Two Guards

We are two guards, one made like the other, and one is the contrary of the other. And in every other guard in the art, one is similar to the other and its contrary save the guards which stay in point which are Posta Longa, and Breve and Meza Porta di Ferro where point against point the longest offends first.

And what one can do, so can the other.

Each guard can do Volta Stabile and Mezza Volta.

Volta Stabile is when standing still you can play in front and behind on one side.

Mezza Volta is when you make a step forward or backward, and this way play to the other side infront and behind.

Tuta Volta is when you about one foot with the other foot, one stays still and the other circles it.

And I can say that the sword has three movements which are volta Stable, Mezza Volta and Tuta Volta.

And these guards are both called Posta di Donna.

Also there are four things int he art which are to pass, to turn, to acrease and decrease.

First Guard

We are six guards, and one is not the same as the other. And I am the first that talks about myself. Of throwing my sword this is my purpose. The other guards who are after me will now talk of their virtues I believe.

Second Guard

I am a good guard in armor and without, and I am contrary to the par and sword thrown out of hand, that is I know how to beat and dodge them, for I hold certain that they cannot do me harm.

Third Guard

I am the third guard of flinging a long thrust so much that I maintain the sword of greater length.

And I am good going against one when the other and myself are armoured, becasue i have short point in front I shall not be ambushed.

Fourth Guard

I am a good guard against sword axe and dagger if I am armoured, because I hold the sword with the left hand in the middle. For I do this against the dagger that can make me harm more then the other weapons.

Fifth Guard

Guard and Posta di Donna I am called because with this and other grips of the sword I am divided, that one is not the same grip as the other, well it is that one that is my contrary seems like my guard if it was no the method of axe that the sword is entering.

Sixth Guard

This sword is a sword and axe. And with its big weight he causes strong impact. This is also Posta di Donna la Soprana. That with such malice that other guards I greatly deceive, because you believe that I strike my blows with my tip. I have nothing to do other then to raise my arms over my head. And I can throw a thrust quickly.

Colpi Fendenti

We are Fendenti and in the art we make issue of cleaving from the teeth and to arrive at the knee with reason. And every guard who make itself low to the ground, from one guard to another we go without trouble. And we break the guards with cunning and with blows we make the blood sign. We fendenti will not wait to strike, and we return to guard from passage to passage.

Colpi Mezani

Mezani blows we are called because we go through the middle of the high and low blows. And we go with the right edge from the right side, and from the opposite side we go with the false edge. And our path is from the kneed to the head.

Colpi Sottani

The Sottani blows are we, and we start at the knee, and we go through the middle of the forehead through the path made by the fendenti. And in this way we are both together for by that path we return or that we remain in Posta Longa.

Le Punte

We are the Punte cruel and deadly. And our path is through the middle of the body beginning at the pubic region to the forehead. And we thrust with five reasons, namely two high one on one side and the other from the other. And two from low similarly one from one side and the other from the other side. and one from the middle that is from Middle Iron Door or from Posta Longa and Posta Breve

Porta di Ferro Pulsativa

Here begins the guards for the two handed sword and we are 12 guards. The first is Tutta Porta di Ferro that stands with great strength and it is a good aspect against every hand held weapon long and short and also that she has a good sword that is not one of too much length. She passes with a cover and goes to the close. She exchanges the thrust and she places her own. Also she beats the thrust to the ground and always goes with a step and with every blow she makes a cover. And one who is in this gives great contention and makes defense without failing.

Posta Di Donna Destraza Pulsativa

This is the Posta di Donna who can make all seven blows of the sword. And of all blows she can cover. And breaks the other guards with the great blows that she can do. And for exchanging a thrust she is always ready. The foot that is in front accreases out of the way, and the one behind steps to the side. And it makes the companion remain uncovered and that can injure him quickly for certain.

Posta di Finestra Instabile

This is the Position of the Window that is always ready with malice and deceit. And of covering and of wounding it is Master. And with all guards it can question and with the high and the low. And from one guard to the other she often goes for she deceives the companion. And places great thrusts and knows how to break and to exchange these plays which she can can do well.

Posta di Donna La Senestra Pulsativa

This is Posta di Donna la Senestra that of covering and of striking she is always read. She makes great blows and breaks the thrust and beats them to the ground. And enters to the Gioco Stretto plays of she knows how to traverse. These plays this guard knows how to do them well.

Posta Longa Instabile

Posta Longa is filled with deceit. She goes probing the guards if she can trick the companion. if she can wound with the trust then she knows well how to sidestep his blows and injure use more deception than the other guards.

Posta di Ferro Mezana Stabile

This is Mezana Porta di Ferro because she stays in the middle and is a strong guard but she requires a long sword. She throws strong thrusts and beats with force the sword upwards and returns with the Fendente for the head or for the arms and also she returns to her guard. But she is called porta because she is strong and moreover is a strong guard who is evil and can break without peril and coming to close.

Posta Breve Stabile

This is the Posta Breve which requires a long sword and is a malicious guard that has no stability. Also she always moves and sees if she can enter with a thrust and with a step against the companion. And this guards is more appropriate in armor than without armor.

Dente di Cenghiaro Stabile

This is Dent di Zengiaro because this is the way that the wild boar strikes. She places great thrusts from below to end at the face and does not move with a step and returns with a fendente through the arms. And sometimes delivering a thrust at the face and goes with the point upright, and in that act of thrusting she accreases the foot that is in front and returns with a fendente to the head and the arms and it returns to its guard and quickly does another thrust with and accrease of the foot and it defends well from the Gioco Stretto.

Posta di Coda Longa Stabile

This is the position of the long tail that is extended backwards to the ground, it can place thrusts and in front, it can cover and strike. And if it passes forward and strikes through with Fendente, to the Giocco Stretto it enters without failure, because this guard is good for waiting because it can quickly go into other ones.

Posta do Bicorno Instabile

This is the Posta do Bicorno that stays much public that always stays with the point in the middle of the road. And that which Posta Longa can do this can do. And similarly I say this of Posta di Fenestra and of Posta Frontale.

Posta Frontale called Corona Instabile

This is Posta Frontale, called by some masters Posta do Corona, which is good for crossing and for the thrust she is also good that if he gives a high thrust she crosses passing out of the way. And if the thrust is low also she passes out of the way beating the thrust to the ground. Also she can do something else, that in the placing of a thrust turn with the rear foot and come with a fendente through the head and through his arms and she goes to Dente do Cengiaro and quickly throw a thrust or two with an accrease of the foot and return with a fendente to this particular guard.

Posta do Dente de Zenchiaro Mazana Stabile

This is the Dente di Zengiaro lo Mezano and because there are two Denti di Zengiaro the one is Tutta, the other is Mezani therefor is named middle, because she stays int he middle o the body and that which the said tooth can the middle tooth can do. And in the same way of the Wild Boar does the traverse in this way he does it with the sword which always wound with the sword traversing the sword of the companion. And it always throws thrusts and discovers his companion and always destroys his hands and sometimes the head and the arms.

Plate 1

Here begins the largo plays of the two handed sword. This Master who is crossed with the point of the sword with this Player says "when I am crossed with the point of the sword quickly I give a turn to my sword and I injure him from the other side with a fendente namely for the head and the arms, or I place a thrust to his face, like you see drawn hereafter.

Plate 2

I have positioned a thrust to your face as the Master that is before me says.

Also i could have done what he says, namely to have quickly drawn my sword when it was crossed on the right side to the other side, namely to the left, I had to turn my sword in a fendente for the head and the arms, like the Master that is before me says.

Plate 3

Also I am crossed here for a largo play at the middle of the sword. And immediately that I am crossed, I let my sword run to and fro over his hands, and if I want to pass with the right foot out of the way, I can place a thrust to his chest as is drawn hereafter.

Plate 4

The play of my Master I have completed, because I have made his cover and quickly have done what he said, that is I have wounded his arms first, and then I have positioned the point on his chest.

Plate 5

My Master that is before me taught that when I am crossed middle sword then suddenly I accrease forward and I take his sword to this finish in order to hurt him with cut or thrust. Also, I can waste his leg in the way that you can see here drawn to hurt him with the foot over the back of the leg or under the knee.

Plate 6

The student that is before me says that his Master and mine taught him this play and for that reason I do this. It is little trouble to do it without doubt.

Plate 7

This play is called the Villain's Strike and it is done in this way, namely that you have to wait for the villain to draw his sword. And the one who waits for the blow to stands with the left foot a small step forward. And immediately that the villain draws to strike you accrease the left foot out of the way to the opposites right side. And with the right pass to the side out of the way taking hold of his blow in the middle of your sword. And allow his sword to urn to ground and immediately respond with a fendent to his head or his arms, or with a thrust to his chest as depicted. Also this is a good play with a sword against the axe, against a cudgel, heavy or light.

Plate 8

This is the Villain's Strike before me, which I have positioned the thrust well in his chest. And in the same way I could have made a strike to the head and to the arms with a fendente as is said before. Also if the player wants to go against me striking me with the reverse under my arms, immediately I accrease the left foot and put my sword over his and he can do nothing to me.

Plate 9

When one draws for your leg decrease the foot that is forward, or return it to behind, and strike a fendente for his head like it is shown here. With a two handed sword he cannot to draw to the knee because then there is too much danger to the one that draws, because he that draws to the leg remains all uncovered. Unless one has fallen to the ground when he can strike the leg well, otherwise you cannot, being sword against sword.

Plate 10

This is a finish that I do, I strike you with my foot in the testicles and as I do it to cause you pain and to make you loose the cover that I want to this play immediately , in order to not have doubts of the contrary against it. The contrary of this play has to be done quickly namely that the player has to take hold of the Student's right leg with his left hand and to the ground he can throw him.

Play 11

This play is called Exchange of Thrust and he does it in this way namely; when one draws a thrust at you immediately accrease your foot that is in front out of the way and with the other foot pass tot he side also out of the way crossing his sword with your arms low and with th point of your sword high in his face or his chest as is drawn.

Play 12

From the Exchange of Thrusts that is before me, they come to this play, that is immediately so that the Student this is before me does not put the point to the face of the Player and not letting it be placed neither in the face nor in the chest, and wherefore the player was armored, immediately the scholar has to pass forward with the left foot and he has to grab in this way. And his sword can strike well because the Player has caught his sword and he cannot flee.

Play 13

This is another defense that you can do against a thrust, namely when one draws a thrust at you, as I said to you in the Exchange of Thrusts in the second play that is before me, you have to accrease and step out of the way. In the same way you do this play but the Exchanging of thrusts goes with a thrust with the arms low and with the point of the sword high as is said before. But this is called Breaking the Thrust because the Scholar goes with the arms high and makes a fendente with an accrease stepping out of the way and strikes across the thrust near to the middle of the sword to beat it ot he ground. And then immediately comes to the close.

Play 14

The Scholar who is before me has beaten the sword of the player to the ground, and I complete his play in this way. Having beaten his sword to the ground I put my right foot with force over his sword. So that I can break it, or I can grab it in such a way that he cannot do any actions any more. And this is not enough for me, so immediately when I place my foot over his sword, I strike with the false of my sword under the beard into the neck. And immediatley I return with a fendente with my sword through his arms or the hands as is depicted.

Plate 15

Also this is a play of Breaking the Thrust that is the second play that is before me, that is when I have beaten the sword to the ground immediately I strike with the right foot on his sword. And in that deed I strike to injure him in the head, as you can see.

Plate 16

This is also another play of Breaking the Thrust, that if the player in the breaking, because I have borken his thrust, lifts his sword to cover mine, immediately I put the hilt of my sword within the part of his right arm near his right hnad and immediately I grab hold of my sword with my left hand near the point and strike the player in the head. And if I wanted to I can put it to his neck to saw the windpipe of his throat.

Plate 17

Also when I have Broke the Thrust or I have truly crossed with a Player I put my hand behind his right elbow and strongly I pinch in this way that I will make him turn and uncover, and then I can strike him in the turning that I make him do.

Plate 18

This scholar who is before me says the truth because with the turn that he makes you do in this way I come to cut the back of your head. Also before you could return to your cover I could give you an open wound with a thrust to your back.

Plate 19

This play is called False Point and Short Thrust, and I will say how to fashion it: I make to with great force in order to strike the player with a Mezana blow to the head. And immediately that he makes the cover I strike his sword lightly. And immediately I turn my sword to the other side taking hold of my sword with my left hand near to the middle. And quickly I place the point in his throat or his chest. And this play is better in armour than without.

Plate 20

This is the contrary of the play that is before me, namely the False Point or the Short Thrust. And this contrary is done in this way: when the scholar strikes at my sword, in turn he does with his sword immediately I turn mine at the same time he turns his. But I pass to the side in order to find the opponent more uncovered. And then I put the point in his face. And this contrary is good in armor and without.

Plate 21

Here finishes the Gioco Largo of the two handed sword which are united plays which have plays called remedies and contraries from the right side and from the left side and counter thrusts and counter cuts for every side with breaks, covers, strikes and binds that all these things understood if they may have the knowledge.

Plate 23

Here begins the Gioco Stretto plays of the sword in two hands, in which will be reasons for covers and strikes and binds and dislocations and presse and taking the sword and smiting to the ground in various ways. And there shall be the remedies and the contraries of every reason that must be done to offend and to defend.

Plate 1

We stay here crossed and form this cross we will do all his plays that follow one of us made even as the other. And all the plays will follow one another as it is said before.

Plate 2

Because of the cross that the Master did with the right foot forward I complete the first play, namelythat I pass with the left foot and with my left hand I pass over my right arm and catch the handle of his sword in the middle of his hands, namelyh in the middle of his handle. And with cuts and thrusts I can stike him. And this catch can be done with the sword in one hand and in two hands. From the cross it can be done as well over or under hand when making this catch.

Plate 3

This is another play that comes from the cross of my Master. And like the one that is crossed he do this play and the other that here after follow: namely that the player can catch the player in this way and strike him in the face with the pommel of his sword. Also he can strike him with a fendente to the head before he can make a cover quickly.

Plate 4

This is another strike with the pommel. And if you can immediately do it, if his face is uncovered, do it without doubt, for you can do it armored and unarmored. Four teeth you can drie out of hi mouth with one such play that I have proved. And you could thrust the sword to his neck if you wanted as the student does after me.

Plate 5

For the play that is before me and like the student has said I have positioned the sword at your neck and your throat I can slace well because I feel that you do not have a stitched collar.

Plate 6

When I am crossed I pass with cover and strike you in your arms in this resolution. And this thrust I put in your face and if I accrease the left foot both your arms I will bind. Or else, that in the other play that is after me you are caught, namely that you are bound with the sword by holding the hilt.

Plate 7

This is catch that the student that is before me said to do to you, I can strike you without danger. I hold the hilt of your sword, of thrusts and of cuts I will do to you cheaply. And this play breaks every disarm of the sword and immediately doing it spoils the close plays.

Plate 8

When I am crossed I come to the close plays. The hilt of my sword enters between your hands. And I lift your arms with your sword upright. I throw my left arm over yours with a reversed hand and I strike your arms with your sword under my left arm. And of striking you I will not finish until I am weary. The play that is after me, that the student does, is my play and I will want to do it to you.

Plates 9 - 12

Ninth Play

The student who is before me completes the play that I have said to do. Your arms I have tied in the middle bind. Your sword is in prison and it cannot help you. And with mine I can strike you a lot My sword I an put to your neck without doubt. The that is after me I can do immediatley.
Tenth Play

From the play that is before you can do this play that when the student has injured the player well, holding his arms with the sword bound well with his left arm, throw your sword to his neck and put him in this resolution. If I throw him to the ground the play I have completed.
Eleventh Play

If one covers on the left side catch his left hand with your lefthand, with all the pommel of his word, and put it down behind him and with thrust and slice you can strike him well.
Twelfth Play

If one is covered on the right side, catch sword with your left hand in this way and stike him with your left hand in this way and strike him with a thrust or with a slice. And if you want you can slice with his own sword in his fact or the neck in the way that is shown. Also when I have struck you well I can abandon my sword and catch hold of yours in the way that hte student does who is after me.

Plates 13 - 16

Thirteeth Play

From the play of the scholar who is before me I do this play, with this sword I slice his face sending him to the ground. I will show you well that such art is true.
Fourteenth Play

This play is taken from the play of the dagger namely from the first master remedy that puts his left hand under the dagger so as to take it from the hand, similarly this scholar puts his left hand under the right hand of the player so as to take his sword from his hand. Or else he will put him in a ligadura mezana as the second play that is after the first master remedy of dagger that is said before. And that bind is of this scholar.
Fifteenth Play

I am the contrary and do the counter to the scholar who is before me that wants to do plays of the dagger namely of hte first master remedy, his second play that is after him. If your sword you remain on your feet then I believe it not.
Sixteenth Play

Also I am the contrary of that scholar who wants to do plays of dagger, namely the second play that is before this scholar, I do the counter. If I saw at the throat a little he will rise. And to the ground I can throw him quickliy if I want.

Plates 17 - 20

Seventeenth Play

If I am crossed close with one, immediately I do this catch, because neither with a taking of the sword nor with a bind are offered to me. Also I can strike him with thrust and with cuts without danger.
Eighteenth Play

This play is done in this way, namely that if one goes with the mezano strike against the middle of the left side and immediately go with cover to the close and throw the sword to the neck of the companion as here is shown. I can throw him to the ground without failure.
Nineteenth Play

This is a high taking of the sword by maintaining my sword I come down in front and with my left hand I tighten his arms in this way that it would be better for him to lose his sword. And I will do great strikes wounds to him cheaply. The scholar who is after this play shows how the sword of the player is put to the ground.
Twentieth Play

For the catch of the scholar whom is before me has done, your sword has fallen to the ground, you can feel it. Many strikes I can do to you without lying.

Plates 21 - 23

Twenty First Play

This is middle taking of the sword, who knows to do it. Such a turn of the sword he makes like this, as in the first one, but that the catch is not the same.
Twenty Second Play

This is another taking of the sword called under. In a similar way he takes from below as above, namely this goes with a turn of the sword in the same way as the others. With the right hand carry forward a turn around maintaining it. And with the left hand follow the turn around.
Twenty Third Play

Another similar take of the sword I do that when I am crossed close, the student shall put his right hand under his left and grab that of the player near to the middle or higher and immediately drops his to the ground. And with the left hand he takes hold under the pommel of the sword of the player and gives it a turn round towards the left. And immediately the player will have lost his sword.

Plates 21 - 23

Twenty First Play

This is middle taking of the sword, who knows to do it. Such a turn of the sword he makes like this, as in the first one, but that the catch is not the same.
Twenty Second Play

This is another taking of the sword called under. In a similar way he takes from below as above, namely this goes with a turn of the sword in the same way as the others. With the right hand carry forward a turn around maintaining it. And with the left hand follow the turn around.
Twenty Third Play

Another similar take of the sword I do that when I am crossed close, the student shall put his right hand under his left and grab that of the player near to the middle or higher and immediately drops his to the ground. And with the left hand he takes hold under the pommel of the sword of the player and gives it a turn round towards the left. And immediately the player will have lost his sword.