marozzo-trans.pdf

Arte dell’ Armi

Books One & Two

This manuscript is a work in progress and is a compilation of translated chapters from Marozzo’s book

Arte dell’ Armi. The translations consist of material gleaned from Egerton Castle’s book Schools and

Masters of Fence , from private translation provided by Maestro Andrea Lupo-Sinclair, from The History of

Fencing by William Gaugler, with translation help from Tom Leoni and from my own translation of the

bulk of the material.

In this translation I will leave a number of types of Italian terms intact. Specifically the guard positions

and attack types will be in Italian. A glossary will be provided for these terms.

One of the failings that I see in Marozzo’s book is that he does not detail certain pieces of information that

are crucial for understanding his system. To help with this I am including here the guard descriptions as

outlined by Manciolino.

Guardia alta [High guard]

The first guard is called alta because it necessitates a graceful posture of the body and requires holding the

sword with the arm as high as possible. In this manner, the sword is pointing backwards. The buckler-arm

has to be well extended against the opponent, stretching out as much as possible. The right foot should be

placed about three or four inches in front of the left, with the heel slightly off the ground. Both knees

should be straight and not bent.

This guard can be performed in two alternative manners. One is by placing the right foot forward in wide

step, and the other is by standing left-foot-forward, also in wide step. But in both these instances, the arms

should still be held as explained above: the sword should always be held high in the air with the arm

extended, no matter how the feet are positioned. This guard is called alta after the manner in which the

sword is positioned (not by the placement of the feet).

Guardia di testa [Head guard]

The second guard is called guardia di testa, and is executed by stretching both arm s towards the opponent.

The outstretched arms should be positioned so that the fists are about shoulder-height; the only difference

being that the sword-hand should be slightly lower than the buckler-hand. As far as the feet, they can be

positioned right-forward or left-forward with a wide step; in both instances the guard is the same for the

above-mentioned reasons.

Guardia di faccia [Face guard]

The third guard is called guardia di faccia, and it has two things in common with the preceding one as well

as one conspicuous difference. Common with the previous guard are the placement of the feet (with the

option of being right-foot or left-foot forward) and the height of the hands. The big difference is that in the

previous guard the sword was held sideways, whereas in this one the sword is pointing directly towards

the opponent’s face. The buckler-hand is held above the sword-hand.

Guardia di sopra il braccio [Over-the-arm guard]

The fourth guard is called guardia di sopra il braccio because the sword-hand forms a cross by laying over

the left arm, with the tip of the sword pointing backwards. T he buckler-arm should be com pletely

stretched out towards the opponent. As far as the feet, the first method is to place the right in front of the

left with just enough space between the two that they do not touch. The same guard, though, can be

performed by placing the right foot a large step before the left and by curving [the knee] with the utmost

grace. In this posture, although the right hand does not change its position (being placed in the middle of

the other arm, otherwise the guard would change its name for the above-mentioned reasons), the arms

would be held slightly wider, as opposed to previously when they were closer. The right shoulder comes

to be positioned directly against the opponent, so that you can attack him wherever you feel best.

Guardia sotto il braccio {Under-the-arm guard]

The fifth guard is called sotto il braccio because the sword-hand is held under the buckler-arm (in the

underarm area), with the sword tip facing backward. The buckler-arm is well extended against the

opponent. The right foot should be placed just in front of the left in the manner described in the previous

guard, or alternatively ahead of it by a great step. But if you place it ahead by a great step, your right

shoulder should be facing straight towards the opponent as described in the previous guard.

Guardia porta di ferro stretta [Narrow iron door guard]

The sixth guard is called porta di ferro stretta. The posture of the body is sideways in such a way that the

right shoulder faces the opponent, as described above. The arms should also be stretched towards the

opponent, but in such a manner that the sword-arm is extended downward in defense of the right knee.

The right fist should be close and in the center of the right knee. The buckler-arm should be stretched

towards the opponent, pointing neither up nor down, in defense of the head. The right foot should be

[forward] in wide step, with the knee facing the opponent, defended as described above and quite bent.

The left foot should be placed sideways, with the left knee also bent. This guard is called porta di ferro

stretta because it is safer than the others, and as strong as iron. It is different from the wide guard (coming

next) in the fact that it places the sword close to the opponent while keeping a tight defense of the knee.

Guardia porta di ferro larga [Wide iron door guard]

The seventh guard is the porta di ferro larga, originating from the previous, as the feet and the body are

positioned in a similar manner. The difference is that the sword-hand moves away from the knee and

points the sword towards the ground to the inside of the said knee. This is why it is called “wide”: by

moving away from the knee, the sword leaves the body more uncovered than in the previous guard.

Guardia cinghiara porta di ferro [Boar iron-door guard]

The eight guard is called cinghiara porta di ferro. The left foot is placed sideways and the left knee is

slightly bent; the right leg, though, should be straight. The sword-arm should be held with the fist forward

of the left knee (in a similar manner to the porta di ferro, hence the part of the name); the left arm should

be extended with the buckler defending the head, as said before [in the sixth guard]. This guard is named

after the boar because it is believed that this animal, when attacked, places the head and the teeth sideways

(as in this guard) in order to wound his enemy.

Guardia di coda lunga e alta [Long and high tail guard]

The ninth guard is called coda lunga alta and is performed with the left foot forward and the knee slightly

bent, with the toes pointing towards the opponent. The step is wide. The right arm should be well

extended towards the opponent, with the sword tightly gripped and held sideways, [but in such a manner

that] that the tip covers the opponent. The buckler arm should also be extended towards the opponent’s

face.

This guard, as well as the following one, originates from a guard called coda lunga alta in which the feet

are positioned in the same manner as in this, but the sword-arm is extended backwards. This name was

given to it by paraphrasing the old proverb that “one should never mess with great masters because they

have a long tail”; meaning that they have the power to harm you with their numerous followers. So, that

guard had the same name as our ninth and the next (tenth), as it is very capable to wound your partner

[opponent?] and has therefore the name of coda lunga e alta.

Guardia di coda lunga stretta [Long and narrow tail guard]

The tenth guard, called coda lunga e stretta, is performed with the right foot forward in a wide step. The

knee should be slightly bent sideways, and the arms are held in the exact same position as in the previous

guard; except that the sword-arm is a little lower.

Capitula 1

“To the Great and Glorious God omnipotent, and the Mother Saintly Virgin Mary, and of Saint

Sebastiano and Saint Roco and the Knight Saint Georgio and of all the others Known as Saints of

God, in this book will I give more things to you of the art of fencing, for you should reduce to

memory all that you have learned from me: and this I write in case you did not exercise such

mysteries, then you should remember. And in this way have I written in this book a little of my

intentions, but you, and those people that have learned well from me, and also with great hard

work will be able to do it: they will be vanquished who have not exercised as you have;

nevertheless I advise you in this, some have no stamina to read it and take part in practical

exercising with the sword in hand; but with a little hard work you can do this with imagination.

The practical principles of playing and honor I give to you for your comfort so you do not make

such a mystery of this art: for this is of great danger: but in order to say to you if fortune allows

me to give this art to you, that you may know this, that of doing it: and therefore I will show you

the way to teach your students, and foremost in the name of God, that you put the sword in hand

and tell them what you want from them in this instruction of arms. Again in the name of God, and

the M other, and of Saint Georgio you will put the sword in hand, and you will show what it

means. W hat is filo dritto, and filo falso. And such training you will use with this segno that is

marked on the wall, for this segno is like the letters of the alphabet, to demonstrate all the main

blows that are made with the sword, with two hands as with one. What is mandritto tondo,

mandritto fendente, mandritto sgualembrato, mandritto redoppio, and falso dritto and montante

and you know that from this begins all these attacks. And from the left demonstrate roverso tondo

and roverso sgualembrato, roverso fendente, and roverso redoppio, and false manco, and falso,

and dritto, and falso roverso; which in principle you will give them meaning. And of what is dritto

and roverso, making every one against said segno. This segno I outline in this book in order that

you do not forget. But he who watches this segno is just, like the alphabet, for you know that

when one goes to the school to read the drawings, then they learn first the alphabet, for of that

comes all letters and like this from the segno comes all the attacks. It is imperative that you make

them do all the attacks (ferire) forward and backward in order that they may practice the

discussion of the botte and play at long distance with the arm for finally they will know to give

you the names of these botte. And when it appears to you that they know how to make these botte

and their names then you have started them playing. Then they will want to learn. Know that

when you will give such principles, over half, or all, in the room where no others are except those

of the same school, then you will not watch each other and will learn better one from the other

and they do not have to be ashamed. Some may be ashamed in learning some of the greater

principles publicly, and in truth it is natural to fear of learning publicly. They do not have the

heart to adhere to the standards of the master: With this, than they will always fear it are not

mocked from that they are to see, and for this you must respect the secret teachings and still I say

that when you have taught them the botte I advise you to go to play and return back. I want you

to practice the things that you have taught, four, or five days with your student so they know the

attacks (feriri) that you have taught to them. T hen I want you to begin to examine them in all

guards. Especially the porta di ferro larga, and porta di ferro stretta and alta and coda lunga e alta

and coda lunga e stretta and also cinghiara porta di ferro and in guardia alta and coda lunga e

distesa and when you will make such examination make sure no one else is in the room but some

of your old scholars, because it is alright if they watch you.”

Capitula 2

“And I tell you again that you must never attack without defending, nor defend without attacking,

and if you do this you shall not fail...”

Capitula 3

“And still I say to you, that when you have made the examination and given them the pros and

cons of what you have taught, I want you to make them practice with you several days and amend

where they have failed and make good strong attacks in order that they may practice defense:

Finally when you have done this, have one of your old scholars who is a good & pleasant player

and have them play with said student in order to make a brotherhood one to the other.“

Capitula 4

“Still I say, that you must never let any of the company’s new scholars play if you are not present

so that you will be able to amend their mistakes. For in playing with others other than with the

master they will learn bad habits which are hard to amend. Do not forget that they should not

practice with different scholars who are not your students. This makes it more difficult. So,

practice for more days that they may learn good practice that comes from God that has much

theory, therefore I give it to you.“

Capitula 5

“Again I say to you, that in teaching your students the principles of the edged weapons, that with

the targa, & rotella, & brochiero larga, & single sword, & sword and cape, sword & dagger, & of

two swords, & of many other strong weapons that you use, remember always the standards of

movement, from guard to guard, forward, as behind, & from the side, & for deviousness, & in

every way that it is possible, & to teach them to accompany the hand with the foot, & the foot

with the hand, otherwise you would not do well, so that if you that teach walk over such a sign

you will teach it in place, where others are not that you did not teach. Otherwise, you upset the

foundation with those you teach.”

Capitula 6

“Still I say to you, that when you will want to begin, you will say it to them in this way: here my

children and brothers: I want you to swear on this sword which is the cross of God, to do nothing

counter to your Master and not to teach any other person that which you have learned without my

licence: Do this before starting.”

Idem.

“To the said examination of precepts that you will show to them, & their playing and making of

good attacks that do not go however in guard, explain everything, pro and con of what is done.”

Capitula 7

“And know that such oath is made alone, for he is sure, as they know to hold the sword in hand,

go demonstrate to others and listen then to your scholars on what you have shown and taught to

them. And you hearing then some of your students, yea, he makes you never amend those that do

it, when he played with some. And to this way come punishing, and believing they of knowing

much and with this weary ago, than masters son it becomes to you; that being masters they not

will never be able complains king of you; for when they said, that you had to teach to it, then

you will answer them saying: I embarrassed to teach itself to whom master is: for this reason to

other people's you go teaching: You do not have shame to want to learn from others that have to

say them ago your these scholars that to such gives them such answer.”

Capitula 8

“Also, for your usefulness & for your students, never allow them to wrestle as this would not be

useful: But when they would use close-quarter wrestling or half-sword, have them do it in a

proper bout. This way they will learn them through proper practice. Remember that one can

perform all the wrestling (prese) or blows when they are plainly tried, but if a student faces

another from the opposite side of the class and try these they will learn: I want you to know that it

is a beautiful mystery to know how to teach people well, more than to just play; for a man, if he

knows how to play well and does not know how to teach, is not good (he is single): but one that

knows how to teach well, is good for many people; and know that when he knows the one and the

other, he is of double virtue and is a double master.”

Capitula 9

“Note now, do not at present give more training, for I am forced to give principally many different

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