1628 Rapier Prints of Sword-and-Dagger Techniques 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 presents the most advanced material from Nicoletto Giganti’s Scola, overo Teatro, highlighting the elegant but highly technical interplay of sword and dagger. These plates demonstrate Giganti’s mature system of close-measure combat, where control of the line, coordinated parries, and complex counter-time actions become essential to survival. In these sequences, Giganti shows how the dagger is not merely a defensive tool but an active companion weapon, used to bind, trap, and create openings for decisive thrusts. Together, they represent some of the most sophisticated martial illustrations of the early 17th century and form a cornerstone of the Italian Rapier tradition.
Plate 21: Figure di Spada e Pugnale, mostrarano il modo di stringere la spada - Figures of sword and dagger, showing how to bind the opponent’s blade.
This plate depicts the fencer closing distance while raising the dagger to bind the opponent’s sword from the inside line. The action demonstrates the classic “stringere,” in which blade pressure is used to control the opponent before delivering a thrust.
Plate 22: Figure che mostrano, come con una sol parata di pugnale si possa ferire in tre luoghi - Figures showing how, with a single dagger parry, one can strike three targets.
A high dagger parry is used to intercept the opponent’s blade, immediately opening lines for thrusts to the face, chest, or thigh. Marozzo emphasizes economy of motion—one defensive action enabling multiple offensive options.
Plate 23: Figura che ferisce di seconda di finzione nel petto tra l’arme - Figure striking a feinted second thrust in the chest through the opponent’s weapons.
The fencer feints low while lifting the dagger to control the opponent’s sword, then angles a second-intention thrust into the chest. The dagger supports the attack by disrupting the opponent’s parry mid-motion.
Plate 24: Figura che ferisce sopra il pugnale di seconda nella spalla sinistra - Figure striking a second thrust above the dagger into the opponent’s left shoulder.
This plate shows the dagger intercepting the opponent’s blade at a midline angle while the sword delivers a rising second thrust. Footwork shifts to the outside line to destabilize the opponent’s defense.
Plate 25: Figura che para di pugnale alto di dentro, e ferisce di riverso nella coscia - Figure parrying high inside with the dagger and striking a reverse blow to the thigh.
The defender lifts the dagger above the incoming blade while stepping offline and cutting a back-handed thrust to the thigh. Marozzo uses this to teach safe engagement of the opponent’s high attacks.
Plate 26 Figura che para con la spada di quarta accompagnata col pugnale - Figure parrying in fourth with the sword, aided by the dagger.
This drawing illustrates a supported fourth-position parry where the dagger reinforces the sword to control the opponent’s strong attack. The combined weapons then transition into a counterthrust to the face.
Plate 27: Figura che fa la finta sopra il pugnale, et alzando l’avversario ferisce - Figure making a feint over the dagger, lifting the opponent’s guard to strike.
The fencer executes a false attack above the dagger, provoking the opponent to rise, then drops into a low thrust under the lifted guard. It teaches manipulation of reactions through layered feints.
Plate 28: Figura che para col pugnale sotto il braccio destro, e ferisce di seconda nella faccia - Figure parrying with the dagger under the right arm and striking a second thrust to the face.
The dagger is tucked beneath the right arm to intercept the opponent’s blade in a compact defense, freeing the sword for a tight second-line thrust. This is a classic interior defense used in narrow measure.
Plate 29: Figura che ferisce sopra il pugnale di seconda nella spalla sinistra Figure striking a second-line thrust above the dagger into the left shoulder.
The dagger binds the opponent’s blade from below, allowing the fencer to arc a thrust over it into the opponent’s upper opening. Marozzo shows how stabilizing the bind redirects the attacker’s strength back upon him.
Plate 30: Figura che ferisce di seconda sopra il pugnale di finzione nella spalla sinistra - Figure striking a second thrust above the dagger after a feint to the left shoulder.
A false attack first draws the opponent’s defense outward, after which the fencer slips inside with a tight second-line thrust. The dagger maintains control to prevent the opponent from counterattacking.
Plate 31: Figura che ferisce di passata di punta in falso di sotto tra l’arme - Figure striking a passing thrust from below between the weapons.
The fencer performs a deep passing step while rising into a false-edge thrust from beneath the opponent’s guard. The dagger stabilizes the bind, enabling an aggressive advance into close measure.
Plate 32: Figura che ferisce di quarta nella gola solo con abassar la spada - Figure striking a fourth-line thrust to the throat by lowering the sword.
This plate shows a descending engagement in fourth, slipping under the opponent’s blade to access the throat. The dagger drops to guard the inside line in case of a counter-lunge.
Plate 33: Figura che ferisce di quarta per di sotto il pugnale nel petto - Figure striking a fourth thrust under the dagger into the chest.
The dagger lifts to parry high, while the sword thrusts beneath it into the chest with a low fourth-line action. The footwork crosses forward to gain measure while remaining protected.
Plate 34: Figura che ferisce di seconda sopra il pugnale nel petto - Figure striking a second thrust above the dagger into the chest.
This action uses the dagger to check the opponent’s blade as the sword launches a higher, more direct second-intention thrust. The weight shifts forward aggressively to capitalize on the opening.
Plate 35: Figura che ferisce di una punta tra l’arme nel petto - Figure striking a thrust between the opponent’s weapons into the chest.
The fencer threads the sword point directly between the opponent’s crossing blades, exploiting their moment of indecision. The dagger remains poised to catch any late counteraction.
Plate 38: Figura che ferisce di stramazzone riverso nella faccia - Figure striking a reverse stramazone (whirling cut) into the face.
The sword performs a turning cut from inside while the dagger intercepts the opponent’s blade. This combination blends rotational power with tight defensive structure.
Plate 39: Figura che para per testa con la punta della spada alta - Figure parrying overhead with the sword’s high point.
The fencer raises the sword vertically to intercept a descending blow, using the dagger for secondary support. Once the attack is halted, the fencer may deliver thrusts to the face or thigh.
Plate 41: Figura che para il stramazzone riverso con la spada et con il passare - Figure parrying a reverse stramazone while stepping and counter-stabbing.
A reverse cut is stopped with a firm parry combined with a forward passing step. The dagger then delivers a low thrust beneath the opponent’s arm while their momentum is broken.
Plate 42: Modo di saper ben valersi della rotella ritrovandosi a fronte con un’altra rotella - Method of using the round shield (rotella) when facing another shield.
This unique plate shows two fighters using circular shields along with swords, demonstrating shield binding, edging, and line-closing actions. The sword thrust follows immediately after the shield displaces the opponent’s defense.
CONDITION
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