. His name signifies that he was born in Pisa, a city in northern Italy, but little else can be said with certainty about the life of this master. It may be that he was the same Philippo Vadi who was governor of Reggio under the marquisette of Leonello d’Este and later, from 1452 to 1470, counselor to Borso d’Este, Duke of Ferrara.[1] Some time after this, Vadi composed a treatise on fencing entitled De Arte Gladiatoria Dimicandi ("On the Art of Swordsmanship"); it was dedicated to Guidobaldo da Montefeltro, Duke of Urbino,[2] and gifted to him between 1482 and 1487,[3] but while this may indicate that he served the duke after leaving Ferrara, there is no record of a Master Vadi being attached to the ducal court.

Vadi was probably an initiate of the tradition of Fiore de’i Liberi, as both his teachings and the format of his treatise closely resemble those of the earlier master. As both Leonello and Borso were sons of Niccolò III d’Este, owner of two copies of Fiore's treatise Fior di Battaglia, Vadi would have had ample opportunity to study his writings.

Treatise

Additional Resources

References

  1. For an alternative theory as to the identity of Philippo di Vadi, see Greg Mele. "Interesting information on the Vadi family (Philippo Vadi)". HEMA Alliance Forum. 06 June 2012. Retrieved 09 October 2012.
  2. Vadi, Philippo di. De Arte Gladiatoria Dimicandi [manuscript]. MS Vitt. Em. 1324. Rome, Italy: Biblioteca Nazionale Centrale di Roma, 1480s.
  3. Rubboli, Marco and Cesari, Luca. The Knightly Art of Combat of Filippo Vadi. Document circulated online.
  4. The translation of these lines was kindly done by Alan Cross, personal correspondence, 28 September 2016.
  5. The title that the manuscript is known by comes from this line of the book: de arte gladiatoria dimicandi. Dimicare means to fight in earnest against your enemies; l’arte gladiatoria is the art of fencing. Together, the sense is “the art of fencing in earnest against your enemies”, as opposed to fencing for fun, exercise or display.
  6. I am indebted to both Prof Alessandra Petrina and Tom Leoni for their suggestions on improving this section.
  7. The word here is ‘sacomani’ (more commonly saccomani), a kind of man at arms who follows the army looking for spoils. I think ‘scavenger’ would not be inaccurate, but clearly Vadi is laying out a hierarchy of martial prowess, with kings at the top, barons in the middle, and men at arms near the bottom. Saccomani is the lowest class of men worthy to learn the art, and so elevated above what comes to mind when we think ‘scavenger’. I’ve used the generic ‘soldier’ here. It is not a normal translation of this term, but it fits this hierarchy better.
  8. I, and Mele and Porzio before me (on page 41), were confounded by the page break between this line and the next. E mostrallo con breve eloquenza./La geometria che divide e parte. F3v, f4r. I am indebted to Prof Petrina for pointing out that Geometry, not the author, is the subject of the sentence. I mention this particularly because I know that many readers will trace the translation line by line, comparing it to a transcription or the scans of the ms, and may wonder why Geometry is apparently on the wrong line! It serves to illustrate the differences between the two languages, and as a reminder that similar changes to word order can be expected throughout.
  9. Note that on folio 28r where he gives the form of the sword to be used in armour, the crossguard is as long as the handle alone, not handle and pommel together. The images tend to suggest this latter arrangement.
  10. This could refer to the blade, but most practitioners believe it refers to the crossguard itself, which can indeed be sharpened for striking with, as we see in the section on combat with the sword in armour. The word is ‘ferruza’; ‘ferruzo’ means ‘a little piece of iron’, so the implication is that this would refer to the crossguard.
  11. si tu averai nel cervel tuo sale, lit. “if you have salt in your brain”.
  12. Passi o torni, lit. “pass or return.” It’s clear from the context that this means forwards or backwards. Also, on f22r of the Getty ms, Fiore describes the three turns and four steps which make up the footwork of his system. By pairing accrescere and discrescere, passare and torrnare, it’s clear that ‘passare’ is a pass forward and ‘tornare’ is a pass backward. See also f19r where ‘tornare’ is used and the fencing context makes it absolutely clear that it refers to passing back with the front foot.
  13. This is very obscure in the Italian. Prof. Petrina suggests: “Imbratar carte” means write a lot with little effect – it is usually said of a bad poet. So – he who wishes to oppose his own art to everybody else’s is writing a lot to no effect?” Alessandra Petrina, personal correspondence, 23rd March 2018.
  14. This number is written out (quarto), and does not have a roman numeral in the ms, so I have written it out here.
  15. The image here is of a formal duel, in which the duellists are given their choice of weapons. This indicates a specific context for this art to work in.
  16. Advantage of the sword is presumably length, especially in a duelling context.
  17. Lit. “You will make everyone scratch their own mange”
  18. This is a poetic image, which conveys the defeat of the ignorant by the knowledgeable.
  19. Che l’aer nostro fa spesso serena, lit. “that often makes our skies serene”.
  20. This line reads “io metterò la punta spesso a l’archo”. “I will place the thrust” is clear. Spesso a l’archo is literally “often at a bow”. But just as bistecca alla fiorentina is steak in the manner of Florence, so a l’archo can be read as “in the manner of an arc”, or possibly “in the manner of a bow”. I will discuss this further in the commentary.
  21. This means the fendente strike us. In this last stanza, rota blows are defeating volante blows; they are parrying them and returning with a fendente to the face.
  22. As I understand it, this means that the quick turn of the cut beats the thrust out of the way, ‘making room’ for you.
  23. That is, in theory and in practice.
  24. I read this to mean that when cutting, your point should remain in line (in the strada), unless you deliberately allow it to fall, to parry up from below.
  25. Tempi here is clearly ‘motions’, rather than ‘times’.
  26. This line is ambiguous; it could also read “And when a weapon finds me extended”.
  27. The word Vadi uses here is ‘inprexa’. It is the same word as the French ‘emprise’, which was commonly used in the fifteenth century to denote a feat of arms in which a knight travelled from place to place, fighting other knights in the lists, to gain renown. It was also commonly used to denote a military campaign.
  28. This is the point at which terza rima gives way to rhyming couplets. At this stage in the manuscript, the division of the text is not simple. This chapter begins with terza rima, then shifts into couplets, which are not in sync with the quatrains denoted by coloured capitals. The capitals seem to divide the text by sense: one on the stramazzone; one on the roverso, and so on. The reader should be aware that this does not accord with the rhyme scheme.
  29. At this point there menando, (“bringing”) is written vertically as a catchword (the first word on the first sheet of the next quire, an aid to the bookbinder).
  30. A slow and serene hand: this is one of the more counter-intuitive instructions; why would you want slow, calm motions in a sword fight? In practice, smooth, calm motions are the hallmark of a master.
  31. This is the first appearance of stramazone in this text, and I believe in all fencing literature, and it’s described in the line that follows in similar terms to subsequent authors, such as Capoferro: “The stramazzone is a wheel-like cut delivered from the wrist.” (Leoni 2011, 27.)
  32. Largo tempo, literally “wide time”; another case in which ‘tempo’ is clearly used to mean a movement. ‘Largo’ here is wide or broad.
  33. Tempo here is clearly used in the sense of “opportunity to strike”. “Seize the time” might also work as a translation.
  34. punto divixo: lit. “point divided”. Rodolfo Tanara pointed out (in private correspondence 5 February 2017) that “in Tuscany [it] is a regionalism to say poco e punto to say “a few and not at all”. So punto could be intended as affatto that is “not at all”; since Philippo Vadi was from Pisa, he could actually have intended that meaning. So in this phrase, the general advice he gives us is to stay close to the companion, “not divided at all”, obviously this favours half-sword measure.”
  35. This is indicating a vertical downwards blow.
  36. This line actually reads “Because it is closer to it”; I have expanded on it for clarity.
  37. There appears to be a correction to the text: pigliare (to grab) has been modified to pighare (to bend). Rubboli has it as the former. (51)
  38. This detailed explanation of mechanics, with the head being “connected” (atacata) to the weighted foot (the one with the bent knee) is unprecedented in fencing literature.
  39. The word used is ‘visteggi’; in the next chapter, “Ragion de viste di spada”, he uses it again. From the context, he is clearly using the word to mean ‘feint’. The only other place I have encountered this word with the same meaning is in Giganti, Nicoletto, p.23 – in the chapter heading: Della finta dichiaratione (“Explanation of the feints”), which is subtitled Far vista di cavar la Spada con il nodo della mano. (“Make a feint of disengaging the sword with the wrist.”)
  40. The sense here is that there are so many possible actions to be done from here that it is impossible to list them all.
  41. “It” in this case refers to his sword: the opponent is parrying your feint of a false edge blow. Avoid the parry and strike a roverso from below.
  42. Mustaccio is a slang word for face (Italian for moustache is baffo), but I hope the reader will forgive me taking advantage of a false friend to create a more memorable image.
  43. The line “voltandoli atraverso” is inserted in the margin.
  44. Porzio and Mele (81) read this line as mal separa chi non na la praticha, or “he who lacks practice does not divide well”. Rubboli and Cesari (57) also transcribe separa as one word. I read it as mal se para, or “will get into trouble”, which seems to me to fit the context better.
  45. Vadi uses the term ‘gonfalone’, which brings to mind the highest military honour the Pope could bestow (recalling that Urbino was one of the Papal states), that of gonfaloniere, “standard bearer”, an equivalent rank perhaps to Marshal of France in that there was only ever one gonfaloniere at a time. Guidobaldo’s father Federico was gonfaloniere from 1462 to 1468 under Pope Pius II, and again from 1474 to 1482 under Sixtus IV. Guidobaldo did indeed make it to that rank like his father before him, from 1504 until his death in 1508, under Julius II. (This has been called into question by Clough.) It’s hard to imagine that Vadi would have been unaware of the reference, and he probably meant this to encourage the young Duke to reach the heights that his father had.
  46. The verb used here is ‘scharpando’, the gerund form of the vulgar scharpare, from Latin discerpere – Italian dilaniare. It means to tear apart, rip apart, to shred. (Rodolfo Tanara, private correspondence, 3 February 2017.) Incidentally, by ripping up from below, you beat aside the opponent’s sword and your blade does end up behind theirs, as recommended in the previous quatrain.
  47. This line reads “Piglia questo, che un tracto di stadera”. A steelyard is a weighing scale, with arms of unequal length. It is hung from a hook, with the item to be weighed hung from the short arm, and the counterweight hung from the longer arm, and slid along until the scale balances. The position of the counterweight on the longer arm tells you the weight of the item. ‘Tracto’ here probably refers to the gradations on the steelyard. The image is perhaps one of rapid movement, a passing instant. I am indebted to Rodolfo Tanara who suggested this reading. Personal conversation, 3 February 2017.
  48. This is a very specific reference, but one that makes no sense. The thirteenth play of the sword is on f20v. This would be page 40 of the ms. The seventh page starting from the beginning of the sword section (the page with Vadi’s portrait on, 16r), is 19r. If we count each ‘carta’ in the way we count folia, then we get to 22r (counting from 16r), or 21r counting from the beginning of the illustrated section (15r). For the purposes of reconstructing this action, I use the thirteenth play of the sword, and disregard the page reference.
  49. Sinestre is literally “left-handed ones”. This is the antonym of ‘dextrous’. Clumsy is the intended meaning.
  50. This means that the tempo is measured by dividing it into parts.
  51. These keys (the Keys of St Peter) appear both on the coin struck for Philippo Vadi, as noted in the introduction, and on the seal of the Duke of Urbino where they symbolise Guidobaldo’s father Federico’s status as Gonfalioniere della Chiesa.
  52. This line has some text missing. Rubboli and Cesari render it: “C[he-testo abraso-] luj s’aspetta vergogna e l’onore.”
  53. Erased.