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| <p>[34] <br/><br/></p>
 
| <p>[34] <br/><br/></p>
  
<p>Although this guard resembles the last, nevertheless it has considerable differences, for in this guard the sword is held in such a manner, that the hand does not form an angle on the outside, but the wrist is inclined inwards, and bends the sword so that it appears foreshortened. Whereas the other ''quartes'' are stronger on the outside, this ''quarte'' has more power on the inside owing to this foreshortening of the sword, and also to the position of the body with the left side so far forward, as is seen. We have included this guard in order to show how you may advance on the inside to subject the adversary's sword, which is in ''seconde'' at an angle. You must know that the greater the angle your sword forms, the greater is your force in that line. If the adversary tried to hit your exposed part, he might himself be hit through the angle of the guard in ''seconde'', if he did not hit with the advantage of the line for the straight line always reaches farther, or did not avoid with his body, or wait until his opponent came within distance in order to be able to hit and withdraw. But for passing at the fitting opportunity without being hit there is no sounder or better position than the one seen here. For, whatever the angle of the adversary's sword, this foreshortened sword will push his way and will be stronger than the ''seconde'', so that he will be forced to change his guard, or retreat; otherwise you will at the slightest move-<ref name="hyphen"/> proceed to hit and pass to the body.</p>
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<p>Although this guard resembles the last, nevertheless it has considerable differences, for in this guard the sword is held in such a manner, that the hand does not form an angle on the outside, but the wrist is inclined inwards, and bends the sword so that it appears foreshortened. Whereas the other ''quartes'' are stronger on the outside, this ''quarte'' has more power on the inside owing to this foreshortening of the sword, and also to the position of the body with the left side so far forward, as is seen. We have included this guard in order to show how you may advance on the inside to subject the adversary's sword, which is in ''seconde'' at an angle. You must know that the greater the angle your sword forms, the greater is your force in that line. If the adversary tried to hit your exposed part, he might himself be hit through the angle of the guard in ''seconde'', if he did not hit with the advantage of the line for the straight line always reaches further, or did not avoid with his body, or wait until his opponent came within distance in order to be able to hit and withdraw. But for passing at the fitting opportunity without being hit there is no sounder or better position than the one seen here. For, whatever the angle of the adversary's sword, this foreshortened sword will push his way and will be stronger than the ''seconde'', so that he will be forced to change his guard, or retreat; otherwise you will at the slightest move-<ref name="hyphen"/> proceed to hit and pass to the body.</p>
 
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| <p>[44] Now follows another hit in ''seconde'' between the weapons against a ''quarte''. Perhaps you were in ''seconde'' and your adversary in ''tierce'', his sword advanced and dagger close to the hilt of his sword, with his left side kept back in order to offer you an opening to hit, with the intention of parrying and hitting in the same ''time'', you have feigned to accept the opening and hit where he desired; thus he has been deceived by your trick, raised his dagger, and advanced his right side still farther in order to hit, and to defend at the same time below by changing his hand to ''quarte''. You have disengaged over the point of your adversary's dagger and hit between the weapons in the part exposed by his attempt to parry and hit. You have left your dagger in its original position, which has given you a defence, and excluded his sword in ''quarte'' on the outside. If your dagger had met his sword further forward, it could not have thrust it away, since the ''quarte'' is very strong in that part, with the result that both would have been hit. If you had tried to attack under the dagger, your adversary would easily have parried by merely making a somewhat larger angle with his sword hand, for his body was already sufficiently turned.</p>
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| <p>[44] Now follows another hit in ''seconde'' between the weapons against a ''quarte''. Perhaps you were in ''seconde'' and your adversary in ''tierce'', his sword advanced and dagger close to the hilt of his sword, with his left side kept back in order to offer you an opening to hit, with the intention of parrying and hitting in the same ''time'', you have feigned to accept the opening and hit where he desired; thus he has been deceived by your trick, raised his dagger, and advanced his right side still further in order to hit, and to defend at the same time below by changing his hand to ''quarte''. You have disengaged over the point of your adversary's dagger and hit between the weapons in the part exposed by his attempt to parry and hit. You have left your dagger in its original position, which has given you a defence, and excluded his sword in ''quarte'' on the outside. If your dagger had met his sword further forward, it could not have thrust it away, since the ''quarte'' is very strong in that part, with the result that both would have been hit. If you had tried to attack under the dagger, your adversary would easily have parried by merely making a somewhat larger angle with his sword hand, for his body was already sufficiently turned.</p>
 
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<p>All thrusts whether at the head or body, can be parried with the cloak; but thrusts between the hands must be parried with a change to ''seconde'', otherwise you would be in danger of being hit; for besides the yielding of the edge of the cloak on reaching the adversary's sword, there is the danger that your right shoulder in its advanced position may be reached by his point before the point is driven out of the line. Your arm too is in danger of obstructing your defence and of being hit, as you do not wish to withdraw the arm while parrying. Therefore by changing from ''tierce'' to ''seconde'' you make the defence easier, since not only does your arm give place to the cloak, but the front of the body is changed in such a way as to escape the danger, and you hit at the same moment. When his point comes outside your cloak or sword, there is not the same difficulty as when it comes between the two. Disengagements should be made above, for the hanging cloak obstructs their being made below. But on the side of the sword they can be made below, when making a hit outside the sword. But when the adversary's sword and cloak are separated, it would be well to pass the point of his sword if it is not inclined upwards at an angle, for then you could reach the body without bringing your ''faible'' near his ''forte''. If your sword is on the outside of his, you can disengage over the point, and hit in the middle, and sometimes over the cloak hand. Again, if your sword is over his cloak, disengage in the middle, and if his weapons are united and you cannot hit there, hit over the sword, or make a feint of a hit there, and, when he moves to parry with the sword, hit in ''tierce'' below, parry with the cloak and recover to the position over the cloak hand with a change to ''seconde''; in this manner you will hit in the same time and defend yourself with the cloak against a possible stroke below.</p>
 
<p>All thrusts whether at the head or body, can be parried with the cloak; but thrusts between the hands must be parried with a change to ''seconde'', otherwise you would be in danger of being hit; for besides the yielding of the edge of the cloak on reaching the adversary's sword, there is the danger that your right shoulder in its advanced position may be reached by his point before the point is driven out of the line. Your arm too is in danger of obstructing your defence and of being hit, as you do not wish to withdraw the arm while parrying. Therefore by changing from ''tierce'' to ''seconde'' you make the defence easier, since not only does your arm give place to the cloak, but the front of the body is changed in such a way as to escape the danger, and you hit at the same moment. When his point comes outside your cloak or sword, there is not the same difficulty as when it comes between the two. Disengagements should be made above, for the hanging cloak obstructs their being made below. But on the side of the sword they can be made below, when making a hit outside the sword. But when the adversary's sword and cloak are separated, it would be well to pass the point of his sword if it is not inclined upwards at an angle, for then you could reach the body without bringing your ''faible'' near his ''forte''. If your sword is on the outside of his, you can disengage over the point, and hit in the middle, and sometimes over the cloak hand. Again, if your sword is over his cloak, disengage in the middle, and if his weapons are united and you cannot hit there, hit over the sword, or make a feint of a hit there, and, when he moves to parry with the sword, hit in ''tierce'' below, parry with the cloak and recover to the position over the cloak hand with a change to ''seconde''; in this manner you will hit in the same time and defend yourself with the cloak against a possible stroke below.</p>
  
<p>These rules apply when on guard on the right foot. When on guard on the left foot you should proceed in a different manner. The position on the left foot is better with these weapons than with the sword and dagger, for the parts which are exposed and generally attacked with those weapons are in this case better protected, since the cloak hand can be held so high as to defend all the part exposed above the arm, while the hanging edge of the cloak defends below; thus both parts are covered at the same time, whereas with the dagger in covering one part you expose the other, besides the grave danger to the left knee, which is advanced and far from the defence. With the cloak the knee also is defended. Farther the sword in ''tierce'' cannot only be brought in conjunction with the cloak, but can rest on the cloak hand and be strengthened in such a way that it cannot be thrust aside. With this union of weapons you can make all the defences and attacks; if you have formed your guard well, your adversary will be able to hit only over the sword, where there is little exposed; your sword, strengthened by the conjunction of the left hand, will parry with ease and without farther change. This is impossible with the sword and dagger, since there are more exposed parts, and if you rest the sword on your dagger, you obstruct the dagger and destroy its function. On the other hand such a position strengthens the cloak and gives a better defence. With this guard you have merely to push on within distance of the adversary, where you can hit without separating your weapons. You should observe this union whether defending against cuts or thrusts.</p>
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<p>These rules apply when on guard on the right foot. When on guard on the left foot you should proceed in a different manner. The position on the left foot is better with these weapons than with the sword and dagger, for the parts which are exposed and generally attacked with those weapons are in this case better protected, since the cloak hand can be held so high as to defend all the part exposed above the arm, while the hanging edge of the cloak defends below; thus both parts are covered at the same time, whereas with the dagger in covering one part you expose the other, besides the grave danger to the left knee, which is advanced and far from the defence. With the cloak the knee also is defended. Farther the sword in ''tierce'' cannot only be brought in conjunction with the cloak, but can rest on the cloak hand and be strengthened in such a way that it cannot be thrust aside. With this union of weapons you can make all the defences and attacks; if you have formed your guard well, your adversary will be able to hit only over the sword, where there is little exposed; your sword, strengthened by the conjunction of the left hand, will parry with ease and without further change. This is impossible with the sword and dagger, since there are more exposed parts, and if you rest the sword on your dagger, you obstruct the dagger and destroy its function. On the other hand such a position strengthens the cloak and gives a better defence. With this guard you have merely to push on within distance of the adversary, where you can hit without separating your weapons. You should observe this union whether defending against cuts or thrusts.</p>
  
 
<p>So far we have treated of the defence and attack with the cloak with respect to the difference from the methods with the sword and dagger. Now we must mention that the cloak can be used by throwing it in various ways, such as by wrapping it round your adversary's head, and letting it go entirely, or holding it by the lower edge in order to bring it back to your arm, if the plan has failed. It may be  thrown over the adversary's sword, but it must reach the hilt of his sword in order to check and impede his hitting or doing anything else. You may throw it round your arm in order to deceive the adversary and then cast it in his face. You may rest the point of your sword behind it and then carry it to his face. In all these cases you should hit before the adversary frees himself. These are the tricks of the cloak which are not expected by the adversary, and the unexpected attack is more effective. Here we end the general discourse on this weapon.</p>
 
<p>So far we have treated of the defence and attack with the cloak with respect to the difference from the methods with the sword and dagger. Now we must mention that the cloak can be used by throwing it in various ways, such as by wrapping it round your adversary's head, and letting it go entirely, or holding it by the lower edge in order to bring it back to your arm, if the plan has failed. It may be  thrown over the adversary's sword, but it must reach the hilt of his sword in order to check and impede his hitting or doing anything else. You may throw it round your arm in order to deceive the adversary and then cast it in his face. You may rest the point of your sword behind it and then carry it to his face. In all these cases you should hit before the adversary frees himself. These are the tricks of the cloak which are not expected by the adversary, and the unexpected attack is more effective. Here we end the general discourse on this weapon.</p>
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| <p>[2] '''The first method of attacking the adversary without a pause with the sword & dagger.'''</p>
 
| <p>[2] '''The first method of attacking the adversary without a pause with the sword & dagger.'''</p>
  
<p>In this first method of attacking with resolution a guard of ''seconde'' is used, which has been already illustrated (pl. 56) with the sword and dagger. You begin with natural steps moving in a circle towards the left, as the principles of this guard require, so that you can withdraw or approach without changing the position of the body or the nature of the steps and can contrive to entice the adversary to advance. As we explained elsewhere in speaking of the nature of this guard and of the manner of holding oneself in forming it and working with it, the circular movement is intended to protect the part which is uncovered over the sword; by keeping your dagger outside the adversary's sword on arriving within distance and holding your sword close to your dagger, when your dagger has penetrated the point of the adversary's sword, you prevent his disengaging below. Since your sword has closed the path between the weapons and your dagger is held upright, he can disengage over the point of your dagger only by a very slow movement; nor can he make a feint and hit, which would cause disorder and a separation of your weapons, and perhaps lead to a hit. Your body is held low to prevent his being able to hit below. This guard is based on such a position that the adversary can hit only on the inside of the dagger over the sword, and consequently you must protect that part as you advance, taking care that in the meantime you do not uncover other parts so much that you cannot parry; having formed this guard you must make certain that the adversary's sword cannot hit or harass you except in this line over your sword. You must protect this line, so that when you have reached his sword your body is entirely out of line of his point. In no case with this guard must you separate your sword and dagger you must take care that your dagger on reaching his sword is close to its blade, so that you may run along the blade without beating it in order to avoid the danger which might arise, if the adversary raised his sword from that position and placed it in another, or withdrew it and hit after your dagger had fallen, or disordered your dagger by a feint and then hit in the time of your trying to defend; moreover the adversary’s sword is at once free after being beaten, so that you would lose the control of it. But if you merely ran along the blade, you can then follow it wherever it goes, secure against any movement the adversary may make; your security is all the greater because he can never engage your sword, which is crossed out of line. You should make no farther advance towards the adversary, after bringing your dagger hand to this position, so that the ''faible'' of your sword will be at a distance, out of reach of his dagger; it is true that it is within the reach of his sword, but only with the danger to the adversary of having his sword excluded and being hit, before he can free it; hence your security, since your sword cannot be engaged. For the rest you must know how to apply the following rules, when within distance; if you have to hit ''seconde'' you must leave your dagger against the adversary's sword and hit when the opportunity occurs; if you have to hit in ''quarte'' by a turn of the hand, you must thrust with the blade of your sword still close to the dagger, so that the path between the weapons will be closed; after completing the extension the sword hand should be still close to the dagger hand, whilst the body should in no case be raised, but lowered still more at the moment of hitting. If you observe these rules you will defeat any adversary.</p>
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<p>In this first method of attacking with resolution a guard of ''seconde'' is used, which has been already illustrated (pl. 56) with the sword and dagger. You begin with natural steps moving in a circle towards the left, as the principles of this guard require, so that you can withdraw or approach without changing the position of the body or the nature of the steps and can contrive to entice the adversary to advance. As we explained elsewhere in speaking of the nature of this guard and of the manner of holding oneself in forming it and working with it, the circular movement is intended to protect the part which is uncovered over the sword; by keeping your dagger outside the adversary's sword on arriving within distance and holding your sword close to your dagger, when your dagger has penetrated the point of the adversary's sword, you prevent his disengaging below. Since your sword has closed the path between the weapons and your dagger is held upright, he can disengage over the point of your dagger only by a very slow movement; nor can he make a feint and hit, which would cause disorder and a separation of your weapons, and perhaps lead to a hit. Your body is held low to prevent his being able to hit below. This guard is based on such a position that the adversary can hit only on the inside of the dagger over the sword, and consequently you must protect that part as you advance, taking care that in the meantime you do not uncover other parts so much that you cannot parry; having formed this guard you must make certain that the adversary's sword cannot hit or harass you except in this line over your sword. You must protect this line, so that when you have reached his sword your body is entirely out of line of his point. In no case with this guard must you separate your sword and dagger you must take care that your dagger on reaching his sword is close to its blade, so that you may run along the blade without beating it in order to avoid the danger which might arise, if the adversary raised his sword from that position and placed it in another, or withdrew it and hit after your dagger had fallen, or disordered your dagger by a feint and then hit in the time of your trying to defend; moreover the adversary’s sword is at once free after being beaten, so that you would lose the control of it. But if you merely ran along the blade, you can then follow it wherever it goes, secure against any movement the adversary may make; your security is all the greater because he can never engage your sword, which is crossed out of line. You should make no further advance towards the adversary, after bringing your dagger hand to this position, so that the ''faible'' of your sword will be at a distance, out of reach of his dagger; it is true that it is within the reach of his sword, but only with the danger to the adversary of having his sword excluded and being hit, before he can free it; hence your security, since your sword cannot be engaged. For the rest you must know how to apply the following rules, when within distance; if you have to hit ''seconde'' you must leave your dagger against the adversary's sword and hit when the opportunity occurs; if you have to hit in ''quarte'' by a turn of the hand, you must thrust with the blade of your sword still close to the dagger, so that the path between the weapons will be closed; after completing the extension the sword hand should be still close to the dagger hand, whilst the body should in no case be raised, but lowered still more at the moment of hitting. If you observe these rules you will defeat any adversary.</p>
 
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Revision as of 20:32, 8 June 2022

Salvator Fabris
Born 1544
Padua, Italy
Died 11 Nov 1618 (aged 74)
Padua, Italy
Occupation
Nationality Italian
Alma mater University of Padua (?)
Patron
  • Christianus Ⅳ of Denmark
  • Johan Frederik of Schleswig-Holstein-
    Gottorp
Influenced
Genres Fencing manual
Language Italian
Notable work(s) Scienza d’Arme (1601-06)
Manuscript(s)
Translations

Salvator Fabris (Salvador Fabbri, Salvator Fabriz, Fabrice; 1544-1618) was a 16th – 17th century Italian knight and fencing master. He was born in or around Padua, Italy in 1544, and although little is known about his early years, he seems to have studied fencing from a young age and possibly attended the prestigious University of Padua.[citation needed] The French master Henry de Sainct Didier recounts a meeting with an Italian fencer named "Fabrice" during the course of preparing his treatise (completed in 1573) in which they debated fencing theory, potentially placing Fabris in France in the early 1570s.[1] In the 1580s, Fabris corresponded with Christian Barnekow, a Danish nobleman with ties to the royal court as well as an alumnus of the university.[2] It seems likely that Fabris traveled a great deal during the 1570s and 80s, spending time in France, Germany, Spain, and possibly other regions before returning to teach at his alma mater.[citation needed]

It is unclear if Fabris himself was of noble birth, but at some point he seems to have earned a knighthood. In fact, he is described in his treatise as Supremus Eques ("Supreme Knight") of the Order of the Seven Hearts. In Johann Joachim Hynitzsch's introduction to the 1676 edition, he identifies Fabris as a Colonel of the Order.[3] It seems therefore that he was not only a knight of the Order of the Seven Hearts, but rose to a high rank and perhaps even overall leadership.

Fabris' whereabouts in the 1590s are uncertain, but there are rumors. In 1594, he may have been hired by King Sigismund of Poland to assassinate his uncle Karl, a Swedish duke and competitor for the Swedish crown. According to the story, Fabris participated in a sword dance (or possibly a dramatic play) with a sharp sword and was to slay Karl during the performance when the audience was distracted. (The duke was warned and avoided the event, saving his life.)[4] In ca. 1599, Fabris may have been invited to England by noted playwright William Shakespeare to choreograph the fight scenes in his premier of Hamlet.[5][2] He also presumably spent considerable time in the 1590s developing the fencing manual that would guarantee his lasting fame.

What is certain is that by 1598, Fabris had left his position at the University of Padua and was attached to the court of Johan Frederik, the young duke of Schleswig-Holstein-Gottorp. He continued in the duke's service until 1601, and as a parting gift prepared a lavishly-illustrated, three-volume manuscript of his treatise entitled Scientia e Prattica dell'Arme (GI.kgl.Saml.1868 4040).[2]

In 1601, Fabris was hired as chief rapier instructor to the court of Christianus Ⅳ, King of Denmark and Duke Johan Frederik's cousin. He ultimately served in the royal court for five years; toward the end of his tenure and at the king's insistence, he published his opus under the title Sienza e Pratica d’Arme ("Science and Practice of Arms") or De lo Schermo, overo Scienza d’Arme ("On Defense, or the Science of Arms"). Christianus funded this first edition and placed his court artist, Jan van Halbeeck, at Fabris' disposal to illustrate it; it was ultimately published in Copenhagen on 25 September 1606.[2]

Soon after the text was published, and perhaps feeling his 62 years, Fabris asked to be released from his six-year contract with the king so that he might return home. He traveled through northern Germany and was in Paris, France, in 1608. Ultimately, he received a position at the University of Padua and there passed his final years. He died of a fever on 11 November 1618 at the age of 74, and the town of Padua declared an official day of mourning in his honor. In 1676, the town of Padua erected a statue of the master in the Chiesa del Santo.

The importance of Fabris' work can hardly be overstated. Versions of his treatise were reprinted for over a hundred years, and translated into German at least four times as well as French and Latin. He is almost universally praised by later masters and fencing historians, and through the influence of his students and their students (most notably Hans Wilhelm Schöffer), he became the dominant figure in German fencing throughout the 17th century and into the 18th.

Treatise

Additional Resources

References

  1. Didier, Henry de Sainct. Les secrets du premier livre sur l'espée seule. Paris, 1573. pp 5-8.
  2. 2.0 2.1 2.2 2.3 Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. pp XVIII-XIX.
  3. Fabris, Salvator and Leoni, Tom. Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606. Highland Village, TX: Chivalry Bookshelf, 2005. p XXIX.
  4. Andersson, Henrik. Salvator Fabris as a Hired Assassin in Sweden. Association for Renaissance Martial Arts. Retrieved 2011-12-18.
  5. Barbasetti, Luigi. Fencing Through the Ages.[Full citation needed]
  6. Originally "asseruatore", but corrected in the errata.
  7. This seems like a mistranslation of rompere di misura at first blush, but according to Kevin Murakoshi, this is an archaic piece of fencing jargon that was still current in the early 20th century. It means to "break measure" or withdraw. ~ Michael Chidester
  8. Originally "richeide", but corrected in the errata.
  9. Originally "dirarsi", but corrected in the errata.
  10. Originally "longuezza", but corrected in the errata.
  11. Originally "mettre", but corrected in the errata.
  12. Originally "volto", but corrected in the errata.
  13. 13.0 13.1 13.2 There's no conclusion of this word on the next page, just a new sentence.
  14. Originally "occcsione", but corrected in the errata.
  15. Originally "albassare", but corrected in the errata.
  16. Originally "& migliore", but corrected in the errata.
  17. Originally "temerariemente", but corrected in the errata.
  18. Originally "bisogna", but corrected in the errata.
  19. The letter 'F' was omitted in the print and hand-corrected in all copies.
  20. Originally "guardia", but corrected in the errata.
  21. Originally "equali", but corrected in the errata.
  22. Originally "poco", but corrected in the errata.
  23. Originally "poco", but corrected in the errata.
  24. Originally "non buoni", but corrected in the errata.
  25. Originally "queui", but corrected in the errata.
  26. Originally "che spada", but corrected in the errata.
  27. Originally "accorgendosi", but corrected in the errata.
  28. Originally "con pugnale", but corrected in the errata.
  29. Originally "mouendolo", but corrected in the errata.
  30. Originally "diuersi", but corrected in the errata.
  31. Originally "dentro la spada", but corrected in the errata.
  32. Originally "andere", but corrected in the errata.
  33. Originally "richede", but corrected in the errata.
  34. Originally "in suoi", but corrected in the errata.
  35. This word can't be read on the photos I have. It's a 6-letter word that seems to end in "s?ed". The Italian word means to move or advance, and Tom Leoni translates it as "fling". ~ Michael Chidester
  36. Originally "della", but corrected in the errata.
  37. Originally "la dette", but corrected in the errata.
  38. Originally "è passare", but corrected in the errata.
  39. The errata adds "l’".
  40. Originally "farmarsi", but corrected in the errata. The errata says it should be on page 232, but this is the only instance of the word in the book.
  41. This large blank space was probably meant to be filled in later with a suitable translation for brezza, which means "breeze" though that's obviously not the intended meaning here. It might be a spelling of brecca, meaning "breach". Tom Leoni translates it "rampart". ~ Michael Chidester
  42. Originally "sforza", but corrected in the errata. The errata says it should be on page 241, but this is the only instance of the word on the correct line.
  43. Should be 183.
  44. Originally "ineguale", but corrected in the errata.