Salti del Fiocco

The following is a modification of the translation of the parts of Negri's, Le Gratie d'Amore, by Gustavia Yvonne Kendall.

Modifications are my own, and are made for the purpose of making the true meaning of the text clearer. There is no intent to be literal; this translation is merely a tool for my own use to make reconstructing the jumps easier. For a facsimile of relevant pages of the original book, see here.

For a transcription of Kendall's translation, see here.

For a reconstruction of these jumps, see here.


Figure 1
Figure of a man with his left foot pointed at the tassel.
Figure 2
Figure of a man with his back to the tassel.
Figure 3
Figure of a man with his back to the tassel, on one foot.

Rule XIX

One will raise the tassel one arm's length from the ground, and then will stop with the left leg pointed towards the tassel, and the toe of the left foot half an arm's length from the ground, as in figure 1.

One will raise the body a little on the ball of the right foot, forcing the right arm down in order to raise one's body the more from the ground. One will bend the right knee a little, raising the entire body as much possible with the right leg, and raising the toe of the right foot such that it touches the tassel, and landing in the same place with the same foot, turning a half-turn to the left, so that the back is turned to the tassel. This will be practiced so much that one goes a little more than two arms' lengths high.

After having discussed the way one must hold [oneself?] to learn the first jump, I will discuss also how one must stop the body with elegance, as the present figure will show, wanting to learn the first [second!] jump of the tassel, that one will do with the back turned to it, turning a full turn around. These observances, that will be given, will serve for all other jumps.

This [jump] will be done raising the tassel according to one's own desires, standing with the back turned to it with both the feet on the ground, but the left a step forward of the right, the toes a little apart, and the legs the same. The body should be straight, and the arms too, but the right arm should be raised a little, with the hand shut, in order to give force in lifting oneself from the ground. The head should be straight, the mouth, shut, and the eyes should be lowered so as to avoid doing anything rude. Besides this being more pleasant to watch, this particular demeanor helps in avoiding unpleasant habits, such as ending the step with the feet, legs, or body crooked, or the head lowered or to the side, or the mouth open, or the eyes aiming too high. All these defects must be avoided as they are unpleasant to watch.

Rule XX

Raising the tassel [either as one pleases, or an arm's length from the floor], stand with one's back turned to the tassel, with both feet on the ground, as in figure 2.

Immediately, one will turn the body a little to the left, somewhat raising the body on the toes, and also raising the right arm. Then, one will return the body and the arm to their initial [rotational] places, widening the knees slightly, putting the toe of the right foot to the heel of the left, and raising the body as much onto the toes as possible. One will use the right leg to swing the left around; then touch the tassel with the toe of the left foot; and then one will fall lightly to one's original place, with the left foot turning to the left, and with the back turned to the tassel. In teaching this second jump, I have discussed the actions and moviments and carriage of the body enough, and this will serve in learning the other jumps of the tassel more easily, those in which one falls on one foot at the end, as the figure 3 shows.

Rule XXI

In this jump, one will finish the [previous] cadence with the right foot behind, standing about four arms' distance from the tassel. Then, one will do a hop with the right foot raised [in front], and three steps running forwards, ending with the left foot raised [in front]. Then, one will lift the body, kicking with the right leg, and touching the tassel with the right toe in a straight line, letting it fall lightly at the same place on the of the right foot. This jump is done high, as much as can be reached with a hand, and a palm more for who wants to practice it. The same jump will be done again landing with both the feet side-by-side and is more difficult. One will do it in one measure of gagliarda.


This [jump] one will do with the back turned towards the tassel, and with the left foot tucked behind, one will do a hop forwards with both feet, then a step with the left, bending the knees a little, and placing the toe of the right foot to the heel of the left, at the same time rising with the body as much as possible, and riding the right leg on the left, raising the toe of the [right?] foot, so much that it touches the tassel, noting in this, and all the jumps of the tassel that follow, one will put, in raising it from the ground, the toe of the right foot to the heel of the left, always helping oneself with the right arm, one will begin and end in one measure of gagliarda falling on the right foot, as can be seen in figure 3.


One will stand with your right side to the tassel, one arm's length from it. Then, one will take a slow step forwards with the left foot, turning so that one's back is to the tassel, and rising with the body on the toe of the left foot. At the same time, tuck the right foot in behind the left shin. Then, one will do the same jump as in rule XXII, touching the tassel, and dropping lightly in the same place on the toe of the right foot.


This jump is done the same way as that in rule XXIII. Start in the same place, but with the left foot held high. With the left foot, one will do a gagliarda jump, springing over into place, as one did in the previous jump, and with the right foot one will touch the tassel, dropping as was said above, and take another step forwards with the left to finish off one measure of gagliarda.

Facsimile of the original
Original text, with translation by Kendall
Original text, with looser, but clearer translation by myself

Reconstructed by Nathan Kronenfeld
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