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Difference between revisions of "Ridolfo Capo Ferro da Cagli"

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| [[File:Capo Ferro Title 1610.png|400x400px|center]]
 
| [[File:Capo Ferro Title 1610.png|400x400px|center]]
| <p>'''GREAT REPRESENTATION OF THE ART AND USE OF FENCING by Ridolfo Capo Ferro of Cagli,''' Maestro of the Most High German Nation, in the Famous City of Siena</p>
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| <p>'''GREAT REPRESENTATION OF THE ART AND USE OF FENCING by Ridolfo Capo Ferro of Cagli,''' Maestro of the Most High German Nation, in the Famous City of Siena.</p>
  
 
<p>Dedicated to the Most Serene Signore Don Federigo Feltrio della Rovere, Prince of the State of Urbino.</p>
 
<p>Dedicated to the Most Serene Signore Don Federigo Feltrio della Rovere, Prince of the State of Urbino.</p>
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| rowspan=2 | [[File:Capo Ferro Coat of Arms.png|400x400px|center]]
 
| rowspan=2 | [[File:Capo Ferro Coat of Arms.png|400x400px|center]]
| <p>'''To the Most Serene Signore Don Francesco Maria Feltrio della Rovere, sixth Duke of Urbino.'''</p>
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| <p>'''To the Most Serene Signore Don Francesco Maria Feltrio della Rovere, sixth Duke of Urbino.<ref>Capo Ferro dedicated his text to Federigo della Rovere (properly Federico Ubaldo della Rovere), the son of Francesco Maria Feltrio della Rovere (i.e. Francesco Maria II), sixth Duke of Urbino. Don Federico was born May 16, 1605, and was thus not yet five years old when Capo Ferro signed his dedication on April 8, 1610. Don Federico does not appear to have lived up to the hopes of the author, nor of Duke Francesco Maria—he is said to have slid into debauchery, and withdrew from Urbino to Pesaro. Shortly after having himself proclaimed Duke, he was found dead in bed on June 28, 1623, barely 18 years of age. It has never been resolved whether his demise was a result of drunkenness or treachery. At any rate, contemporary accounts indicate that when the Bishop of Pesaro related the news to Federico’s father, Duke Francesco Maria expressed neither surprise nor regret.</ref>'''</p>
  
<p>Every father (Most Serene Signor Duke), in order that his children should acquire reputation, procures for them some place in some noble court, and of some protection, to provide for them the best that he can. Thus do I, which, finding the present book on the instruction of fencing born of the better part of me, attempt to place in court, and because more dear to me than any other are the progeny of my intellect, I plead with Your Highness to grant them some place in your court, which, being a perfect compendium of the world, considered perfect, shown in and of itself of so much beauty and goodness as is found in the world, the same is dedicated to the Most Serene Don Federigo, your son, recommending it to his protection, although a lad in child’s gowns, and in jests, and gay dances, it appears nonetheless that there are enfolded in his hands triumphs and spoils, and as young Alcide2 with infantile hand, not yet equal to the purpose, menaces the Hydra, slays the serpents, then in the generous shining of his aspect is seen the greatness of his ancestors, the magnanimity, the valor, and the innumerable other virtues, which have exhausted the greatest and most famous historians, and which will render him above every Prince, and named and illustrious; would they not prove sufficient to confer such eminence, in truth only the virtues of Your Excellency being in number and quality so great, that it rightly could come to be called a diligent imitator of the perfection of GOD? It is not to be marveled at, therefore, by Your Highness, if I long to introduce into your Most Serene House, and place under the protection of the Most Serene Prince, your son, this book of mine; but considering the singular graciousness, very characteristic of Your Highness and of his Most Serene Blood, I cannot but strongly hope that Your Highnesses, without regarding the baseness of the subject, will favor it fully with your most powerful favor. But whereas indeed it may not be proper for Your Highnesses to receive such baseness with such grace, consent at least (as I humbly beseech you) that it can stand alone in the public hall of your Royal Palace, and in the other public places of your ample Dominion, as much glory moreover will arise merely from the authority of having a place among those who are humbly dedicated to serving and revering Your Highnesses, for whom I pray to the Lord God for complete and perpetual happiness.</p>
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<p>Every father (Most Serene Signor Duke), in order that his children should acquire reputation, procures for them some place in some noble court, and of some protection, to provide for them the best that he can. Thus do I, which, finding the present book on the instruction of fencing born of the better part of me, attempt to place in court, and because more dear to me than any other are the progeny of my intellect, I plead with Your Highness to grant them some place in your court, which, being a perfect compendium of the world, considered perfect, shown in and of itself of so much beauty and goodness as is found in the world, the same is dedicated to the Most Serene Don Federigo, your son, recommending it to his protection, although a lad in child’s gowns, and in jests, and gay dances, it appears nonetheless that there are enfolded in his hands triumphs and spoils, and as young Alcide<ref>Hercules, from the Greek “Alkeides”, descendent of Alceo.</ref> with infantile hand, not yet equal to the purpose, menaces the Hydra, slays the serpents, then in the generous shining of his aspect is seen the greatness of his ancestors, the magnanimity, the valor, and the innumerable other virtues, which have exhausted the greatest and most famous historians, and which will render him above every Prince, and named and illustrious; would they not prove sufficient to confer such eminence, in truth only the virtues of Your Excellency being in number and quality so great, that it rightly could come to be called a diligent imitator of the perfection of GOD? It is not to be marveled at, therefore, by Your Highness, if I long to introduce into your Most Serene House, and place under the protection of the Most Serene Prince, your son, this book of mine; but considering the singular graciousness, very characteristic of Your Highness and of his Most Serene Blood, I cannot but strongly hope that Your Highnesses, without regarding the baseness of the subject, will favor it fully with your most powerful favor. But whereas indeed it may not be proper for Your Highnesses to receive such baseness with such grace, consent at least (as I humbly beseech you) that it can stand alone in the public hall of your Royal Palace, and in the other public places of your ample Dominion, as much glory moreover will arise merely from the authority of having a place among those who are humbly dedicated to serving and revering Your Highnesses, for whom I pray to the Lord God for complete and perpetual happiness.</p>
 
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| <p>'''To The Gracious Reader'''</p>
 
| <p>'''To The Gracious Reader'''</p>
  
<p>Ridolfo Capo Ferro da Cagli</p>
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<p>Ridolfo Capo Ferro da Cagli.</p>
  
 
<p>It is not my intention to hold you at bay with pompous and splendid words, in the recommending to you of the profession of arms that I practice. It is extolled in the due order of its merit, for which it is greatly prized and honored, and always praised, and the greatness and valor are commended of those who worthily carry the sword at their side; among whom today shines gloriously the Most Illustrious Signor SILVIO Piccolomini, Grand Prior of the Religion of the Knights of Saint Stephen in Pisa, and General of the Artillery and Master of Chamber of S.A.S. because not only is he endowed with full and marvelous advantage of that of the sword, but also of every other chivalric art, as his heroic actions by the same, to the wonder of all, clearly make manifest. But to turn to the sword, I say it is the noblest weapon above all others, in whose handling the majority of the industry of the art of fencing is honorably employed; therefore according to my judgment, the carrying of arms does not alone constitute the entire work, and that is not what makes the essential difference between a completely valorous man, and a vile and cowardly one, but as well the profession that someone practices to know how to employ them valorously in legitimate defense of himself and of his homeland, which no one truly can do with honor, if he has not first humbled himself, and placed himself under the law and rules of the discipline of fencing. Which, in the manner of sharpened flint, and honing valor, reduces him to the apex of his true perfection. The reason being that this science is laudable and so overly precious, that rather it would be a hopeless work to want to undertake the task of recounting all of its excellence; I do not believe that any rebuke must fall upon me, because I have set myself to press it into terms of undoubtedly brief, infallible, and well ordered precepts, avoiding as much as possible the blind and dark confusions, the deceitful and fallacious uncertainties, and burdensome and ambitious long-windedness. Now, even as through recognition of my weak faculties, I do not presume to have the joy of success of the full response to the fervor of my most ardent desire, so am I assured that my sincere and cordial labor has not turned out to be accomplished in vain, deferring such to comparison to those who dealt with the same topic before me. Considering that such thing relied upon the virtue of that by whose favor all graces descend unto us, I hope fervently, by these more faithful instructions of mine that may serve no less useful and delightful to you than showy ones, for a small particle of that sweet display of the true glory, that it pleases the graceful spirits always to courteously offer to one who with sincerity of heart goes perpetually laboring in their honored services.</p>
 
<p>It is not my intention to hold you at bay with pompous and splendid words, in the recommending to you of the profession of arms that I practice. It is extolled in the due order of its merit, for which it is greatly prized and honored, and always praised, and the greatness and valor are commended of those who worthily carry the sword at their side; among whom today shines gloriously the Most Illustrious Signor SILVIO Piccolomini, Grand Prior of the Religion of the Knights of Saint Stephen in Pisa, and General of the Artillery and Master of Chamber of S.A.S. because not only is he endowed with full and marvelous advantage of that of the sword, but also of every other chivalric art, as his heroic actions by the same, to the wonder of all, clearly make manifest. But to turn to the sword, I say it is the noblest weapon above all others, in whose handling the majority of the industry of the art of fencing is honorably employed; therefore according to my judgment, the carrying of arms does not alone constitute the entire work, and that is not what makes the essential difference between a completely valorous man, and a vile and cowardly one, but as well the profession that someone practices to know how to employ them valorously in legitimate defense of himself and of his homeland, which no one truly can do with honor, if he has not first humbled himself, and placed himself under the law and rules of the discipline of fencing. Which, in the manner of sharpened flint, and honing valor, reduces him to the apex of his true perfection. The reason being that this science is laudable and so overly precious, that rather it would be a hopeless work to want to undertake the task of recounting all of its excellence; I do not believe that any rebuke must fall upon me, because I have set myself to press it into terms of undoubtedly brief, infallible, and well ordered precepts, avoiding as much as possible the blind and dark confusions, the deceitful and fallacious uncertainties, and burdensome and ambitious long-windedness. Now, even as through recognition of my weak faculties, I do not presume to have the joy of success of the full response to the fervor of my most ardent desire, so am I assured that my sincere and cordial labor has not turned out to be accomplished in vain, deferring such to comparison to those who dealt with the same topic before me. Considering that such thing relied upon the virtue of that by whose favor all graces descend unto us, I hope fervently, by these more faithful instructions of mine that may serve no less useful and delightful to you than showy ones, for a small particle of that sweet display of the true glory, that it pleases the graceful spirits always to courteously offer to one who with sincerity of heart goes perpetually laboring in their honored services.</p>
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| <p>'''Chapter 1:'''</p>
 
| <p>'''Chapter 1:'''</p>
  
<p>'''Of Fencing in general'''</p>
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<p>'''Of Fencing in General.'''</p>
  
<p>[1] There is nothing in the world to which Nature, wise mistress and benign mother of the universe, with greater genius, and more solicitudinous regard, than for the conservation of one’s self provides him (of which Man is, more so than any other noble creature, demonstrating himself very dear of his safety), as the singular privilege of the hand, with which not only does he go procuring all things necessary for the sustenance of his life, but if he arms himself yet with the sword, noblest instrument of all, protects and defends himself, against any willful assault of inimical force; nonetheless following the strict rule of true valor, and of the art of fencing.</p>
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<p>[1] There is nothing in the world which Nature, wise mistress and benign mother of the universe, with greater genius, and more diligent regard, provides Man for the conservation of his self (of which, more so than any other noble creature, he shows himself very dear of its safety), than the singular privilege of the hand, with which not only does he go procuring all things necessary for the sustenance of his life, but arming himself yet with the sword, noblest instrument of all, he protects and defends himself against any assault whatsoever of inimical force; following nonetheless the strict rule of true valor, and of the art of fencing.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|1|lbl=1}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|1|lbl=1}}
  
 
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| <p>[2] Hence if one would clearly discern how necessary to man, how useful, and honorable may be the said discipline, and how it is that to everyone it may be necessary, and good to them, and maximally in demand, those armed of singular valor are inclined to the noble profession of the military, to which this science is subordinate in the guise of an alternative or subservient discipline, as is the part to the whole, and the end of the middle is subject to the final end.</p>
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| <p>[2] Hence one can clearly discern how necessary to man, how useful, and honorable may be the said discipline, and how it is that to everyone it may be necessary, and good, and maximally in demand to those armed with singular valor who are inclined to the noble profession of the military, to which this science is subordinate in the guise of an alternative or subservient discipline, as is the part to the whole, and the end of the middle is subject to the final end.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|2|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|2|lbl=-}}
  
 
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| <p>[3] The aim of fencing is the defense of self, from whence it derives its name; because “to fence” does not mean other than defending oneself, hence it is that “protection” and “defense” are words of the same meaning; whence one recognizes the value and the excellence of this discipline is such that everyone should give as much care thereunto, as they love their own life, and the security of their native land, being obligated to spend that lovingly and valorously in the service thereof.</p>
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| <p>[3] The aim of fencing is the defense of self, from whence it derives its name; because “to fence” does not mean other than defending oneself,<ref>There is a play on words occurring in this passage. In Italian, “fencing” is ”scherma”, and “to fence” is “schermire” while “protection” is ”schermo”. “Defense”, however, while etymologically related in English, is not in Italian (the word is “difesa”).</ref> hence it is that “protection” and “defense” are words of the same meaning; whence one recognizes the value and the excellence of this discipline is such that everyone should give as much care thereunto, as they love their own life, and the security of their native land, being obligated to spend that lovingly and valorously in the service thereof.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|3|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|3|lbl=-}}
  
 
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| <p>[4] Thence it is yet seen that defense is the principal action in fencing, and that no one must proceed to offense, if not by way of legitimate defense.</p>
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| <p>[4] Thence it is also seen that defense is the principal action in fencing, and that no one must proceed to offense, if not by way of legitimate defense.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|4|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/18|4|lbl=-}}
  
 
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| <p>[5] The effective causes of this discipline are four. Reason, nature, art, and practice. Reason, as orderer of nature. Nature, as potent virtue. Art, as regulator and moderator of nature. Practice, as minister of art.</p>
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| <p>[5] The efficient causes of this discipline are four: reason, nature, art, and practice.<ref>I.e. reason, nature, art, and practice are causes, whose effect is the discipline of fencing. It is the causes that make the physical manifestation of fencing what it is.</ref> Reason, as director of nature. Nature, as potent virtue. Art, as regulator and moderator of nature. Practice, as minister of art.</p>
 
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| <p>[6] Reason orders nature, and the human body in fencing, is its defense, in reason is considered judgment and volition. Judgment discerns and understands that which must be done for its defense. Volition inclines and stimulates one to the preservation of self.</p>
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| <p>[6] Reason directs nature, and the human body in fencing is its defense; within reason is considered judgment and will. Judgment discerns and understands that which must be done for its defense. Will inclines and stimulates it to its self-preservation.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|2|lbl=-}}
 
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| <p>[7] In the body, which in the guise of servant executes the commandments of reason, is to be considered in the body proper greatness: in the eyes the vitality, and in the legs, in the body, and in the arms, the agility, vigor, and quickness.</p>
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| <p>[7] In the body, which in the role of servant executes the commandments of reason, will be considered in the frame, proper size; in the eyes, vitality; and in the legs, in the torso, and in the arms, agility, vigor, and quickness.</p>
 
|{{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|3|lbl=-}}
 
|{{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|3|lbl=-}}
  
 
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| <p>[8] Nature orders and prepares matter, is the sketch, is the accommodation to such extent in order to contain the final form and perfection of art.</p>
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| <p>[8] Nature directs and prepares matter, and the sketch, and the arrangement to some degree in order to receive the final form and perfection of the art.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|4|lbl=-}}
 
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| <p>[9] Art regulates nature, and with more secure escort guides us according to the infallible truth, and by the ordinance of its precepts to the true science of our defense.</p>
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| <p>[9] Art regulates nature, and with safer escort guides us according to the infallible truth, and by the ordinance of its precepts to the true science of our defense.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|5|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|5|lbl=-}}
  
 
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| <p>[10] Practice conserves, augments, stabilizes the strength of art, of nature, and more so than science, begets in us the prudence of many details.</p>
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| <p>[10] Practice conserves, augments, and stabilizes the strength of art and of nature, and more so than does knowledge, instills in us the sage knowledge of many particular details.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|6|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|6|lbl=-}}
  
 
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| <p>[11] Art regards nature and sees that owing to the small capacity of matter, it cannot do all that which it intends to do, and however considers in many details its perfections and imperfections, and in the guise of architect takes thereof and makes such a beautiful model that it is thus refined, and sharpens the rough-hewn things of nature, reducing them little by little to the height of their perfection.</p>
+
| <p>[11] Art regards nature and sees that owing to the small capacity of matter, it cannot do all that which it intends to do, and yet considers in many details its perfections and imperfections, and in the role of architect seizes thereof and makes some beautiful model, and thus refines and sharpens the rough-hewn things of nature, rendering them little by little to the height of their perfection.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|7|lbl=-}}
 
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| <p>[12] From nature art has undertaken in defending oneself the ordinary step, the third guard for resting in defense, and the second and fourth for offense, the tempo, or the measure, and the manner as well of the placement of the body, with the torso now placed above the left leg for self-defense, now thrown forward and carried on the right leg in order to offend.</p>
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| <p>[12] From nature art has undertaken in defending oneself the ordinary pace; the guard of terza for resting in defense, and those of seconda and quarta for offense; the tempo, or the measure; as well as the posture of the body, with the torso now placed above the left leg for self-defense, now thrown forward and carried on the right leg in order to offend.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|8|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/19|8|lbl=-}}
  
 
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| <p>[13] Because without doubt the first offenses were those of the fists, in the making of them is seen the ordinary step. The third, the second, and fourth, it is yet seen, that many do the punch mostly in tempo and measure.</p>
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| <p>[13] Because without doubt the first offenses were those of the fists, in the doing of them is seen the ordinary pace. It is also seen that many perform the terza, the seconda, and the quarta, punching a lot in tempo and measure.</p>
 
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| <p>[14] Against this offense of the fist, of course was found the art of the stick, and this defense not yet sufficing, iron; I believe it is, that of this material were made little by little many diverse weapons, but always one more perfect than all others, owing to the multiplicity of its offenses, to wit that the sword was discovered, the perfect weapon, and proportioned to the proper distance, in which mortals naturally can defend themselves.</p>
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| <p>[14] Against this offense of the fist, of course was found the art of the stick, and this defense not yet sufficing, iron, and I believe that of this material were made little by little many diverse weapons, but always one more perfect than all others, owing to the multiplicity of its offenses, to wit that the sword was discovered to be the perfect weapon, and proportioned to the proper distance in which mortals naturally can defend themselves.</p>
 
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| <p>[15] The weapons which are of length exceeding the distance of natural defense and offense are discommodious and abhorrent for use in civic converse, and the excessively short ones are insidious and with danger to life; owing to which, in republics founded upon justice of good laws, and of good customs, it always was, and is, prohibited to carry arms of which can be born treacherous and heedless homicides. On the contrary, in the ancient Roman republic, the true ideal of a good government, the use of arms was entirely prohibited, and to no one, however noble and great that there was, was it licit to carry a sword or other weapon, except in war, and those who in time of peace were discovered with arms, were proceeded against as against murderers.</p>
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| <p>[15] The weapons which are of length exceeding the distance of natural defense and offense are ill suited and abhorrent for use in civic converse, and the excessively short ones are insidious and of danger to life; owing to which, in republics founded upon justice of good laws, and of good customs, it always was, and is, prohibited to carry arms of which can be born treacherous and heedless homicides. On the contrary, in the ancient Roman republic, the true ideal of a good government, the use of arms was entirely prohibited, and to no one, however noble and great that there was, was it licit to carry a sword or other weapon, except in war, and those who in time of peace were discovered with arms, were proceeded against as against murderers.</p>
 
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| <p>[16] And the Roman soldiers, immediately upon arriving home, put down their arms together with their short uniforms, and soldiery, and assumed again their long civil robes, and attended to the studies and the arts of peace, because no Roman exercised the body (as says Salustio) without the brain, each one attending beyond the studies of war, to each office of peace, therefore desirous, the burden of war, themselves supported, and yet immediately upon the end of war, they heard no more of captain, of soldier, nor of military wages.</p>
+
| <p>[16] And the Roman soldiers, immediately upon arriving home, put down their arms together with their short uniforms, and soldiery, and assumed again their long civil robes, and attended to the studies and the arts of peace, because no Roman exercised the body (as says Salustius) without the mind, each one attending, beyond the studies of war, to every office of peace, and by such longing they endured the burdens of war, and therefore immediately upon the end of war, no more was heard of captain, nor of soldier, nor of military wages.</p>
 
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| <p>[18] But turning to our matter, I say that the sword is the most useful and just arm, because it is proportioned to the distance at which offense is naturally performed, and all arms, to the degree that they differ from this distance of natural defence and offense, are to that extent more bestial and adverse to nature, and therefore useless to civic converse; the one is the way of virtue and of true reason, and the other burdensome and coarse, from which nature never departs, keeping company with sin and ignorance, and sliding about by many routes; one is the straight line, which none but the artful knows how to do; the oblique lines are infinite, and anyone can do them. Whence in our times we see offenses and defences multiply themselves and the art unto infinity, human endeavour imitating nature from principles; and while it follows the traces thereof it is useful and advantageous to the human life, but as soon as it departs from the footprints of nature, it begins to degenerate from the nobility of its origin, and hurls itself into the snares of harmful fancy, and plunges human kind into the abyss of ignorance, leading it from the age of gold into the filthiness of mud.</p>
+
| <p>[18] But turning to our matter, I say that the sword is the most useful and just arm, because it is proportioned to the distance at which offense is naturally performed, and all arms, to the degree that they differ from this distance of natural defense and offense, are to that extent more bestial and adverse to nature, and therefore useless to civic converse; the one is the way of virtue and of true reason, and the other burdensome and coarse, from which nature never departs, keeping company with sin and ignorance, and sliding about by many routes; one is the straight line, which none but the artful knows how to do; the oblique lines are infinite, and anyone can do them. Whence in our times we see offenses and defenses multiply themselves and the art unto infinity, human endeavor imitating nature from principles; and while it follows the traces thereof it is useful and advantageous to the human life, but as soon as it departs from the footprints of nature, it begins to degenerate from the nobility of its origin, and hurls itself into the snares of harmful fancy, and plunges human kind into the abyss of ignorance, leading it from the age of gold into the filthiness of mud.</p>
 
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| <p>[19] From the force of nature, art, and practice, as efficient causes of the defense of which, up until now we have treated, is born the advantage and disadvantage of arms, but principally derives from the just height of body and from the length of the sword; because a man, large of frame, and that carries a sword proportioned to his body, without doubt will come first to the measure. In regard of this, in order to compensate for the natural imperfections of those who are found to be inferior of height, I believe, that it is prohibited in certain lands to make the blade of a sword longer than another, which does not seem a just thing, that one, who is through nature superior, loses advantage still from art, necessitating to him to suffice the privilege of nature, which without manifest indignity, wanting to equalize him with the smaller, not able to take away from him in general, with bestowing a sword less long to him, than to those who are short, who by chance could have other advantages of art and of practice, which exceed those of nature, in which cases human prudence is not sufficient to provide imparticular things.</p>
+
| <p>[19] From the powers of nature, art, and practice, as causes effecting the defense of which we have treated up to this point, arise every advantage and disadvantage of arms, but they derive principally from the just height of body and from the length of the sword; because a man, large of frame, and that carries a sword proportioned to his body, without doubt will arrive at measure first. In consideration of this, in order to compensate for the natural imperfections of those found to be of inferior size, I believe that it is prohibited in certain lands to make the blade of one sword longer than another, because it seems unjust that one who is superior by nature should take advantage of art, it being necessary that the privilege of nature suffice him, without the manifest indignity (wanting to equalize him with those smaller, being unable to handicap him generally), of bestowing a sword of lesser length to him than to those who are small, who perchance could have other advantages of art and practice, which exceed those of nature, in which cases human judgment is insufficient to provide for such particulars.</p>
 
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| <p>[20] The art of fencing is most ancient, and was discovered in the times of Nino, King of the Assyrians, who, through use of the advantage of arms, was made monarch and patron of the world; from the Assyrians the monarchy passed to the Persians; the praise of this practice, through the valor of Ciro, from the Persians, came to the Macedonians, from these to the Greeks, from the Greeks it was fixed in the Romans, who (as testifies Vegetius) delivered in the field masters of fencing, whom they named “Campi doctores, vel doctores” which is to say, guides, or masters of the field, and these taught the soldiers the strikes of the point and of the edge against a pole. Nowadays we Italians equally carry the boast in the art of fencing, although more in the schools than in the field, and in the use of the militia, considering that in these times war is made more with artillery, and with the arquebus, than with the sword, which moreover almost will not serve in order to secure victory.</p>
+
| <p>[20] The art of fencing is most ancient, and was discovered in the times of Nino, King of the Assyrians, who, through use of the advantage of arms, was made monarch and patron of the world; from the Assyrians the monarchy passed to the Persians; the praise of this practice, through the valor of Ciro, from the Persians, came to the Macedonians, from these to the Greeks, from the Greeks it was fixed in the Romans, who (as testifies Vegetius) brought to the field masters of fencing, whom they named “Campi ductores, vel doctores” which is to say, guides, or masters of the field, and these taught the soldiers the strikes of the thrust and the cut against a pole. Nowadays we Italians equally carry the boast in the art of fencing, although more in the schools than in the field, or in the use of the militia, considering that in these times war is made more with artillery, and with the arquebus, than with the sword, which moreover almost does not serve except for carrying out the victory.</p>
 
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| <p>[21] This discipline is art, and is not science, taking that is, the word “science” in its strictest sense, because it does not deal with things eternal, and divine, and that surpass the force of human will, but it is art, not done from manuals, but rather active, and serves very closely the civil science; because its effects pass together with its operation, in the guise of virtue, and being passed, they do not leave any chance of labor or of manufacture, as are employed in performing the plebian and mechanical arts, all of which, although some of them are celebrated with the name of nobility, at great length it surpasses and exceeds.</p>
+
| <p>[21] This discipline is art, and is not science, taking, however, the word “science” in its strictest sense, because it does not deal with things eternal, and divine, and that surpass the powers of human judgment, but rather it is art, not wrought, nor manual, but rather active, and serves very closely the civil science; because its effects pass together with its operation, in the manner of virtue, and having passed, they do not leave behind any kind of labor or of manufacture, as is common in the performance of the plebian and mechanical arts, all of which, although some of them are celebrated with the name of nobility, it surpasses and exceeds at great length.</p>
 
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| <p>[22] The material of fencing is the precepts of defending oneself well with the sword; its form, and the order is the truth of its rule, always true and infallible.</p>
+
| <p>[22] The materials of fencing are the precepts of defending oneself well with the sword; its form and its order are the truth of its rules, always true and infallible.</p>
 
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| <p>[23] But it is time at last, that gathering all up, which heretofore we have said in brief words, we come to lay the foundation of this discipline, which is its true and proper definition, following the rule from which we will guide and direct the rest of all its precepts.</p>
+
| <p>[23] But it is time at last, that, gathering up all that we have said to this point in brief words, we come to lay the foundation of this discipline, which is its true and proper definition, following the rule from which we will guide and direct the rest of all its precepts.</p>
 
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| <p>'''Chapter 2:'''</p>
 
| <p>'''Chapter 2:'''</p>
  
<p>'''The definition of fencing, and its explanation.'''</p>
+
<p>'''The Definition of Fencing, and Its Explanation.'''</p>
  
 
<p>[24] Fencing is an art of defending oneself well with a sword.</p>
 
<p>[24] Fencing is an art of defending oneself well with a sword.</p>
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| <p>[25] An art, because it is an assembly of perpetually true and well-ordained precepts, useful to civil converse.</p>
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| <p>[25] An art, because it is an assembly of perpetually true and well-ordained precepts, advantageous to civil converse.</p>
 
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| <p>[26] The truth is a disposition of precepts of fence; it must not be measured following the ignorance of some, who teach and write owing to the long use of arms that they have; and not owing to knowledge, but rather more often they make of shadow, substance; and of chance, reason; mixing gourds with lanterns, and pole-vaulting in shrubbery; but one must esteem those who constrain themselves to the truth of its nature.</p>
+
| <p>[26] The truth is an arrangement of the precepts of fence; it must not be measured by the ignorance of some, who teach and write based upon their lengthy use of arms and not based upon knowledge; rather more often they make substance out of shadow and reason out of chance, mixing gourds with lanterns, and switching rapidly from one subject to another;<ref>John Florio in A Worlde of Wordes (1598) states that lanterns were once made from gourds—thus a gourd is metaphorically a lantern that cannot illuminate. The expression translated as “switching rapidly from one subject to another” is idiomatic in the original text, and a literal translation would have been unclear.</ref> but it must be esteemed in and of itself, and restricted to the truth of its nature.</p>
 
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| <p>[27] Their utility is manifest, because they teach the mode of defense, that is very naturally just, and honest, and that cannot be doubted to be of the greatest utility that it delivers to human life, because daily they discern it manifestly in its effects. For as much as that the sword is a commodious weapon to defend oneself in just distance, in which one and the other can naturally offend, we see that the combatants, almost always resting in the defense, rarely come to the offense, which is the last remedy for saving their life, which they would not have, if the arms were disproportionate, that is, either greater or lesser than the natural defense looks for.</p>
+
| <p>[27] Their utility is manifest, because they teach the mode of defense that is very naturally just and honest, and that cannot be doubted to be of the greatest utility that is delivered to human life, because its effects are clearly discerned daily. For as the sword is a weapon well suited for defending oneself in the just distance in which one and the other can naturally offend, we see that the combatants, almost always resting in the defense, rarely come to the offense, which is the last remedy for saving their life, which they would not possess, if their weapons were disproportionate, that is, either greater or lesser than the natural defense requires.</p>
 
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| <p>[28] The aim which separates fencing from all other sciences, is to defend oneself well, however with the sword.</p>
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| <p>[28] The aim which separates fencing from all other sciences, is to defend oneself well with, however, the sword.</p>
 
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| <p>'''Chapter 3:'''</p>
 
| <p>'''Chapter 3:'''</p>
  
<p>'''The division of fencing that is posed in the knowledge of the sword.'''</p>
+
<p>'''The Division of Fencing that is Posed in the Knowledge of the Sword.'''</p>
  
<p>[29] There are two parts to fencing, the knowledge of the sword, and its handling. The knowledge of the sword is the first part of fencing, that teaches to know the sword to the end to handle it well.</p>
+
<p>[29] There are two parts to fencing, the understanding of the sword, and its handling. The understanding of the sword is the first part of fencing, which teaches one to understand the sword with the purpose of handling it well.</p>
 
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| <p>[30] The sword therefore is a pointed arm of iron, and apt to defend oneself in distance, in which one and the other can naturally and with danger of body offend.</p>
+
| <p>[30] The sword, then, is a pointed arm of iron, and apt for defending oneself at the distance at which one and the other can naturally, and with bodily danger, offend.</p>
 
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| <p>[31] The material of the sword is the iron material of defense; without doubt it is found against that of wood it suffices little to beat aside, and disdain the injury, that one does daily to another.</p>
+
| <p>[31] The material of the sword is the iron material of defense; without doubt it is found that it counters that of wood, which suffices little to beat aside and evade the injury that is customarily done daily by one to another.</p>
 
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| <p>[33] Its purpose is chiefly that of defense, which signifies chiefly to hold the adversary at a distance such that he cannot offend me, which sort of defense, and natural limits, enabling it to put into action, without injury of my fellow man. And in the Latin tongue, as it is already heard said with grammatical certainty, “defend” does not mean other than “avoid”, or truly to distance oneself from a thing that can harm, if one comes too near thereunto.</p>
+
| <p>[33] Its purpose is defense, which signifies chiefly to hold the adversary so distant that he cannot offend me, which sort of defense and natural limits enables it to be put into action, without injury from the one near me. And in the Latin tongue, as was already heard said with scholastic certainty, “defend” does not mean other than “avoid”, or to distance oneself from a thing that can harm, if one comes too near thereunto.</p>
 
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| <p>[34] Hence the words “to defend” signify “to offend”, and strike, which is the ultimate and subsidiary remedy of defense, in case the enemy should pass the boundary of the first defense, and advance himself near to such extent, that I came in danger of coming to harm from him, were I not to take heed for myself; because of the fact, that the enemy crosses the boundaries of defense, entering into those of offense, I am no longer obligated to carry any respect for the conservation of his life, as he comes to my turn, with some arm, commodious to harm me, naturally indeed, as I say in the distance of being able to arrive to me.</p>
+
| <p>[34] Hence the words “to defend” signify “to offend”, and strike, which is the final and subsidiary remedy of defense, in case the enemy should pass beyond the boundary of the first defense, and advance himself near to such extent, that I came in danger of coming to harm from him, were I not to provide for myself; because of the fact that the enemy crosses the boundaries of defense, entering into those of offense, I am no longer obligated to carry any respect for the conservation of his life, as he comes toward me with whatever weapon suited to harm me, naturally, as I say, in the distance of being able to reach me as well.</p>
 
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| <p>[35] The purpose of the sword, which is to defend oneself in the said distance, is measured in its length.</p>
+
| <p>[35] From the purpose of the sword, which is to defend oneself in the said distance, is its length to be measured.</p>
 
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| <p>[36] Therefore the sword has as much for its length as twice that of the arm, and as much as my extraordinary step, which length corresponds equally to that which is from the placement of my foot, as far as it is beneath the armpit.</p>
+
| <p>[36] Therefore the sword has to be twice as long as the arm, and as much as my extraordinary pace, which length corresponds equally to that which is from my armpit down to the sole of my foot.</p>
 
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| <p>[37] There are two parts to the sword: the forte, and the debole. The forte begins from the hilt, extending as far as the middle of the blade; and the remainder is called the debole. The forte is for parrying, and the debole for striking.</p>
+
| <p>[37] There are two parts to the sword: the forte and the debole. The forte begins from the hilt, extending as far as the middle of the blade; and the remainder is called the debole. The forte is for parrying, and the debole for striking.</p>
 
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| <p>[38] The edge is false, and true. The true is that which faces downward when the hand rests in its natural position, which, turning itself out, or from inside, outwards from its natural orientation, makes the false edge. The first orientation, that is, of the true edge, is to be recognized in third, which is the position of the sword in guard, and the other, that is, of the false edge, will appear manifested in the position of third, and second, which are orientations of the sword, not in guard, but in striking.</p>
+
| <p>[38] The edge is false, and true. The true is that which faces downward when the hand rests in its natural position, which, turning itself out, or from inside, outwards from its natural orientation, makes the false edge. The first orientation, that is, of the true edge, is to be recognized in terza, which is the position of the sword in guard, and the other, that is, of the false edge, will appear manifested in the positions of terza,<ref>This seems somewhat peculiar, but “terza” is stated here again; perhaps “quarta” was intended.</ref> and seconda, which are orientations of the sword, not in guard, but in striking.</p>
 
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| <p>[39] I divide only the debole into the true and false edges, and not the forte, because the consideration does not occur that is made in the forte, which serves no other purpose than to parry, and were it without edge, and dulled, it would not be at all amiss, in place of point in the forte and the hilt, not only for gripping the sword, but also for covering oneself and chiefly the head in striking.</p>
+
| <p>[39] I divide only the debole into the true and false edges, and not the forte, because this consideration does not happen to be made in the forte, which serves no other purpose than to parry, and it would not be at all amiss were it without edge, and dull instead of sharp in the forte and the hilt, not only for gripping the sword, but also for covering oneself, and chiefly the head, while striking.</p>
 
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<p>'''On Measure.'''</p>
 
<p>'''On Measure.'''</p>
  
<p>[40] Up until now we have discussed the first part of fencing, which consists of the knowledge of the sword; now we commence to treat of the second part, which is that of its handling.</p>
+
<p>[40] Up until now we have discussed the first part of fencing, which consists of the understanding of the sword; now we commence to treat of the second part, which is that of its handling.</p>
 
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| <p>[41] The handling of the sword is the second part of fencing, which shows the way of handling the sword, and is distributed among the preparation of the defense, and in the same defense, the preparation, and, in the first part of the handling of the sword, that places the combatants in just distance, and in convenient posture of body in order to defend themselves in tempo; and has two parts; in the first is discussed measure and tempo.</p>
+
| <p>[41] The handling of the sword is the second part of fencing, which shows the way of handling the sword, and is distributed between the preparation of the defense, and defense itself; the preparation, and the first part of the handling of the sword, places the combatants in just distance, and in a convenient posture of body in order to defend themselves in tempo, and it has two parts; in the first is discussed measure and tempo.</p>
 
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| <p>[42] In the second is treated of the disposition of the limbs of the body.</p>
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| <p>[42] In the second is treated of the disposition of the members of the body.</p>
 
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| <p>[43] Measure is taken for a certain distance from one end to the other, as for example in the art of fencing is taken for the distance that runs from the point of my sword to the body of the adversary, which is wide or narrow. From then it is taken for an apt thing to measure the said distance, which in the use of fencing is the natural braccio,<ref>I.e. arm length.</ref> which measures all distances, which in the exercise of this art, has all the qualities, and conditions, that are expected of an accomplished measure.</p>
+
| <p>[43] Measure is taken for a certain distance from one end to the other, as for example in the art of fencing is taken for the distance that runs from the point of my sword to the body of the adversary, which is wide or narrow. Accordingly, one takes a thing suitable for measuring the said distance, which in the use of fencing is the natural braccio,<ref>The braccio is literally the arm, but is also a unit of measure, the length of the arm.</ref> which measures all distances, and which in the exercise of this art has all the qualities and conditions that are expected of an accomplished measure.</p>
 
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| <p>[44] The measure is a just distance, from the point of my sword to the body of my adversary, in which I can strike him, according to which, is to be directed all the actions of my sword, and defense.</p>
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| <p>[44] The measure is a just distance from the point of my sword to the body of my adversary in which I can strike him, according to which all the actions of my sword and defense are given direction.</p>
 
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| <p>[46] The wide measure is, when with the increase of the right foot, I can strike the adversary, and this measure is the first narrow one.</p>
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| <p>[46] The wide measure is, when with the increase of the right foot, I can strike the adversary, and this measure is the first narrow one.<ref>“…the first narrow one” i.e. “la prima stretta”. This passage is problematic—“wide measure” may thus be taken as “the first narrow measure”, vis-à-vis the second narrow measure, the “fixed foot narrow measure” that is defined immediately following—see also line #112 which indicates two narrow measures, one of the fixed foot, and one of the increased pace, and also various references to the need to come to narrow measure before entering the tempo of striking. However, this conflicts with the definition of measure given in the “Definition of some terms”, #4, which identifies narrow measure as that of the fixed foot. Capo Ferro may use “misura stretta” in two senses, both the general sense of “in measure” and the more specific sense of “fixed foot measure”. Alternately, “la prima stretta” may be taken as “the first closure” in the sense of a grasping. Regardless, this conveys that wide measure is the first distance achieved which is “in measure”.</ref></p>
 
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| <p>[47] The narrow fixed foot measure is that in which only pushing the body and leg forward, I can strike the adversary.</p>
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| <p>[47] The fixed foot narrow measure is that in which, by only pushing my body and legs forward, I can strike the adversary.</p>
 
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| <p>[48] The narrowest measure is when the adversary strikes at wide measure, and I can strike him in the advanced and uncovered arm, either that of the dagger or that of the sword, with my left foot back, followed by the right while striking.</p>
+
| <p>[48] The narrowest measure is when the adversary strikes at wide measure, and I can strike him in his advanced and uncovered arm, either that of the dagger or that of the sword, with my left foot back, followed by the right while striking.<ref>This appears to describe an arrest with reassemblement.</ref></p>
 
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| <p>[49] The first wide measure is of a tempo and a half, the second is of a whole tempo, the third is of a half tempo, regarding the three distances, which according to their size require more or less speed of tempo, and this is enough to have said of measure. Following now is the doctrine of tempo.</p>
+
| <p>[49] The first, wide, measure is of a tempo and a half; the second is of a whole tempo; and the third is of a half tempo, with respect to the three distances, which, according to their size, require more or less speed of tempo; and this is enough to have said of measure. Now follows the doctrine of tempo.</p>
 
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<p>'''Of Tempo.'''</p>
 
<p>'''Of Tempo.'''</p>
  
<p>[50] The word “tempo” in fencing comes to signify three different things; chiefly it signifies a just length of motion or of stillness that I need to reach a definite end for some plan of mine, without considering the length or shortness of that tempo, only that I finally arrive at that end. As in the art of fencing in order to come to measure, I need a certain and just tempo of motion and of stillness, it doesn’t matter whether I arrive there either early or late, provided that I reach the desired place. We pose the example that I move myself to look for the measure, and that I go very slowly to find it, and that my adversary is so much fixed of body that I find it, although I have arrived somewhat late, nonetheless not at all can it jeopardize my plan; because I have arrived in tempo, considering that, as much length of time as I am myself in motion, precisely so much had my adversary fixed himself; thus my motion equals the tempo of the stillness of my adversary, and his stillness measures my motion precisely, and because in remaining in guard, and searching for the measure, is only to be considered the correspondence of the tempo, that the combatants in moving themselves, and in fixing themselves, mutually consume, that they arrive to a certain point of measure; according to this, in the said actions, the speed of the motion, and the shortness of the stillness do not come into consideration, but rather through taking the just measure, it is more useful that they go, as is often said, with a leaden sandal, with the weight counterpoised, and placed over the left leg in ordinary pace, a posture of body most apt for coming with consideration and with respect to apprehend the due measure.</p>
+
<p>[50] The word “tempo” in fencing comes to signify three different things; chiefly it signifies a just length of motion or of stillness that I need in order to reach a definite end for some plan of mine, without considering the length or shortness of that tempo, only that I finally arrive at that end. Even as in the art of fencing, in order to come to measure, I need a certain and just tempo of motion and of stillness, it doesn’t matter whether I arrive there either early or late, provided that I reach the desired place. We pose the example that I move myself to seek the measure, and that I go very slowly to find it, and that my adversary is as much fixed of body, so that I find it; although I have arrived somewhat late, nonetheless not at all can it jeopardize my plan because I have arrived in tempo, considering that, as much length of time as I am myself in motion, precisely so much had my adversary fixed himself; thus my motion equals the tempo of the stillness of my adversary, and his stillness measures my motion precisely; and because, in remaining in guard and seeking the measure, only the correspondence of the tempo that the combatants mutually consume in moving and in fixing themselves is to be considered, to the end that they arrive at a certain point of measure, in light of this, in the said actions the speed of the motion and the shortness of the stillness do not come into consideration, but rather through taking the just measure, it is more useful that they go, as is often said, with a leaden sandal, with the body counterpoised, and placed over the left leg in ordinary pace, a posture of body most well-suited for coming with consideration and respect to apprehend the due measure.</p>
 
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| <p>[51] Next this word “tempo” is taken in the sense of quickness, in respect of the length or brevity of the motion or of the stillness. Thus in the art of fencing there are three distances, and different measures of striking, and through this again are found three distinct tempos, and here it is not wished to consider only that one comes to a certain end, but that one arrives also with a certain quickness and velocity, because the wide measure, that is, of the increased foot, requires a tempo, that is, a severing of stillness, either of movement of the sword, or of the bodies of the combatants, fairly brief, but not so brief as the narrow measure of the fixed foot; and the narrowest measure requires a fastest tempo, because each little bit that I move myself with the point of my sword, and each little bit that my adversary fixes himself, in the distance of narrowest measure, suffices me to effect my plan, because this tempo is briefest; however we will call it half a tempo, and consequently the tempo that is spent in striking from the less narrow measure of the fixed foot will come to make a whole tempo, and the last tempo, which is employed in striking from wide measure, which is of the increased foot, will be a tempo and a half.</p>
+
| <p>[51] Next this word “tempo” is taken in the sense of quickness, in respect of the length or brevity of the motion or of the stillness. Thus in the art of fencing there are three distances, and different measures of striking, and through this again are found three distinct tempos, and here it is not wished to consider only that one comes to a certain end, but that one arrives also with a certain quickness and velocity, because the wide measure, that is, of the increased foot, requires a tempo, that is, a persevering of stillness or of movement, of the swords or of the bodies of the combatants, fairly brief, but not so brief as the narrow measure of the fixed foot; and the narrowest measure requires the fastest tempo, because each little bit that I move myself with the point of my sword, and each little bit that my adversary fixes himself, in the distance of narrowest measure, suffices me to effect my plan; because this tempo is briefest, therefore will we call it half a tempo,<ref>“…half a tempo” i.e. “mezzo tempo”.</ref> and consequently the tempo that is spent in striking from the less narrow measure of the fixed foot will comprise a whole tempo, and the last tempo, which is employed in striking from wide measure, which is of the increased foot, will be a tempo and a half.</p>
 
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| <p>[52] In the first tempo, which is that of seeking the wide measure, one does not consider the quickness of the motion and of the stillness, nor is it necessary to measure it by half of a whole tempo, which manners of tempos are only to be regarded in striking. By which thing the posture of the body in the striking is entirely contrary to that which is observed in seeking the narrow measure; because the first posture is comfortable for going little by little to find the narrow measure, and the other is bold, and with speed one hurls oneself to strike.</p>
+
| <p>[52] In the first tempo, which is that of seeking the wide measure, the quickness of motion and of stillness are not considered, and therefore it is not necessary to measure it by half of a whole tempo, which manners of tempos are only to be regarded in striking. Accordingly, the posture of the body in striking is entirely contrary to that which is observed in seeking the narrow measure, because the first posture is comfortable for going little by little to find the narrow measure, and the other is bold, and with speed one hurls oneself to strike.</p>
 
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| <p>[53] The tempo is not other than the measure of the stillness and of the motion; the stillness of the point of my sword measures the motion of the body of my adversary, and the motion of my adversary with his body measures the stillness of the point of my sword. Now, so that this tempo may be just, it is necessary that as much length of tempo as the body of my adversary is fixed, so much is the point of my sword moved, and thus, consequently, for example: I find myself in wide measure, with a will to come to narrow measure; now I move the point of my sword to come to the said terminus; meanwhile as I move myself it is necessary that my adversary fix his body, and thus the stillness of body of my adversary is the measurement of the point of my sword; and, however, if I moved myself to strike before my adversary finished fixing himself, because the tempo would be unequal, I would move myself in vain, or not without great danger to myself. We pose the case, that both of us move ourselves to find the measure, and the one and the other give each other to intend to have found it; both going to invest themselves, intervene so that the one and the other don’t hit, because the tempo in which they move themselves to strike won’t be just, in respect of the distance to which they must first arrive; in this example it is seen that the motion of my point measures the motion of the body of my adversary, and the motion of the point of my adversary measures the motion of my body. However in the times to come, many strike each other in contra tempo, having come at the same time to narrow measure.</p>
+
| <p>[53] Tempo is not other than the measure of the stillness and of the motion; the stillness of the point of my sword measures the motion of the body of my adversary, and the motion of my adversary with his body measures the stillness of the point of my sword. Now, so that this tempo may be just, it is necessary that for as much length of tempo as the body of my adversary is fixed, for so much is the point of my sword to be moved, and consequently, I pose this example: I find myself in wide measure, with a will to come to narrow measure; now I move the point of my sword in order to arrive at the said terminus; meanwhile as I move myself it is necessary that my adversary fix his body, and thus the stillness of body of my adversary is the measure of the movement of the point of my sword; and, however, if I moved myself to strike before my adversary finished fixing himself, because the tempo would be unequal, I would move myself in vain, or not without great danger to myself. We pose the case, that both of us move ourselves to seek measure, and the one and the other set themselves upon intending to have found it; both going to invest themselves thereof intervene so that neither one will hit, because the tempo in which they move themselves to strike won’t be just, in respect of the distance to which they must first arrive; in this example it is seen that the motion of my point measures the motion of the body of my adversary, and the motion of the point of my adversary measures the motion of my body. However in the times to come, many strike each other in contra tempo, having come at the same time to narrow measure.</p>
 
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| <p>[56] Through shortcoming of nature, by too much slowness of the legs, of the arm, and of the body, which derives either from weakness or from too much bodily weight, as we see to come to men who are either too fat or too thin.</p>
+
| <p>[56] Through shortcoming of nature, by too much slowness of the legs, of the arm, and of the body, which derives either from weakness or from too much bodily weight, as we see occur in men who are either too fat or too thin.</p>
 
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| <p>[57] Through defect of art, when one does not learn to find the narrow measure as is necessary, with weight carried on the left leg, with the ordinary pace, and with the right arm extended, because the things must move in company in order to produce one single effect, yet they have to move in a just distance; but if the point of the sword is very advanced and the leg back, or if the leg is advanced and the arm back, then the sword will never be carried with that promptness, justness, and speed, which is required; by which, those who come to find the narrow measure in disproportionate distance of limbs, although they arrive there, nonetheless they cannot be in tempo of striking, because they would lack the best tempo of the narrow measure, which is that of prompt justness, or quickness.</p>
+
| <p>[57] Through defect of art, when one does not learn to find the narrow measure as is necessary, with the body supported by the left leg, with the ordinary pace, and with the right arm extended, because the things must move in company in order to produce one single effect, yet they have to move in a just distance; but if the point of the sword is very advanced and the leg back, or if the leg is advanced and the arm back, then the sword will never be carried with that promptness, justness, and speed, which is required; by which, those who approach to seek the narrow measure with disproportionately distanced limbs, although they arrive there, nonetheless cannot be in the tempo of striking, because they would lack the best tempo of the narrow measure, which is that of prompt justness, or quickness.</p>
 
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| <p>[58] Through lack of practice, tempo is lost for the reason that the body is not yet well loose of limb, or when the scholars acquire some wretched habit, going back to the vanities of feints, and disengages, and counter-disengages, and similar things thus done.</p>
+
| <p>[58] Through lack of practice, tempo is lost for the reason that the body is not yet well limber in its limbs, or when the students acquire some wretched habit, going back to the vanities of feints, and disengages, and counterdisengages, and similar things done as such.</p>
 
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| <p>[59] From this, which we have so far said, everyone will easily be able to understand to be falsest that which many say, that tempo is taken solely from the movement that my adversary makes with his body and sword; but it is necessary to have equal regard for my own motion, and not only to my motion and that of the adversary, but as well to our stillnesses; because tempo is not solely a measure of motion, but of motion and stillness.</p>
+
| <p>[59] From this, which we have said so far, everyone will easily be able to understand to be falsest that which many say, that tempo is taken solely from the movement that my adversary makes with his body and sword; but it is necessary to have equal regard for my own motion, and not only for my motion and that of my adversary, but as well to our stillnesses; because tempo is not solely a measure of motion, but of motion and stillness.</p>
 
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| <p>[60] And concluding this matter of tempo, I say that every motion and every stillness of mine and of my adversary make together a tempo, to such extant, that one and the other measures.</p>
+
| <p>[60] And concluding this matter of tempo, I say that every motion and every stillness of mine and of my adversary together make a tempo, to such extent that one measures the other.</p>
 
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| <p>'''Chapter 6:'''</p>
 
| <p>'''Chapter 6:'''</p>
  
<p>'''Of the body, and chiefly of the head.'''</p>
+
<p>'''Of the Body, and Chiefly of the Head.'''</p>
  
<p>[61] The head truly is the chief thing in this exercise; it lies indeed in its due place, because it is that which recognizes measure and tempo, hence it is necessary that it comes to be deployed in that place where it can serve as the sentinel, and reveal the land from every side.</p>
+
<p>[61] The head truly is the chief thing in this practice; it lies indeed in its due place, because it is that which recognizes measures and tempos, hence it is necessary that it comes to be deployed in that place where it can serve as the sentinel, and reveal the land from every side.</p>
 
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| <p>[62] The placement of the head, which lies in guard, and in seeking the measure, up to now is just and convenient when together with the sword it makes one straight line; because in this manner the eyes see all the stillnesses and movements of the sword and of the body of the adversary, and will recognize immediately the parts that they must offend and defend; the head being posted on the said parts, is nonetheless able to cast all the visual rays in a straight line, which they could not do if the head were borne higher or lower, so that its visual rays could not radiate from every side, and thus they would not be quick to seize or flee the tempo.</p>
+
| <p>[62] The placement of the head, when lying in guard, and in seeking measure, is then just and convenient when it makes one straight line together with the sword; because in this manner the eyes will see all the stillnesses and movements of the sword and of the body of the adversary, and will recognize immediately the parts that have to be offended and defended; the head, being posted on the said parts, is therefore able to cast all the visual rays in a straight line, which they could not do if the head were borne higher or lower, so that the rays could not radiate from every side, and thus they would not be quick to seize or flee the tempo.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|1|lbl=13}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|1|lbl=13}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[63] In lying in guard and in seeking the measure, the head reposes itself upon the left shoulder, and in striking it leans upon the right shoulder.</p>
+
| <p>[63] In lying in guard and in seeking measure, the head is rested upon the left shoulder, and in striking it leans upon the right shoulder.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|2|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[64] In lying in guard and in seeking the measure, the head has to retire as much as is possible, and in striking one wishes to propel it forward as much as one can.</p>
+
| <p>[64] In lying in guard and in seeking measure, the head has to be withdrawn as much as is possible, and in striking one wishes to propel it forward as much as one can.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|3|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[65] In striking, the head will take care to be somewhat more to one side than to the other, according to whether one will strike to the inside or the outside, thus it will be covered by the hilt and the sword arm.</p>
+
| <p>[65] In striking, care will be taken that the head will be somewhat more to one side than to the other, according to whether one will strike to the inside or the outside, so that it will be covered by the hilt and the sword arm.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|4|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|4|lbl=-}}
  
 
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| <p>[66] Other placements and movements of the head which are made in passing, in fleeing, and in moving the body out of the way in diverse sorts of guards, and in infinite means of striking, cannot be accepted as good ones, because they deviate from the straight line, which is called by me that which divides my body through the flank together with that of the adversary, as on the contrary the oblique line I name that which runs outside my body or that of my adversary, of one party as of the other, following the rule by which all of the play of fencing has to be that of measuring.</p>
+
| <p>[66] Other placements and movements of the head which are made in passing, in fleeing, and in moving the body out of the way in diverse sorts of guards, and in infinite means of striking, cannot be accepted as good ones, because they deviate from the straight line, which is called by me that which divides my body through the flank together with that of the adversary, as on the contrary the oblique line I name that which runs outside my body or that of my adversary,<ref>This is the only place wherein definitions are given of the straight line and the oblique line, critical technical terms employed
 +
frequently throughout the text.</ref> of one party as of the other, following the rule by which all of the play of fencing has to be that of measuring.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|5|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/30|5|lbl=-}}
  
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| <p>'''Chapter 7:'''
 
| <p>'''Chapter 7:'''
  
<p>'''Of the body.'''<ref>I.e. the trunk.</ref>
+
<p>'''Of the Body.'''<ref>“Of the body” (“della vita”) refers here to the trunk.</ref>
  
<p>[67] In resting in guard and in seeking the measure, the body needs to be bent, and slopes to the rear, such that the angle which it makes with the right thigh is barely visible, and with the left thigh it comes to make an obtuse angle, so that the left shoulder is in line with the line of the left foot, and the right shoulder evenly passes through the middle of the pace of the guard.</p>
+
<p>[67] In resting in guard and in seeking measure, the body needs to be bent, and slopes to the rear, such that the angle which it makes with the right thigh is barely visible, and with the left thigh it comes to make an obtuse angle, so that the left shoulder aligns with the line of the left foot, and the right shoulder evenly divides the pace of the guard in half.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|1|lbl=14}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|1|lbl=14}}
  
 
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|-  
 
|  
 
|  
| <p>[68] In striking the body propels itself forward, so that the right thigh forms an obtuse angle with the body, and the point of the shoulder is in line with the point of the right foot, and the left thigh and calf carry themselves forward on the diagonal in an oblique line, extended to such a degree that the left shoulder divides the pace that is made through the middle.</p>
+
| <p>[68] In striking the body is propelled forward, so that the right thigh forms an obtuse angle with the body, and the point of the shoulder aligns with the point of the right foot, and the left thigh and calf are carried forward through an oblique line, extended to such a degree that the left shoulder divides the pace that is made through the middle.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|2|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|2|lbl=-}}
  
 
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|-  
 
|  
 
|  
| <p>[69] And when one goes to strike, the body needs to be pushed forward in a straight line, so that the diversity of striking, outside and inside, leaning somewhat more to one than to the other side, will deviate the least from the straight line.</p>
+
| <p>[69] And when one goes to strike, the body needs to be pushed forward in a straight line, so that through the diversity of striking, outside and inside, leaning somewhat more to one than to the other side, it will deviate the least from the straight line.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|3|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|3|lbl=-}}
  
 
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|-  
 
|  
 
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| <p>[70] The objective of why the body should be thus angled, and this is of prime importance, is because in this way the parts which can be offended are more distanced, and more covered, and better guarded, and defended; because the more distant a target is, the more difficult it is to strike it; thus in striking the blows are carried longer, faster, and more vigorously, thus as much further away do the offenses originate, to such a degree are they safer and better.</p>
+
| <p>[70] The objective of why the body should be thus angled, and this is of prime importance, is because in this way the parts which can be offended are more distanced, and more covered, and better guarded, and defended; because the more distant a target is, the more difficult it is to strike it; thereby in striking blows are carried longer, faster, and more vigorously, for as much further away as offenses originate, to such degree are they safer and better.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|4|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|4|lbl=-}}
  
 
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|-  
 
|  
 
|  
| <p>[71] In addition to the bending of the body and of its form, which it takes in putting oneself in guard, in seeking the measure, and in striking, is to be considered similarly its concealment, which diminishes its length, as the bend diminishes and contracts its height.</p>
+
| <p>[71] In addition to the bending of the body and of its form which it takes in placing oneself in guard, in seeking measure, and in striking, is to be considered similarly its skew,<ref>The “skew” of the body is its profile.</ref> which diminishes its width, as the bend diminishes and contracts its height.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|5|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/31|5|lbl=-}}
  
 
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| <p>[72] The concealment of the body needs to be such that no more is shown than the middle of the breast, not only in fixing oneself in guard, and in seeking the measure, but also in striking, because as much less of the breast is shown, so much more one goes and strikes in a straight line, and as much more is uncovered, so much more of measure and of tempo is lost.</p>
+
| <p>[72] The skew of the body needs to be such that no more is shown than the middle of the breast, not only in fixing oneself in guard, and in seeking measure, but also in striking, because as much less of the breast is shown, so much more does one walk and strike in a straight line, and as much more is uncovered, so much more of measure and of tempo is lost.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|1|lbl=15}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|1|lbl=15}}
  
 
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|  
 
|  
| <p>[73] They who like the guards, and counterguards, and stringering, here, there, above, and below, the feints, and counterfeints, the slope paces, the voids of the legs, and the crossings, necessarily form and move their bodies in many strange ways; which, as things done by chance and that were founded in no reasons that are sound and true, we will leave to their authors.</p>
+
| <p>[73] They who like the guards, and counterguards, and stringering here, there, above, and below, the feints, and counterfeints, the diagonal paces, the voids of the legs, and the crossings, necessarily form and move their bodies in many strange ways; which, as things done by chance and that were founded in no reasons that were sound and true, we will leave to their authors.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|2|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|2|lbl=-}}
  
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| <p>'''Chapter 8:'''</p>
 
| <p>'''Chapter 8:'''</p>
  
<p>'''Of the arms.'''</p>
+
<p>'''Of the Arms.'''</p>
  
<p>[74] In resting in guard and in seeking the measure, the right arm must rest somewhat bent, so that its upper part is stretched in an oblique line, so low that the elbow meets the bend of the body, and is in line with the right knee; and its lower part, withdrawn somewhat, forms together with the sword a straight line.</p>
+
<p>[74] In resting in guard and in seeking measure, the right arm must rest somewhat bent, so that the upper arm is extended in an oblique line, so low that the elbow meets the bend of the body, and is in line with the right knee; and the forearm, withdrawn somewhat, forms a straight line together with the sword.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|3|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|3|lbl=-}}
  
 
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| <p>[75] In resting in guard and in seeking the measure, the left arm together with the left thigh and calf have to serve as the counterweight of the body and the right leg; and the upper arm needs to be extended, so that it is in line with the left knee, and meets the bend of the left flank; and its forearm needs to be somewhat tucked in to oneself, in order by its motion to help to propel the body forward in striking, which it would not be able to do were it allowed to fall.</p>
+
| <p>[75] In resting in guard and in seeking measure, the left arm together with the left thigh and calf have to serve as the counterweight of the body and the right thigh and calf; and the upper arm needs to be extended, so that it is in line with the left knee, and meets the bend of the left flank; and its forearm needs to be somewhat tucked in to oneself, in order by its motion to help to propel the body forward in striking, which it would not do, if it were neglected.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|4|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|4|lbl=-}}
  
 
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|  
 
|  
| <p>[76] In striking, the right arm needs to be extended in a straight line, turning the lower part of the hand and of the arm up, sometimes in, sometimes out, depending on from which side one strikes.</p>
+
| <p>[76] In striking, the right arm needs to be extended in a straight line, turning the hand and forearm upward, sometimes in, sometimes out, depending on the side from which one strikes.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|5|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/32|5|lbl=-}}
  
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| <p>[78]) The sword is regarded entirely as one limb with the arm, and it has to form a straight line with the forearm, which is properly aligned with the fold of the right flank, and has to divide the height and width of the body into two equal parts, because in resting in guard and seeking the measure, the reason why it will have to return properly to the fold of the flank is this: that every time that it is in this place, it will be quickest to come to the aid of all the parts that can be offended, being that the upper parts, that is, those from the top of the head down to the fold of the flank, are of a measure with the parts beneath from the fold of the flank down to the knee; and it doesn’t happen that one has to regard the calf, which being in the natural distance of the offense of the increased feet, cannot be offended without excessively leading one’s body forward into manifest peril.</p>
+
| <p>[78] The sword is regarded entirely as one limb with the arm, and it has to form a straight line with the forearm, which is properly aligned with the fold of the right flank, and has to divide the height and width of the body into two equal parts, because in resting in guard and seeking measure, the reason why it will have to return properly to the fold of the flank is this: that every time that it is in this location, it will be quickest to come to the aid of all the parts that can be offended, being that the upper parts, that is, those from the top of the head down to the fold of the flank, are of a measure with the parts beneath from the fold of the flank down to the knee; and it doesn’t occur that one has to regard the calf, which cannot be offended in the natural distance of the offense of the increased feet without excessively leading one’s body forward into manifest peril.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/33|2|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/33|2|lbl=-}}
  
 
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|-  
 
|  
 
|  
| <p>[79] The location and posture of the sword in striking is entirely one with that of its arm, turning the false edge up in striking, according to whether it strikes from the outside or inside.</p>
+
| <p>[79] The location and posture of the sword in striking is entirely one with that of its arm, turning the false edge around in striking, according to whether it strikes outside or inside.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/33|3|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/33|3|lbl=-}}
  
 
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| <p>[80] Take heed diligently that the point of your sword always is aimed at the uncovered parts of the enemy, which are those of the right flank and right thigh, and one must not let anybody divert one from this intention through uncovering of the left parts, which is fallacious measure and tempo, being that it may be plucked back in an instant, which doesn’t occur with the right parts, which necessarily are made targets.</p>
+
| <p>[80] Take heed diligently that the point of your sword always is aimed at the uncovered parts of the enemy, which are those of the right flank and right thigh, and do not let anyone divert you from this intention by uncovering their left side, which is fallacious measure and tempo, being that it may be taken away in an instant, which doesn’t occur with the parts of the right side, which necessarily are made targets.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/33|4|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/33|4|lbl=-}}
  
 
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| <p>[81] It is not good to rest in guard with the arm crouched in, because it does not cover the measure well in which I find myself; it is equally not good for seeking the measure, because the point of the sword is too far from the body of the adversary. Hence one cannot take the proper measure, thereby lacking the ability to strike in tempo; in addition to this, the arm thus retired does not have separation from the adversary of just distance, wherein he can strike me, and thus it does not do its duty. Through which the sword is chiefly found thus to not be useful in striking, because it will not be able to strike in the measure of the increased foot, which resting with its point so far from the adversary, it cannot properly take the said measure, which is so much more excellent than the narrower measures, as it is to strike the enemy from afar than from near. Furthermore it is not good for launching the blow, which together with the arm is discharged by the pressure that makes the body advance, and it is not true that the stretching out of the arm increases the measure, but rather it is done well with the stretching of the body and of the forward pace, because the weight of the forward leg and the body, while extending the arm with the sword, is poised over the left leg, on which is supported the entire body and right leg; which left leg during the launching throws the body and the thigh forward onto the right leg, which mutually form a pillar and buttress, sustaining all of the weight of the body, inclined forward to launch the blow.</p>
+
| <p>[81] It is not good to rest in guard with the arm tucked in, because it does not cover the measure well in which I am found; it is equally not good for seeking measure, because the point of the sword is too far from the body of the adversary. Whence one cannot take the proper measure, lacking thereby the ability to strike in tempo; in addition to this, the arm thus retired does not keep the adversary from the just distance wherein he can strike me, and thus it does not do its duty. Similarly, the sword is chiefly found thereby to not be useful in striking, because it will not be able to strike in the measure of the increased foot, as resting with its point so far from the adversary it cannot properly take the said measure, which is as much more excellent than the narrower measures, as it is to strike the enemy from afar than from nearby. Furthermore it is not good for launching the blow, which together with the arm is discharged by the pressure that makes the body advance, and it is not true that the extension of the arm increases the measure, but rather by the extension of the body, and of the forward pace, because the forward leg and the body, while extending the arm with the sword, is poised over the left leg, on which is supported the entire body and right leg;<ref>I.e. the weight of the body and right leg are carried on the left leg while in guard.</ref> which left leg during the launching throws the body and the thigh forward onto the right leg, which in exchange forms a pillar and buttress, sustaining all of the weight of the body, pushed forward to launch the blow.<ref>In the lunge, the weight is on the right leg.</ref></p>
 
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| <p>[82] I cannot approve of having the arm fully extended in guard and finding the measure, because it forces the sword out of the place which is proper and commodious to defend one’s own life, and to offend that of the adversary; and in striking it does not aid the body in launching the blow, and carries it with less vigor; other locations, and movements of the arm, are not desired in the play of striking in the straight line.</p>
+
| <p>[82] I cannot approve of having the arm fully extended in guard and seeking measure, because it forces the sword out of its place which is proper and well suited to defend one’s own life, and to offend that of the adversary; and in striking it does not aid the body in launching the blow, and carries it with less vigor; other locations, and movements of the arm, are not desired in the play of striking in the straight line.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/34|2|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/34|2|lbl=-}}
  
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| <p>'''Chapter 9:'''</p>
 
| <p>'''Chapter 9:'''</p>
  
<p>'''Of the thighs, calves, of the feet, and of the pace.'''</p>
+
<p>'''Of the Thighs, Calves, of the Feet, and of the Pace.'''</p>
  
<p>[83] In resting in guard and in finding the narrow measure, the right calf with the thigh and its foot, point directly forward, and lean back in an oblique line, in the manner of a slope, and the left calf with the thigh and its foot point straight toward your left side, with the knee bent as far as a possible, so that the part inside the knee faces the point of the right knee.</p>
+
<p>[83] In resting in guard and in seeking the narrow measure, the right calf with the thigh and its foot point directly forward, and lean back in an oblique line, in the manner of a slope; and the left calf with the thigh and its foot point straight toward your left side, with the knee bent as far as possible, so that the inner side of the heel directly aligns with the point of the right heel.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/34|3|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/34|3|lbl=-}}
  
 
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| <p>[84] In striking, the knee of the right leg is bent so far as it can, so that the calf and the thigh come to make an extremely acute angle; and on the contrary, the left calf with its thigh is extended forward in an oblique line in the manner of a slope.</p>
+
| <p>[84] In striking, the knee of the right leg is bent as far as it can be, so that the calf and the thigh come to make the most acute angle; and on the contrary, the left calf with its thigh is extended forward in an oblique line in the manner of a slope.</p>
 
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| <p>[85] The pace is a just distance between the legs, as much in fixing as in moving oneself, a point for placing oneself in guard for seeking the measure, and to strike; in regard of distance, the pace is either entirely narrow, or a half pace, or a just pace, or extraordinary.</p>
+
| <p>[85] The pace is a just distance between the legs, as much in fixing as in moving oneself, well suited for placing oneself in guard to seek measure, and to strike; in regard of distance, the pace is either entirely narrow, or a half pace, or a just pace, or extraordinary.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/35|2|lbl=-}}
 
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| <p>[86] In the use of fencing, I know of no pace so good as the ordinary, in which the body rests commodiously and carried well in guard, for seeking the narrow measure with a little increase of pace; as wanting to seek it with smaller paces, the narrow foundation is weak; it would not support the weight of the body, and would disconcert one, if not little by little, but with paces and half paces one seeks the measure, and losing the tempo, would not discharge the blow with so much speed, and if they are indeed the said good paces, they will serve outside of the measure for walking, and placing oneself in guard, and for returning into it.</p>
+
| <p>[86] In the use of fencing, I know of no other pace so good as the ordinary, in which the body rests comfortably and carried well in guard, for seeking the narrow measure with a little increase of pace; wanting to seek it with smaller paces, the foundation would be overly narrow and weak; it would not support the weight of the body, and one would become disconcerted, if, not little by little, but rather with paces and half paces one sought the measure, and losing the tempo, would not discharge the blow with so much speed; and if they are indeed the said good paces, they will serve outside of the measure for walking, and placing oneself in guard, and for returning into it.</p>
 
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| <p>[87] The pace of fencing, we will, for better understanding, name “military”, or “soldierly”, dividing it into the ordinary and the extraordinary. The ordinary is that in which one rests in guard and seeks the narrow measure. And the extraordinary is that in which one moves, lengthening the pace forward to strike.</p>
+
| <p>[87] The pace of fencing, we will, for better understanding, name “military”, or “soldierly”, dividing it into the ordinary and the extraordinary. The ordinary is that in which one rests in guard and seeks the narrow measure. And the extraordinary is that into which one moves, lengthening the pace forward to strike.</p>
 
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|  
 
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| <p>[88] The pace, regarding its position, is to be considered in more ways, forward, back, sideways, and diagonally, and this with the legs crossed or not, equally whether a single leg is moved or both, and whether the legs are moved to make an entire pace, either to diminish it or to change its position in order to allow the body to retreat or evade.</p>
+
| <p>[88] The pace, regarding its position, can be considered in several ways, forward, back, sideways, and diagonally, and this with the legs crossed or not, equally whether a single leg is moved or both, and whether the legs are moved to make an entire pace, either to diminish it or to change its position in order to allow the body to retreat or void.</p>
 
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| <p>[90] I do not know that stepping sideways serves other than to make a good show, and display animosity, and to scout out the strength of the adversary; when somebody goes to put himself in guard in this fashion of stepping, you will be able to avail yourself of all the narrow and just paces, although in my judgment in this the ordinary pace still carries the boast.</p>
+
| <p>[90] I do not know that stepping sideways serves other than to make a good show,<ref>I.e. to pretend, to perform a pretense or feint</ref> and display animosity, and to scout out the strength of the adversary; when somebody goes to put himself in guard in this fashion of stepping, you will be able to avail yourself of all the narrow and just paces, although in my judgment in this the ordinary pace still carries the boast.</p>
 
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| <p>[91] Nonetheless there are those that avail themselves of this stepping to the side when the adversary is poised on an oblique line with the sword in order to stringer him on the outside, but to me it seems that it would be a more expeditious way to seek the narrow measure immediately by the straight line, which follows from the rule of the play thereof. Still, there are those who avail themselves thereof through fading back of the body, while their adversary comes to strike them encountering him in fourth, and in second, either from outside or inside, according to the occasion, but so would they be able to encounter him, having in consideration the tempo and the measure of fourth and of second in the straight line, without traversing their legs.</p>
+
| <p>[91] Nonetheless there are those that avail themselves of this stepping to the side when the adversary is poised on an oblique line with the sword in order to stringer him on the outside, but to me it seems that a more expeditious way would be to seek the narrow measure immediately by the straight line, rather than to follow a play outside of the rule. As well, there are those who avail themselves thereof through fading back of the body, while their adversary comes to strike them encountering him in quarta or in seconda, either outside or inside, according to the occasion, but they would be equally able to encounter him, having in consideration the tempo and the measure of quarta and of seconda in the straight line, without traversing their legs.</p>
 
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| <p>[92] The crossing of the left foot toward the right side in performing an inquartata is worthless; it causes a shortcoming, because it hinders the body and shortens the motion of the right arm in striking, with loss of tempo; the void of the right leg toward the left side from the adversary in order to perform an inquartata is equally a thing done by chance, and sooner serves for an amicable assault than for the trial or dispute.</p>
+
| <p>[92] The crossing of the left foot toward the right side in performing an inquartata is worthless; it can make of itself a shortcoming, because it hinders the body and shortens the motion of the right arm in striking, with loss of tempo; the void of the right leg toward the left side of the adversary in order to perform an inquartata is equally a thing done by chance, and sooner serves for an amicable assault than for the trial or dispute.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/36|2|lbl=-}}
 
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| <p>[93] The passatas are not good, because they lose measure and tempo, because while one is moving the left leg, at the same time the torso, and the right leg, and the sword arm, cannot move to strike with due speed, nor without danger of risposta.</p>
+
| <p>[93] The passatas are not good, because they lose measure and tempo, because while one is moving the left leg, at the same time the torso, and the right leg, and the sword arm, cannot move to strike with due speed, nor without danger of response.</p>
 
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| <p>[94] Retreats are necessary principally in striking, because in the act of striking I necessarily uncover my body, yet as I fix myself too much it could easily occur that my adversary could make a response to me.</p>
+
| <p>[94] Retreats are necessary principally in striking, because in the act of striking I necessarily uncover my body, and yet if I fixed myself too much it could easily occur that my adversary could make a response to me.</p>
 
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| <p>'''Chapter 10:'''</p>
 
| <p>'''Chapter 10:'''</p>
  
<p>'''Of defense, of the guard.'''</p>
+
<p>'''Of Defense, of the Guard.'''</p>
  
<p>[95] Up until now we have dealt of the first part of the handling of the sword, in which was taught to us the just distance, and the true position of all the members of the body, which are required for defense; now we will speak of that very same defense.</p>
+
<p>[95] Up until now we have dealt with the first part of the handling of the sword, which has taught us the just distance, and the true position of all the members of the body, which are required for defense; now we will speak of that very same defense.</p>
 
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| <p>[97] The guard is a position of the arm and of the sword extended in a straight line in the middle of the offendable parts, with the body well accommodated to its ordinary pace in order to hold the enemy at a distance from any offense, and in order to offend him in case he approaches to endanger you.</p>
+
| <p>[97] The guard is a position of the arm and of the sword extended in a straight line in the middle of the offendable parts, with the body well accommodated in its ordinary pace in order to hold the enemy at a distance, from any offense, and in order to offend him in case he approaches to endanger you.</p>
 
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| <p>[98] The third then is exclusively a guard, not indeed posed with the hilt outside the knee, but so that it properly divides the body though the middle, neither high nor low, but just in the middle of the parts that cannot be covered, through being equally prompt and near to all of their offenses and defenses.</p>
+
| <p>[98] Terza then is exclusively a guard, not indeed posed with the hilt outside the knee, but so that it properly divides the body though the middle, neither high nor low, but properly in the middle of the parts that cannot be covered, in order to be equally prompt and near to all of their offenses and defenses.</p>
 
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| <p>[99] The first and the second are not guards, because they are not apt for seeking the measure, and uncover too much of the body that can be offended and defended; the fourth equally shows too much of the body; it is a way of striking, and not of guarding oneself.</p>
+
| <p>[99] Prima and seconda are not guards, because they are not well suited for seeking measure, and uncover too much of the body, and are not equally near to all the parts of the body that can be offended and defended; quarta equally shows too much of the body; it is a way of striking, and not of guarding oneself.</p>
 
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| <p>[100] There are three reasons which make it difficult to hit the mark, namely: the distance to the target; because it is concealed, so that one is at pains to see through the impediment of the things that veil it; and even if it is uncovered, as the danger of the blow approaches, in a moment it is possible to cover it.</p>
+
| <p>[100] There are three reasons which make it difficult to hit the mark, namely: the distance to the target; because it is concealed, so that one is at pains to see through the impediment of the things that veil it; and even if it is uncovered, as the danger of the blow approaches, in an instant it can be covered.</p>
 
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| <p>[101] All of these virtues are contained in our guard; because it greatly distances the target and removes so much of it, that by means of the fold and concealment of the body, most of the parts that cannot be concealed can be excellently covered; one is quick to succor them, being in equal distance, and thus walks safely to take well the tempo and measure, which thing is the ultimate perfection of the guard.</p>
+
| <p>[101] All of these virtues are contained in our guard; because it greatly distances the target and removes as much of it as can be, by means of the fold and skew of the body; moreover, it excellently covers the parts that cannot be placed out of the way, and if some remain yet uncovered, one is quick to succor them if need be, being in equal distance; and thus one walks safely to take well the tempo and measure, which thing is the ultimate perfection of the guard.</p>
 
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| <p>[102] Of changing one’s guard, in guard, to me is not legitimate to speak, it not being good, if not a single guard.</p>
+
| <p>[102] To me it is not legitimate to speak of changing from guard to guard, one not making a good guard, if not a single one.</p>
 
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| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/37|8|lbl=-}}
  
 
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| <p>[103] Offense is a defense in which I seek the measure and strike my adversary.</p>
+
| <p>[103] Offense is a defense in which I seek measure and strike my adversary.</p>
 
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| <p>'''Chapter 11:'''</p>
 
| <p>'''Chapter 11:'''</p>
  
<p>'''On the way of seeking the measure.'''</p>
+
<p>'''On the Way of Seeking the Measure.'''</p>
  
<p>[104] There are two arts to offense: seeking the measure, and striking.</p>
+
<p>[104] There are two parts to offense: seeking measure, and striking.</p>
 
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| <p>[105] Seeking the measure is an offense in which, in the said guard, I seek the narrow measure in order to strike.</p>
+
| <p>[105] Seeking measure is an offense in which, in the said guard, I seek the narrow measure in order to strike.</p>
 
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| <p>[106] There are three ways of seeking the measure; because I seek it, either while I move and the adversary fixes himself, or when I fix myself and the adversary moves, or when I move and the adversary moves.</p>
+
| <p>[106] There are three ways of seeking measure; because I seek it either while I move and the adversary fixes himself, or when I fix myself and the adversary moves, or when I move and the adversary moves.</p>
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/38|3|lbl=-}}
 
| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/38|3|lbl=-}}
  
 
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| <p>[107] The tempo of these actions needs to be just, and equal to the final boundaries of the wide measure, upon which the tempo of seeking the measure expires, and gives rise to the tempo of another action, which is that of striking.</p>
+
| <p>[107] The tempo of these actions needs to be just, and equal to the outer boundaries of the wide measure, upon which the tempo of seeking measure expires, and gives rise to the tempo of another action, which is that of striking.</p>
 
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| {{section|Page:Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli) 1601.pdf/38|4|lbl=-}}
  
 
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| <p>[108] In order that this tempo may be just, it is necessary that you have patience up until you arrive at the said distance, and move yourself earlier to strike.</p>
+
| <p>[108] In order that this tempo may be just, it is necessary that you have patience up until you arrive at the said distance, and not move yourself earlier to strike.</p>
 
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| <p>[109] For example: I fix myself in guard to seek the measure, my adversary already being entered into the boundaries of offense; meanwhile, as he either seeks the measure, or pretends to strike me, he walks with his sword, it is necessary that I fix myself as much with the point of my sword, so that he arrives to the end of the wide measure, and I not move myself to strike earlier. Because in this action his motion has to measure my stillness, and my stillness his motion, and if I had moved myself from my stillness before he had come to the edge of the wide measure, the tempo would not be just, and I would not have sought the measure well; and in conclusion this motion and stillness are equal; so that one arrives to the principle that the narrow measure is one tempo, and it does not occur, however, as quick as it may be, that it may be equal and correspondent to the final terminus of the wide measure, and thus the end of the tempo of the wide measure is the beginning of the tempo of striking.</p>
+
| <p>[109] For example: I fix myself in guard to seek measure, my adversary already being entered into the boundaries of offense; meanwhile, as he walks with his sword, either seeking the measure or pretending to strike me, it is necessary that I fix myself as much with the point of my sword, so that he arrives at the edge of the wide measure, and I not move myself to strike earlier. Because in this action his motion has to measure my stillness, and my stillness his motion, and if I had moved myself from my stillness before he had come to the edge of the wide measure, the tempo would not be just, and therefore I would not have sought the measure well; and in conclusion this motion and stillness are equal; as it takes one tempo to arrive at the beginning of the narrow measure, and it does not matter how quick it may be, only that it be equal and equivalent to the outer boundary of the wide measure, and thus the end of the tempo of wide measure is of seeking the narrow measure, and the beginning of the tempo of striking.</p>
 
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| <p>[110] Many in seeking the narrow measure make disengages and counterdisengages, feints and counterfeints, stringer a palmo<ref>A unit of measure variously from a palm’s width up to 10 inches.</ref> and more of the sword, and step from every side, and twist their bodies and stretch them, and retreat in many eccentric fashions, which are things done outside of true reasons, and found through beguiling the doltish, and make the play difficult; nonetheless stringering of the sword, when I cannot do otherwise, seeking the measure in my guard, it is only necessary that I stringer the debole of my enemy’s sword in a straight line, with the forte of mine, and this straddling it without touching, but only in striking to hit with my forte the debole of the enemy’s sword, from the inside or the outside according to the circumstances of the striking.</p>
+
| <p>[110] Many in seeking the narrow measure disengage and counterdisengage, perform feints and counterfeints, stringer a palmo<ref>A unit of measure variously from a palm’s width up to 10 inches.</ref> and more of the sword, and step from every side, and twist their bodies and stretch them, and retreat in many whimsical fashions, which are things done outside of true reason, and found to deceive the foolish, and make the play difficult; nonetheless stringering of the sword, when I cannot do otherwise, seeking measure in my guard, it is only necessary that I stringer the debole of my enemy’s sword in a straight line, with the forte of mine, and this straddling it without touching,<ref>The phrase “straddling it without touching” is, in the original, “cavalcandola senza toccare”. To select a single English equivalent may obscure Capo Ferro’s meaning. The verb “cavalcare” means to ride (a horse), to straddle, or to span (e.g. as a bridge spans a stream). This phrase may thus be understood to imply that, in stringering, my sword extends past the point of "intersection" with my enemy’s (i.e. spans, or straddles it) while staying close to and exerting (or more properly, enabling) control over it (i.e. riding it), but without touching (toccare) it until the moment of attack.</ref> but only in striking to hit the debole of the enemy’s sword with my forte, on the inside or the outside according to the circumstances of the striking.</p>
 
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| <p>[111] To disengage, although good, is good in the situation in which the adversary has constrained me and removed me from the straight line; in that case it would be licit, indeed necessary, to retreat, disengaging with a little ceding of my body or feet, replacing myself immediately into the straight line in order to seek the measure; because disengaging is done against stringering, and as stringering is done while moving the sword forward, thus must the disengage be done while retiring it.</p>
+
| <p>[111] Disengaging, if it is to be good, is good in the situation in which the adversary has me stringered and removed from the straight line; it would be licit then, indeed necessary, to retreat, disengaging with a little ceding of my body or feet, replacing myself immediately into the straight line in order to seek measure; because disengaging is done against stringering, and even as stringering is done while moving the sword forward, thus must the disengage be done while withdrawing it.</p>
 
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| <p>'''Chapter 12:'''</p>
 
| <p>'''Chapter 12:'''</p>
  
<p>'''Of striking.'''</p>
+
<p>'''Of Striking.'''</p>
  
<p>[112] Striking is the final offensive action of fencing, in which, having arrived at the narrow measure, I move myself, with my body, with my legs, and with my arms, all in one tempo thrown forward to be better able to strike my adversary, and this is done with the feet fixed or with the increase of the pace, according to the magnitude of the narrow measure, according to whether it comes to be more commodious for me to take more of one than of the other measure; because if through my tardiness, or through the fury of my adversary, the first measure vanishes, then I could avail myself of the second, striking with fixed feet, which in this case doesn’t happen, that greatly speeding the pace, with the bending only of the right knee, it does not behoove me to seek the narrower measure, so that I had time to increase the pace.</p>
+
<p>[112] Striking is the final offensive action of fencing, in which, having arrived at narrow measure, I move myself, with my body, with my legs, and with my arms, thrown forward all in one tempo to be better able to strike my adversary, and this is done with the feet fixed or with the increase of the pace, according to the magnitude of the narrow measure, according to whether it comes to be better suited for me to take more of one than of the other measure; because if through my tardiness, or through the fury of my adversary, the first measure vanishes, then I will be able to avail myself of the second, striking with fixed feet, so in this case it doesn’t happen that I greatly hurry the pace, as with only bending my right knee, it does not behoove me to seek a narrower measure, whence I would have had to increase the pace.</p>
 
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| <p>[113] Striking is done in three ways; because I can strike my adversary while I am fixed and he moves to seek the measure or to strike me; or while he is fixed and I move in order to seek the measure; or because both of us move ourselves to seek the measure and to strike; only this is the difference, that when he moves to strike me, I strike him with fixed feet, because when he moves through the said effect, I can poorly take the just measure to strike him with the increase of pace; on the contrary it is necessary that I cling to the narrower measure, and when he moves to seek the measure I strike him with the increase of pace.</p>
+
| <p>[113] Striking is done in three ways; because I can strike my adversary while I am fixed and he moves to seek measure or to strike me; or while he is fixed and I move in order to seek measure; or because both of us move ourselves to seek measure and to strike; only this is the difference: that when he moves to strike me, I strike him with fixed feet, because when he moves in order to enact the said effect, I can poorly take the just measure to strike him with the increase of pace; on the contrary it is necessary that I cling to the narrower measure; and when he moves to seek measure I strike him with the increase of pace.</p>
 
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| <p>[114] In consideration of the parts of the body with respect to the sword, I strike either from the inside or outside; from inside from fourth, and from outside from second, high or low according to the exposed parts of the body of the adversary, that he gives me measure, with respect to the point of my sword.</p>
+
| <p>[114] In consideration of the parts of the body with respect to the sword, I strike either from the inside or outside; from inside from quarta, and from outside from seconda, high or low according to the exposed parts of the body of the adversary, that give me measure, with respect to the point of my sword.</p>
 
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| <p>[115] Meanwhile, as I strike, I necessarily parry together, inasmuch that I strike in the straight line, and with my body in its due disposition, because when I strike in this manner, in tempo, and at measure, the adversary will never hit me, neither with point nor edge, because the forte of my sword goes in a straight line, and comes to cover all of my body.</p>
+
| <p>[115] While I strike, I necessarily parry together, inasmuch as I strike in the straight line, and with my body in its due disposition, because when I strike in this manner, in tempo, and at measure, the adversary will never hit me, neither with thrust nor cut, because the forte of my sword goes in a straight line, and comes to cover all of my body.</p>
 
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| <p>[116] The edge is of little moment, because I cannot strike with the edge in the said distance of the narrow measure, without entirely uncovering myself and giving the measure and tempo to my adversary to strike me, because of the compass of the arm and of the sword which I make, and although some usefulness is found in the cut, nonetheless in the same measure in the very same tempo more can be shown in the thrust.</p>
+
| <p>[116] The edge is of little moment, because I cannot strike with the edge in the said distance of the narrow measure without entirely uncovering myself and giving the measure and tempo to my adversary to strike me, because of the compass of the arm and of the sword which I make, and although some usefulness is found in the cut, nonetheless at the same measure in the very same tempo more can be shown in the thrust.</p>
 
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| <p>[117] But without a trace of doubt, on horseback it is better to strike with the cut than the thrust, because my legs are carried by another’s, and thus I am not commodious to seek the measure and the tempo, which are apt for propelling forward the body and the arm, but it is indeed true that I can wheel my arm about to my satisfaction, which is a proper motion to strike with the edge.</p>
+
| <p>[117] But without a trace of doubt, on horseback it is better to strike with the cut than the thrust, because my legs are carried by another’s, and thus I am not well suited to seek measure and tempo, which befit propelling the body and the arm forward, but it is indeed true that I can wheel my arm about to my satisfaction, which is a proper motion to strike with the edge.</p>
 
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| class="noline" | <p>'''Chapter 13:'''</p>
 
| class="noline" | <p>'''Chapter 13:'''</p>
  
<p>'''Of the dagger.'''</p>
+
<p>'''Of the Dagger.'''</p>
  
<p>[118] Of the dagger it will suffice us in this brief chapter to record only that it has been found better for saving oneself, in case the adversary, while I throw a blow without attending to the parrying, threw one at me where it turned more commodious to him, than for one to be unable to employ the dagger in order to avert the risposta. And as all commodious things delivered carry along some incommodious ones, still thus did it happen to the play of the dagger, which one cannot employ without uncovering somewhat more of the body, and shortening a little the line while striking. This is the end of the dagger, but the art is deviated thereby from its chief aim, given to it as it is done with the sword, various effects which may be better put into action with the single sword, without going on further at such length.</p>
+
<p>[118] Of the dagger it will suffice us in this brief chapter to record only that it has been found better for saving oneself, in case, while I throw a blow without attending to parrying, my adversary threw one at me where it seemed to him best suited, than for one to be unable to employ the dagger in order to avert the response. And even as all advantages deliver and carry some disadvantage, so did it happen in the play of the dagger, which one cannot employ without uncovering somewhat more of the body, and shortening the line a little while striking. This is the end of the dagger, but the art was deviated thence from its chief goal given to it, even as it did as well to the sword in various techniques that would be better put into effect with the unaccompanied sword, without following such lengths.</p>
 
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| <p>'''There Follows Now the Great Representation of the Use of Fencing.'''</p>
+
| <p>'''Now Follows the Great Representation of the Use of Fencing.'''</p>
 
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| <p>'''And First the Difference that is Found Between the Art and the Use is Explained.'''</p>
 
| <p>'''And First the Difference that is Found Between the Art and the Use is Explained.'''</p>
  
<p>There is the greatest difference between the art and the use, and perchance not less than between reason and luck, between confusion and good order, between knowledge and opinion. Which thing, in order that it be more manifestly understood, it is necessary that we will briefly consider and explain the definitions of the art, which, as I remember having already heard treated of with some intelligence, is not other than a multitude of useful and well-ordered precepts for civil converse; because one flower does not make Spring, nor a single precept suffice to make the art; likewise with whatsoever number of precepts, is it so with the art; but these former finally confirm themselves to be useful, and not useless; and they are not those that submerge themselves in the abyss of the dark shadows of falsities and witless opinions. For as much as that the art is not governed according to its own whim, but derives all of its precepts following the rule that the law of truth gives to it. Truth commands the art, that it does not build on air, nor teach, if not of those things which are infallible and of perpetual truth. And those precepts that do not stand as paragons of their laws are not recognized as theirs. The use of the art encompasses much more, and considers not only the true things, but cautions us yet of the false and of the many other particulars that variously occur; and in order to show their effects, takes advantage of the aid of many disciplines. For as much as we see occur daily in civil converse, that a man is insufficient to put into practice the office or the art that he does, if help does not come from those with whom civility resides, likewise are all the arts, all the sciences, and all the professions among each other conjoined and connected, so that one has need of the mutual aid of the other, if one wishes to put in execution his training; nonetheless, as in the civil practice each man has his own office, his solitary dwelling, and his good partitions, likewise the arts and the sciences have their distinct boundaries and their own precepts, which it is illicit for them to trespass. This difference between the art and the use, because some who teach do not observe it, makes them fall into many very grave errors. Thence it occurs that when teaching, likewise with the pen as with the sword in hand, they are long-winded and so confused and self-contradictory most of the time. And because they do not first lay the stable foundation of the infallible and well-ordered precepts of the art, with the greatest ease and in the briefest time would they lead their scholars to that degree of perfection which one can desire in this science. In consideration of this, in order to facilitate the art of fencing, I have managed to break down all the difficulty, and to extract it from the dark shadows of confusion, condensing it in the fewest demonstrations, separated from its use, and now to you I offer and put forward to your eyes a very few figures, the greater part of which explain our art, leaving to others the care of devoting their studies to the uncertainty and infinity of particular cases, which without fixing oneself in the same state, daily we see occur in the use of arms, and if this instability and variety of things they have indeed to teach, it seems much better to me, in the school of “hand in hand”, that they remember that they do not teach with knowledge. But it is time at last that we come to the explanation of some admonitions and advisements, as well as some terms of fencing, which pertain to the use, and to our figures as well.</p>
+
<p>There is the greatest difference between the art and the use, and perchance not less than between reason and luck, between confusion and good order, between knowledge and opinion. Which thing, in order that it be more plainly understood, it is necessary that we will briefly consider and explain the definitions of the art, which, as I remember having already heard treated of by several people of intelligence, is not other than a multitude of precepts, useful and well-ordered for civil converse. Because one flower does not make Spring, nor a single precept suffice to make the art, likewise with whatsoever number of precepts, is it so with the art; but these former finally confirm themselves to be useful, and not useless; and they are not those that are submerged in the abyss of the dark shadows of falsities and witless opinions. For the art is not governed according to its own whim, but directs all of its precepts in accordance with the rule that the law of truth gives to it. Truth commands the art, that it does not build on air, nor teach, if not of those things which are infallible and of perpetual truth. And those precepts that do not stand as paragons of their laws are not recognized as theirs. The use of the art encompasses much more, and considers not only the true things, but cautions us also of the false and of the many other particular details that variously occur;<ref>The distinction between the art and the use is explained here. The art is, in a sense, the ideal of fencing, derived solely from its guiding precepts, and was discussed up until this point. The use, however, which follows, includes a variety of effects (body evasions, passatas, feints, the use of the dagger, and so on) that may deviate from the pure art of the straight line. Thus apparent contradictions between advice given by Capo Ferro up to this point regarding tactics to be eschewed, and the same tactics that he subsequently demonstrates, are better understood as being not contradictory per se, but rather to pertain to the use but not the art.</ref> and in order to show its effects, takes advantage of the aid of many disciplines. For inasmuch as we see occur daily in civil converse, that a man is insufficient to put into practice the office or the art that he does, if help does not come from those in whom civility resides, likewise are all the arts, all the sciences, and all the professions among each other conjoined and connected, so that one has need of the mutual aid of the other, wishing to put his training into execution; nonetheless, even as in the civil practice each man has his own office, his separate dwelling, and his good partitions, likewise the arts and the sciences have their distinct boundaries and their own precepts, which it is illicit for them to trespass. Because some who teach do not observe this difference between the art and the use, it makes them fall into many very grave errors. Thence it occurs that when teaching, likewise with the pen as with the sword in hand, they are long-winded and so confused and self-contradictory most of the time. And because they do not first lay the stable foundation of the infallible and well-ordered precepts of the art, with very great ease and in the briefest time would they <attempt to> lead their scholars to that degree of perfection which one can desire in this science. In consideration of this, in order to facilitate the art of fencing, I have managed to break down all the difficulty, and to extract it from the dark shadows of confusion, condensing it in the fewest demonstrations, separated from its use, and now to you I offer and put forward to your eyes a very few figures, the greater part of which explain our art, leaving to others the care of devoting their studies to the uncertainty and infinity of particular things, which without fixing oneself in one same state, we see occur daily in the use of arms, and if they have indeed to teach this instability and variety of things, it seems much better to me, in the school of “hand to hand”, that they remember that they do not teach with knowledge. But it is time at last that we come to the explanation of some admonitions and advice, as well as some terms of fencing, which pertain to the use, and to our figures as well.</p>
 
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| <p>[1] '''Some Admonitions, or Advisements of Fencing.'''</p>
+
| <p>[1] '''Some Admonitions, or Advice, of Fencing.'''</p>
  
<p>Firstly, one who finds himself at blows with his adversary always has to have his eye on the other’s sword hand, more so than on any other place, all others being fallacious; because paying attention to the hand, he will see the stillness and all of the movements that it will make, and from this (according to his judgment) he will be able to resolve how much he will have to do.</p>
+
<p>First, if one finds himself at blows with his adversary, he must always have his eye on the other’s sword hand, more so than on any other place, all others being fallacious; because paying attention to the hand, he sees the stillness and all of the movements that it makes, and from this (according to his judgment) he will be able to resolve how much he will have to do.</p>
 
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| <p>[2] '''Of Parrying and Striking, and Covering the Body.'''</p>
+
| <p>[2] '''Of Parrying and Striking, and Voiding the Body.'''</p>
  
<p>The good player, when he plays, must never parry without responding with striking; neither less must he go to strike if he is not secure to parry the risposta; nor fail to cover the body if he does not strike; and if it occurs to him to parry with the dagger, when the dagger goes out to parry, the sword must go out to strike.</p>
+
<p>The good player, when he plays, must never parry without responding with striking; neither less must he go to strike if he is not secure to parry the response; nor fail to void his body if he does not strike; and if it occurs to him to parry with the dagger, when the dagger goes out to parry, the sword must go out to strike.</p>
 
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|  
| <p>[3] '''The Virtue of the Single Sword.'''</p>
+
| <p>[3] '''The Virtue of the Unaccompanied Sword.'''</p>
  
<p>You must know that the single sword is the queen and foundation of all other weapons, yea, that to delight therein is as, and more useful than to do so in others; because more securely does one learn to parry, strike, and cover the body, disengage the sword, counter-disengage, gain the sword against the adversary in all the guards; and during all the aforesaid effects, you will be careful to hold your arm well extended, because you will come to deflect all your adversary’s blows at a distance from your body.</p>
+
<p>You must know that the unaccompanied sword is the queen and foundation of all other weapons, yea, that to delight therein is as, and more useful than to do so in others; because more securely does one learn to parry, strike, and void the body, disengage the sword, counterdisengage, gain the sword of the adversary in all the guards; and during all the aforesaid effects, you will be careful to hold your arm well extended, because you will come to deflect all your adversary’s blows at a distance from your body.</p>
 
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| <p>[4] '''Ways that One Must Hold Oneself Against a Bestial Man.'''</p>
+
| <p>[4] '''Method that One Must Employ Against a Bestial Man.'''</p>
  
<p>If you have an encounter with a bestial man, that is, one without measure and tempo, who throws many blows at you with great impetus, there are two things that you can do: first, adopting the play of mezzo tempo, as I show you in its place, you will strike him during his throwing of a thrust or a cut, in his sword-hand or arm; alternately allow him to go into empty space, with somewhat of a slip of your body to the rear, then immediately give him a thrust in the face or chest.</p>
+
<p>If you have an encounter with a bestial man, that is, one without measure and tempo, who throws many blows at you with great impetus, there are two things that you can do: first, adopting the play of mezzo tempo, as I teach you in its place, you will strike him during his throwing of a thrust or a cut, in his sword-hand or arm; alternately allow him to go into empty space, evading somewhat backwards with your body, then immediately give him a thrust in the face or chest.<ref>These recommendations appear to be taken from [[Antonio Manciolino]]’s ''[[Opera Nova (Antonio Manciolino)|Opera Nova]]'', [[Page:Opera Nova (Antonio Manciolino) 1531.pdf/15|p. 3 recto]].</ref></p>
 
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| <p>[6] '''Of the Most Secure Guard.'''</p>
 
| <p>[6] '''Of the Most Secure Guard.'''</p>
  
<p>You know that in my book on the art, that I do not hold to be good other than one single guard, which is the low guard called third, with the sword horizontal in a straight line that divides the right flank through the middle; and the point thereof must always point towards the middle of the adversary’s body, that is, of the nearer side; and it is more secure than other high guards, because the said high guards can more easily be struck with a thrust or cut to the leg, than in the low ones; as I say, this peril is not there, and its virtue is that only the throwing of the thrust is the natural strike.</p>
+
<p>You know that in my book on the art, that I do not hold to be good other than one single guard, which is the low guard called terza, with the sword level in a straight line that divides the right flank through the middle; and the point thereof must always point towards the middle of the adversary’s body, that is, of the nearer side; and it is more secure than other, high, guards, because in the said high guards one can more easily be struck with a thrust or cut to the leg than in the low ones; as I say, this danger is not there, and its virtue is that only the throwing of the thrust is the natural strike.</p>
 
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| <p>[7] '''Of the Vanity of the Feints.'''</p>
 
| <p>[7] '''Of the Vanity of the Feints.'''</p>
  
<p>The feints are not good, because they lose tempo and measure; in addition it is so, that one will make the feint either in measure or out of measure; if it will be done out of measure, I do not happen to move myself, but if it will be done to me in measure, while he feints, I will strike.</p>
+
<p>The feints are not good, because they lose tempo and measure; in addition it is so that the feint will be done either in measure or out of measure; if it will be done out of measure, I do not happen to move myself, but if it will be done to me in measure, while he feints, I will strike.</p>
 
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| <p>[8] '''From Whom One Must Learn.'''</p>
 
| <p>[8] '''From Whom One Must Learn.'''</p>
  
<p>You have to know that there are some who immediately after they have learned a little, and having yet a bit of practice, put themselves to teach others, and they teach without the foundation of the rule which is true, not knowing that knowing that knowing is quite different from teaching, and this methodical teaching is acquired with length of time, because in order to recognize measure and tempo requires much time, so that he who does not well understand measure nor tempo, and does not have a methodical teaching, can be called an imperfect player, and one must be wary of learning from these.</p>
+
<p>You have to know that there are some who, immediately after they have learned a little, and having as well a bit of practice, put themselves to teach others, and they teach without the foundation of the rule which is true, not knowing that knowing is quite different from teaching, and this method of teaching is acquired with length of time, because even as much time is required in order to recognize measure and tempo, thus is it so that he who does not well understand measure nor tempo, and does not have a method of teaching, can be called an imperfect player, and one must be wary of learning from these.</p>
 
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| <p>[9] '''Of Gaining the Sword.'''</p>
 
| <p>[9] '''Of Gaining the Sword.'''</p>
  
<p>It is of no small profit nor of little beauty to know how to gain the sword against the adversary in all the guards, and it is as well of no small importance, should the adversary have gained it against you, to know how to recover it; so that on this occasion, in case he gained it, there are three things that you will be able to do: first, you must never disengage to throw a full blow;<ref>“Colpo finito”—usu. a cut with long arc.</ref> nor disengage to parry and then strike; another, retreating back, with somewhat of a slip of the body, and lowering your sword, and your adversary wanting to follow you, in the same tempo in which he comes forward to approach and gain the sword anew, you will be able to strike him during the movement of the right foot, either above or below his sword as it happens to be more convenient; and furthermore, care must be taken that we understand stringering the sword as much as gaining it.</p>
+
<p>It is of no small profit nor of little beauty to know how to gain the sword of the adversary in all the guards, and it is as well of no small importance, should the adversary have gained yours, to know how to recover it; so that in this occasion, in case he gained it, there are three things that you can do: first, you must never disengage in order to throw a completed blow;<ref>The term "completed blow" ("colpo finito" in the original") refers to a full cut, as opposed to a half cut, e.g. a full mandritto as opposed to a mezzo mandritto.<br/>The term "colpo finito" is clearly used in this fashion by dall'Agocchie in his Opera Necessaria, pg. 28 recto: "You know that the mandritto sgualimbro begins at the left shoulder, and finishes at the right knee of the enemy, and for this was named ‘colpo finito’. The mezzo mandritto is of the same nature; nonetheless through not being a ‘colpo finito’, and also through being of less tempo, it comes to be called 'mezzo mandritto'." The term is used by Manciolino as well, on pg. 4 verso: "If one finds himself close to the enemy, he must never throw a ‘colpo finito’, because the sword must not distance itself from the presence for the safety of him who holds it, and this throwing of an imperfect blow is called ‘mezzo tempo’”. The term is thus equivalent to Angelo Viggiani’s “colpo intiero” (“full blow”), as he describes it in similar terms to Manciolino’s (i.e. a perfect blow of a full tempo, vis-à-vis the imperfect half blow that requires a half tempo; see Viggiani's Lo Schermo, pg. 64 recto: “Thus a full tempo is a full perfect blow, because that would be a perfect motion and tempo; and a mezo tempo would then be (as you said) a mezo rovescio, a mezo mandritto.”<br/>A completed blow is thrown so as to cut the full length of the opponent's body, while a half blow is thrown so as to stop short of this. The completed blow therefore takes longer (a full tempo), and leaves one more open, both at the beginning (because of the windup to generate power) and at the end (because the sword finishes in a location that is outside a good guard). These reasons are probably why Capo Ferro advises against disengaging to throw a completed blow when the enemy has gained your sword—to willing give up both tempo and defensive positioning when one has already lost the sword is foolhardy in the extreme.</ref> nor disengage in order to parry and then strike; another, retreating back, with somewhat of a ceding of the body, and lowering your sword, and your adversary wanting to follow you, in the same tempo in which he comes forward to approach and gain the sword anew, you will be able to strike him during the movement of his right foot, either below or above his sword as it happens to be more convenient; and furthermore, it must be advised that by “to stringer” the sword, we mean as much as “to gain it”.</p>
 
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| <p>[10] '''Of Striking in Contratempo.'''</p>
 
| <p>[10] '''Of Striking in Contratempo.'''</p>
  
<p>In more manners can one strike in contratempo, but I do not approve of other than two, which will be: finding yourself with your sword in fourth, with its point facing toward your right side, and your adversary coming to gain it, in the same tempo in which he moves his right foot in order to lay his sword upon yours, you will push a thrust from the said fourth, passing forward with your left foot, or with your right instead; alternately, finding yourself in third, and he coming to gain it from the outside, you will thrust him in second while passing as above.</p>
+
<p>In more manners can one strike in contratempo, but I do not approve of other than two, which will be: finding yourself with your sword in quarta, with its point facing toward your right side, and your adversary coming to gain it, in the same tempo in which he moves his right foot in order to lay his sword upon yours, you will push a thrust from the said quarta, passing forward with your left foot, or with your right instead; alternately, finding yourself in terza, and he coming to gain it from the outside, you will thrust him in seconda while passing as above.</p>
 
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| <p>[11] '''Of Walking.'''</p>
 
| <p>[11] '''Of Walking.'''</p>
  
<p>Many and varied are the opinions of masters regarding this action of walking with weapons in hand; I say (following my judgment) that walking from the right side, as from the left of the adversary, chiefly one must take care to always move the left foot accompanied by the right, and having to walk in a straight line, one foot must follow the other, forward as behind; but the true walking will be stepping naturally, always doing so, so that the point of the right shoulder will face forward, and carrying the left foot on the diagonal, so that its point will face toward your left side.</p>
+
<p>Many and varied are the opinions of masters regarding this action of walking with weapons in hand; I say (following my judgment) that walking from the right side, as from the left of the adversary, chiefly one must take care to always move the left foot accompanied by the right, and having to walk in a straight line, one foot must follow the other, forward as back; but the true walking will be stepping naturally, always doing so, so that the point of your right shoulder will face forward, and carrying your left foot crosswise, so that its point will point toward your left side.</p>
 
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| <p>[12] '''Method of Striking the Hand.'''</p>
 
| <p>[12] '''Method of Striking the Hand.'''</p>
  
<p>You must know that every time that your adversary has the point of his sword outside your line, either high or low, or that it faces outside your left or right side, you will put the point of your sword opposite his hand in a straight line; leaning your body somewhat to the rear, you will approach the measure, and, having arrived, you will push a thrust in mezzo tempo into the said hand; just by propelling the body forward and bending the right knee will one strike; but you will take care that in such striking you must carry the left foot back, followed by the right; and furthermore, the enemy having his dagger arm advanced forward, you, wanting to strike it in the hand, will follow the same directions as above.</p>
+
<p>You must know that every time that your adversary has the point of his sword outside your presence, either high or low, or that it faces outside your left or right side, you will put the point of your sword opposite his hand in a straight line; leaning your body somewhat to the rear, you will approach to measure, and, having arrived, you will push a thrust in mezzo tempo into the said hand; just by propelling the body forward and bending the right knee will one strike; but you will take care that in such striking you must carry the left foot back, accompanied by the right; and furthermore, the enemy having his dagger arm advanced forward, you, wanting to strike it in the hand, will follow the same directions as above.</p>
 
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| <p>[14] '''Of Some Terms of Fencing, that Pertain to the Use.'''<br/><br/></p>
+
| <p>[14] '''Explanation of Some Terms of Fencing, which Pertain to the Use.'''</p>
  
<p>Because it is necessary to the scholars to understand the terms that the Masters of fence use in teaching, we have the proposal of explaining them in the following briefest words.</p>
+
<p>Because it is necessary to the scholars to understand the terms that the Masters of fence use in teaching, we have proposed to explain them in the following briefest words.</p>
 
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| <p>[15] '''Of the Sword.'''</p>
 
| <p>[15] '''Of the Sword.'''</p>
  
<p>In the sword are to be considered the forte, the debole, the false edge, and the true edge; some like to make three equal divisions of the sword, namely the debole, and the forte, which are its extreme parts, and that of the middle, for as much as the one and the other partner is appropriate to parry and to strike; yet it is also found that four parts are made of it, only without some evident utility; the said terms are easy, and intelligible in and of themselves.</p>
+
<p>In the sword are to be considered the forte, the debole, the false edge, and the true edge; some like to make three equal divisions of the sword, namely the debole, and the forte, which are its extreme parts, and that of the middle; since one and the other participates and is well suited to parry and to strike; it is also found that four parts are made of it, yet without any evident utility. The said terms are easy, and intelligible in and of themselves.</p>
 
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| <p>[16] '''Of the Guards.'''</p>
 
| <p>[16] '''Of the Guards.'''</p>
  
<p>“Guard” we call a certain orientation of the hilt of the sword, which each time that it comes to be posted over the shoulder, forms the first; when it descends to be even with the shoulder, makes the second; when it is further lowered to outside the knee, on the right side, it forms the third; the fourth is made when the hilt is inside the thigh; and these four guards are called principal, and up to this point all agree; as for the pace, the arm, the body, the legs, and the line of the sword, they are of diverse opinions; because some praise the narrow pace, and some the wide, some the mediocre; some extend the arm, others restrain it more or less; some incline the body, some keep it erect; others form the guard putting forward the right leg, or now the left; some hold the sword in a straight line, some high, and some low, and now on one, now on the other side, now forward, now back, in as many lines as are found in the world; others according to the diverse circumstances indifferently avail themselves of all the previously mentioned manners of guards, which according to their differences are named high, and low, narrow, and wide, and other names acquired according to the caprices of masters. “Counterguards”, are named the third and the fourth, that [third] for stringering on the outside, and this [fourth] for stringering on the inside, although all the guards are counterguards, which are chosen according to the diversity of the lines of the sword.</p>
+
<p>“Guard” we call a certain orientation of the hilt of the sword, which each time that it comes to be posted over the shoulder, forms prima; when it descends to be even with the shoulder, makes seconda; when it is further lowered to outside the knee, on the right side, it comes to form terza; quarta is made when the hilt is inside the thigh; it is agreed; and these four guards are called principal, and up to this point all are in accord;<ref>Capo Ferro appears to be defining “guard” here in the restricted sense of the rotational orientation of the sword, that is, the degree to which the wrist of the sword hand is turned.<br/>These definitions are almost certainly taken directly from [[Camillo Agrippa]]’s ''[[Trattato di Scientia d'Arme, con vn Dialogo di Filosofia (Camillo Agrippa)|Trattato di Scientia d’Arme]]'', Part I, Ch. I, pp. [[Page:Trattato di Scientia d'Arme, con vn Dialogo di Filosofia (Camillo Agrippa) 1553.pdf/14|1 verso]] to [[Page:Trattato di Scientia d'Arme, con vn Dialogo di Filosofia (Camillo Agrippa) 1553.pdf/15|2 recto]]. Clearly the positions of the hand with respect to the body (e.g. "even with the shoulder") are not to be taken literally, at least not in all cases, in Capo Ferro's system. Note moreover that the plates often show, and biomechanics dictate, that his terza at times partakes of second in third, and similarly his quarta at times partakes of third in fourth; there is a certain amount of play in the hand positions actually employed.</ref> as for the pace, the arm, the body, the legs, and the line of the sword, they are of diverse opinions; because some praise the narrow pace, and some the wide, some the mediocre; some extend the arm, others restrain it more or less; some bend the body, some keep it erect; others form the guard putting forward the right leg, or now the left; there are those who hold the sword in a straight line, some high, and some low, and now on one, now on the other side, now forward, now back, in as many lines as are found in the world; others according to the diverse circumstances indifferently avail themselves of all the previously mentioned manners of guards, which according to their differences are named high, and low, narrow, and wide, and other names acquired according to the caprices of masters. Terza and quarta are called “counterguards”, that<ref>I.e. terza.</ref> for stringering on the outside, and this<ref>I.e. quarta.</ref> for stringering on
 +
the inside, although all the guards are counterguards, which are chosen according to the diversity of the lines of the sword.</p>
 
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| <p>[17] '''Of Tempo.'''</p>
 
| <p>[17] '''Of Tempo.'''</p>
  
<p>Four sorts of tempos are heard named in the schools: the primo, the dui tempi, the mezzo, and the contra tempo; the primo tempo is that when, finding myself at measure, either narrow or wide, I can strike the adversary with just one movement of my sword; from which one equally recognizes that striking of dui tempi requires at least two movements of the sword; mezzo tempo is when at wide measure I strike the adversary in his advanced and uncovered arm, either that of the dagger or of the sword, with a thrust or cut, or alternately when I strike the adversary at narrow measure, as he moves himself to strike or perform some other action; redoubling of blows is usually done in mezzo tempo; contra tempo is when at the very same time that the adversary wants to strike me, I encounter him in shorter tempo and measure; and one needs to know that all the movements and all the reposes of the adversary are tempos nonetheless at measure.</p>
+
<p>Four sorts of tempos are heard named in the schools: the primo, the dui tempi, the mezzo, and the contra tempo; the primo tempo is that when, finding myself at measure, either narrow or wide, I can strike the adversary with just one movement of my sword; from which one equally recognizes that striking of dui tempi requires at least two movements of the sword. Mezzo tempo is when at wide measure I strike the adversary in his advanced and uncovered arm, either that of the dagger or of the sword, with a thrust or cut, or alternately when I strike the adversary at narrow measure, as he moves himself to strike me or perform some other action; redoubling of blows is usually done in mezzo tempo. Contra tempo is when at the very same time that the adversary wants to strike me, I encounter him in shorter tempo and measure; and one needs to know that all the movements and all the reposes of the adversary are tempos, although at measure.<ref>Only when in measure are all the movements and reposes to be regarded as tempos, since the entirety of coming to measure is a single tempo, regardless of length.</ref></p>
 
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| <p>[18] '''Of Measure.'''</p>
 
| <p>[18] '''Of Measure.'''</p>
  
<p>The measure is wide or narrow; wide, when the adversary can be struck only by the extraordinary pace; the narrow is when I can strike the adversary in just pace with fixed foot.</p>
+
<p>The measure is wide or narrow; wide, when the adversary can be struck only through the extraordinary pace; the narrow is when I can strike the adversary in just pace with fixed foot.</p>
 
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| <p>[19] '''In How Many Tempos One Knows to Strike.'''</p>
 
| <p>[19] '''In How Many Tempos One Knows to Strike.'''</p>
  
<p>The first is when the enemy is fixed in guard, and he lifts or moves his foot that he has forward, that is one tempo in which to accost him; another is when you have parried a blow, then there is a tempo; the third, as he moves himself without judgment from one guard to go into another, before he has fixed himself in it, it is a tempo to offend him; and moreover it is tempo when he raises his sword, as he raises his hand, that is a tempo to strike him; and the last is that, when a blow will have traveled past your body, that is a tempo to follow it with a response.</p>
+
<p>The first is when the enemy is fixed in guard, and he lifts or moves his foot that he has forward, that is one tempo in which to accost him; another is when you have parried a blow, then there is a tempo; the third, as he moves himself without judgment from one guard in order to go into another, before he has fixed himself in it, it is a tempo to offend him; and moreover it is tempo when he raises his sword, as he raises his hand, that is a tempo to strike him; and the last is that, when a blow will have traveled past your body, that is a tempo to follow it with a response.<ref>These five tempos in which to strike are almost identical to those listed by [[Giovanni dall'Agocchie]], pg. [[Page:Dell'Arte di Scrima Libri Tre (Giovanni dall'Agocchie) 1572.pdf/59|29 recto]].</ref></p>
 
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| <p>[20] '''Of the Pace and of Walking.'''</p>
 
| <p>[20] '''Of the Pace and of Walking.'''</p>
  
<p>The pace is called ordinary, extraordinary, just, half pace, narrow, and wide; it increases or diminishes itself according to the diversity of the paces; one steps now forward and now back, now to the side, now on the diagonal with one leg or with both; there are those as well who, retiring the forward leg in order to void a blow, hold it suspended in the air in order to respond with greater speed.</p>
+
<p>The pace is called ordinary, extraordinary, just, half pace, narrow, and wide; it increases or diminishes itself in accordance with the diversity of these paces; one steps now forward and now back, now to the side, now on the diagonal with one leg or with both; there are those as well who, retiring the forward leg in order to void a blow, hold it suspended in the air in order to respond with greater speed.</p>
 
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| <p>[22] '''Of the Feints and of Covering the Sword.'''</p>
 
| <p>[22] '''Of the Feints and of Covering the Sword.'''</p>
  
<p>“Feints” we call those deceitful gestures of the sword that are made as much of the cut as the thrust, outside and inside of the sword, up and down, forward and back, and in rotation as well as in a straight or oblique line, of the one and of the other weapon, and these feints strike directly at the opposite of that at which they gesture; the counterfeints are done as the counter to the feints. “Covering the sword” is a kind of feint, and it is done by covering the point of the adversary’s sword with the debole of your sword, when one happens to be in low fourth, and needs to be done in a straight line.</p>
+
<p>“Feints” we call those deceitful gestures of the sword that are made as much of the cut as the thrust, outside and inside of the sword, up and down, forward and back, and circularly as well as in a straight or oblique line, with the one and the other weapon, and these feints strike directly at the opposite of that at which they gesture; the counterfeints are done as the counter to the feints. “Covering the sword” is a kind of feint, and it is done by covering the point of the adversary’s sword with the debole of your sword, when one happens to be in low quarta, and needs to be done in a straight line.</p>
 
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| <p>[23] '''Of Changing Guard, in Guard.'''</p>
+
| <p>[23] '''Of Changing from Guard to Guard.'''</p>
  
<p>Changing guard in guard can be done in three ways: directly, in reverse, or in exchange; for the direct, when from first I change myself into second, and from second into third, or from third into fourth; in reverse, when I go from fourth into third, from third into second, and from second into first; in exchange, when I change myself from first into fourth, or from fourth into first, and from first into third, or from third into first, or from second into fourth, or from fourth into second. Taking care nonetheless that changing yourself from one guard to another, being at measure, you will go back with the left leg, followed by the right; thus will one be safe from the adversary.</p>
+
<p>Changing from guard to guard can be done in three ways: directly, in reverse, or in exchange; for the direct, when from prima I change myself into seconda, and from seconda into terza, or from terza into quarta; in reverse, when I go from quarta into terza, from terza into seconda, and from seconda into prima; in exchange, when I change myself from prima into quarta, or from quarta into prima, and from prima into terza, or from terza into prima, or from seconda into quarta, or from quarta into seconda. Taking care nonetheless that changing yourself from one guard to another, being at measure, you will go back with the left leg, accompanied by the right; thus will you be safe from the adversary.</p>
 
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| <p>[24] '''Against Those Who Circle.'''</p>
 
| <p>[24] '''Against Those Who Circle.'''</p>
  
<p>Because your adversary could easily succeed in gaining the sword against you from the inside by circling, in such case you will immediately disengage your sword through to the outside, carrying your left leg followed by your right diagonally, toward the right side of your adversary, putting the point of your sword in a straight line which is pointed at the enemy’s right shoulder, and he coming from outside in order to gain it anew, in that coming you will disengage under his blade, and will strike him with a thrust in fourth, advancing your right leg with an extraordinary pace.</p>
+
<p>Because your adversary could easily succeed in gaining the sword against you from the inside by circling, in such case you will immediately disengage your sword through to the outside, carrying your left leg diagonally accompanied by your right, toward the right side of your adversary, putting the point of your sword in a straight line which is pointed at the enemy’s right shoulder, and he coming from outside in order to gain it anew, in that coming you will disengage under his blade, and will strike him with a thrust in quarta, advancing your right leg forward into extraordinary pace.</p>
 
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| <p>[25] '''Against the Guard of the Left Foot.'''</p>
 
| <p>[25] '''Against the Guard of the Left Foot.'''</p>
  
<p>Finding the adversary in low third with his left leg forward, you will put yourself against him similarly in third, but with your right leg forward, and with the point of your sword crossing toward his left side, and this in order to achieve two effects: the first of which is that he will be unable to dominate your sword, which he will go seeking with his dagger; the other is that thereby uncovering more of your body, you invite him to pass, and as he passes you will parry with your sword, and with the same third, with the point high, and passing, you will give him a stab in the chest. Moreover, if you wish to be the first to strike against the said guard of the left foot, you will put yourself to him in the encounter similarly in third with the sword in a straight line, making your point aim at your enemy’s dagger hand, in order to enable you at your ease to give him a stoccata in mezzo tempo in the said hand; alternately you can make a feint over his dagger, and he wanting to parry, you will disengage your sword under his dagger, passing forward with your left foot, and finding your enemy’s sword with your dagger in the same tempo, you will strike him a thrust under the arm; furthermore one can feint under the dagger, and he wanting again to parry, you will disengage and will strike him in second over his dagger, passing and parrying as above; taking note that one can also feint and strike without passing, but by only waiting for the adversary, in response to you having feinted, to pass to strike, and then you, only with slipping your body back during his passing, and parrying the enemy’s sword with your dagger, will strike him above or below his dagger, according to the opportunity that will come to you. Moreover, you must be careful that, having to deal with a left handed person, and he standing with his right foot forward, you will have to put yourself to him at the encounter with your left foot forward with your sword low and refused, and with your body leaning toward your right side, and you will carry your weapons on the same side, so that doing such, you will change your adversary’s mind, he being unable to throw any blow which will not give itself to be defended.</p>
+
<p>Finding the adversary in low terza with his left leg forward, you will put yourself against him similarly in terza, but with your right leg forward, and with the point of your sword crossing toward your left side, and this in order to achieve two effects: the first of which is that he will be unable to dominate your sword, which he will go seeking with his dagger; the other is that thereby uncovering more of your body, you invite him to pass, and as he passes you will parry with your sword, and with the same terza, with the point high, and passing, you will give him a stab in the chest. Moreover, if you wish to be the first to strike against the said guard of the left foot, you will put yourself to him in the encounter similarly in terza with the sword in a straight line, making your point aim at your enemy’s dagger hand, in order to enable you at your ease to give him a stoccata in mezzo tempo in the said hand; alternately you can make a feint over his dagger, and he wanting to parry, you will disengage your sword under his dagger, passing forward with your left foot, and finding your enemy’s sword with your dagger in the same tempo, you will strike him with a thrust under the arm; furthermore one can feint under the dagger, and he wanting again to parry, you will disengage and will strike him in seconda over his dagger, passing and parrying as above; taking note that one can also feint and strike without passing, but by only waiting for the adversary, in response to you having feinted, to pass to strike, and then you, only with ceding your body back during his passing, and parrying the enemy’s sword with your dagger, will strike him above or below his dagger, according to the opportunity that will come to you. Moreover, you must be careful that, having to deal with a left handed person, and he standing with his right foot forward, you will have to put yourself to him at the encounter with your left foot forward with your sword low and refused withdrawn, weapons on the same side, so that doing such, you will put it into your adversary’s mind that he will be unable to throw any blow which will not give itself to be defended.</p>
 
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| <p>[26] '''Of Stringering the Sword.'''</p>
 
| <p>[26] '''Of Stringering the Sword.'''</p>
  
<p>The sword is stringered for the purpose of coming to measure, or to uncover the adversary from outside and from inside, high and low, but always in a straight line, while one is fixed or the adversary moves himself, and most often it is done in dui tempi; in the first the debole of the enemy’s sword is acquired with a palmo of the debole of yours; in the second tempo the beginning of the adversary’s forte is acquired; as much as he disengages, you counterdisengage or not, but you will take care to do so in a straight line, and that your forte always follows your debole, together with the motion of your leg.</p>
+
<p>The sword is stringered for the purpose of coming to measure, or to uncover the adversary from outside and from inside, high and low, but always in a straight line, while the adversary is fixed or moves himself, and most often it is done in dui tempi; in the first the debole of the enemy’s sword is acquired with a palmo of the debole of yours; in the second tempo the beginning of the adversary’s forte is acquired; as much as he disengages, you counterdisengage or not, but you will take care to do so in a straight line, and that your forte always accompanies your debole, together with the motion of your leg.</p>
 
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|  
| <p>[27] '''Most Useful Admonition in Regards to Dominating the Sword.'''</p>
+
| <p>[27] '''Most Useful Admonition Regarding Dominating the Sword.'''</p>
  
<p>One dominates the sword in two manners: in the first, when having acquired the adversary’s sword, I never quit the domination while striking. In the second, having beaten the sword in whatever manner, so that he exits outside of my line, in that tempo in which it travels by force, it is understood to be in my domination, in which I have to strike before he redeems himself. The domination of the single sword is either of stillness or of motion, the one of the thrust, and the other of the cut. One dominates with the forte during parrying, or one beats with the debole in order to seek the tempo and the measure. In single sword, having dominated the enemy’s sword with the forte, you must never respond with a cut, but indeed with a thrust; the one and the other you will be able to do having dominated the enemy’s sword with your sword and dagger together, the dagger remaining in the guard of domination; nonetheless I exhort you to always strike with a thrust because it is more mortal, and thereby the sword does not depart from the line, the opposite of which is done by the cut.</p>
+
<p>One dominates the sword in two manners: in the first, when having acquired the adversary’s sword, I never quit the domination while striking. In the second, having beaten the sword in whatever manner, so that he exits outside of my presence, in that tempo in which it travels by force, it is understood to be in my domination, in which I have to strike before he redeems himself. The domination of the unaccompanied sword is either of stillness or of motion, the one of the thrust, and the other of the cut. One dominates with the forte during parrying, or one beats with the debole in order to seek the tempo and the measure. With the unaccompanied sword, having dominated the enemy’s sword with the forte, you must never respond with a cut, but indeed with a thrust; the one and the other you will be able to do, having dominated the enemy’s sword with your sword and dagger together, the dagger remaining in the guard of domination; nonetheless I exhort you to always strike with a thrust because it is more mortal, and thereby the sword is not removed from the presence, the opposite of which is done by the cut.</p>
 
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| <p>[28] '''Of the Disengage and Counterdisengage.'''</p>
 
| <p>[28] '''Of the Disengage and Counterdisengage.'''</p>
  
<p>The disengage, as well as the counterdisengage, is done in order to slip the measure in tempo, or in order to acquire it, and they are done either forward or back, according to the said goals; the necessary way of counterdisengaging is to follow the adversary’s sword, replacing your sword back into its previous site, and this one can do on one or the other side. One must know as well that in disengaging the sword one can disengage over as well as under the enemy’s sword in order to gain it, but the difference between the one and the other in disengaging is this, that disengaging under in order to stringer is done with the arm extended, and with a small increase of the foot; and the disengage over is done with a slip of the body with the arm and the sword in an oblique line to the rear, so that your sword have cleared the point of the enemy’s sword and then replacing immediately the forte of your sword so as to be over his, and this method of disengaging must be done in order to strike as well as in order to stringer.</p>
+
<p>The disengage, as well as the counterdisengage, is done in order to exit the measure in tempo, or in order to acquire it, and they are done either forward or back, according to the said goals; the necessary way of counterdisengaging is to follow the adversary’s sword, replacing your sword back into its previous site, and this one can do on one or the other side. One must know as well that in disengaging the sword one can disengage over as well as under the enemy’s sword in order to gain it, but the difference between the one and the other in disengaging is this, that disengaging under in order to stringer is done with the arm extended, and with a small increase of the foot; and the disengage over is done with a ceding of the body with the arm, and with the sword in an oblique line to the rear, so that your sword will have cleared the point of the enemy’s sword and then replacing immediately the forte of your sword so as to be over his, and this method of disengaging must be done in order to strike as well as in order to stringer.</p>
 
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| <p>[29] '''Of Striking.'''</p>
 
| <p>[29] '''Of Striking.'''</p>
  
<p>Striking is of two sorts: of the cut and of the thrust, but each of these comes along with more types, according to their blows, because the mandritto will be either ordinary, or fendente, or tondo, or montante, or stramazzone, or ridoppio; and from the opposite side, they will be as above; and the thrusts convert themselves into four types. The mandritto is that which begins from the right side; and that is named ordinary which crosses through an oblique line, namely from the left shoulder to the right knee of the enemy. But the fendente is named that which goes to strike in a straight line from up to down; the tondo is named that which turns crosswise. And the montante is that which departs with the true edge of the sword from beneath and goes to strike to the point of the adversary’s right shoulder. Stramazzone is that which goes in the manner of a wheel using the wrist; ridoppio we call when with a mezzo mandritto which knocked down the enemy’s sword, you will go returning to him another ordinary mandritto. The falso, then, is designated in two manners, namely dritto and manco; you can avail yourself of the falso dritto in order to hit outside the enemy’s sword, that is, toward his right side; and with the falso manco you will hit toward his left side; however it seems to me, if it occurs to you to parry with a falso dritto, I say that it will be far better to turn well your wrist and parry with the true edge for more sureness, and the true edge will turn more quickly; but when you will hit the blow with the falso manco, you will be able to strike them with a thrust as well as a cut, taking care that when you parry with the falso, you parry from the middle of your sword up to the point, and when you parry with the true edge, you must parry with the forte, from the middle of your sword down to the hilt; remember that the mandritti and riversi are done with the motion of the elbow, and in such cases when the measure and tempo support it, with the upper part of the arm.</p>
+
<p>Striking is of two sorts: of the cut and of the thrust, but each of these are of more types, according to their blows, because the mandritto will be either ordinary, or fendente, or tondo, or montante, or stramazzone, or ridoppio; and from the reversed side, they will be as above; and the thrusts are converted into four types. The mandritto is that which begins from the right side; and that is named ordinary which crosses through an oblique line, namely from the left shoulder to the right knee of the enemy. But the fendente is named that which goes to strike in a straight line from up to down; the tondo is called that which turns crosswise. And the montante is that which departs with the true edge of the sword from beneath and goes to strike to the point of the adversary’s right shoulder. Stramazzone is that which is done in the manner of a wheel using the wrist; ridoppio they call it when with a mezzo mandritto which knocked down the enemy’s sword, you will go returning to him another ordinary mandritto. The falso, then, is designated in two manners, namely dritto and manco; you can avail yourself of the falso dritto in order to hit the enemy’s sword to the outside, that is, toward his right side; and with the falso manco you will hit toward his left side; however it seems to me, if it occurs to you to parry with a falso dritto, I say that it will be far better to turn well your wrist and parry with the true edge for more safety, and the true edge will turn more quickly; but when you will hit the blow with the falso manco, you will be able to strike them with a thrust as well as a cut, taking care that when you parry with the falso, you parry from the middle of your sword up to the point, and when you parry with the true edge, you must parry with the forte, from the middle of your sword down to the hilt; remember that the mandritti and riversi are done with the motion of the elbow, and in such cases when the measure and tempo support it, with the upper part of the arm.</p>
 
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| <p>[30] '''Of the Cut.'''</p>
 
| <p>[30] '''Of the Cut.'''</p>
  
<p>The cuts need to be done as if slicing, because in this manner one comes to strike with all of the debole, because little by little one will come to cut with the sharpest part of the edge, and for this reason the cuts that descend are more vigorous than those that stop above the waist, to such extent that the said upper and lower parts are found to be more or less at apt measure to give slicing offenses.</p>
+
<p>The cuts need to be done as if slicing, because in this manner one comes to strike with all of the debole, indeed also because little by little one comes to cut with the sharpest part of the edge, and for this reason the cuts that descend are more vigorous than those that stop above the waist, to such extent that the said upper and lower parts are found to be more or less at apt measure to be offended by slicing.</p>
 
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| <p>[31] '''Of the Thrust.'''</p>
 
| <p>[31] '''Of the Thrust.'''</p>
  
<p>In the thrust are noted the stoccata, the imbroccata, and the punta riversa; the imbroccata is sent from the first guard, and goes to strike from the adversary’s left shoulder down to his right knee, with the false edge down, so that one does not turn the hand until the point of the attack arrives, and needs to fall. The stoccata needs to be sent from third guard, and looks to strike the adversary toward his right shoulder; the punta riversa is sent from fourth, and goes to strike from outside the enemy’s shoulder, reversing well your hand to the inside, somewhat joining the point in falsehood, that it comes from low, upwards, toward the adversary’s breast, you finding your sword in low guard.</p>
+
<p>In the thrust are noted the stoccata, the imbroccata, and the punta riversa; the imbroccata is sent from the guard of prima, and goes to strike from the adversary’s left shoulder down to his right knee, with the false edge down, so that one does not turn the hand until the point of the attack arrives, and needs to fall. The stoccata needs to be sent from the guard of terza, and goes to strike the adversary toward his right shoulder; the punta riversa is sent from quarta, and goes to strike from outside the enemy’s shoulder, reversing well your hand to the inside, somewhat joining the point in falsehood, in that it comes from low, upwards, toward the adversary’s breast, you finding your sword in low guard.</p>
 
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| [[File:Capo Ferro 01.png|400x400px|center]]
 
| [[File:Capo Ferro 01.png|400x400px|center]]
| <p>[32] '''Way of Laying the Hand on the Sword.'''</p>
+
| <p>[32] '''Method of Laying Hand on the Sword.'''</p>
  
<p>Because in all the lands there are not the same customs, and often times enmities are expressed with little sincerity, in order to be provided against all occasions, it will not, perhaps, be out of place to teach the way of laying the hand on the sword, before we come to deal with its handling. If by chance you will have your right leg forward when laying your hand on the sword, as is shown in this figure, you will draw back the said leg, extending your right arm at the same time into high first; and if perchance you find yourself with the left leg forward, as the other figure shows, it will not happen if you do not draw your sword in the aforesaid manner, without changing of your pace; and if you would like to avail yourself of the sword and cape, or sword and dagger, as well as the single sword, the true way is, that first you will take a step with your right foot forward in order to present yourself in fourth, or alternately being near the adversary you will draw your left foot back presenting yourself as above, and then at your ease you will be able to wind your cape, or extend your hand to your dagger with more safety, being that the point of your sword will make it such that your adversary remains distant wile you accommodate yourself to your weapons; and this is as much as it occurs to me to say about this particular topic.</p>
+
<p>Because customs are not the same in all lands, and often times enmities are expressed with little sincerity, in order to be provided against all occasions, it will not, perhaps, be out of place to teach the way of laying the hand on the sword, before we come to deal with its handling. Therefore, if by chance you have your right leg forward when laying your hand on the sword, as one of these figures shows, you will draw back the said leg, extending your right arm at the same time into high prima; and if perchance you find yourself with the left leg forward, as the other figure shows, it will not happen if you do not draw your sword in the aforesaid manner, without changing your pace; and if you should wish to avail yourself of the sword and cape, or sword and dagger, as well as the single sword, the true way is, that first you will take a step forward with your right foot in order to present yourself in quarta, or alternately, the adversary being near you, you will draw your left foot back, presenting yourself as above, and then at your ease you will be able to wind your cape or extend your hand to your dagger with more safety, being that the point of your sword will make it such that your adversary remains distant while you accommodate yourself to your weapons; and this is as much as it occurs to me to say about this particular topic.</p>
 
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Revision as of 22:48, 20 July 2020

Ridolfo Capo Ferro da Cagli
Born 16th century
Died 17th century
Occupation Fencing master
Patron Federico Ubaldo della Roevere
Influences Camillo Aggrippa
Influenced Sebastian Heußler
Genres Fencing manual
Language Italian
Notable work(s) Gran Simulacro dell'Arte e dell'Uso della Scherma (1610)
Concordance by Michael Chidester

Ridolfo Capo Ferro da Cagli (Ridolfo Capoferro, Rodulphus Capoferrus) was a 17th century Italian fencing master. He seems to have been born in the town of Cagli in Urbino and was a resident of Siena, Tuscany. Little is known about the life of this master, though the dedication to Federico Ubaldo della Roevere, the young son of Duke Francesco Maria Feltrio della Roevere, may indicate that he was associated with the court at Urbino in some capacity. The statement at the beginning of Capo Ferro's treatise describing him as a "master of the great German nation"[1] likely signifies that he was faculty at the University of Siena, either holding a position analogous to dean of all German students, or perhaps merely the fencing master who taught the German students.

Capo Ferro authored a fencing manual on the rapier entitled Gran Simulacro dell'Arte e dell'Uso della Scherma ("Great Representation of the Art and Use of Fencing"); it was published in Siena in 1610, but refers to Federico by the ducal title. Though this treatise is highly praised by modern fencing historians, it is neither comprehensive nor particularly innovative and does not seem to have been particularly influential in its own time.

Treatise

Additional Resources

  • Capo Ferro, Ridolfo. Italian Rapier Combat: Ridolfo Capo Ferro's 'Gran Simulacro'. Ed. Jared Kirby. London: Greenhill Books, 2004. ISBN 978-1853675805
  • Capo Ferro, Ridolfo. Rapier: The Art and Use of Fencing by Ridolfo Capo Ferro. Trans. Nick S. Thomas. SwordWorks, 2007. ISBN 978-1906512279
  • Leoni, Tom. Ridolfo Capoferro's The Art and Practice of Fencing: A Practical Translation for the Modern Swordsman. Wheaton, IL: Freelance Academy Press, 2011. ISBN 978-0-9825911-9-2
  • Garcia-Salmones, Eugenio. Ridolfo Capoferro, "Gran simulacro del arte y del uso de la esgrima", Traduccion al castellano. Editorial Sacauntos, 2009. ISBN 978-84-937207-0-4

References

  1. Capo Ferro da Cagli, Ridolfo. Gran Simulacro dell'Arte e dell'Uso della Scherma. Siena, 1610. p 1.
  2. Capo Ferro dedicated his text to Federigo della Rovere (properly Federico Ubaldo della Rovere), the son of Francesco Maria Feltrio della Rovere (i.e. Francesco Maria II), sixth Duke of Urbino. Don Federico was born May 16, 1605, and was thus not yet five years old when Capo Ferro signed his dedication on April 8, 1610. Don Federico does not appear to have lived up to the hopes of the author, nor of Duke Francesco Maria—he is said to have slid into debauchery, and withdrew from Urbino to Pesaro. Shortly after having himself proclaimed Duke, he was found dead in bed on June 28, 1623, barely 18 years of age. It has never been resolved whether his demise was a result of drunkenness or treachery. At any rate, contemporary accounts indicate that when the Bishop of Pesaro related the news to Federico’s father, Duke Francesco Maria expressed neither surprise nor regret.
  3. Hercules, from the Greek “Alkeides”, descendent of Alceo.
  4. There is a play on words occurring in this passage. In Italian, “fencing” is ”scherma”, and “to fence” is “schermire” while “protection” is ”schermo”. “Defense”, however, while etymologically related in English, is not in Italian (the word is “difesa”).
  5. I.e. reason, nature, art, and practice are causes, whose effect is the discipline of fencing. It is the causes that make the physical manifestation of fencing what it is.
  6. John Florio in A Worlde of Wordes (1598) states that lanterns were once made from gourds—thus a gourd is metaphorically a lantern that cannot illuminate. The expression translated as “switching rapidly from one subject to another” is idiomatic in the original text, and a literal translation would have been unclear.
  7. This seems somewhat peculiar, but “terza” is stated here again; perhaps “quarta” was intended.
  8. The braccio is literally the arm, but is also a unit of measure, the length of the arm.
  9. “…the first narrow one” i.e. “la prima stretta”. This passage is problematic—“wide measure” may thus be taken as “the first narrow measure”, vis-à-vis the second narrow measure, the “fixed foot narrow measure” that is defined immediately following—see also line #112 which indicates two narrow measures, one of the fixed foot, and one of the increased pace, and also various references to the need to come to narrow measure before entering the tempo of striking. However, this conflicts with the definition of measure given in the “Definition of some terms”, #4, which identifies narrow measure as that of the fixed foot. Capo Ferro may use “misura stretta” in two senses, both the general sense of “in measure” and the more specific sense of “fixed foot measure”. Alternately, “la prima stretta” may be taken as “the first closure” in the sense of a grasping. Regardless, this conveys that wide measure is the first distance achieved which is “in measure”.
  10. This appears to describe an arrest with reassemblement.
  11. “…half a tempo” i.e. “mezzo tempo”.
  12. This is the only place wherein definitions are given of the straight line and the oblique line, critical technical terms employed frequently throughout the text.
  13. “Of the body” (“della vita”) refers here to the trunk.
  14. The “skew” of the body is its profile.
  15. I.e. the weight of the body and right leg are carried on the left leg while in guard.
  16. In the lunge, the weight is on the right leg.
  17. I.e. to pretend, to perform a pretense or feint
  18. A unit of measure variously from a palm’s width up to 10 inches.
  19. The phrase “straddling it without touching” is, in the original, “cavalcandola senza toccare”. To select a single English equivalent may obscure Capo Ferro’s meaning. The verb “cavalcare” means to ride (a horse), to straddle, or to span (e.g. as a bridge spans a stream). This phrase may thus be understood to imply that, in stringering, my sword extends past the point of "intersection" with my enemy’s (i.e. spans, or straddles it) while staying close to and exerting (or more properly, enabling) control over it (i.e. riding it), but without touching (toccare) it until the moment of attack.
  20. The distinction between the art and the use is explained here. The art is, in a sense, the ideal of fencing, derived solely from its guiding precepts, and was discussed up until this point. The use, however, which follows, includes a variety of effects (body evasions, passatas, feints, the use of the dagger, and so on) that may deviate from the pure art of the straight line. Thus apparent contradictions between advice given by Capo Ferro up to this point regarding tactics to be eschewed, and the same tactics that he subsequently demonstrates, are better understood as being not contradictory per se, but rather to pertain to the use but not the art.
  21. These recommendations appear to be taken from Antonio Manciolino’s Opera Nova, p. 3 recto.
  22. The term "completed blow" ("colpo finito" in the original") refers to a full cut, as opposed to a half cut, e.g. a full mandritto as opposed to a mezzo mandritto.
    The term "colpo finito" is clearly used in this fashion by dall'Agocchie in his Opera Necessaria, pg. 28 recto: "You know that the mandritto sgualimbro begins at the left shoulder, and finishes at the right knee of the enemy, and for this was named ‘colpo finito’. The mezzo mandritto is of the same nature; nonetheless through not being a ‘colpo finito’, and also through being of less tempo, it comes to be called 'mezzo mandritto'." The term is used by Manciolino as well, on pg. 4 verso: "If one finds himself close to the enemy, he must never throw a ‘colpo finito’, because the sword must not distance itself from the presence for the safety of him who holds it, and this throwing of an imperfect blow is called ‘mezzo tempo’”. The term is thus equivalent to Angelo Viggiani’s “colpo intiero” (“full blow”), as he describes it in similar terms to Manciolino’s (i.e. a perfect blow of a full tempo, vis-à-vis the imperfect half blow that requires a half tempo; see Viggiani's Lo Schermo, pg. 64 recto: “Thus a full tempo is a full perfect blow, because that would be a perfect motion and tempo; and a mezo tempo would then be (as you said) a mezo rovescio, a mezo mandritto.”
    A completed blow is thrown so as to cut the full length of the opponent's body, while a half blow is thrown so as to stop short of this. The completed blow therefore takes longer (a full tempo), and leaves one more open, both at the beginning (because of the windup to generate power) and at the end (because the sword finishes in a location that is outside a good guard). These reasons are probably why Capo Ferro advises against disengaging to throw a completed blow when the enemy has gained your sword—to willing give up both tempo and defensive positioning when one has already lost the sword is foolhardy in the extreme.
  23. Capo Ferro appears to be defining “guard” here in the restricted sense of the rotational orientation of the sword, that is, the degree to which the wrist of the sword hand is turned.
    These definitions are almost certainly taken directly from Camillo Agrippa’s Trattato di Scientia d’Arme, Part I, Ch. I, pp. 1 verso to 2 recto. Clearly the positions of the hand with respect to the body (e.g. "even with the shoulder") are not to be taken literally, at least not in all cases, in Capo Ferro's system. Note moreover that the plates often show, and biomechanics dictate, that his terza at times partakes of second in third, and similarly his quarta at times partakes of third in fourth; there is a certain amount of play in the hand positions actually employed.
  24. I.e. terza.
  25. I.e. quarta.
  26. Only when in measure are all the movements and reposes to be regarded as tempos, since the entirety of coming to measure is a single tempo, regardless of length.
  27. These five tempos in which to strike are almost identical to those listed by Giovanni dall'Agocchie, pg. 29 recto.
  28. Piede.
  29. Page is numbered 50 rather than 54, but seems to appear in the correct place in the book.
  30. This play appears after the subsequent one, but appears to be introducing it, so the two have been swapped.
  31. Unfastening.
  32. The true edge.