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| <p>[12] From the high ''tierce'' with the weapons divided and the feet together, as illustrated in Pl. 65 with the sword and dagger, has arisen the position of this ''quarte'' in the following manner: when at a distance with this guard of ''tierce'', with the weapons high and the feet together, you have begun by carrying the left foot away to the adversary's right side and bringing the right foot forward, at the same time bringing your sword and dagger into con-junction so that when within distance your hands were in contact and your sword had completed the change to ''quarte''; you have also gradually lowered the point so as to bring it into line and directed it in the line uncovered outside the sword; you have advanced the body, without allowing your point to penetrate any further, but turning your hand towards ''tierce'', carrying the right  side somewhat back and bringing your dagger near his sword; you have also lowered the point of your sword, so that, if necessary, you could disengage it, that is if the adversary had tried to parry with his sword. You would continue the movement of your hand from ''tierce'' to ''seconde'' and hit on the inside between his weapons; if the adversary tried to carry his dagger down to your sword, you would still turn the hand to ''seconde'' and thrust past the point of his dagger; parrying with the sword and dagger together you would disengage your point below as it was already with little movement being carried downwards and would hit under his dagger, with your body low and letting his sword pass outside your left arm, as will be seen in the next plate.</p>
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| <p>[12] From the high ''tierce'' with the weapons divided and the feet together, as illustrated in Pl. 65 with the sword and dagger, has arisen the position of this ''quarte'' in the following manner: when at a distance with this guard of ''tierce'', with the weapons high and the feet together, you have begun by carrying the left foot away to the adversary's right side and bringing the right foot forward, at the same time bringing your sword and dagger into conjunction so that when within distance your hands were in contact and your sword had completed the change to ''quarte''; you have also gradually lowered the point so as to bring it into line and directed it in the line uncovered outside the sword; you have advanced the body, without allowing your point to penetrate any further, but turning your hand towards ''tierce'', carrying the right  side somewhat back and bringing your dagger near his sword; you have also lowered the point of your sword, so that, if necessary, you could disengage it, that is if the adversary had tried to parry with his sword. You would continue the movement of your hand from ''tierce'' to ''seconde'' and hit on the inside between his weapons; if the adversary tried to carry his dagger down to your sword, you would still turn the hand to ''seconde'' and thrust past the point of his dagger; parrying with the sword and dagger together you would disengage your point below as it was already with little movement being carried downwards and would hit under his dagger, with your body low and letting his sword pass outside your left arm, as will be seen in the next plate.</p>
 
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| <p>[13] From the guard of ''quarte'' with the sword on the outside of opponent's sword in ''tierce'' has followed this hit. You had begun with the high ''tierce'', as previously described, and come within distance in the position of the last plate. The adversary tried to parry with his sword and dagger in conjunction; but as soon as you were within distance you began to turn your hand towards ''tierce'', placed your dagger against his sword, which was advancing to parry and hit, letting your point fall low, so that the adversary failed to find it; you continued the movement of your hand to ''seconde'', which brought your blade outside and below the adversary's left arm. If, when you directed  your sword into the line uncovered, the adversary had tried to disengage and parry with his dagger, you would have thrust in ''quarte'' which would have prevented him from doing anything, except retiring when you came within distance, or changing his guard in order to make you change; if you had failed to seize the opportunity of the change, you would have given him a chance to hit, if he had followed, though it is true you might have halted and adopted another method.</p>
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| <p>[13] From the guard of ''quarte'' with the sword on the outside of the opponent's sword in ''tierce'' has followed this hit. You had begun with the high ''tierce'', as previously described, and come within distance in the position of the last plate. The adversary tried to parry with his sword and dagger in conjunction; but as soon as you were within distance you began to turn your hand towards ''tierce'', placed your dagger against his sword, which was advancing to parry and hit, letting your point fall low, so that the adversary failed to find it; you continued the movement of your hand to ''seconde'', which brought your blade outside and below the adversary's left arm. If, when you directed  your sword into the line uncovered, the adversary had tried to disengage and parry with his dagger, you would have thrust in ''quarte'' which would have prevented him from doing anything, except retiring when you came within distance, or changing his guard in order to make you change; if you had failed to seize the opportunity of the change, you would have given him a chance to hit, if he had followed, though it is true you might have halted and adopted another method.</p>
 
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| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|236|lbl=226}}
 
| {{pagetb|Page:Scienza d’Arme (Salvator Fabris) 1606.pdf|236|lbl=226}}

Revision as of 22:08, 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.