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{{infobox medieval text
+
{{Infobox writer
<!-- --------Name---------->
+
| name                 = [[Ridolfo Capo Ferro da Cagli]]
| name                 = Die Zettel
+
| image               = File:Ridolfo Capo Ferro da Cagli portrait.png
| alternative title(s)  = The Recital
+
| imagesize            = 300px
<!----------Image---------->
+
| caption             =  
| image                 = File:Johannes Liechtenauer.png
+
 
| width                = 250px
+
| pseudonym           =  
| caption               =  
+
| birthname            =  
<!----------Information---------->
+
| birthdate            = 16th century
| full title           = A Recital on the Chivalric<br/>Art of Fencing
+
| birthplace           =  
| also known as        =  
+
| deathdate            = 17th century
| author(s)            =  
+
| deathplace          =  
| ascribed to           = [[Johannes Liechtenauer]]
+
| resting_place        =  
| compiled by          =  
+
| occupation          = [[Fencing master]]
| illustrated by        = Unknown
+
| language            = [[Italian]]
| patron                =  
+
| nationality         =  
| dedicated to          =
+
| ethnicity            =  
| audience              =
+
| citizenship          =
| language              = [[Middle High German]]
+
| education            =
| date                  = Fourteenth century (?)
+
| alma_mater          =
| state of existence    =  
+
| patron              = Federico Ubaldo della Roevere
<!----------Manuscript Information---------->
+
 
| genre                = {{plainlist
+
| period              =
| [[Fencing manual]]
+
| genre                = [[Fencing manual]]
| [[Wrestling manual]]
+
| subject              =
}}
+
| movement            =
| archetype(s)         = Hypothetical
+
| notableworks        = ''[[Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli)|Gran Simulacro dell'Arte e dell'Uso della<br/>Scherma]]'' (1610)
| manuscript(s)        = {{collapsible list
+
| manuscript(s)       =
| [[Nuremberg Hausbuch (MS 3227a)|MS 3227a]] (ca. 1400s)
 
| [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (1443)
 
| [[Codex Danzig (Cod.44.A.8)|Cod.44.A.8]] (1452)
 
| [[Talhoffer Fechtbuch (MS Thott.290.2º)|MS Thott.290.2º]] (1459)
 
| [[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Cod.Guelf.78.2 Aug.2º]] (ca. 1465-80)
 
| [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca.1470)
 
| [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
 
| [[Codex Speyer (MS M.I.29)|MS M.I.29]] (1491)
 
| [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (ca. 1504-19)
 
| [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.Quart.2020]] (1510-20)
 
| [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (1512)
 
| [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523)
 
| [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] (1523)
 
| [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553)
 
| [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556)
 
| [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Varia 82]] (1563-71)
 
| [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588)
 
}}
 
 
| principal manuscript(s)=
 
| principal manuscript(s)=
| first printed edition = [[Christian Henry Tobler|Tobler]], 2010
+
| first printed edition=  
 
| wiktenauer compilation by=[[Michael Chidester]]
 
| wiktenauer compilation by=[[Michael Chidester]]
| translations          = {{collapsible list
+
 
| {{French translation|http://ardamhe.free.fr/biblio/Tetraptyque.pdf|1}}
+
| spouse              =  
| {{German translation|http://www.hammaborg.de/en/transkriptionen/peter_von_danzig/index.php|1}}
+
| partner              =
| {{Hungarian translation|Johannes Liechtenauer/Hungarian|2}}
+
| children            =
| {{Slovenian translation|http://scholapugnatoria.si/?page_id{{=}}267|1}}
+
| relatives            =
| {{Spanish translation|http://www.aveh.eu/documentos/EdadMedia/TETRAPTICOV.pdf|1}}
+
| influences          = [[Camillo Aggrippa]]
 +
| influenced          = [[Sebastian Heußler]]
 +
| awards              =
 +
| signature            =
 +
| website              =  
 +
| below                =
 
}}
 
}}
| below                =
+
'''Ridolfo Capo Ferro da Cagli''' (Ridolfo Capoferro, Rodulphus Capoferrus) was a 17th century [[Italian]] [[fencing master]].
}}
+
 
'''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a German [[fencing master]] in the 14th or 15th century. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the [[Nuremberg Hausbuch (MS 3227a)|Nuremberg Hausbuch]], one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Nuremberg Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead.
+
He seems to have been born in the town of Cagli in the Province of Pesaro e 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" 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.
 +
 
 +
At the age of 52, Capo Ferro authored a treatise on the [[rapier]] entitled ''[[Gran Simulacro dell'Arte e dell'Uso della Scherma (Ridolfo Capo Ferro da Cagli)|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 influential in its own time.
 +
 
 +
<h2> Treatise </h2>
  
Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the ''Zettel'' ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive [[gloss]]es (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on [[Paulus Kal]]'s roll of the [[Fellowship of Liechtenauer]] were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the [[Marxbrüder]] and the [[Veiterfechter]].
+
This concordance uses the watercolor illustrations from the 1629 edition where they are available, except for a few in which the paint obscures the actual fencing actions. You can view all of the painted illustrations on the treatise page.  
  
Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Nuremberg Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s. However, given that the Nuremberg Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Nuremberg Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by [[Hans Talhoffer]] in the [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (ca. 1443), which further supports this timeline.</noinclude>
+
([[Ridolfo Capo Ferro da Cagli|Read more]])
  
([[Johannes Liechtenauer|Read more]]…)
 
  
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Revision as of 04:48, 29 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 the Province of Pesaro e 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" 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.

At the age of 52, Capo Ferro authored a treatise 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 influential in its own time.

Treatise

This concordance uses the watercolor illustrations from the 1629 edition where they are available, except for a few in which the paint obscures the actual fencing actions. You can view all of the painted illustrations on the treatise page.

(Read more…)


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