(The Flower of Battle)

Fiore dei Liberi was born to a knightly family in Cividale del Friuli sometime around 1340 or 1350. He tells us in the prologue of his treatise that he took an interest in arms as a youth, and traveled to many provinces, training under many Italian and German masters. In time he became a master himself, and he states that he had been practicing the art of swordsmanship for forty years when he began writing his treatise.

He received jealous challenges from other fencing masters, and in his prologue informs us that he fought in five such challenges with sharp swords, wearing only and arming doublet and gloves.  He says also that he remained, "By the Grace of God with honor and without injury to my body."

We know from Francesco Novati’s research into historical documents of the period that the nearby towns of Cividale and Udine had present in them many fencing masters during the period of Fiore’s youth and prime.  Also in the historical record are instances of Fiore’s involvement in military and civic duties.  In 1383 Fiore pledged his military service to Frederigo Savorgnan to aid him in a war that broke out over the rights of the Patriarch of Aquileia.  In 1384 he was sent to aid the Captain General to maintain order in the town Gemona, and in 1387 he was in Padua to oversee a duel. 

Circa 1400, he was appointed master swordsman to the court of Niccolo III d'Este, Marquise of Ferrara and later acquired a commission as a master swordsman on behalf of Signore di Ferrara.  It was during this period (1409 or 1410) that he began to write the manuscript for the knightly nobility and dedicated his treatise to the Marquis. Dei Liberi appears to have died before 1450. Fiore’s teaching is priceless as a window to the martial culture of late 14^th and early 15^th century Italy.

Fior di Bataglia, or Flower of Battle, exists today in three manuscripts, all named for the collections or libraries in which they were or are now kept: the Getty-Ludwig, the Morgan-Pierpoint and the Pissani-Dossi (reproduced with glosa by Francesco Novati and now lost) manuscripts. The Morgan-Pierpoint and Getty-Ludwig versions of the work seem to be fairly similar (though the Morgan-Pierpoint includes only swordplay and mounted combat), possessing a great deal of explanatory text with each technique.  The Pissani-Dossi seems to be a departure from the other two, the text being primarily written in short rhyming couplets. The Pissani-Dossi version of Fior di Bataglia is the most widely recognized and may be found elsewhere on the World Wide Web.

Members of St. Martin's Academy are currently assisting in the translation of the Getty-Ludwig copy of the manuscript.  It is our intention to remain true to his manuscript, not filling in with techniques from other sources, or interpreting techniques in the way they may be executed by other martial arts, but rather attempting to interpret them strictly as Fiore himself set them down.

The Getty-Ludwig copy of the Fior di Bataglia is divided into sections dealing with wrestling, dagger, sword, spear, pollaxe and finally, mounted combat with lance and sword. It is a complete system of martial arts.  One finds transitional material between each section, and many internal references and thematic repetition, so that the student can very quickly come to an understanding of the system.  It is clear that Fiore was an excellent educator and knew how to set down material for ease of instruction and learning.

He tells us also that the art is so large that one may not learn it properly without books, and that he learned to read, to write, to draw, and owned books in the art himself.  He was part of one of the most cultured courts of his time, and this is revealed in the seemingly simple but many-layered symbolic representation of his art, known as the “segno page.”

In his “segno”, shown under the logo on the left, are the seven blows of the sword (fendente, mezani, sottani, and punte).  Four animals that surround the central “master” figure represent virtues the student must take on and understand in order to be successful in the art.  Above the figure, a lynx (lovo cerviero) carrying a pair of calipers symbolizes foresight (avisamento), and the use of timing and measure. To the left of the figure a tiger (tigro) carrying an arrow symbolizes quickness (presteza). To the right of the figure a lion (leone) holding a heart symbolizes bravery or daring (ardimento), which is necessary to undertake the art of arms. Under the figure’s feet is an elephant (ellefante) with a tower on its back, symbolizes strength (forteza).  This animal indicates a solid, erect stance, and the text beneath says that it never kneels and never loses the way.

This is an elegant mnemonic for the student of self-defense, presented as it is in the device of a “memory seal.” When it is carefully considered in light of the academic models of the time, this “segno” page becomes so significant as to constitute a topic of study unto itself.

We find within the Fior di Bataglia a complete martial art, set down by a talented martial artist and teacher, hired by one of the most brilliant courts of the time to teach arms to its members.  We find that the author, Fiore, earned his credentials through great labor and expense, to arrive at the top of his field.  There is a lifetime of learning within the treatise, and the great joy of learning from a teacher, who so long after his death is able to instruct us.

For a sample translation - click here!

Text content created and copy written to Bob Charron 2001, all rights reserved.