Ln June 1940, the Italian Royal Air Force had here 195 fighters, bombers and reconnaissance aircraft, plus 25 transport planes. Some of these aircraft were outdated, but the Italians had Savoia-Marchetti SM.79 (12 examples) and Savoia-Marchetti SM.81 bombers and Fiat CR.42 fighters. 36 baby names that mean ‘little fighter’ or ‘warrior’ Did your little one battle his or her way into the world? Maybe they were premature or in NICU and had to use all of their strength to pull through. If you have a little warrior superhero then here are 20 names to pick to celebrate their fighting spirit. Apr 08, 2009 the principal monoplanes used by the italian air forces during world war two (centauro, saeta, folgore,veltro) made by Fiat and Macchi constructors.
Little seen or remembered, Fighter attack is a very ordinary World War II film that can only be recommended to the staunchest of Sterling Hayden fans. Set in Nazi occupied Italy, story finds Hayden's fighter pilot forced to ditch behind enemy lines when his mission goes awry. © Valve Corporation. All rights reserved. All trademarks are property of their respective owners in the US and other countries. Some geospatial data on this website.
This was almost the build that wasn’t.
We’ll get to that part.
SuperModel’s Fiat CR.32 is a decent little kit, if you’re a patient builder. The surface detail of the parts are a bit heavy, but I tend to not worry about things like that. The plastic is a bit odd in texture, fairly brittle in nature. And it didn’t respond real well to Tamiya Thin Cement… which actually turned out to be a good thing when all was said and done.
So anyway…. the build that almost wasn’t.
It started out good. I did a little scratch building in the interior. The kits parts were a seat, a floor, and… well, that was it. I added some ribs to the internal structure, a few boxes, a control stick and some rudder pedals. To be quite honest, I’m not sure how accurate it was. I looked at a picture of the CR.32’s interior a day or two before I did the interior work. So what I did do was from memory.
What were we talking about?
Anyway…. the fuselage went together well. No gaps to fill, just a little sanding and Mr. Surfacer…. well, I guess Mr. Surfacer and a little sanding is the correct order.
Then, things got a little odd. It started when I glued in the lower set of wings with the trailing edge forward. I should’ve noticed the little ribs poking out towards the front. Trouble was, I didn’t really discover the problem until I had the upper wing in place.
Feb 25, 2014 From 1989. One of my favorite songs from the day it came out. It gets better with age. Vocal melodies are insane. Here is a video of me warming up. We took my guitar track and isolated it. Little fighter white lion youtube. Apr 16, 2012 50+ videos Play all Mix - White Lion - Little Fighter YouTube; Radar Love - Duration: 5:56. White Lion - Topic 142,996 views. 50+ videos Play all Take It Easy Rock YouTube Music; You Can't.
Thankfully, the upper wing was so messed up that it forced me to notice the lower wings. And by thankfully I mean I almost sent the little fighter on it’s maiden, and final, voyage at very high speed against the nearest wall. But I didn’t…. I sat back and had a hardy, jolly laugh that sounded like a mish-mash of Santa Claus and Freddie Krueger.
See, the wings struts are actually a series of styrene rods with no alignment pins. And where they fit on the wings can best be described as “angular warts”. The idea, according the single step in the instructions that covers it, is to align them all up and just add glue and they fit. Or that’s the idea. So I bulled through it, hoping somehow at the end it would work out.
It most certainly did not. Go on…. take a look. I’ll wait here until you finish laughing and return.
There…. you saw it. I saw it. We shall never speak of this again.
Obviously I had two choices- fix it, or stomp it into styrene mud. I decided on the former, just because I was not going to let it beat me.
After removing the top wings, struts, and the bottom wing, I stared at it for a while to try and figure out what to do. Some friends on the AgapeModels.com forum suggested I try a jig. Little good that did- I did the “Irish River Dance” stuff until my floor was worn down, and the wings were no better off than before. Some help they were.
So after catchng my breath, I thunk and thunk on it some more, and came up with a strategy.
What I needed was some alignment holes, and new struts. The kit struts were basically the same size as .020″ styrene rod. I decided to try drilling holes in the wings and basically threading the struts through the holes. It was a tedious process, but basically worked.
The rest was pretty straight-forward. The decals were pretty much unusable, having dried out pretty bad. No problem, though, as I’d been eye-balling the Spanish Civil War scheme, which could be almost entirely done with black and white and some masking tape. I did the markings, and having maskied them off, painted the undersides Pollyscale Light Gull Gray. Upper surfaces were Italian Hazel Tan. (The whole time I was painting that I kept thinking of the old “Hazel” show… wonder if she invented that color…? Hmmm…) Mottling was done with Panzer Red-Brown and Panzer Olive Green. Yes, you are correct, those are not the right colors. However, I offer three mitigating factors- 1.) the hobby shop is about 15 miles away, 2.) two bottles of paint would be almost $10, and 3.) no one would likely know if I did not tell them. So I won’t mention it if you won’t.
I was trying to do the mottling with my airbrush, but it did not work well, mainly due to my lack of technique with an airbrush. So I used a super-secret advanced method that oddly resembled using a sponge makeup applicator and dabbing paint all over the upper surfaces. From at least 4 feet away it looks positively like little blobs of paint.
I added a decal from the spares box so the plane would have a number on it. I chose “300” because it fit the space I chose to apply the decal. Is it realistic? Yep- sure is. That is a genuine decal.
I finished the whole thing off with a wash of black Warpigs Wash, and some Pollyscale Flat.
In the end, it looks pretty good, I think. Considering the work I had to put into it, I’m pretty proud of it. Would I recommend it to others? Depends on the type of modeler you are, I guess. I’ve never met a kit I didn’t end up enjoying or at least learning from. This one scored on both counts. If you’re not patient, I would say this isn’t the kit for you. If you like a challenge, then you’ll do OK with this. Really, the only problem is strut alignment…. take your time there AND DON’T GLUE THE LOWER WINGS ON BACKWARDS and you’ll be OK. ?
A very special thanks to Mike Grant for sending me this kit!
Related
The sette spade Diagram from the Pisani facsimile of the Flos Duellatorum (fol. 17A). The four animals symbolize prudence (lynx), celerity (tiger), audacity (lion), and fortitude (elephant). | |
Also known as | La Scuola Della Spada Italiana |
---|---|
Focus | Weaponry |
Country of origin | Italy |
Creator | Historical |
Famous practitioners | Fiore dei Liberi, Filippo Vadi, Achille Marozzo, Antonio Manciolino, Angelo Viggiani, |
Descendant arts | Modern Fencing |
Olympic sport | No |
The term Italian school of swordsmanship is used to describe the Italian style of fencing and edged-weapon combat from the time of the first extant Italian swordsmanship treatise (1409) to the days of Classical Fencing (up to 1900).
Although the weapons and the reason for their use changed dramatically throughout these five centuries, a few fundamental traits have remained constant in the Italian school. Some of these are the preference for certain guards, the preoccupation with time (or 'tempo') in fencing as well as many of the defensive actions.
Of especial influence was the Dardi school of fencing with the spada da lato in the 16th to early 17th centuries, which gave rise to the classical early modern style of fencing with the rapier, including Elizabethan Fencing in England and the French school of fencing in the 18th century (which in turn developed into modern sport fencing).
Renaissance to Baroque period[edit]
One of the earliest known Italian treatises on swordsmanship and other martial arts is the Flos Duellatorum (Fior Di Battaglia/The Flower of Battle) written by Fiore dei Liberi around 1409. Fiore's treatise describes an advanced martial arts system of grappling, dagger, short sword, longsword, pollaxe, and spear. Another important treatise, De Arte Gladiatoria Dimicandi, was written by Filippo Vadi sometime between 1482 and 1487. Although different, Vadi's work appears to be based upon Fiore's earlier work. It has been suggested that Vadi's style of swordsmanship represents a transitional phase between that of Fiore and the later Bolognese masters.[1]
A general survey of the 16th-century Italian manuals shows instruction for the following weapon or weapon combinations in at least one published manual:
- Sword alone
- Sword and Dagger
- Sword and Small Buckler
- Sword and Broad Buckler
- Sword and Targa
- Sword and Rotella
- Sword and Cape
- Sword and Gauntlet
- Two Swords
- Sword for Two Hands (also referred to as the Spadone by some masters)
- Dagger
- Dagger and Cape
- Ronca (weapon)
- Partisan and Shield
- Unarmed against Dagger
The most significant group of authors from this time were those from the Bolognese school and it included such masters as Achille Marozzo, Antonio Manciolino, Angelo Viggiani and Giovanni dall'Agocchie. However, there were other Italian authors not directly associated with the Bolognese school including Camillo Agrippa (who has the distinction of codifying the four guards—prima, seconda, terza and quarta—that survive to this day), Giacomo di Grassi who wrote a manual in 1570 which was translated into English in the 1590s.
With the 17th century came the popularity of the rapier and a new century of masters, including Salvator Fabris, Ridolfo Capoferro, and Francesco Antonio Marcelli. Unlike the manuals of the previous century, those written for in the 17th century were generally restricted to covering only the rapier being used alone or with a companion arm (such as the dagger, cloak or rotella). By the end of the 17th century, the manuals begin to take on a more classical character in both the terminology and the presentation of the techniques.
Classical[edit]
Although there is a considerable gap in extant Italian treatises, between 1696 and 1800, we can see from the earliest 19th century treatises that the style had changed very little during that period.[citation needed]The only changes were the addition of certain techniques suitable for the somewhat lighter blades of the dueling swords typically used in 1800 as compared to the rapiers typical for the end of the 17th century (compare the techniques presented by Bondì di Mazo in his 1696 manual with those in the 1803 manual of Giuseppe Rosaroll-Scorza and Pietro Grisetti). Even at the beginning of 19th century techniques for coming to grips were still being taught and the use of the dagger as an accompanying weapon was still discussed (although not as a prominent and popular choice).
By the end of the 19th century, the immediate ancestor of modern fencing had developed with its familiar pedagogy and collection of techniques and theory. At this time, the two predominant schools within the Italian tradition are the Radaellian (after Maestro G. Radaelli) and the Neapolitan. In 1883 the Italian Ministry of War selected the treatise by Neapolitan Masaniello Parise to be the official syllabus of the newly founded Scuola Magistrale of fencing (now called Classical Italian Fencing).[citation needed] Parise's teachings survive to this day almost unchanged, although many of Radaelli's saber teachings were incorporated.
Contemporary practice[edit]
In Italy, the National Academy (Accademia Nazionale) certifies masters in both historical fencing and modern fencing based on careful adherence to the principles of Italian swordsmanship. Abroad, the Italian style is cultivated by professional institutions such as the San Jose State fencing program (California, United States), where Maestro William Gaugler ran a program largely based on the Classical style of Parise.[citation needed]
The Historical European martial arts (HEMA) and the Western Martial Arts (WMA) communities in Europe and the United States have practitioners of Italian masters such as Fiore dei Liberi, Filippo Vadi, Achille Marozzo, Salvator Fabris, Ridolfo Capo Ferro, Francesco Alfieri, etc. Practitioners include Brian R. Price of the Schola Saint George, Bob Charron of St. Martin's Academy (both studying Fiore dei Liberi), Gregory Mele of the Chicago Swordplay Guild (studying Fiore and Vadi), Matt Easton of London's Schola Gladiatoria and Guy Windsor, of Finland's School of European Swordsmanship.
Treatises[edit]
Some treatises by Italian masters:
- Medieval/Early Renaissance
Little Fighter In Italian Movie
- Fiore dei Liberi, Flos Duellatorum in armis, sine armis, equester et pedester - 1409
- Filippo Vadi, De Arte Gladiatoria Dimicandi - 1482-1487
- Pietro Monte, Exercitiorum Atque Artis Militaris Collectanea in Tris Libros Distincta - 1509
- Renaissance/Baroque
- Antonio Manciolino, Dardi school, Opera Nova per Imparare a Combattere, & Schermire d'ogni sorte Armi - 1531
- Achille Marozzo, Dardi school, Opera Nova Chiamata Duello, O Vero Fiore dell'Armi de Singulari Abattimenti Offensivi, & Diffensivi - 1536
- Anonimo Bolognese, Dardi school, L'Arte della Spada (M-345/M-346 Manuscripts) - (early or mid 16th century[2])
- Francesco Altoni, Monomachia: Trattato dell'Arte di Scherma - c. 1550
- Camillo Agrippa, Trattato di Scientia d'Arme con un Dialogo di Filosofia - 1553
- Giacomo di Grassi, Ragion di Adoprar Sicuramente l'Arme si da Offesa, come da Difesa - 1570
- Giovanni dall'Agocchie, Dardi school, Dell'Arte di Scrimia - 1572
- Angelo Viggiani dal Montone, Dardi school, Trattato dello Schermo - 1575
- Giovanni Antonio Lovino, Prattica e theorica del bene adoperare tutte le sorti di arme c. 1580
- Vincentio Saviolo, His Practise-1595
- Marco Docciolini, Trattato in Materia di Scherma - 1601
- Salvator Fabris, De lo Schermo ovvero Scienza d'Armi - 1606
- Nicoletto Giganti, Scola overo Teatro - 1606
- Ridolfo Capoferro, Gran Simulacro dell'Arte e dell'Uso della Scherma - 1610
- Francesco Alfieri, La Scherma di Francesco Alfieri - 1640
- Giuseppe Morsicato Pallavicini, La Scherma Illustrata - 1670
- Giuseppe Morsicato Pallavicini, La seconda parte della Scherma Illustrata - 1673
- Francesco Antonio Marcelli, Regole della Scherma - 1686
- Bondì di Mazo, La Spada Maestra - 1696
- Classical
- Giuseppe Rosaroll-Scorza and Pietro Grisetti, La Scienza della Scherma - 1803 - 1871 3rd ed.
- Giuseppe Radaelli, La Scherma di Sciabola e di Spada - 1876
- Masaniello Parise, Trattato della Scherma di Spada e Sciabola - 1883 1st ed. - 1904 5th ed.
- Masiello, Ferdinando, Trato teorico-pratico della scherma di spada e sciabola - 1884
- Masiello, Ferdinando, and Ciullini The Broadsword - 1889
- Masiello, Ferdinando, La Scherma di Fioretto. 2nd ed. - 1902
- Masiello, Ferdinando, La Scherma di Sciabola. 3rd ed. - 1902
- Pecoraro, Salvatoree Pessina, Carlo. La Sciabola - 1910
- William M. Gaugler 'The Science of Fencing. Revised ed.' - 2004 ISBN1-884528-05-8
See also[edit]
References[edit]
- ^Guy Windsor, Vadi Guards(PDF)
- ^Rubboli and Cesari (2005) date this work to 1500-1525. Leoni and Reich of the Order of the Seven Hearts date it to 'about 1550' (2006 class handoutArchived 2011-09-28 at the Wayback Machine){[1]}
Literature[edit]
- Battistini, A., J. Venni and M. Rubboli, eds. Monomachia - Trattato dell'Arte della Scherma di Sandro Altoni Francesco. Rimini: Il Cerchio, 2007. Print. ISBN88-8474-147-5
- Butera, Matteo, Francesco Lanza, Jherek Swanger, and Reinier van Noort The Spada Maestra of Bondì di Mazo. Nordkisa, Norway: Van Noort, Reinier, 2016. ISBN978-82-690382-0-0
- William M. Gaugler, Lance C. Lobo The History of Fencing: Foundations of Modern European Swordplay. 1997. ISBN978-18-845281-6-3
- Leoni, Tomasso. The Art of Dueling: Salvator Fabris' Fencing Treatise of 1606. Union City, Calif.: The Chivalry Bookshelf, 2004. Print. ISBN978-1-891448-23-2
- Leoni, Tomasso, tr. The Complete Renaissance Swordsman: A Guide to the Use of All Manner of Weapons ~ Antonio Manciolino’s Opera Nova (1531). Wheaton, IL: Freelance Academy Press, 2010. Print. ISBN978-0-9825911-3-0
- Leoni, Tomasso, tr. Venetian Rapier: The School, or Salle ~ Nicoletto Giganti's 1606 Rapier Fencing Curriculum. Wheaton, IL: Freelance Academy Press, 2010. Print. ISBN978-0-9825911-2-3
- Mele, Gregory D., ed. In the Service of Mars: Proceedings from the Western Martial Arts Workshop 1999–2009, Volume I. Freelance Academy Press, 2010. Print. ISBN978-0-9825911-5-4
- Porzio, Luca, tr., and Gregory D. Mele. Arte Gladitoria: 15th Century Swordsmanship of Master Filippo Vadi. Union City, Calif.: The Chivalry Bookshelf, 2002. Print. ISBN1-891448-16-1
- Rubboli, Marco, and Luca Cesari, eds. L'Arte Cavalleresca del Combattimento - De Arte Gladiatoria Dimicandi di Filippo Vadi. Rimini: Il Cerchio, 2001. Print. ISBN88-8474-023-1
- Rubboli, Marco, and Luca Cesari, eds. Flos Duellatorum - Manuale di Arte del Combattimento del XV secolo di Fiore dei Liberi. Rimini: Il Cerchio, 2002. Print. ISBN88-8474-079-7
- Rubboli, Marco, and Luca Cesari, eds. Anonimo Bolognese - L'Arte della Spada, Trattato di scherma dell'inizio del XVI secolo. Rimini: Il Cerchio, 2005. Print. ISBN88-8474-093-2.
- Rubboli, Marco and A. Battistini, eds. Opera Nova di Antonio Manciolino. Rimini: Il Cerchio, 2008. Print. ISBN88-8474-176-9
- Windsor, Guy. The Swordsman's Companion: A Modern Training Manual for Medieval Longsword. Union City, Calif.: The Chivalry Bookshelf, 2004. Print. ISBN1-891448-41-2
- Windsor, Guy. The Duellist's Companion: a Training Manual for 17th Century Italian Rapier. Highland Village, TX.: The Chivalry Bookshelf, 2006. Print. ISBN1-891448-32-3
External links[edit]
Little Fighter Song
(Wayback Machine copy)
Little Fighter In Italian Movie
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