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- Antonio Manciolino
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- The Encyclopedia of Taekwon-Do Patterns, vol 1 download free [PDF and Ebook] by Stuart Anslow Paul
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Antonio Manciolino was a 16th century Italian fencing master. Little is known about this master's life; he seems to have been Bolognese by birth and he is thought to have been a student of Guido Antonio di Luca , [ citation needed ] the master who also taught Achille Marozzo.
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In , Manciolino published a treatise on swordsmanship called Opera Nova "A New Work" ,  which is the oldest extant treatise in the Dardi or "Bolognese" school of swordsmanship.
As Craig Pitt-Pladdy has refused our request to host his translations on Wiktenauer, we instead have links to their locations on other sites in the appropriate sections until such time as another translation appears.
Complete Translation by W. Jherek Swanger.
One wishing to play must always attach himself to the most valorous of deed and reputation. Because as the glory of the victor depends on the valor of the vanquished, thus the loss is not censurable if the reputation of the victor embellishes it.
But coming to the feet, I say that they can be found in two ways, either with the right or with the left forward in large pace, and nonetheless it will be the same guard, for the aforesaid reason.
But if you will hold it in large pace, it behooves you to arrange your right shoulder toward the enemy in the appointed fashion described in the fourth guard. Ma se in grande passo lo tenirai, conuiene che la spal la dritta si adatti uerso il nemico nel modo appunto detto nella quarta.
In which the body must be arranged diagonally in such fashion that the right shoulder as is said above faces the enemy, but both the arms must be stretched out to encounter the enemy, so that the sword arm is extended straight down in the defense of the right knee, and so that the sword fist be near and centered on the aforesaid knee.
But that of the buckler must be extended and straight indeed toward the enemy, neither higher nor lower than in guardia di testa.
Regarding the feet, the right must be settled in large pace with the knee similarly opposite from the enemy, thereby defended by the guard, and somewhat bent, and the left on the diagonal, also with its knee somewhat bent. L A sesta guardia si dice Porta di ferro stretta. Only that the sword hand is moved from the knee and hangs with the point toward the ground going to the inside of the right knee, making the body more uncovered than does the preceding guard.
And as for the hands, that of the sword must rest with the fist in front of the left knee as you did in that of porta di ferro [i. And the aforesaid ten guards will be sufficient for our work. It is to be known that all of this spirited art is divided into two virtues. The first is to protect oneself first; therefore the chapter above on guards was done. The second is knowing how to strike your enemy in tempo, so that you cannot be equally harmed by him, because you would report no victory if you were stricken while striking, making yourself victor and vanquished at once.
It is not to be wished then to make the enemy a participant in your victory, nor you in his shame. Non uolere adunque della uittoria tua far il ne [B2] mico participe, ne te della uergogna sua. Having already treated of the guards and of the names of the blows, and how they are done, we now begin to teach to strike, and following the strikes, to parry.
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And because ideal players always settle themselves in their guards for their safety, we will instruct you of the marring and wounding of an enemy reposed in any of the ten said guards, and then how he must defend himself; and first we present the offenses that can be done in guardia alta.
The enemy makes some blow that pleases him, in order to offend you, who are in guardia alta. You must beat the rim of your buckler up and down, that is, [in response to] the fendente or the falso of his sword [respectively], doing which, you will come to render yourself safe from any offensive blow.
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Accia il nemico qual colpo gli piace per offender te, che sei in guardia alta. Both of you lying in guardia di testa, you wanting to offend the enemy, then throw a mandritto 1 to his face, or flanks, or if you wish, to his leg.
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Or extend a thrust 2 to his face and throw a tramazzone. Or pretend to attack with a mandrittom, 3 but throw a riverso. Or if you prefer, do two mandritti. O se piu ti piacesse fare duo mandritti. The counters that you can make against the aforesaid attacks are these: namely against the mandritto 1 to the flank, leg, or face, you can withdraw your right foot behind your left into large pace, and in this tempo you will avoid the mandritto however it may be done.
Both being in guard, and you wanting to offend your enemy, you can extend a thrust 1 into his face. Or provoke him with a strong mandritto 2 or with a tramazzone; 3 and if you prefer, with the false edge of your sword you will hit 4 that of your enemy, striking him in the face.
Or making a show of throwing a riverso 5 upwards from beneath, you will be able to give him a mandritto. You will be careful that when the enemy extends some thrust, 1 you will pass with your left foot toward his right, and in this passing you will make a half turn with the fist that holds your sword, in such a way that the enemy will rest on the outside, and then following this you will strike his face. But if he throws a mandritto, 2 in the raising that is done of the fist that holds his sword, you will immediately offer to that the point of yours in order that he will lie in fear of lowering it.
Ma se egli tirasse uno mandritto, nel leuar chel fara del pugno de la spada, tu subito a quello offerirai la punta di la tua per lo cui timore egli si restera di calarlo. You can throw a riverso, or make a show of throwing two riversi, 1 nonetheless offending him with a mandritto, 2 and such offenses are understood to be done with both lying in that same guard, and such may be said once for all. When the enemy throws the aforesaid two riversi, 1 you will parry the first with the sword, and as he will wish to do the second, immediately recoiling your right foot near to your left, you will pass forward with the said left giving him in this tempo a riverso driven out into his face; and if he pretends to do two riversi in order to give a mandritto, 2 you will throw your right foot behind your left, going with your sword into cingiara porta di ferro, and as he will want to strike with the mandritto, immediately returning your right foot forward and hitting that [i.
But if he hits with a riverso 3 inside the rim of the buckler, you will turn a mandritto to his face. But if he makes a show of a riverso 4 in order to give you a mandritto, to such a show you will go into guardia di faccia;.
Ma sel facesse uista del riuerso per darti del mandritto, a cotale uista tu anderai in guar dia di faccia. You can throw a riverso to the face, 1 or raise a falso, 2 throwing nonetheless a mandritto to the face.
You could also throw a riverso 3 retreating backward with the left foot. Or with the left foot forward raise a falso 5 into the air, and in this tempo extend a thrust in the gesture of a montante passing forward soon with your right foot and turning a tramazzone which falls into porta di ferro stretta. T V puoi tirare uno riuerso per faccia, ouero leuar uno falso, tirando nondimeno uno mandritto per faccia.
Potresti anchora tirare uno riuerso fuggendo indie tro con il piede sinistro. Ouero spigner una punta nella ne mica mano. As the enemy throws a riverso 1 to your face, you will pass forward with your left foot toward his right side throwing in that tempo a riverso at him toward his right temple. C Ome il nemico tirera del riuerso nella tua faccia, tu passerai con il piede manco innanzi uerso le sue parti dritte tirandogli in quel tempo di uno riuerso nella tempia destra.
You can turn a tramazzone, 1 or step forward with your left foot extending a thrust 2 to the face, and then pass forward with your right foot, turning two tramazzoni.
You can also pretend to throw a tramazzone, 3 yet give him a riverso to his thigh. When the enemy wants to hit you with a tramazzone, 1 in the turning that he makes of his fist, you will turn a falso toward his left side, thereby shielding yourself from that, and throwing at him with the true edge in his face; but if he passes forward with his left foot to give you a thrust 2 in the face, you will hit such a thrust so as to end in guardia di faccia; and while he turns the tramazzone, lowering your sword a little you will go into guardia di faccia, thereby shielding yourself from that with the true edge, and you will immediately pass into large pace toward his right side with your left foot, striking him in the right temple with a riverso in such a manner that your right leg follows behind your left.
You can do a falso 1 and a riverso. Or raise a falso 2 and throw a mandritto to the face so that your left foot drives your foot forward. P Otrai fare falso et riuerso. When the enemy throws a falso 1 or riverso, the falso you will hit simultaneously with a falso, and in defense of the riverso, you will turn a mandritto to his left temple.
Being in cingiara porta di ferro, you can extend a thrust 1 to the face with your right foot [stepping] forward, and thereafter a mandrittoa against your enemy who was also in such a guard, or after you have extended the thrust, you will throw a riversob to his leg.
E Ssendo in guardia di cingiara porta di ferro. As the enemy extends a thrust 1 with the right foot, you will parry that with a falso, and when he wants to strike you with a mandritto, a casting your left foot behind your right, you will give him a mezzo mandritto to his sword arm. But if he is extending you will ward that with the false edge, and as you see the riverso b approaching your face, passing forward with your right foot into guardia di testa you will protect yourself, striking him thereafter with a mandritto to the face.
You can step forward with your right foot and do a falso, 1 and a mandritto. Or passing also with the same foot do a falso 2 and pretend to do a mandritto, but rather throw a riverso at him. You can also, after you will have passed with the aforesaid foot, extend a thrust 3 and throw a mandritto.
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Or passing also with the same foot, throw a thrust 4 followed by a riverso. As well, drawing your left foot near to your right, and next passing forward with your right, you can strike him with a fendente.
Ouero passando pur con [C2] il medesimo piede tirar una punta da uno riuerso seguitata. Ouero con il piede destro innanzi tu puoi spigner una punta da uno tramazzone accompa gnata.
When the enemy, passing forward with his right foot, will do a falso 1 and a mandritto, without stepping you will assume cingiara porta di ferro, and when he will throw the mandritto, you will pass forward with your right foot, hitting that with the false edge, and immediately throw a mandritto to his face or leg as you wish.
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But when he does a falso 2 and pretends to do a mandritto, passing forward with your right foot you will go into guardia di faccia. Ma quando facesse falso et uista di mandritto, tu passando con il piede destro innanzi anderai in guardia di faccia. With the left foot [stepping] forward you will be able to extend a thrust, 1 and then passing with your right foot give him a mandritto.
C On il piede sinistro innanzi potrai spigner una pun ta, et poi passando con il piede destro dargli di uno mandritto. Ouero pur facendo la predetta punta tu poi scor rere con il piede destro innanzi et uolgere uno tramazzone.
As he extends the thrust 1 with his left foot forward for the reason of striking you with a mandritto, you will hit it with the false edge. And wanting to offend you with the mandritto, a you will strike his sword hand with a mezzo mandritto without stepping. Et uolendoti offender con il mandritto senza passeggia mento con mezzo mandritto la mano della spada gli ferirai. The ten famous guards and the offenses that can originate from them being sufficiently treated of in the above book, in this following one it appears to me that you would diligently wish for speech offering instruction in the sword and small buckler, in three masterful plays, or assaults; and as much as the students should be grateful, so should the body, legs, and hands gaily and freely render thanks; nor is it to be marveled at a bit, why I say "the legs", for one who will not take delight in stepping in tempo and in the way of which we will teach, and have taught, will never be able to report of grace nor victory from the play; indeed not, because of such ornament as are rich clothes to the charming and beautiful Nymphs that cavort on Mt.
Menalo or in the Lyceum, such is the grace imparted to the blows of the glittering sword, to which, when deprived of laudable footsteps, such disgrace is brought, that it were as if serene night were widowed of the twinkling stars; and how can the candidate be victorious, where genteel grace is lacking?
Accordingly neither will we reasonably hold one to have won if he triumphs through luck, and if a crude peasant has thrown unruly blows at him, neither will he have lost who has done his duty; it is a thing more praiseworthy, according to men of understanding, to lose graciously than to win through luck, devoid of any grace, as in vile disgrace sometimes fortunate luck does hold the place; thus always in overbearing grace does the longed for victory reside, because one concludes that the gracious man can never lose, although through misfortune he were struck.
Firstly, opposite your enemy, you will place yourself at one end of the hall or of some other spacious field, arranging your body over your legs, and your sword and buckler in your hands, in such a manner that each movement, each act, each gesture is full of grace. And wanting to come towards your enemy, you will pass diagonally toward your right side with your right foot, and in such passage you will give a blow with your false edge to the dome of your buckler, putting your sword into guardia alta, and your buckler must lie toward your face in the manner of a mirror, and passing forward thereafter with your left foot, you will touch your buckler again, arranging your sword into guardia di testa, the buckler falling along your left thigh, and then you will step forward with your right foot, lifting your sword into guardia alta, and then passing with your left foot you will do a montante followed by an over-arm mandritto [i.
Then you will go with your sword into guardia di testa, and stepping forward with your right foot you will touch the dome of your buckler with the false edge, and you will do a montante that rises into guardia alta, and after that you will embellish the play, which is done by sending forth first your right foot, then your left, and cutting the edge of your buckler with a fendente so that having done this the sword must fall and immediately re-ascend to the rear into guardia alta.
And drawing your left foot near your right, you will subsequently retouch your buckler and then you will step forward with your left foot into large pace, replacing your sword into guardia di testa. It must already be plain to the reader of the previously described first assault, that each of them is divided into three parts.
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Not otherwise than was described above in the two previously discussed assaults, finding yourself with every genteel manner at one end of the fencing hall, and wanting to assault your enemy, you will pass diagonally with your right foot toward your right side, executing a molinetto, that is, a circling turn of the sword outside the arm, and then similarly passing with the left foot you will do a riverso from low to high that goes over your arm.
Then stepping forward with your right you will throw two riversi so that at the end of the last one your sword will lie in guardia alta.
Then you will step forward with your left, retouching your buckler, and reducing your sword into guardia di testa. Then similarly crossing forward with your right you will do a montante in the gesture of a thrust, that is resolved into guardia alta, and in this tempo done thus, you will withdraw your right foot near your left, and having done such, you will embellish the play, not as in the two previous fashions, as it is already plain that each assault has a separate embellishment, and this one is thus: that you will cut the edge of your buckler, throwing your right foot back in this tempo, and making your sword successively fall and rise into guardia alta, whence you will make another molinetto to the inside of the head with your wrist, that is, a revolution in the manner of a circled turn, and then you will draw your left foot near your right, retouching your buckler with a good blow.
Then you will step your left foot forward, setting yourself into guardia di testa, and crossing forward with your right foot, you will do a montante in the gesture of a thrust, recovering your sword into guardia alta, and in this tempo you will draw your right foot near the left. Indi scorrendo con il destro innanzi tirerai duo riuersi, talmente, che nella fine del ulti mo la spada in guardia alta si troui. I have glossed over sections of the short introduction of this particular book, skipping straight to the swordplay].
A Ssai piu che li nostri schermitori assalti sono felici quelli nelle uergate carte, che li scarmigliati satiri alle uenatrici nim phe fanno.
File:Opera Nova (Antonio Manciolino) 1531.pdf
Ma non essendo il soggetto a me di ueruna cotale leggiadria proposto, appo gli intendenti lettori meritarono perdono percio, …. Draft Translation by Gindi Wauchope. Chapter 11 - Double Swords.