REGOLE DI MOLTII CAVAGLIERESCHI ESSERCITII.

Raccolte dal Capitano Federico Ghisliero, per servitio del Serenissimo Signore RANVCCIO Farnese, Principe di Parma, & Piacenza, etc.

IO mi sono preso a trattare di diversi essercitii d'armi, i quali se ben sono tra loro differenti, nondimeno tutti convengono alla sofficienza, & nobilta del Cavagliero: al quale piu d'ogn'altra sorte d'arme sta bene il sapere adoperare la spada, cosi per esser instrumento truovato prompriamente per difender l'honor suo, tanto ne gl'improvisi assalti, quanto nelli steccati da corpo a corpo: & finalmente per esser quella, che ne'fatti d'armi ha per fine la vittoria, & ne riporta honore; noi dunque da essa, come da principio di tutti i nostri essercitii incomniciaremo: & per non incorrere in confusione, come hanno fatto molti, i quali hanno trattato di quest'arte, avertiremo di consti-tuire

Rules for Many Knightly Exercises

Collected by Captain Federico Ghisliero, in service of the Prince of Parma, & Piacenza, etc., Ranuccio Farnese

I got caught up in dealing with several exercises of arms, which if they are well different from each other, nevertheless all agree to the softness and nobility of the cavalier: to whom more than any other fate of arms it is good to know how to use the sword, so to be more familiar to him, as well as to be properly found to defend his honor, as much in the sudden assaults, as much as in hand-to-hand fencing, and finally to be the one who achieves victory in feats of arms and brings honor, we therefore from it, as from the beginning of all our exercises we will begin and so as not to run into confusion, like many have done, who have dealt with this art, we will warn of constituting

tuire una faculta, la quale si conformi alla natura dell'huomo, quando si truova alterato dalle poteze dell'anima, & sue passioni, che impediscono, che tal'hora l'huomo non possa operate con ragione.

IL corpo dunque dell'huomo e coposto di quattro corpi semplici elemnetali; non che in esso si truovino conqiunti i quattro elemeti nelle proprie forme, & nature loro; ma vi sono in quanto vi concorrono con le proprie loro qualita, nelle quali sono le virtu delle dette nature: pero che la natura della terra per esser fredda, & secca, genera nell'huomo un'humor detto melancolia, ch'e pur fredda, & secca; l'acqua di natura fredda, & humida fa la flemma; l'aere di natura caldo, & humido fa il sangue; & finalmente il fuoco di natura caldo, & secco fa la colera.

Et se bene l'huomo, secondo la natura. commune della sua specie, ha il corpo di complessione in maniera temperata, che non declina ad alcuno estremo; contra a quello, che fa la specie de gli animali brutti, i quali havendo le complessioni grandemente inclinate a gli estremi, sono tutti secondo la natura commune a ciascuna delle loro specie naturalmente molto soggetti; come si comprende da certe lo-ro par-

a faculty, which conforms to the nature of man, when he finds himself altered by powers of the soul and by his passions, that hinder him, so now man cannot operate with reason.

Therefore the body of man is made up of four simple elemental bodies; not that the four elements in their forms are joined together, and their natures; but they are there in that they compete with them in their own qualities, in which are the virtues of these natures: the nature of earth is cold and dry, begets in man a melancholy humor, that is cold and dry, water is cold and humid, phlegmatic, hot air and humid, sanguine, and finally fire is hot and dry, and creates choleric.

And although the man, following the common nature of his species, has the body of temperate complexion, which does not descend to either extreme; contrary to that, which makes the quality of animals without reason, which have complexions greatly inclined to the extremes, all are following the common nature that of each of their species is naturally strongly inclined to; as can be understood from some of their

ro particolare passioni. Onde veggiamo che tutti i lepri sono timidi, tutti i leoni audaci, tutti i cani iracondi; ma gli uomini soli veggiamo secondo la natura commune à tutta la specie, effer per lo più ne timidi, ne audaci, ne iracondi, ne molto sottoposti alle passioni.

Nientedimeno quelle inclinationi, ch'effi non hanno secódo la natura cómune à tutte la specie, l'háno secódo la natura particulare di ciascuno huomo, percioche si truovano molti, i quali, perche in essi predomina molto humor colerico, sono naturalméte iracondi; altri, perche abbondano disangue, sono allegri, & audaci per natura; & altri, perche in essi l'humor melancolico supera, sonor dolenti, & timidi: & quasi niuno è nel quale siano cosi misurati gli humori, che ne risulti la cóplessione in tutte le parti téperata, & uguale. Onde avviene, che tutti siamo chi più ad una, chi più ad un'altra passione inclinati, cóforme alla complessione, che in noi signoreggia.

Di quì nasce, che se l'huomo sarà melancolico, si vedranno in lui gli atti, come nati d'elemento terreo, pendenti, ristretti, ansii, & noiosi; si come si vede effer la terra, pendente, grave, & ristretta.

I moti dell'acqua, perche sono anchor essi cadenti, se bene non tanto, quanto i terrei, sono nondimeno manco ristretti, & fanno la flemma, la quale corrisponde all'elemento dell'acqua: & ne'corpi, ne' A ij quali

particular passions. Whereby we see that all hares are timid, all lions are daring, all dogs are angry; but the men alone see according to the nature common to all of their kind, being neither mostly shy, nor bold, nor angry, nor very subject to passions

Nevertheless those inclinations, which they do not have according to the nature common to the whole species, they have according to the particular nature of each man, for those in whom much choleric humor predominates, are naturally angry; others, because of an abundance of blood, are merry and audacious by nature, and others because they have an exceeding amount of melancholic humor, are sorrowful and timid: and there is almost no one in whom the humors are so measured, that the complexion is in all the parts is tempered and equal. From whence it happens that we are all inclined to one or another passion, in accordance with the complexion which rules in us.

From here it arises, that if man will be melancholic, we see in him the acts, as born of an earthy element, pondering, restrained, anxious, and tedious; it is seen to be the earth, pondering, grave, restrained.

The motions of the water, because they are still falling, if not as much as the earthly, are nevertheless lacking restraint, and make the phlegm, which corresponds to the element of water: and in the bodies

quali ella preuale, i moti riescono timidi, femplici, & humili: onde le membra del corpo restano quasi abbandonate, & declinanti al basso;  & per la pallidezza, ch'essa infonde ne'volti, fà che alla flemma corrisponde la paura, ò il timore;  che vogliam dire;  & per la bianchezza cerulea dimostra ne gli huomini il dolore. 

L'aere hài suoi moti tendenti all'alto, ma questo non fuor di modo, per esser temperati, & non dilatati, ne affatto storti ;  come sono quelli del fuoco; & per esser'esso elemento piaceuole sono conformi à questo i moti del sangue dell'huomo;  cioè;  temperati, modesti , & reali ;  àimedesimi moti corrispondono perfettamente le passioni dell'animo ;  cioè;  l'amore, dal quale nasce il diletto, il piacere, il desiderio, & la speranza.  

Il fuoco vltimamente hà di natura i suoi moti tendenti, come si compréde dalle sue fiamme, alla estrema altezza, & in elevarsi tutti si vanno torcendo. Simili a questi fono i moti della colera, percioche sono violenti, impetuosi, & feroci: & essendo  à questi moti molto conformi le due passioni, Odio, & Ira, elle perfettamente appariranno in quei corpi dell'huomo, ne'quali predominera questo elemento. 

Et perche con l'arte si può superar la natura, cercaremo con quella della scherma render'il timido audace; & l'huomo audace manterremo tale;  & al-

l'ira-

in which she prevails, the motions are timid, simple, and humble: hence the limbs of the body remain as abandoned and declining to the bottom, and because of the paleness that it instills in the faces, it makes fear, or dread, correspond to the phlegm; which we mean and for the cerulean whiteness he shows pain in men.

The air has its motion tending to the top, but that is not out of [the way or fashion], to be tempered and not [dilated/spread/enlarged], not at all crooked; as are those of fire; and

to be it a pleasant element, the movements of the blood of man conform to this; that is; tempered, modest, and real; to the same motions correspond perfectly the passions of the mind; that is; love, from which is born delight, pleasure, desire, and hope.

And finally, fire has the nature of its motions tending, as one understands from its flames, to the extreme height, and in raising them all are twisting. Similar to this are the motions of choleric humor, for they are violent, impetuous and ferocious: the two passions being very consistent with these motions, hate and anger, are perfectly appearing in man’s body, in which this element predominates.

And because with art one can overcome nature, we try with the art of fencing to make the timid audacious, and the audacious man maintain that; and to

the wrathful, diminish the anger, so that it is not precipitous.

And if well fear corrupts by it’s nature the judgement and impedes the counsel; and if the effect itself is well done, it will nevertheless make the shy easy to be bold: which will be done if we diminish fear; which, when it is not very great, urges with it [diligence or care]: because if the timid man with reason will make himself capable in the faculty of arms, he will be more lively:

for the lack of virtue in him who fears is the cause of fear.

Likewise, if the wrathful moderate their anger, and are more apt to use reason, if operating with good warnings, that he does not allow himself to be carried away by passions; but we will show him how he must balance all that can help him out, or that can give him an impediment; and that he must pose himself in danger with a doubtful foot, and entering slowly.

That I know yet, that for the imagination of those things, which are made easy undertakings, many hopes are born in us, from which then we are bold for those advantages, which are absolutely in our power; meaning the forces, and the art of fencing; and from here we operate animatedly, and with reason we obtain our goal, which is the only victory.

''Per mostrar dunque questa facilita nella presente nostra arte, incominciaremo a trattare de'suoi Theoremi: Dopo i quali trattaremo della Prattica, necessarissima a questa professione.''

PRIMIERAMENTE douiamo sapere,

che fette circonstanze, ouer coditioni particolari sono quelle, che si ricercano intorno all'operationi humane: & benche non siano parte intrinseche dell'humane operationi, tuttauia sono sempre necessariamente intorno all'operationi dell'huomo, in modo ch'egli alcuna non ne può fare, che quelle non li siano d'intorno: & la prima e l'operante; la seconda l'opera, ouer'attione operata; la terza è la materia, intorno la quale s'opera ; la quarta è l'instruméto, col quale operiamo; la quinta è in che luoco; la sesta è il modo, secondo il quale operiamo; la settima sarà il fine per il quale si opera.

Sara dunque necessario ad intelligentia di quefta nostra scientia dell'armi, che consideriamo le dette circonstanze, delle quali la prima è l'huomo; la secoda sarà quest'attione di fare alle coltellate; la terza il moto; la quarta la spada per offendere, & il pugnale per difendere; la quinta nelle strade publiche; la seita il modo, secondo, che offendiamo altri, & di-

Theoremi

To show this facilitates in our present art we begin by treating on his theorems: After which we will be treating of the Practice necessary to this profession.

Firstly we need to know what seven circumstances or else particular conditions are those, that are sought around human operations: and although are not intrinsically part of human operations, however are always necessarily around the operation of man, so that none can do them, that those are not around them: and the first is the operator, the second is the action, or else the operated act; the third is the material around which it operates; the fourth is the instrument with which we operate; the fifth is in what location; the sixth is the way according to which we act, the seventh is the purpose for which we act.

It will therefore be necessary to the understanding of this our science of arms, that we consider the said circumstances, the first of which is man, the second will be this action of fencing; the third is the motion; the fourth is the sword for offense, and the dagger for defense; the fifth is in the public streets; the sixth is the way in which we offend others

and defend ourselves; the seventh is the intention of victory.

We find the body of man composed of so measured proportion, and any part so well suited to the whole, that the ancient architects from the same proportion they drew the composition of which all things: how to build houses, churches, castles, ships, and in sum, every kind of building: so all the ancients write, and the moderns, who have dealt with this; among which in particular is Vitruvio in the beginning of book 3.

This proportion of man was judged excellent for doing this, which I said, from these brave men; although in stature of it man is not certain, and determine by proportion: because other men are taller in stature, others are shorter; that having to be the man of suitable stature, it would have six human feet: because as Vitruvio says, the foot is a sixth of a person’s height.

To this purpose Vegetio in the first book on the art of war says, that the consol Mario elected the tyrons; ie; the new soldiers that were six feet tall, or at least five feet and ten inches, which are the ten parts of the twelve. Whence follows that the man who is less than six feet tall has a mediocre stature, and he who is taller than this, is tallest. Hence the man who passes

seven feet is considered supernatural and called a giant, according to the rule of Marco Varrone, as reported by Aulogellio in the third book of [Attic? Greek?] nights.

With that it si confirmed that which Suetonius said in the life of Octavian, talking about the height of the emperor, which was mediocre, being five feet and nine inches, the which is nine parts of twelve: but this mediocrity was not known, except when he was next to a person who was tall.

The ancient Philosophers, speculating, found that the circular figure that is the most perfect of all, one finds in man perfectly; which is true if understood in this way; let the man extend, with his face up, and extend likewise his arms, and the hands; the legs, and the feet, as much as he can extend, and take a compass, or the measure of a foot of the same man, and measure it drawing the measure from the navel, as from the center: which will then be seen to result in a round and perfect circle. This is what the same Vitruvio informs us of in the aforementioned third book, and the following figure proves it.

Likewise, Pliny in his seventh book of natural history, in chapter 17, writes that man is formed of a square shape, and angular; and that in this way, by opening one’s arms, and stretching the fingers, one will find this manner formed in such a way, that one will see the measure of one's stature of it. Whence it arises, which by holding in the said manner, the man with his feet together, and his arms open, it will be understood to form a square shape, of four equal lines: because one line passes by the top of the head, the other by the soles of the feet, the third by one hand, and the final by the other hand, as shown in this figure.

This operator has three proportions in his body, the perspective, [lo scurzo - darkening???], and the profile: the perspective is always, which, being in the balance, shows the whole surface of the body.

The [darkening] while, which is found in the medium, between perspective and profile, shows half of the surface.

And the profile, when with the right foot forward shows the surface of the flank: as we see in this demonstration.

[illustration, pg 13, shows three figures, labeled: perspective - facing straight forward, scortio - left foot is turned out, at 9 o clock, right foot is pointed forward, though more at 1 o’clock than straight ahead, profile - facing completely sideways, left foot at 9 o’clock, right foot placed in front of the left, pointing at 11 o’clock]

But we cannot pass from one extreme to the other, without passing through the middle; the perspective and the profile are extremes of [scurzo], the operator does not have to take the body from one to the other, which first does not bring it into [scurzo].

The aforesaid proportions of the body are carried out by the motions of the body; which are divided into three types; that is; motions of the entire body together; motions of the arms, and motions of the legs; which being the most important, and that are more suited to our purpose, than we will say, leaving the rest, like that, that belongs to the painter.

Therefore the movements of the body are derived from the lengths, latitudes and proportion of the members; and of their suppression and turning; and agreeing together with reason and possibility; and still twisting, turning and stretching, as long as possible, according to their chains and keys.

And to give some rules of these motions, I say that they are from eight ways, that the body has of moving: they are up, down, right, left, [lie down beyond], come this way, turning around, and stopping.

In every motion, forward or back, it is necessary that the body be supported by the bases: otherwise, it being the nature of heavy bodies to keep in the center, it would fall.

Therefore, it is gained that the motions of the head are these, that man has hardly ever turned anywhere that always does not have any part of the body [besides/above] placed under it, from which such heavy weight is sustained; or really that it does not place on the other opposite side, like a scale, any limb, which responds to the weight.

Therefore the same is seen, when one extends the hand while holding some weight, that they [settle or establish] the foot, as the foundation of the scale, the whole other part of the body is counterposed to balance the weight.

Whereas, that man is in a state with his feet even, and making an arc in front of his whole body, and of the legs, the end of the chin will remain perpendicular to the tip of the foot.

[oppressing?], either the right hand, or the left hand, the chief vein of a man’s body will always be perpendicular to the said feet.

Whenever the body inclines that way the foot, which poses, the shoulder will be perpendicular to the instep, and the other foot will be a counterweight of the body.

Always, that if one raises up an arm, all

the other parts of the body on that side to the base follow this motion to rise: in the way that the heel rises from the floor, per the motion of the same arm.

One does not stretch just one limb on one side, that the others do not follow; nor by encounter is it oppressed, or locked, that the others do not follow almost as lines towards the center.

The legs or bases, act in three [strengths?] of movement: [upright/straight/even], circular, and crossing.

Straight, every time when one finds oneself in perspective the feet open evenly, like when one forms a step.

Circular, every time when one stands still on one foot, using the other to describe a circle.

Crossing, as long as you are in perspective, and you are doing a motion, either with the right or left hand.

In profile, the legs cannot open much, [quanto importa] (taking into account?) the length of the body.

This line, or else, quantity described by the opening of the compass of the body could be divided infinitely: but for our art it is sufficient to divide into four parts; ie; in half a step, a step, a step and a half, and in two steps.

Placing one leg, the other will not be able to move forward more than the space of one foot.

Of these openings of the compass follows, that in five

ways the body can find itself in a state in rest.

In the first, when in the middle, that is, with the feet evenly joined and that then the perpendicular is in the diameter of its circumference, and in such a state is acting to move all parts.

In the second, when the man is stopped with all his weight on one foot, like the base of a column, which is perpendicular to the vein of the throat meaning the instep, and this posture was invented by the ancient Policleto.

In the third, when a man finds himself at rest in the middle of a step.

In the fourth, while the body is a step and a half, which forms an equilateral triangle.

In the fifth, when the body is compassed in two [passing] steps, also called a lunge [striving step]

Of these resting poses man forms six circles, two without, that he starts [places in motion?] and four after, which will be described one of the said quantities, and which forms a circle.

The first of the two forms of man, when staying in the middle one describes a circle around the feet, at the center of which is the perpendicular.

The second is when the man standing in the said circle describes another circle distant from his body,

as long as it’s length, the center of what will be the perpendicular: as you see in this illustration:

[illustration on pg 18]

The first of the four forms of man, when he is in the state of the second [stillness? Pose?] already said, and when with a stable foot, over which resides the weight of the body, with [the weight centered?] describe with the other mobile foot a circumference, which we use to stay on guard.

The second, when one finds oneself in a step, that standing in that [pose?], [stopping or settling] the left foot with the other mobile, describe another circumference: and in this we enter in a transverse motion, to come out with points: likewise the third form, while when one finds oneself in the fourth state, in which we enter when wounding, and the fourth, when one finds oneself in the fifth state of the striving step : as demonstrated in this figure: and with this we keep the enemy at a distance.

the action of fighting is in itself manifest.

Since the motion, and the matter, around which it is done by man in this action of fighting, we have to know, that the movement, according to how Aristotle defines it in the fifth book of Physics, in the ninth text, is a mutation, or rather transmutation: the kind which some want to be six; that is; Generation, Corruption, Augmentation, Diminution, Alteration and Mutation from place to place: nonetheless, Aristotle in the aforementioned place concludes that there are three and no more; that is, of quantity, of mutation of quality, and [second or following] the place: of which three kinds the ultimate is that which we need to know for our art, which movement is nothing else but this transmutation, which sometimes knows how to move a body from one place to another, and the endpoints of the movement are two instants.

The instant in motion, and the instant in [the space of] time is, like a Geometric [bridge???] in magnitude, that is, it does not have parts, but is indivisible and consequently,

it is not motion or time, but is a good beginning, and the end of every movement; and of every finished tempo: as Aristotle demonstrated in the sixth Physics in the [24th??] text.

The movement sits between two stillnesses: and the stillness or rather repose, is none other than privation of movement.

And there are three movements, two simple, which are straight and circular, and the third composed of these two, which serves the compound line.

The two simple motions are either natural, or violent.

The natural movement is that which, are made by [serious/heavy?] bodies from a superior [or higher?] place, to another inferior [or lower?] one, and without any violence.

Violent movement is that which is done forcefully up and down, from here and from there, because of some motive power.

The natural movements in their beginning are weak, and as the movement continues, it becomes more powerful.

Violent movements are of great effect in the beginning; from which the further away you get, the more the force wanes, until they become weak.

And there are four type of the movements from place to place: the first is called thrusting [pushing?], because we are doing things that we move that in the other part we push [thrust?] like we do in pushing forward the sword in a thrust.

The other pulling is mandatory, because the opposite of pushing, pulling a thing toward us, and moving, we bring it to us: as when we withdraw the sword to us.

The third bearing is named, because we are not driving away from us, nor pulling to us, but bringing with us, moving: as it happens when with the sword fixed in a proportion with much of our body we bring it here and there.

The fourth turning [or winding?] or rotation if you could call it, because in a circle, everything is moving and that part near us is approaching, and part is moving away from us, turning so that each movement is almost pulling and pushing put together [composed], as one sees in circular cuts.

And there are five circumferences, that with motion forms the man to cut because in his body he has five centers: the first is in the left foot, with which he stands firm, and raising the right arm with all the rest of the body in motion describing a circumference, which is the greatest one can make, and this forms the cut.

The second circumference is formed of the man when compassing the center of the waist, and with the rest with the arm raised up describe a circumference, which many use when fighting at the barrier.

The third is made of man while he finds himself in one of the five states mentioned, and while with the whole body still, and doing with the center of the shoulder, and with the arm solely in motion describe a circumference and this is use to do a mandritto standing [on a base?]

The fourth is described by man when with the whole body fixed, making the center of the elbow one puts in motion the rest of the arm, called [the arm from the elbow to the shoulder]; and make a circumference; this is used for [cavare - draw out from?] the cut when the opponent goes to parry.

The fifth and final is made by a man while with the whole body still, making the center in the wrist of the hand, with which solely describing the smallest circumference which one can describe, with this used for making [knots??] in the hand.

Stay there, to follow our order, that we speak of the offensive and defensive instrument.

The offensive instrument is the sword, and the dagger is the defensive: and if well at times the sword does the duty of the parrying dagger, and the dagger does the duty of the wounding sword, this happens by accident.

The offensive instrument, the sword, is divided into a good edge

and the false edge, the two of which end in the point: and we know the body is contained in a surface; the which we can divide into all three dimensions, nevertheless we have to consider it as a line in its operation.

You can hold the sword in your hand in four ways: in the first putting the said thumb over the back of the weapon, to the end that this helps to cleave with it more directly: but in this way the point does not work as well; and the hand does not make all all it’s force, because it is half open.

In the second, it is possible to take in a plain with the palm of the hand toward the ground. And this one does to feel lighter: given that the hand with the arm in such a state operates almost as a support for the body, the which which makes it light on the weight of the sword: but in this way one does not wound with the edge; and and we play with change of lines; which is totally imperfect.

In the third way one takes the sword with a closed fist to advance an inch in length. which is true in the instrument but each time, that you are making cuts, the instrument with the arm has to form a straight line, more than is possible; which cannot be done with this hold: given that it always forms an obtuse angle, as well as the cuts mostly [wound?] flat.

In the fourth and final way (which is the perfect one)

one takes hold of the sword with a closed fist and the index finger traversing the cross of the [furnishings]: thus has all the perfect grip.

This sword, for it’s strike can resemble a [wedge or corner], the greater the weight over it, the greater the strike will be. And beyond that, the longer the distance from the weight, which strikes and the wedge, the greater the strike is.

Therefore the weight of the sword can itself [aggravate or harden? Or get worse?] more than it will be for itself and for the driving power.

For itself: because every time that the sword will come from far away, the weight of it gets worse all the more, the greater the motion: expected that each [heavy?] thing, while moving, takes more [heaviness?] to move, than standing still; and the more advantage, the further away it is moved.

For the driving power in this way: because a man can form five circumferences (as we have said) conforming to those will increase the weight: because because formed that will have the first, which is the largest, they will do the other; and the weight is always diminished since the circumferences will be smaller.

The defensive instrument, which I posit is the dagger, is a resistant body; that which has the duty to

defend the body of man: In the first one holds in a flat hand, with the big finger in the middle of the blade: and dividing the body into two parts with a semicircle of natural motion one defends the the right part; with another semicircle one defends the left part: therefore it must be put in presence in proportion; similar that he with these motions makes the said defenses: these have many imperfections: one is that that hand is vulnerable to attack: the other, if well moving the last center only one describes a small circumference, however the line of the dagger with that of the arm form the angle, by which it is possible to enter many lines: besides, which is subjected to many inconveniences from the inside and the outside, and from over and under.

In the second holding in this said way the dagger in the hand bringing it closer to the right side; and only he tries to beat with it outward: so that he prevents the wound, before it reaches the body. This is false: because instead of covering it, uncovers it; and is a violent motion: besides that, every time that the fist forms a small angle, the dagger held this way will not prohibit, that that sword does not enter, and he too is subject to deception.

In the third and ultimate (which is perfect), one holds the dagger in the the hand in a way that with it you can

cleave if needed: and from here with natural motions defend one’s body, covering it: which thus always kept free from offense, is not subject to deception.