Jump to content

Camillo Agrippa: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
m v2.0 - WP:WCW project (Spelling and typography)
Line 11: Line 11:
Agrippa was a contemporary of [[Michelangelo]], and the two were probably acquainted (or so Agrippa claims in his later treatise on transporting the [[obelisk]] to the [[Saint Peter's Square|Piazza San Pietro]]). Based on an inscription in a copy of Agrippa quoted in the last edition of the [[bibliographic]] [[dictionary]] by [[Jacques Charles Brunet]], ''Manuel du libraire et de l'amateur des livres'' (1860–64), some of the [[copperplate engraving]]s for the book were attributed to Michelangelo, but modern art historians believe the unknown engraver is more likely to have come from the school of [[Marcantonio Raimondi]].
Agrippa was a contemporary of [[Michelangelo]], and the two were probably acquainted (or so Agrippa claims in his later treatise on transporting the [[obelisk]] to the [[Saint Peter's Square|Piazza San Pietro]]). Based on an inscription in a copy of Agrippa quoted in the last edition of the [[bibliographic]] [[dictionary]] by [[Jacques Charles Brunet]], ''Manuel du libraire et de l'amateur des livres'' (1860–64), some of the [[copperplate engraving]]s for the book were attributed to Michelangelo, but modern art historians believe the unknown engraver is more likely to have come from the school of [[Marcantonio Raimondi]].


There is evidence indicating that Agrippa's work may have been the inspiration for the Spanish school of swordplay (commonly referred to as [[Destreza]]).{{citation needed|date=October 2014}} Don [[Luis Pacheco de Narváez]] makes the claim that Don [[Jerónimo Sánchez de Carranza]] based his text on the work of Agrippa in a letter to the [[Duke of Cea]] in [[Madrid]] on May 4, 1618.{{citation needed|date=October 2014}} This seems to be reinforced by a common use of [[geometry]] in both systems.
There is evidence indicating that Agrippa's work may have been the inspiration for the Spanish school of swordplay (commonly referred to as [[Destreza]]).{{citation needed|date=October 2014}} Don [[Luis Pacheco de Narváez]] makes the claim that Don [[Jerónimo Sánchez de Carranza]] based his text on the work of Agrippa in a letter to the Duke of Cea in [[Madrid]] on May 4, 1618.{{citation needed|date=October 2014}} This seems to be reinforced by a common use of [[geometry]] in both systems.


== In popular culture ==
== In popular culture ==
Line 39: Line 39:
* {{Gutenberg author |id=Agrippa,+Camillo | name=Camillo Agrippa}}
* {{Gutenberg author |id=Agrippa,+Camillo | name=Camillo Agrippa}}
* {{Internet Archive author |sname=Camillo Agrippa}}
* {{Internet Archive author |sname=Camillo Agrippa}}
* [http://www.northernrenaissance.org/the-number-of-motion-camillo-agrippas-geometrical-fencing-and-the-enumeration-of-the-body/ The Number of Motion: Camillo Agrippa’s Geometrical Fencing and the Enumeration of the Body] - Academic article by Ken Mondschein.
* [http://www.northernrenaissance.org/the-number-of-motion-camillo-agrippas-geometrical-fencing-and-the-enumeration-of-the-body/ The Number of Motion: Camillo Agrippa's Geometrical Fencing and the Enumeration of the Body] - Academic article by Ken Mondschein.
*[http://mac9.ucc.nau.edu/manuscripts/agrippa.pdf Trattato Di Scientia d’ Arme,con un Dialogo di Filosofia] - ''Treatise on the Science of Arms with Philosophical Dialogue''. Online version in [[PDF]]
*[http://mac9.ucc.nau.edu/manuscripts/agrippa.pdf Trattato Di Scientia d’ Arme,con un Dialogo di Filosofia] - ''Treatise on the Science of Arms with Philosophical Dialogue''. Online version in [[PDF]]
*[http://www.bvh.univ-tours.fr/Consult/index.asp?numfiche=274&numtable=XCollPriv_RC_01b Dialogo del modo di mettere in battaglia] - ''Dialogo di Camillo Agrippa milanese del modo di mettere in battaglia presto & con facilità il popolo di qual si voglia luogo con ordinanze & batagglie diverse''. Online Version
*[http://www.bvh.univ-tours.fr/Consult/index.asp?numfiche=274&numtable=XCollPriv_RC_01b Dialogo del modo di mettere in battaglia] - ''Dialogo di Camillo Agrippa milanese del modo di mettere in battaglia presto & con facilità il popolo di qual si voglia luogo con ordinanze & batagglie diverse''. Online Version

Revision as of 16:45, 16 December 2018

Camillo Agrippa's portrait, found on his Treatise.

Camillo Agrippa (died 1595?) was a noted fencer, architect,[citation needed] engineer[citation needed] and mathematician[citation needed] of the Renaissance. He is considered to be one of the greatest fencing theorists of all time.

Biography

Though born in Milan, Agrippa lived and worked in Rome, where he was associated with the Confraternity of St. Joseph of the Holy Land and the literary and artistic circle around Cardinal Alessandro Farnese.

He is most renowned for applying geometric theory to solve problems in armed combat. In his Treatise on the Science of Arms with Philosophical Dialogue (published in 1553), he proposed dramatic changes in the way swordsmanship was practiced at the time. For instance, he pointed out the effectiveness of holding the sword in front of the body instead of behind it. He also simplified Achille Marozzo's eleven guards down to four: prima, seconda, terza and quarta, which roughly correspond to the hand positions used today in the Italian school. He is also regarded as the man who most contributed to the development of the rapier as a primarily thrusting weapon.

Agrippa was a contemporary of Michelangelo, and the two were probably acquainted (or so Agrippa claims in his later treatise on transporting the obelisk to the Piazza San Pietro). Based on an inscription in a copy of Agrippa quoted in the last edition of the bibliographic dictionary by Jacques Charles Brunet, Manuel du libraire et de l'amateur des livres (1860–64), some of the copperplate engravings for the book were attributed to Michelangelo, but modern art historians believe the unknown engraver is more likely to have come from the school of Marcantonio Raimondi.

There is evidence indicating that Agrippa's work may have been the inspiration for the Spanish school of swordplay (commonly referred to as Destreza).[citation needed] Don Luis Pacheco de Narváez makes the claim that Don Jerónimo Sánchez de Carranza based his text on the work of Agrippa in a letter to the Duke of Cea in Madrid on May 4, 1618.[citation needed] This seems to be reinforced by a common use of geometry in both systems.

Agrippa is mentioned in the film "The Princess Bride" during the swordplay scene above the Cliffs of Insanity when Inigo Montoya (Mandy Patinkin) and Westley (Cary Elwes) (then dressed as the Dread Pirate Roberts) engage each other in swordplay. Early during the interchange, Westley theorizes that his Thibault effectively neutralizes Inigo's Capo Ferro technique, but Inigo counters, "unless the enemy has studied his Agrippa... which I have!"

Works by Agrippa

  • Dialogo sopra la generazione di venti
  • Nuove invenzioni sopra il modo di navigare
  • Trattato di transportare la guglia in su la piazza di s. Pietro
  • Treatise on the Science of Arms with Philosophical Dialogue.[1]
  • Dialogo di Camillo Agrippa milanese del modo di mettere in battaglia presto & con facilità il popolo di qual si voglia luogo con ordinanze & batagglie diverse, 1585

References

  1. ^ Maltsev Oleg (2018-07-20). "Sources of Venetian Fencing". oleg-maltsev.com.
  • De Boni, Filippo (1840). Biografia degli artisti. Venezia: Gondoliere.
  • Mazzuchelli, Giammaria Bresciano (1753–1763). Gli scrittori d'Italia: cio, notizie storiche, e critiche intorno alle vite, e agli scritti dei letterati italiani. Brescia: Bossini.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Camillo_Agrippa&oldid=874020506"