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Liber
de Arte Gladitoria Dimicandi
Two new English of Vadi's work will be available from Luca Porzio (Chivalry Bookshelf) and Marco Rubboli (Paladin Press). A Modern Italian edition by Marco Rubboli & Luca Ceasri is now available from Gli Archi press as is one from Nova Scrimia. Below we present a rough draft translation of Vadi's introduction and 16 chapters by Luca Porzio along with sharp images of the complete illustrations courtesy of Marco Rubboli's recent Italian translation edition by permision. The original manuscript is in color as can be seen to the side here.
Liber
de Arte Gladiatoria Dimicandi ("Book
on the Art of Fighting With Swords") Filipo
Vadi c. 1482-1487 Draft
translation by Luca Porzio from the Bascetti Edition. Notes on the Work: What we know of the late
15th century Italian Master of Arms and teacher of swordplay, Philippo Vadi, is little more than a name. Vadi
was one of a number of fencing teachers of his days travelling from court to court
instructing in the noble sicence and Art of defence. Vadi tells us he was born in Pisa,
lived in the second half of the fifteenth century, and had learned his fencing skills
“from the practical experience and doctrine of many masters of arms of different
countries, well versed in their Art”. The work begins with some Latin verses
dedicating it to Guido da Montefeltro, Duke of Urbino, followed by Vadi’s
introduction. Although Vadi dedicated his
verses to Guidobaldo, it is unknown if he ever was ever supported by the Duke or ws ever a
member of the court of Urbino, where in the days of Federico (another Duke of Urbino) fencing teachers were
regularly employed. His
verses describe a range of techniques and principles for various knightly weapons. Besides
Fiore Dei Liberi manual of 1410, Vadi represents the only other Italian master of Medieval
weapons and fencing that we now have. Like
his Spanish contemporary, Pietro Monte (who studied and taught in Italy), Vadi also
presents material generations later than Fiore Dei Liberi, Sigmund Ringeck, or Hans
Talhoffer. Despite this, his work is strongly
reminiscent of Dei Liberi’s and may be influence directly by him. Its resemblance is
strong yet Master Vadi clearly wrote of his own understanding and method. The manual
covers the standard knightly weapons of the time: spada (sword –in this case long
sword), daga (dagger), lanza (spear), and azza (polaxe). His work also includes material
on unarmed combat or wrestling and defense against a dagger while unarmed. The text is also well illustrated with dozens of
deceptions of stances, techniques, and movements. Thus while providing an additional study
source and a comparison to other Medieval styles, Vadi is a valuable primary reference for
today’s student of Medieval swordsmanship. Illustrated
with panels of simple figures in side profiles, the work is presented as a kind of study
guide. Each illustration depicts a posture or
attack or counter-attack along with a short caption describing the concept or action. In
translating and transcribing Medieval verses in to modern English certain captions had to
be separated or combined in order to render them more easily understandable. To retain the
rhythm of master Vadi’s original wording this was done only when necessary and in a
manner that preserved the idea behind the verse. By
time he produced his text, Vadi would have been in his maturity and perhaps beyond his
physical prime but could call on many years of experience acquired during the 1460s and
1470s. The
Book on the Art of Fighting With Swords is
dedicated to Guido, Duke of Urbino(where, in earlier days fencing teachers were regularly
employed). The dates 1482-1487 are the range
in which scholars place the writing, while 1482 is the year in which Guido, Duke of
Urbino, succeeded to his father, and 1487 is the year of the first inventory in which Vadi’s
book was recorded. In his introduction, Vadi describes his lifetime pursuit of fencing,
and how he put his learning in his book, and how the Art of fencing is valorous craft
which should not be revealed to “uncouth men”, and he relates fencing with a
noble spirit. He then says that all which he wrote in the book has been personally tested
by himself, and that other dubious things were not included. After this he speaks of the
superiority of intelligence over strength, which he declares makes possible for a man to defeat more than one
foe, or for the weak to defeat the strong. Finally,
he says that anyone well versed in fencing is free to modify his work. It is interesting
to note he states he studied from the experience and practical doctrines of masters of
multiple countries. Vadi also clearly
mentions that his method is designed for battlefield, fights, and “other warlike
events”, indicating no real distinction for fighting in war or personal combat. This is the same view held by his contemporary
Pietro Monte. It
is worth pointing out that Vadi is one of few to describe that a pommel should be “round
in order to fit in the fist” and that the handle should be square-shaped. He also suggests the size of a hilt should be
square-shaped and the length of the handle plus the pommel, plus that unusually it should
even be “pointed to wound and cut”. For
a sword against heavy armor (“in arme”) Vadi is saying it should only be sharp
about 3.5 inches (“four fingers from the tip”).
This is highly significant for declaring that some swords specifically
intended for use against plate armor and the requisite half-sword techniques (“mezza
spada” or “Halb-Schwert” in German”) that would be used were indeed
only pArtially sharpened. This implies that
such techniques were in fact employed with blades that were not fully sharp their entire
length. The
text was originally written in verse form and so is sometimes obscure in portions sounds
overly complex as a result. Some chapters are
only very short sections. Vadi also occasionally uses metaphor whose meaning may no longer
be clear. The translation here however is
presented without interpretation. Because Vadi wrote in verse the text often lacks details
where it needs them while at other times contains statements meant only for rhyme. Translating this into Modern English therefore
poses some problems. It is suggested to not
to try to read too much into passages where it appears obscure or even obtuse. In the future more precise wording will become
available. A few end notes are provided for some of the more difficult passages. Vadi
refers to several types of the spada (“sword”)
including large swords, small swords, and spada da
doi mane (“two handed swords”), all of which appear as forms of long-sword
or great-sword. Introduction
by Philippo Vadi of Pisa In
the first and thriving years of my life I was spurred by natural attitude, produced by my
sincere heArt without cowardice, towards warlike acts and things so that, while growing as
time wanted in strength and knowledge, I strove to learn more about the Art and cleverness
of the said warlike acts and things: as is the use of sword, spear, dagger and polaxe. Of
these things, thanks to the help of God, I acquired good knowledge, from the practical
experience and doctrine of many masters of arms of different countries, well versed in
their Art. And not to lessen, but instead to
augment this doctrine so that it will not perish for my negligence, for it is a source of
no small help in battle, war, fights and other warlike events (but instead it gives to men
versed in this knowledge a very useful aid ), I decided to write a book on things that
later will be better described: including pictures and various examples, usable by anybody
knowing this subject for attack, defence, and many clever considerations. This
way he, with a generous heArt, who sees my work should love it as a jewel and treasure and keep it in his heArt, so that never, by means,
should this Art and doctrine fall into the hands of unrefined and low born men. Because
Heaven did not generate these men, unrefined and without wit or skill, and without any
agility, but they were rather generated as unreasonable animals, only able to bear burdens
and to do vile and unrefined works. For this reason I rightly tell you that they are in
every way alien to this science, while the opposite is true, in my opinion, for anybody of
perspicacious talent and lovely limbs, as are courtesans, scholars, barons, princes, dukes
and kings, who should be called to learn this science, following the principle of Instituta, which says: the imperial majesty has
not only to be honored with arms, but also with sacred laws. And
do not think that in this book can be anything false or enveloped in error, because
cutting and taking away dubious things, I only have written those things I saw and
experienced personally, beginning to express our intention with the aid and grace of the
almighty God whose name be blessed forever. And
because some irrational animals do naturally their actions, without any human science, by
nature they lack science as man lacks weapons, so that nature gives man hands,
intelligence and thought to make up for the lack of natural weapons, so that he doesn’t
need other things; and so man has no weapon or Artifice, to better learn to use all
weapons and Artifices. So man needs, among all animals, intelligence and reason, in which
flourish Art and science, and in these and other things he surpasses all animals. But
every learned and clever man surpasses other men bigger and stronger, as was correctly
said: intelligence surpasses strength, and what is more and nearly incredible, the sage
dominates the stars. From the said talent and
other subtle thoughts is born an Art of winning and conquering anyone wanting to fight and
contrast; and it not only happens that one man conquers the other, but it is also possible
that one man conquers many others, and it is thus shown not only the way to assault the
enemy and to repair and defend from him, but also it is taught how to disarm him. And
with these documents often it happens that a man weak and of small stature submits, brings
to the ground and conquers one large, strong and valiant, and the same way the humble
conquers the haughty and the unarmed conquers the armed; and many times he who is on foot
conquers a horseman. Since it would be very unbecoming that such a noble doctrine should
perish and fail by carelessness, I Philippo of Vadi from Pisa, having practiced this Art
from the years of my youth, having searched and traveled many different countries and
lands, castles and cities to learn from many masters perfect in the Art, and having, by
the Grace of God, acquired a good part of learning, decided to compose this booklet, in
which it will be exposed and shown at least the fighting with four weapons, that are
spear, sword, dagger and polaxe. And
in this book will be described rules, ways and acts of this Art, showing examples with
various pictures, so that everybody not experienced in the Art may be able to understand
and know the way of attacking, and by which tricks and cunnings he might defend himself
from the enemy’s tricks and strikes; and putting in this book only that doctrine,
good and true, which I learned trough hard work, big worries and nights without sleep,
from the better masters, and also putting in it things I devised and tried in action.
Remembering to anybody not to undertake with temerity the study of this Art and science,
if he is not magnanimous and full of valor; for any man slow-witted, fearful and vile
shall be driven out and not admitted to such a high noble and courteous enterprise. For to
this doctrine should be invited only soldiers, man at arms, scholars, barons, lords,
dukes, princes and kings of lands, some of which are up to rule the republic, and some
others to defend orphans and widows: and both are divine and pious deeds. And
should this booklet of mine fall into the hands of someone learned in the Art, and should
it seem to him that there is any superfluous or lacking thing, he might cut, lessen or
augment what he deems necessary, as from now I put myself under his correction and
censure. Begin
the First Chapter. If someone would like to
know and understand If fencing is an Art or
else a science I say that you should
note my opinion Consider well my
sentence It is a true science not
an Art As I will show you
briefly Geometry divides and
separates With infinite numbers
and measures And fills with science
his papers The sword to her care is
subject It is good to measure
blows and steps To find your trust in
science Fencing is born from
geometry To her it is subject And both of them are
endless And if you learn my
doctrines You will be able to
answer with reason And take away the rose
from the thorns To make your opinion
clearer And to sharpen your
intellect So you may able to
answer to anyone: As music adorns and
combines The Art of sound and
lyrics And with science makes
it perfect So geometry and music
combine Their scientific virtues
in the sword To adorn the bright star
of mars Now if you like what I
say And the reasons I write Keep them in your mind
and do not lose them So tell the truth as I
say That in fencing there is
no end As every reverse finds
his right Contrary by contrary
without an end
Chapter
2 Measures
of the Spada da doi Mane (Two Handed Sword). The sword should be of
the correct measure With the pommel just
under the arm (pit), As here is written To avoid any hindrance: The pommel should be
round to fit the closed hand Do this and you will not
be in troubles And know for sure That the handle should
be a span long Who has not this
measures will be confused To prevent your mind
from being deceived The hilt should be
as long as handle and pommel ensemble, and you
will not be endangered The hilt is squared and
strong as needed With iron broad and
pointed His duty being to wound
and cut Be sure to note the
following: If using the sword in arme’ (“in plate armor”) It must be sharp four
fingers from the tip The grip as said above The pointed hilt, and
note this writing Chapter
3 Doctrine
of the Sword Brandish
manfully the sword, for it is a cross and a royal weapon, and
with it match a gallant heArt. If
you are clever, you must consider how to climb these stairs. The
Art of the sword consists only in crossing, putting
both strikes and thrusts in their right place, to
make war against he who wants to fight you. From
one side there are defending right strikes (colpi
diritti) going to one side (the right) , reverses (riversi) make offence from the
other side (the left). The true edge should
strike with the right blow, and be aware of what I
say, riverso and falso (false
edge) go together. And
you should do as the saying tells you: set yourself
in posta (guard) brandishing the sword, and advancing
or going back, always retain a side stance. To
make not your play in vain enter from the side your
face looks toward, and this should not seem weird to you Set
your sword pointing towards your enemy’s face, and quickly strike. You
must be very shrewd, the eye towards the weapons which
can strike you, seizing measure and timing, and
with a proper posture. Match
your spirit while defending, and arms and feet with
good measure, if you want to gain any honor. Be
well aware and understand what I write, if your compagno (“comrade” or “partner”)
strikes with his sword, with yours
try to cross blades. Be
sure you never go out of the way, go with coverta (covering) and with the point towards the face,
your strikes to the head shall go. Cross
play and you will not be conquered. If
your foe crosses wide, push, for you do not want to
be divided from him. When
his (sword) comes to mezzo spada (half sword) close
towards him, as reason demands, leave gioco
largo
(long play) and assail him. Often
it happens that a man feels to not have enough fortitude,
in this case facts are needed, and not words. Go
swiftly out of the way, make coverta with the good
manreverso, and follow quickly with mandritto. If
you have not lost your wit, leave gioco largo
and stay
within gioco stretto (close play), you will make
fortitude
change its side. And
note this saying: when you cross blades, cross them
resolutely, to lessen the sword’s shortcoming. Know
that cleverness wins against strength, do
your coverta and quickly strike, at close and wide you will take down strength. And
if you want to make him feel your point, go out of
the way with a sidestep, make him feel your point in
his chest. With
point high and pommel low, the arms extended, with
good coverta pass on your left side with a good step, and
if the point finds its way open, even from the outer
side, do not fear: you will give him your offering. Then
close and grab his handle, and if this you cannot
do, then beat his sword and do your duty. Be
always matched with your enemy while moving, attacking
or defending, and what I say never forget: as
soon as you see his sword begin to move, or if he moves,
or even if he attacks, go back or let him find you near.
He
who wants to have honor in arms should have knowledge,
fortitude and courage; if these he lacks, he’d
better renounce. And
you need a valiant heArt, and if a larger man seems
strong to you, be clever and you will gain the advantage. Be
sure, as death is, that your play comes not from courtesy,
against he who wants to shame you. And
note this sentence: you know your heart, not your
enemy’s, never use such fantasy. Be
very clever, if you want to last long in this Art, you
will have good fruits from that. Note
also that: he who wants to fight too much, in one
thousand at least once will soil his luck, so
losing honor from one error only; he thinks high things
which are low, and often clashes; often
he causes grumblings, often he quarrels: in
these things it is seen who in the Art is learned. If
tongue could cut for any reason, and as the sword could
do, the dead would be infinite. Be
sure that your mind will not fall, that with reason it
undertakes your defence, and that with justice goes justly.
He
who wants to attack others without reason will surely
damn his body and soul, and shame his teacher. Also
you must always remember to pay respect to your
teacher, for money does not pay what he gives you. He
who wants to be able and learned in swordsmanship
should learn to do and teach, and not make
mistakes. Loving
loyalty you will be able to speak to King and Princes,
so that they will be able to use the Art. For
their duty is to govern, to maintain justice, and to
care for widows, orphans and other problems. So
from this Art comes all sorts of good, with arms cities
are subdued and all the crowds restrained; and
in itself has such dignity, that often it brings joy to
the heArt, and always drives out cowardice. You
should
acquire treasure and honor and, above any other
care, always maintain yourself in your lord’s grace.
If
you will be renowned in the Art, you will never be poor,
in any place. This virtue is so glorious
that, if
even once poverty would show you his cards, then wealth
will embrace you thanks to your Art. Sometimes
you will be as an extinguished light: do not
doubt, you will soon be back. To
gain the Art, not the old but the new, no effort was
too great and very happy I am of having found it. I
keep it secret, but as I let it go, I swear, it gives me riches
and so it happens to those having this virtue. *Note:
“Coverta” or covering, means literally blanket and refers to controlling the
enemy’s sword with your own or sometimes with your hand. It consists of maintaining
blade contact while entering.
Chapter
4 This Art is so gentle and noble, she teaches man how to go, and makes the eye quick, valiant and gentleman-like. This Art teaches you how to turn, and how to defend and remain steady, and how to parry cuts and thrusts. How many persons died, because they did not like the Art, and so they closed their doors of life. No treasure is greater than life, and to defend it everyone does its best, he strives to keep it as well as possible. Leave things and every worthy item, defend your person with this Art, and you will have honour and glorious insignia. Oh, how a good and praise-deserving thing it is to learn this Art that asks so little and one thousand times gifts you with life. Oh, in how many ways it can be useful (troubles are found without looking for them, happy is he who can put out another’s fire) My Art, new and made with reason, I speak not of the old one, which I leave to our ancestors, along with their opinion. If you don’t want to be of honor deprived, measure your time and that of the pArtner: this is the Art’s foundation, and its step. Open your ears to the great document and be sure to understand the beautiful reasons, and so do not cause your teacher’s complaint. (NOTE: another possible interpretation is: so you
won’t be deluded from your teacher) Make sure that swords are sisters, when you have to fence against someone, and then choose the one you want. Do not give anyone the sword’s advantage, or you would risk being shamed; this should be followed by everyone. Good eye, knowledge, dexterity are needed, and if you have both heart and strenght, you will be a problem for anyone. Understand well my sentence: the larger man uses a long sword, the small man uses a shorter one. A man of great strenght breaks the guards, but natural cleverness restrains that, and gives courage to the small man. He who knows many strokes brings poison with him, he who knows little encounters many troubles, and in the end is conquered. And if you understand well what I am saying, and grasp the reason of this Art, then she will keep you out of troubles. Be well aware of what the speech puts here : Do not show the secrets of the Art, or you will be hurt for this reason. Also note well this other pArt: the longer sword is deadly, you cannot face it without being in danger; Be sure that it is equal to the measure, as I said in the first chapter of our book, looking back. I esteem only the two handed sword, and only it I use when I’m in need, as I write in rhyme in my book. And if you are not looking for shame, do not tackle with several foes: you will not make a good sound. (NOTE: the original translationt is difficult, and reads
something like “you will play a sound other than bagpipe’s”) If you are obliged to have something to do with more than one, keep in your mind to take a sword that you can well use. You will take a light weapon and not a heavy one, to easily control all of it, to avoid being hindered by heavy weight. Then you have to take a different way, you should leave thrusts and use other strokes to come back here, as you will hear in my sentence. Chapter
5 Of
Thrusts and Cuts Let the sword be a point with two edges, but note and understand this writing, to prevent your memory from failing: one be the false, the other the true one, and reasons commands and wants you to keep this well in your mind: deritto with true
edge goes,* riverso with the
false edge stays, except for fendente,
which wants the true edge.** Understand well my writing: the sword stikes in seven ways, that means six cuts and a thrust. So that you find this way, two up, two down and two in the middle. The thrust in the middle with deceit and sorrow, often clears our sky.*** *“deritto” is
equivalent to “dritto”, a right to left cut, Vadi uses both as well as “diritto”. **Note: Vadi does not distinguish
between different angles of cut, all descending cuts are fendenti. ***Note:
with this expression Vadi means that the thrust can often get you out of trouble. Chapter
6 The
Seven Strokes of the sword We are fendenti
and we do question, of often cleaving and cutting with sorrow head and teeth in a straight way, and every low guard with our talent often we break , easily passing the one and the other. (Note: meaning “all of them”) Our strokes leave bloody marks, and if we mix with rota of all the Art we’ll our support. Fendente, we bring the fear of wounds, we come back in guard from passage to passage, note that we are not slow to wound. I am the rota and I have in me such strenght, if I mix with other strokes: that I’ll often notch the arrow. (Note: meaning to be dangerous). I can not use loyalty and courtesy, rotating I pass trough straight fendente without hesitation I ruin arms and hands. People gives me the name rota, I look for the sword’s falsitą,* I sharpen the mind of he who uses me. We are volanti
and we always go crosswise, from knee upwards we wound, we are often banished by fendente and punte. Across us without failing goes the upwards striking rota, and with fendente warms our cheeks. *Note:
the Italian word is “falsitą”, and is interpreted as referring to the false
edge, according to the diagram, but this word may also mean falsehood, and perhaps this is
to be preferred, considering the previous phrase. Also,
while Chapter 6 is titled the “Seven Cuts” , Vadi only lists three (fendente,
volanti, and rota), but as each of these can be employed either left or right, along with
punte (the thrust) they make for seven attacks. Chapter 7 Of the Punta (thrust) I am she who question all the strokes, and I'm called the punta: I am venomous as the scorpion; and I feel strong, daring and ready, I often cause the changing of stances when somebody uses me in combat and when I arrive my
touch means harm. Chapter
8 Of
Cuts and Thrusts It
is said to use the rota with fendente and volante
against the ponte (thrusts) and so it is shown
that these are not so dangerous. And when
they come at our presence, all blows make them lose their way, losing also the chance to
strike. The sword’s stroke does not change direction, and so the punta has little value against he who turns, but
the blows open their way as they go. If you
have not a weak memory, remember that if the punta does not hit, it loses its burst, and
then all other blows are good to defend. Against
one foe the thrust finds good use, and against many no more does its duty.* *Note:
it is unclear if he is referring to the number of enemies or of blows, also the last pArt
seems to be there only for rhyme. If
punta turns into rota do not fear: if it takes not at once a good fendente, it remains
without fruit, in my opinion. Keep here your
mind for awhile: if punta enters and does not exit quickly, your enemy will sorely strike
back. If with a cutting blow your sword’s
point loses its way, your sword is dead, unless croce
di sotto helps you.* A straight fendente I will strike with my sword, and I will pull
you out of your stance, so that you go in a poor direction.
Do not lose an hour to learn the long times with the serene hand, it puts
you over the others and honors you. Break
every low stance. Low stances resist only weak loads, and so the heavier break them
easily. A heavy weapon does not pass quickly
in the opening, a light one comes and goes as an arrow with the bow. *Note:
a stance of Chapter 9. Chapter
9 Of
the Cross I
am the cross with the name of Jesus, in front and back I go, to
find many more defenses. If
I meet another weapon I do not lose my way, so strong am I; and
this often happens, as I search for it. And
when a long weapon finds me, he who with reason uses my defense, will
have the honor of every enterprise. Chapter 10Of the Mezza Spada Being willing to follow this good writing, it is necessary to declare pArt by pArt all the strokes of the Art. To properly understand and use, reason wants that firstly I reveal to you the rotare* , principle of the sword. Go with outstretched arms, bringing the edge in the middle of your pArtner. And if you want to seem great in the Art, you then can go from guard to guard, with serene and slow hand, with steps niether long nor short. If you do any stramazzone,* do this with little turn before the face. Do not do a move too wide as a long time is lost. Help yourself with the reverso, moving out of the way with the left foot, pulling the right also, with the eye always to the good parare.*** When you will want to close in mezza-spada, as your enemy pulls back his sword, then do not hesitate the time you take you will pay for
dearly. Be in guardia
de cenghiaro (boar’s stance) when you thrust at the face, do not remain too far, soon turning to the roverso fendente and the deritto
being sure to remember. To be sure you can understand my goal with clear reason, I hope to show you the way: I do not want all this to be pure riverso nor fendente, but
between the one and the other lies the common one striking the head from every side. And I advise you, when you are close in, set your legs paired, you will surely be lord, able to close and strike valiantly. And when you strike with the reverso fendente, bend your left knee and, noting this writing, extend the right foot without then changing sides. Then, if under attack now at the left foot or the head, because they are closer than the right, which remains sideways, then you are sure from each side and if you want to strike with a diritto fendente, you should take the right knee and well extend the left one. The head will be attacked also with the right foot that is nearer to it: this is a better footwork than the stepping of our elders. Nobody should contrast or speak, as you are stronger and more confident, and hard while defending, and quicker to make war, nor they can bring you
to the ground. * Note: The word rota (“turning”) comes from the verb “rotare”, which means “to turn”. ** Note: A problem here is that while “stramazone” is a technical term, i.e. it has no other meaning besides the stroke described, words like “rota”, “volta”, “molinello” have their own meaning beside the technical application (such as “turn” “rotate” “whirl”), so we cannot always identify a specific word with a specific technique. *** Note: Vadi advises to parry with the fendente (downward cut), definitely not a static block. Chapter 11 Reason of Sword Play Once you have closed to mezza spada, with diritto or roverso,
understand the sense of what I tell you about this point: if you are there, keep
ready your eye make a swift feint with coverta and hold your sword
upright, the arms playing over
your head. I cannot say this with
few words, because the effects are
of mezza spada. For your pleasure, when you prefer, parare
with fendente, carefully push your
sword a little away from you, pressing down
that of your compagno. You will also get a good
deal by parrying well all the
strokes. When you parare the riverso, move forward you right foot and parry
as said, when parrying the diritto then you will move
forward the left foot. And you need to have the
mind ready when you strike
the riverso fendente, and a careful eye, to
prevent the mandritto coming from below. And if your compagno should strike, you should parry suddenly and make
a move at his head with the fil falso (“false edge”) and, with
cunning, as he rises, strike with
the good reverso upwards, quickly doubling with
the deritto.
And note this also: do not contradict the
Art’s reason if you strike with
diritto; then beware from being hit from his manreverso. Make sure that your
sword is parrying with fendente,
so that he hits you not, and if you want to close from below and
grasp his handle then do your duty hammering with pommel
his mustache, being careful not to get
into troubles. Chapter 12 Reason (principles) of Sword FeintsAgain I advise you to
have care to what I say, that when you have
closed at mezza spada you can act well from
each side, following the Art with
good viste (“feints”). The viste mean confusion, which confuses the other
in defense, so he cannot understand from which side you will
act. I can not show you this
very well with my words, as I
could do with a sword; so use your mind to study the Art in my
words, and you will acquire
courage through reason. As I advise and teach
you, To follow what I write
in these many verses, to find the deep and the
shore of this Art. Chapter 13 Reason (principles) of Mezza Spada (play) Having closed to half-sword, you can well hammer more and more times, hitting from one side only (your feints should go on the other side), and as he loses, parrying, his way, you should hammer on the other side; then you should evaluate which blow to use for winning. And if you want to strike blows, let go the fendente
roverso, turning trough and false edge with the point at the face. Do not get divided from him, with riverso or dritto again, work with the one you like, provided that knees bend on each side, as I have shown you above. I add this also: always enter with the point, rising upwards to the face, and use your blows when the time is right. Chapter 14 Reason (principles) of sword Half TimeI can not, in writing, show you, the principle of half time, and the way, because in the knot*
remains the shortness of the time and of its use. The half time is only a turn of the knot, a quick and immediate strike. It can seldom fail when it is done with good measure; and if you note my writing, he who lacks practice divides not well: often the blow breaks with good edge the other’s brain. Of all the Art this is the jewel, because at once it strikes and parries. Oh, it is so precious a thing, to practice it with good reason, as it lets you bear the Art’s banner. *Note: The translation is
literal. Bascetta suspected it related to the hand position, citing Manciolino; or else,
he thinks it can be the crossing point of the swords Chapter 15 Principles of the sword against the Rota There are many who base themselves in rotating strongly from each side; but be sure to be warned as he rotates his sword, rotate your own, and you will win the tests. Match yourself with him in striking, and be sure to go with your sword after his. To make this clearer to your mind, you can go in boar's tooth, and if he rotates, you also rise from low to high. Hear and understand my principles, you who are new to the art or expert too, I want you to be sure that this is the true Art and Science. Consider that, for a scale’s line the compagno will be in porta di ferro (“Iron Door”), this I put in your heart, be in posta sagitaria
(“Archer’s guard”). Be sure that your point does not sway, that of the compagno
covering the sword, go slightly out of the way straightening up sword and hand with the point. When your sword has come at the cross, then do the thirteenth closing technique, as you see it well painted in our book with seven papers. You can also use in this art strokes and close techniques that you find simpler; leave the more complex, take those favoring your side and often you will have honour in the Art. Chapter 16 Sword TeachingsYour sword should be like a shield which covers you all. Now take this fruit, which I give you for your mastery. Be sure that your sword never be, striking or guarding, far from you. Oh, how a good thing it is to have your sword doing a short run. Your point should be directed in the face of the compagno, in guards or while striking; you will take away his courage, seeing always the point in front of him. And you will do your play always in front, with your sword and with small turning, with serene and agile hand, often breaking the compagno’s time, you will weave a web
well different from a spider’s.
Vadi’s
Guards:
Mezana porta di ferro Posta di donna
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In its
continuing effort to bring to light the history and truth of Medieval fighting arts and
promote accurate research into European martial culture, ARMA is proud to present this
material from the rare 15th century Italian fencing manual of Filipo Vadi. Vadi,
along with Fiore Dei Liberi, is one of two major Medieval Italian Masters of Arms. While
produced two generations after Dei Liberi's work, Vadi's shows unmistakeable connection to
earlier methods yet reveals changes that reflact his own style as well as improved
armor. Vadi listed the same number of blows as Dei Liberi (six cuts and one thrust)
and gave a similar, if not identical, series of twelve guards with only a few name
additions. Although it is rapidly changing, little work so far has been done
on Vadi's material, but it is an important addition to the curriculum of today's student
of historical European martial arts. The material presents substantial insight into
fighting with the long-sword, poleaxe, spear, and dagger. Many students also feel study of
Vadi offers insights into Fiore's method. Vadi refers to the craft as an art or science
and relates it to geometry. Written in ryhme it reads rather cryptic today to those
less familair with the craft, but his advice is sound and several gems are buried within
it. 
