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The Italian Rapier has held a special place in the history of European swordsmanship. Famous for generations after his death, Salvatore Fabris became the personal fencing master to the equally famous King Christianus of Denmark. Towards the end of his career, and at the king's request, the great master set down the sum of his art in clear in a clear, concise manual of footwork, guards, attacks, defenses, and conterattacks with the rapier, used alone or with a dagger or cloak. A landmark work brought to English for the very first time, Tomasso Leoni offers a complete translation that accompanies the 200 17th century engravings.… (mehr)
FABRIS (salvator) Capo dell' ordine dei sette cori]. — Sienza [etc] e pratica d'Arme. Divisa in dui Libri: Nel Primo, si dismotra [aie] le suttilita sopra le quali é fondata la professione. Nel Seconde», Alcvne Raggioni, non piu da altri intese. Con la tauola, di quanto nell' opera si Contiene. Folio. 1606. ' Copenhaven : Henrico Waltkirch.
Engraved title-page. With a second title-page alto engraved, which reads, "De lo Schermo, overo scienza d'arme." Pron{itpiece. Portraiti of Christian IV. of Denmark, to whom the work is dedicated, and of the author. 190 copperplates by J. Halbeeck in the text. The seizure in Dagger Play, or the method for an unarmed man attacked by one armed with a knife, is touched upon by this author. " Pabris divides his work into two books and six parts. The first book treats thoroughly the question of broad principles and of the more ' academic ' actions with the rapier, alone or accompanied with dagger or cloak ; it discusses in a very exhaustive manner the relative value of the past and present methods. The second book is one ' wherein is demonstrated certain rules with which it will be possible to strike the enemy from the moment the sword is drawn, without halting or waiting any time, principles which have never been treated by any master or writer.' "—Castle's " Schools and Masters of Pence."] {In the British Museum, 534. m. 13. {imperfect) ; and Captain Sutton's Collection.) (—). — Neu künstlich Fechtbuch. 1617. Neurenberg. (—). — Delia vera practica e scienza d'armi . . . &c. Opera di Salvator Fabris. Folio. 1624. Padova: per Pietro Paoli Tozzi. (—)..— Des kunstreichen und weitberümeten Fechtmeisters Fabris Italienische Fechtkunst. Folio. 1619. Leyden. [Printed by Isaack Elzevier, and dedicated by the same to Oustavus Adolphus. The copperplates of the first edition are replaced by woodcuts (192).] (—). — Scienza e pratica d'arme di Salvatore Fabris, Capo delP ordine dei sette cuori. Das ist : Herrn Salvatore Fabris, Obersten des Ritter-Ordens der Sieben Hertzen, Italienische Fechtkunst. Von Johann Joachim Hynitzchen, Exercitien Meister. 4°. 1677. Leipzig : gedruckt bey Michael Böge. [Oerman translation parallel with the Italian text. The plates are the same as in the original edition, with the addition of one representing the monument erected to Pabris's memory in Padua, his native town ; and of a portrait of a certain Heinrich, who seems to have patronised this reproduction of the great master's work.]
The Italian Rapier has held a special place in the history of European swordsmanship. Famous for generations after his death, Salvatore Fabris became the personal fencing master to the equally famous King Christianus of Denmark. Towards the end of his career, and at the king's request, the great master set down the sum of his art in clear in a clear, concise manual of footwork, guards, attacks, defenses, and conterattacks with the rapier, used alone or with a dagger or cloak. A landmark work brought to English for the very first time, Tomasso Leoni offers a complete translation that accompanies the 200 17th century engravings.
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FABRIS (salvator) Capo dell' ordine dei sette cori]. — Sienza [etc] e pratica d'Arme. Divisa in dui Libri: Nel Primo, si dismotra [aie] le suttilita sopra le quali é fondata la professione. Nel Seconde», Alcvne Raggioni, non piu da altri intese. Con la tauola, di quanto nell' opera si Contiene. Folio. 1606. ' Copenhaven : Henrico Waltkirch.
Engraved title-page. With a second title-page alto engraved, which reads,
"De lo Schermo, overo scienza d'arme." Pron{itpiece. Portraiti of Christian IV. of Denmark, to whom the work is dedicated, and of the author. 190 copperplates by J. Halbeeck in the text.
The seizure in Dagger Play, or the method for an unarmed man attacked by one armed with a knife, is touched upon by this author.
" Pabris divides his work into two books and six parts. The first book treats thoroughly the question of broad principles and of the more ' academic ' actions with the rapier, alone or accompanied with dagger or cloak ; it discusses in a very exhaustive manner the relative value of the past and
present methods.
The second book is one ' wherein is demonstrated certain
rules with which it will be possible to strike the enemy from the moment the sword is drawn, without halting or waiting any time, principles which have never been treated by any master or writer.' "—Castle's " Schools and
Masters of Pence."]
{In the British Museum, 534. m. 13. {imperfect) ; and Captain Sutton's
Collection.)
(—). — Neu künstlich Fechtbuch. 1617. Neurenberg.
(—). — Delia vera practica e scienza d'armi . . . &c.
Opera di Salvator Fabris. Folio. 1624. Padova: per Pietro Paoli Tozzi.
(—)..— Des kunstreichen und weitberümeten Fechtmeisters
Fabris Italienische Fechtkunst. Folio. 1619. Leyden.
[Printed by Isaack Elzevier, and dedicated by the same to Oustavus Adolphus.
The copperplates of the first edition are replaced by woodcuts (192).]
(—). — Scienza e pratica d'arme di Salvatore Fabris, Capo
delP ordine dei sette cuori. Das ist : Herrn Salvatore Fabris, Obersten des Ritter-Ordens der Sieben Hertzen, Italienische Fechtkunst. Von Johann Joachim Hynitzchen, Exercitien Meister. 4°. 1677. Leipzig : gedruckt bey Michael Böge.
[Oerman translation parallel with the Italian text. The plates are the same as in the original edition, with the addition of one representing the monument erected to Pabris's memory in Padua, his native town ; and of a portrait of a certain Heinrich, who seems to have patronised this reproduction of the great master's work.]