1628 Rapier Prints of Single-Sword Technique from Scola, Overo Teatro by Nicoletto Giganti
DESCRIPTION
These engravings originate from Nicoletto Giganti’s Scola, overo Teatro, first published in Venice in 1606 and followed by a second expanded edition in 1628. Giganti was one of the leading masters of the Venetian school of fencing, and his manual became a cornerstone of Italian rapier technique during the early 17th century. His clear, methodical instruction paired with some of the finest engraved fencing plates of the period helped shape European swordsmanship and influenced generations of masters throughout the Italian peninsula and beyond.
This collection of prints showcases the core single-sword technique, illustrating the fundamental actions of the Italian rapier: gaining the line, disengaging, counterattacking, and striking with precision and control. These plates strip away elaborate decorative backgrounds to focus on pure fencing mechanics, emphasizing measure, footwork, blade engagement, and timing exactly as Giganti taught them. Together they form the technical backbone of his system, offering a clear visual record of how a Venetian gentleman or duelist was trained to fight in the early seventeenth century
Plate 5: Figura dichiarata per via d’alfabeto - Figure explained by letters of the alphabet.
This foundational plate illustrates the essential guard position, with each limb and angle labeled to teach proportion, alignment, and correct posture. It establishes the geometric framework underlying all of Giganti’s offensive and defensive movements.
Plate 6: Modo di guadagnar la spada di dentro in linea retta - Method of gaining the sword on the inside in a straight line.
The fencer steps into measure while closing the line and dominating the opponent’s blade from the inside. The technique demonstrates how to secure the opponent’s sword before delivering a direct thrust.
Plate 7: Le presenti et seguenti figure mostrano diversi modi di ferir di fuora - The present and following figures show various methods of striking from the outside.
This plate shows the basic outside-line engagement, where the fencer extends to seize control of the opponent’s blade. With the line cleared, a thrust is delivered along the outside opening.
Plate 8: Figura che mostrano quanto si perde di misura tirare alle gambe - Figure showing how much measure is lost when striking at the legs.
The fencer overextends toward the opponent’s leg, demonstrating the danger of lowering one’s line and losing defensive structure. The opponent maintains a safer guard and proper distance.
Plate 9: Figura che ferisce di passata mentre che l’avversario caua per ferire - Figure that strikes with a passing step while the opponent disengages to attack.
The image illustrates a passing lunge timed precisely as the opponent attempts to disengage around the blade. The attacker enters with full body extension to intercept the vulnerable opening.
Plate 11: Modo di ferire in diverse attioni sotto la nemica spada - Method of striking in various actions beneath the enemy’s sword.
The fencer thrusts while slipping under the opponent’s blade, demonstrating a low-line attack executed with a bend of the torso. This plate emphasizes evasion combined with forward pressure.
Plate 13: Figura che ferisce di scannatura di punta nel fianco destro - Figure that strikes with a cutting thrust into the right flank.
Here the fencer delivers a deep thrust to the opponent’s flank during a moment of attempted disengagement. The action shows how to exploit a lateral opening with decisive extension.
Plate 14: Figura che ferisce sotto la spada nemica di contratempo - Figure that strikes beneath the enemy’s sword in counter-time.
The fencer drops the point under the opponent’s raised blade and attacks as the opponent moves to strike. This action teaches the principle of counter-timing by attacking into the opponent’s preparation.
Plate 15: Doppio modo di guadagnar la spada dell’avversario di dentro e fuora
Translation: Double method of gaining the opponent’s sword inside and outside.
The illustration shows two variations of blade engagement, one on the inside line and one on the outside. These actions demonstrate the versatility of gaining control of the opponent’s weapon before thrusting.
Plate 16 — “Le presenti figure mostrano diversi modi di ferir di dentro - The present figures show various methods of striking on the inside.
The fencer closes from the inside line, drawing the opponent’s blade offline and thrusting directly into the torso. This plate teaches the core inside-line attack.
Plate 17: Figura che ferisce con il scanso del pie dritto vicino all’orecchia - Figure that strikes with an evasion of the right foot near the ear.
Using a small evasive foot movement, the fencer slips the opponent’s thrust and responds with a direct strike. The technique emphasizes minimal movement used to create a safe opening.
Plate 18: Figura che ferisce di quarta nella gola col piè manco di passata - Figure that strikes in quarta to the throat with the left foot passing.
The fencer performs a passing lunge, delivering a high-line thrust in quarta to the opponent’s throat. The step increases reach while maintaining strong blade control.
Plate 19: Figura che ferisce di quarta con lo scanso della vita - Figure that strikes in quarta with a twist of the torso.
Here the fencer rotates the torso to avoid the opposing blade while thrusting in quarta. The action shows Capoferro’s emphasis on combining blade engagement with body displacement.
Plate 20: Figura che ferisce di seconda di passata nella faccia - Figure that strikes in seconda with a passing step to the face.
The fencer lunges forward with a passing step into a high-line thrust in seconda. This plate demonstrates a forceful attack executed while parrying or binding the opponent’s weapon.
CONDITION
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