Baton
The bastoncello: four plays with a small stick, two of them borrowed wholesale from the dagger Masters — the clearest proof of the one-art thesis.
Folios
Folio summary — Baton
| Getty folio | Plates | Content | Getty images | Verse witnesses |
|---|---|---|---|---|
| 8v | [1]–[4] | Two bindings with the little baton; two covers borrowed from the dagger's Sixth and Eighth Kings | [3], [4] | PD 5b-e–f (for [1]–[2] only) |
One Getty folio, four plates, four illustrations — the smallest section in the book, and the one that leans hardest on the rest of it. Half of it is not baton material at all: [Baton 3] and [Baton 4] name the Sixth and Eighth Kings of the dagger ([Dagger 81], [Dagger 92]), make their covers with a stick, and then send the reader back to the dagger for the plays that follow and for the counter — which in both cases is the same push at the elbow ([Dagger 88], [Dagger 94]). Fiore does not argue that his art is one art on this page; he simply operates it that way, and the bastonçello, the capuzo, and the corda are interchangeable because the play was never about the weapon. It is the plainest instance of the proof-by-citation described at Technical grouping §9 and Tactical grouping §11 — and the thinnest attested: for [3] and [4] the Getty is the only witness, and where the Pisani Dossi does speak, it does not even mark the baton off as a section of its own.