(c) 2010 Gregory Mele, Chicago Swordplay Guild
When I teach at workshops and seminars, I am often told something along the lines of this:
I’m surprised that the man who co-authored the reproduction on De arte gladiatoria dimicandi doesn’t work more with the hallmarks of Vadi.
It’s a fair question, and suggests that in 2001, when I was working on my edition of Vadi, I did not yet have enough understanding of the larger dei Liberi tradition to separate Vadi’s brilliance from the marketing hype aimed at securing him a position at the court of Urbino. While Filippo Vadi defines his art as “newly made”, and specifically draws attention to several supposedly unique features, a study of his work against Fiore dei Liberi’s shows that this is a bit of clever marketing on Vadi’s part. As such, Vadi’s value is not in the tweaks he provides to the mainline of…
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