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Difference between revisions of "Gérard Thibault d'Anvers"

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(→‎Treatise: Added Plate XII)
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Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.
 
Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.
  
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Plate IX introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.
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Plates IX & X introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.
  
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Plate X continues the exploration of how to deal with parries by force.
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Plate XI continues the exploration of how to deal with different degrees of force against the blade.
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Plate XII shows how to create an angle between blades to move in against the opponent
  
 
Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
 
Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
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{{master end}}
 
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  | title = Book 1 - Tableau / Plate XI - Refining the Sense of Feeling.
 
  | title = Book 1 - Tableau / Plate XI - Refining the Sense of Feeling.
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|Or comme ceſte operation d’entrer avec le pied droit a eſté pratiqué en ce Cercle 2. par <font style="font-variant:small-caps">Alexandre</font>, apres que le mouvement du Cōtraire a eſté deſia fini; auſsi la faut il pratiquer durant le meſme temps avant qu’il ſoit venu à bout de ſon intention, & durant qu’il eſt encor empeſché à former la ſituation: ce qu’il faut faire en ayant le pied prompt à le pourſuivre.
 
|Or comme ceſte operation d’entrer avec le pied droit a eſté pratiqué en ce Cercle 2. par <font style="font-variant:small-caps">Alexandre</font>, apres que le mouvement du Cōtraire a eſté deſia fini; auſsi la faut il pratiquer durant le meſme temps avant qu’il ſoit venu à bout de ſon intention, & durant qu’il eſt encor empeſché à former la ſituation: ce qu’il faut faire en ayant le pied prompt à le pourſuivre.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
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|Ce qui eſt le plus notable & ſpecial en ce Tableau preſent par deſſus les autres, c’eſt la maniere de ſe mettre dedans les angles, avec les ſuites qui en dependent. Car encores que les occaſions ſoyent infinies, & qu’il ſoit impoſsible de repreſenter touts les changements qui pourroyent ſurvenir un à un, toutesfois il eſt certain que Zacharie ne ſçauroit rien pratiquer en telle occaſion avec eſpees touchantes, qui ne puiſſe aiſement ſe raporter à ces meſmes leçons que nous en avons propoſées. Car dés qu’il ouvre l’angle, ſoit grand, ſoit petit, moyennant que ce ſoit un angle, Alexandre ſe prepare pour y entrer, non pourtant qu’il ſe precipite là dedans à corps perdu, comme pour mourir ou vaincre à la deſeſperade. Mais c’eſt avec prudence, & avec telle obſervation du Sentiment, que l’adverſaire ne peut faire à la moindre faute à l’obſerver pareillement de ſa part, qu’il n’en ſoit incontinent touché d’une mortelle atteinte, comme il ſe voit és Cercles 3. & 4. Et meſme apres qu’il l’aura ouvert avec bon ſentiment, Alexandre ne laiſſe pourtant de s’y loger dedans avec le pied droit ou gauche devant, ſelon que l’ouverture eſt grande & l’opportunité qu’il en trouve. Ce qu’il fait cependant avec la meſme adreſſe & circonſpećtion qu’auparavant, ſe gardant ſur tout de prodigner ſes mouvements par une viſteſſe mal adviſée. Et apres qu’il eſt entré dedans, avant que de mettre l’advantage en œvre, ſoit à faire prinſe de la garde contraire, ou execution de pointe ou de taille, que ce ſoit touſiours avec la meſme prudence. Somme, que jamais il ne ſe haſte juſqu’à tant que toutes les preparations ſoyent faites, & qu’il ſoit venu ſur le point de mettre fin à l’entreprinſe. Si lors s’en eſt le vray temps, afin que l’occaſion ne luy eſchappe hors des mains, non point devant afin qu’il ne ſe travaille en vain. Car quand il y va lentement, il eſt mieux ſur ſes gardes, & n’y peut rien arriver de par l’Adverſaire qui le puiſſe grandement mettre en deſordre, par ce qu’il ne fait rien luy meſme qu’il ne puiſſe touſiours changer à temps, quand l’occaſion ſe change.
 
|Ce qui eſt le plus notable & ſpecial en ce Tableau preſent par deſſus les autres, c’eſt la maniere de ſe mettre dedans les angles, avec les ſuites qui en dependent. Car encores que les occaſions ſoyent infinies, & qu’il ſoit impoſsible de repreſenter touts les changements qui pourroyent ſurvenir un à un, toutesfois il eſt certain que Zacharie ne ſçauroit rien pratiquer en telle occaſion avec eſpees touchantes, qui ne puiſſe aiſement ſe raporter à ces meſmes leçons que nous en avons propoſées. Car dés qu’il ouvre l’angle, ſoit grand, ſoit petit, moyennant que ce ſoit un angle, Alexandre ſe prepare pour y entrer, non pourtant qu’il ſe precipite là dedans à corps perdu, comme pour mourir ou vaincre à la deſeſperade. Mais c’eſt avec prudence, & avec telle obſervation du Sentiment, que l’adverſaire ne peut faire à la moindre faute à l’obſerver pareillement de ſa part, qu’il n’en ſoit incontinent touché d’une mortelle atteinte, comme il ſe voit és Cercles 3. & 4. Et meſme apres qu’il l’aura ouvert avec bon ſentiment, Alexandre ne laiſſe pourtant de s’y loger dedans avec le pied droit ou gauche devant, ſelon que l’ouverture eſt grande & l’opportunité qu’il en trouve. Ce qu’il fait cependant avec la meſme adreſſe & circonſpećtion qu’auparavant, ſe gardant ſur tout de prodigner ſes mouvements par une viſteſſe mal adviſée. Et apres qu’il eſt entré dedans, avant que de mettre l’advantage en œvre, ſoit à faire prinſe de la garde contraire, ou execution de pointe ou de taille, que ce ſoit touſiours avec la meſme prudence. Somme, que jamais il ne ſe haſte juſqu’à tant que toutes les preparations ſoyent faites, & qu’il ſoit venu ſur le point de mettre fin à l’entreprinſe. Si lors s’en eſt le vray temps, afin que l’occaſion ne luy eſchappe hors des mains, non point devant afin qu’il ne ſe travaille en vain. Car quand il y va lentement, il eſt mieux ſur ſes gardes, & n’y peut rien arriver de par l’Adverſaire qui le puiſſe grandement mettre en deſordre, par ce qu’il ne fait rien luy meſme qu’il ne puiſſe touſiours changer à temps, quand l’occaſion ſe change.
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{{master end}}
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{{master begin
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| title = Book 1 - Tableau / Plate XII - Stepping inside the Angle betweeen the Swords.
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| width = 60em
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}}
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{| class="floated master"
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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|-
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|Colspan="2"|[[file:Thibault L1 Tab 12.jpg|600px]]
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|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|EXPLANATION OF THE ACTIONS IN THE TWELFTH PLATE.
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|DECLARATION DES OPERATIONS DV TABLEAV DOUZIEME.
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|- style="font-family: times, serif; vertical-align:top;"
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|We follow here, in this twelfth plate, the example of those who are concerned with fortifications. After they have taught to their students the form of ideal designs, they then briefly show them how, in practice, these must be adapted to the particulars of each place. Moreover, it is impossible to have site exactly one would wish. Thus, we do the same for our System, because we have already explained the manner of entering into the sword-angles, which is one of the points of the greatest importance, we shall now show the versatility of this move and the multiplicity of circumstances in which the scholar can prevail. Such contemplation will be very useful and very easy for them, considering the small number of precepts to keep in mind on which we can build, and which dominate even against the most unusual moves. To do this, we propose to examine a few particular examples, where Zachary opens up the angle in diverse ways, of which none are particularly strange. And in fact he allows opportunities of all sorts. Some ones which consist of a simple defence, others which include attempts to attack. At some times he will completely open up the angle, at other times he will do no more than prepare to. But all with such moves as he hopes will will create confusion by their novelty. But why, then, do this? These situations are useless to learn, because they are so rare, you say? On the contrary, the strangest situations are those that are most necessary to learn. For your enemy will not fail to perform any strange action, if he thinks it will confuse and confound you. Furthermore, whether or not he performs these moves with the same intent and the same follow-on exactly as we show here, nevertheless, you will find yourself often enough in similar situations such as these by chance one way or another. Therefore, be prepared for everything. For in the practice of Arms, after a mistake is made, there is neither valid excuse nor available recovery.
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|Nous enſuivons en ce Tableau XII. l’exemple de ceux qui traitent les matieres des fortifications. Car apres qu’ils ont enſeigné les figures regulieres, ils ſe contentent de monſtrer briefvement à leurs diſciples, qu’en la Pratique il les faut accommoder ſelon les particularitez de chaſcune place; d’autant qu’il eſt impoſſible de les avoir touſiours à ſouhait. Ainſi donc pour faire le meſme en noſtre Exercice, puis que nous venons de declarer la maniere d’entrer dedans les angles, qui eſt un de points de plus grande importance; monſtrons maintenant combien l’uſage en eſt ample, & comme l’Eſcholier s’en pourra prevaloir en pluſieurs occurrences. Contemplation qui luy ſera tresutil, & tresaggreable, conſiderant que le petit Nombre de ſes preceptes eſt baſtant à tenir en devoir voire & à dompter meſme des mouvements ſi extraordinaires. Pour ce faire nous propoſerons icy quelques particularitez d’exemples, ou Zacharie luy fait l’ouverture de l’angle en diverſes manieres, & aucunes d’icelles bien eſtranges. Et de fait il luy en donne des occaſions de toutes ſortes; les unes qui conſiſtent en ſimple defenſe, les autres conjointes avec intention d’offenſer; tantoſt il ouvre l’angle tout à fait, tantoſt il n’en fait que la ſeule preparation; le tout avec de tels mouvements, qu’il eſpere luy en troubler le jugement par la nouveauté meſme. Mais quoy donc? Direz vous, ce ſont des occaſions inutiles, pour ce qu’elles ſont rares? Au contraire, le plus eſtranges ſe ſont les plus neceſſaires. Car l’Ennemy ne manquera pas à faire une aćtion eſtrange, s’il penſe qu’il vous en mettra en deſordre; & d’autrepart combien qu’il ne les face pas avec la meſme intention, & en la meſme ſuite qu’elles ſont icy repreſentées, toutesfois on ſe retrouve aſſez ſouvent en telles & ſemblables ſituations par les changements des occaſions de part & d’autre. Soyons donc preparez à tout. Car au fait des Armes, apres que la faute eſt commiſe, il n’y a ny remede ny excuſe valable.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 1'''
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|'''Cercle N.1.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander, has subjugated his opponent’s sword at the Second Instance, has stepped with his foot to the Third, in such a way that his left foot is in the process of following along, with the intent to wound his opponent with the length of his blade. At this very moment, Zachary turns his right side to the outside, raising his arm and sword to an obtuse angle above the Inscribed Square X-N, holding it with some force. Alexander sees this, he allows his own tip to rise up, lowering and closing his elbow against his side, and setting his left foot on the ground inside the Quadrangle at the letter O.''
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|''Alexandre ayant ſujetté l’eſpee contraire à la Seconde Inſtance, & puis marché avec le pied droit à la Troiſieme, en ſorte que le pied gauche eſt deſia en train à pourſuivre l’autre, avec intention de bleſſer le Contraire au long de ſa lame; en ce meſme temps Zacharie ſe deſtourne le coſté droit en dehors, hauſſant le bras & l’eſpee en angle obtus au deſſus le coſté du Quarré Inſcrit X N, retenant le poids en force. Dequoy s’appercevant Alexandre il laiſſe aller au meſme temps ſa pointe contremont, en abaiſſant & affermiſſant la coude à ſon coſté, & mettant le pied gauche à terre dedans le Quadrangle à la lettre O.''
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|- style="font-family: times, serif; vertical-align:top;"
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|After Alexander has subjugated his opponent’s blade moving from the First to the Second Instance along the Diameter at G, and taken a step with his right foot along the side of the Inside Square to the letter N, intending to slide the point of contact up his opponent’s blade to give him a thrust to the face, he draws his left foot along the path following the other. At this time, Zachary turns his toes forward towards the diameter, without leaving his Quadrangle, in such a way that his right side is withdrawn a quarter turn, bringing his extended arm with his sword up into an obtuse angle along the side of Inscribed Square, X-N, with some force, so that the thrust to the face which his adversary had thought to give him is diverted aside. At the same time, Alexander drops his arm and guard down, while his sword-tip comes up, and he closes his elbow against his right side to protect himself, and he sets his left foot down inside the Quadrangle at the letter O, while keeping his body erect. This is shown by the figures.
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|Apres qu’<font style="font-variant:small-caps">Alexandre</font> a ſujetté l’eſpee contraire, de la Premiere Inſtance à la Seconde au deça le Diametre lettre G. & ayant conſequemment cheminé avec le pied droit par la trace du Quarré Inſcrit juſqu’à la Troiſieme à la lettre N, pour en graduant l’eſpee contraire luy donner une eſtocade au viſage, dont le pied gauche eſt deſia en train de cheminer apres l’autre : à ce meſme temps <font style="font-variant:small-caps">Zacharie</font> ſe tourne les orteils en devant vers le Diametre ſans bouger de ſon Quadrangle, en ſorte que le coſté droit du corps s’en retire à quartier, menant le bras eſtendu avec l’eſpee en haut en angle obtus au deſſus le coſté du Quarré Inſcrit X N avec poids de force; de façon que l’eſtocade, que l’adverſaire luy penſoit donner au viſage, en eſt divertie : Au meſme temps <font style="font-variant:small-caps">Alexandre</font> s’abaiſſe le bras & la garde, & avec la pointe dreſſée contrement il ſe l’affermiſt coſté droit pour defenſe de la partie inferieure de ſa perſonne, mettant enſemblement le pied gauche à terre, dedans e Quadrangle à a lettre O, avec le corps eſtendu; comme les figures demonſtrent.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 2'''
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|'''Cercle N.2.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander raises his right foot in the air, while forcing his opponent’s sword down a little, which (while setting his foot down on the ground before the letter S) he subjugates it, turning his left side forward, and leaning his body even further forward on the same foot inside the angle, while simultaneously drawing his left foot along up to the letter N.''
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|''Alexandre eſleveant le pied droit en l’air, abaiſſe enſemble quelque peu l’eſpee de ſon Contraire, laquelle (en plantant le meſme à terre devant la lettre S) il aſſujettit, avançant le coſté gauche, & panchant du corps ſur le devant encores ſur le meſme pied au dedans de l’angle, entrainant quand & quand le pied gauche derriere juſqu’à la lettre N.''
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|- style="font-family: times, serif; vertical-align:top;"
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|As soon as Alexander has completed the preceeding action, he pauses briefly, so as to see if his adversary will try to work against him, so he can counter it. But as soon as he sees him waiting, he follows on, moving forward and raising himself with his right foot while lowering the swords with his sense of contact and likewise turning his left side forward, in such a way that the instant his foot lands on the ground in front of the letter S, and his weight comes down on it, he subjugates his opponent’s blade, then leans his body onto the forward foot, drawing his left foot along behind up to the letter N. Thus he puts himself inside the angle of the swords, and inside the lines of his ennemy; As is evident in the portrait of the figures.
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|<font style="font-variant:small-caps">Alexandre</font> dés qu’il à parachevé l’aćtion precedente, fait une petite pauſe, afin que ſi l’adverſaire taſche d’avēture à travailler deſſus, il y puiſſe donner order. Mais quand il le voit attendre, il pourſuit, en avançant & hauſſant le corps avec le pied droit, & abaiſſant enſemble un peu les lames au rapport du Sentiment, avec pareil advancement du coſté gauche; en ſorte qu’à l’inſtant que le corps deſcend, & que le pied droit tombe à terre devant la lettre S, il aſſujettit l’eſpee de l’adverſaire, ſe panchant du corps ſur le devant, & entrainant le pied gauche derriere juſqu’au point N. Dont il ſe met par ainſi dedans l’angle, & au dedans des perpendiculaires de l’ennemy; comme il eſt evident au pourtrait des figures.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 3'''
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|'''Cercle N.3.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander continues the movement by leaning further forward, while raising his left hand between them over the swords. Then, he simultaneously moves forward, shifts his weight entirely onto his right foot, raises his left foot, reaches his left hand above the blades to seize the whole of his opponent’s guard and moves his left side leaning still further forward, as we see portrayed in the figure.
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|<font style="font-variant:small-caps">Alexandre</font> continuant l’operation encommencée, ſe panche un peu davantage, hauſſant tout d’un temps en avant ſa main gauche entre deux & à l’egal des lames, puis il s’avance quand & quand en ſautant du pied droit, eſlevant en ſuite le pied gauche, & prenant enſemble par deſſus le long des lames la garde du Contraire avec ſa main gauche, le coſté gauche du corps panché encor davantage; ainſi qu’on le voit pourtrait en la figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 4'''
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|'''Cercle N.4.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander follows on from the previous movements, stabbing his opponent’s right side with the sword-tip.''
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|''Alexandre pourſuit les operations precedentes, donnant à ſon contraire un coup de pointe au coſté droit par le fil de ſa lame.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Here the movement carries on, where Alexander suddenly takes his already raised left foot and makes a sudden large circular step outside the Circle, off to the side of his opponent.  This he follows with a similar very quick circular move of his right foot, in a volte, taking a large step behind his left foot, he traps his opponent’s sword as he turns his opponent’s hand and pushes the guard away, which creates the opening to stab his opponent’s right side along the line of the blade, as his shown in the figure.
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|Ceſt encor la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> pourſuit ſoudainement à faire un grand pas circulaire avec le pied gauche, qui eſtoit deſia eſlevé, au dehors du Cercle à coſté de l’adverſaire; pourſuivant pareillement en cercle avec l’autre pied, aſſavoir le pied droit, qu’il avance & volte de pareille viſteſſe, faiſant un grand pas derriere le pied gauche, pouſſe & tourne cependant le bras & la garde contraire au loing, & luy donne par le fil de la lame un coup de pointe au coſté droit; comme il eſt repreſenté en la figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 5'''
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|'''Cercle N.5.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander completes the final execution of the movement by pushing his thrust with full force through his opponent’s body.''
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|''Alexandre faiſant la finale execution pouſſe ſon eſtocade au travers le corps de ſon Contraire de pleine force.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This is the final follow up to the previous moves, done by Alexander immediately raising his left foot and stepping into his opponent, putting his weight down on it, and thereby pushing his thrust with full force through his opponent’s body.
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|C’eſt la derniere ſuite de la continuation precedente, fait par <font style="font-variant:small-caps">Alexandre</font> en eſlevant tout à l’inſtant & avançant le pied gauche devers ſon Contraire, en faiſant la charge du corps deſſus, & luy pouſſant par ainſi l’eſtocade à travers le corps de pleine force.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 6'''
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|'''Cercle N.6.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|This action stems from Circle No 1, in the case when his opponent puts more force behind his blade. Thus Alexander continues to work against his opponent, taking a large, deliberate step straight forward with his right foot, moving his body in closer to his sword, and being very attentive to the feel, so to be aware if perchance his opponent comes to change the force he is using and so change the resuting actions as well.
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|Ceſt aćtion prend ſon origine du Cercle 1. à condition, qu’il y ait plus de poids en la lame contraire. Dont <font style="font-variant:small-caps">Alexandre</font> pourſuit à travailler, en faiſant un grand pas tout droit en avant lentement avec le pied droit, s’approchant le corps plus pres de ſon eſpee, & prenant fort ſerieuſement garde au ſentiment, ſi daventure le Contraire venoit à changer le poids, pour changer auſſi l’operation.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 7'''
 +
 +
|'''Cercle N.7.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|This continues from the preceeding Circle, where Alexander takes a further large, deliberate step with his left foot, straight forwards, out beside his adversary. After which he raises his right foot and brings it up near to the left one. As he feels that his opponent’s sword still resists with the same degree of force, he turns on the ball of his left foot, to face him.
 +
 +
|C’eſt la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> marche encor un autre grand pas tout droit en avant & lentement avec le pied gauche à coſté de l’adverſaire; pourſuivant apres à eſlever & avancer le pied droit, lequel il joint tout pres de l’autre; & comme il ſent que la lame contraire continue encor au meſme poids, il ſe tourne ſur le pied gauche qui eſt planté tout droit contre luy pour le regarder.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 8'''
 +
 +
|'''Cercle N.8.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|''Alexander carries on the preceeding actions and, entering in towards his opponent, he aims the tip of his blade into his right side, thrusting with full force.''
 +
 +
|''Alexandre pourſuit les operations precedents, & entrant devers le Contraire luy aſſene ſa pointe au coſté droit, l’executant de pleine force.''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|Continuing to feel the same degree of force against his blade, Alexander carries on his actions, disengaging the swords (so the other passes over his head) and at the same instant he enters in towards his opponent with the right foot, which was raised and ready, while aiming his sword-tip at the right side, and then driving it in with full force and his body leaning behind it, in accordance with the figures.
 +
 +
|Continuant le meſme Sentiment des lames, <font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation, en deſtachant les eſpees (dont l’eſpee contraire luy paſſe par deſſus la teſte) & au meſme inſtant il entre devers le Contraire avec le pied droit, qui eſtoit deſia preparé, luy aſſenant la pointe au coſté droit, & l’executant à pleine force avec le corps panché de meſme; le tout en conformité des figures.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 9'''
 +
 +
|'''Cercle N.9.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|''Alexander has finished the actions of Circle No 1, and sees his adversary increase the degree of force resisting his blade. After he releases the sword to fly overhead, he wounds his opponent in the right side  with his sword-tip.''
 +
 +
|''Alexandre ayant achevé les operations du Cercle 1. voyant que l’adverſaire luy reſiſte en augmentant le poids, apres avoir laiſſé eſchapper l’eſpee contraire il le bleſſe d’un coup de pointe au coſté droit.''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|This is an action which follows from Circles 1 & 2. Alexander has finished the movement in Circle 1. to the point where he has raised his right foot intending to force down and subjugate his opponent’s blade, as in Circle 2. His adversary resists by greatly increasing the degree of force against his blade, enough to move the swords back. To which Alexander lifts his sword from on top, allowing the other to fly freely overhead from the intensity of the force, and at the same time enters in to the angle, by advancing his right foot, which he sets down where the line crosses the segment S-X. He wounds his opponent’s right side by a strike with his sword-tip and finishes the move with his body leaning forward, and left leg drawn up appropriately behind him, as his shown in the figure.
 +
 +
|C’eſt icy une operation qui procede en ſuite des Cercles 1. & 2. <font style="font-variant:small-caps">Alexandre</font> ayant achevé celle du Cercle 1. apres avoir eſlevé le pied droit pour abaiſſer, & conſequemment pour aſſujettir l’eſpee contraire à l’exemple du Cercle 2. l’Adverſaire luy fait reſiſtance, en augmentant le Poids, & uſant de force pour tranſporter les lames. Qui fait qu’<font style="font-variant:small-caps">Alexandre</font> en oſte ſon eſpee de deſſus, laiſſant enfuir l’autre, qui luy paſſe outre la teſte par la vehemence de la force, & entrant au meſme temps dedans l’angle par advancement du pied droit, qu’il plant à la ſećtion de la ligne S X, il le bleſſe d’un coup de pointe au coſté droit, & en fait la finale execution avec le corps panché en avant, le pied gauche trainant proportionnellement derriere; comme il eſt repreſenté au pourtrait de ſa figure.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 10'''
 +
 +
|'''Cercle N.10.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|''Zachary resists by increasing the force against his blade. Alexander slides the point of contact down the blade to prepare the next move.''
 +
 +
|''Zacharie faiſant reſiſtance hauſſant le poids des lames, Alexandre deſgradue les lames & ſe prepare à l’execution ſuivante''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|This action likewise begins from Circle 2, in which Alexander is shown lowering and subjugating his opponent’s blade. Against which Zachary has tried to resist by raising and increasing the force against the blade, however, with a little less than in the previous Circle. So Alexander leans a bit further forward, while making a quick step with his right foot up to the letter S, and with his left hand seizes his opponent’s guard, then slides the point of contact down along the entire length of the blade in such a way that he pulls away as he keeps his grip on the guard, holding it out to the left. He turns his right side forward, raising his left foot, and raises his opponent’s guard up high, while turning the tip of his own blade away behind his back. Thus, he is prepared to perform the following moves, as we can see him making ready in the image.
 +
 +
|Ceſte operation prend ſemblablement ſon origine du Cercle 2. auquel <font style="font-variant:small-caps">Alexandre</font> eſt repreſenté abaiſſant & aſſujettiſſant la lame cōtraire: à quoy <font style="font-variant:small-caps">Zacharie</font> à voulu faire reſiſtance, en hauſſant & accroiſſant le poids des lames, toutesfois avec un peu moindre effort, qu’au Cercle dernier precedent. Dont <font style="font-variant:small-caps">Alexandre</font> ſe panche un peu davantage, faiſant au meſme temps avec le pied droit un petit ſaut en avant à la lettre S, & avec la main gauche prend la garde contraire, enluy deſgraduant la lame entier, de ſorte qu’il ſe retire & s’affermit le bras de l’eſpee avec la garde au coſté gauche, en tournant le coſté droit devant avec le pied gauche eſlevé, pouſſant enſemblement ſon bras gauche, qui tient l’eſpee contraire en haut, & conduiſant la pointe de la ſienne contremont par derriere le dos. Voilà comme il s’eſt preparé le corps pour venir conſequemment à l’operation ſuivante; comme on l’y voit tout appreſté en la figure.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 11'''
 +
 +
|'''Cercle N.11.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|This follows on from the last. Alexander, leaps with a large, circular, forward step with his left foot outside the Circle to a point almost behind his adversary, to whom he gives, by leaning forward with his body and bringing his right foot smoothly around through the air in circular motion, setting it down behind the other, a reverse cut to the thick part of his opponent’s left leg, while pressing his opponent’s arm and sword down and pinning them against his left side, as is portrayed in the figure.
 +
 +
|C’eſt la ſuite du prēcedent. <font style="font-variant:small-caps">Alexandre</font> ſaute avec le pied gauche un grand pas circularement en avant au dehors du Cercle à peu pres derriere l’adverſaire; auquel il donne (en panchant du corps ſur le devant, & continuant à mener circulairement le pied droit en l’air derriere l’autre) un coup de revers au gras de la jambe gauche, pouſſant enſemblement vers le bas le bras & l’eſpee contraire, laquelle il s’affermiſt à ſon coſté gauche; ainſi qu’il eſt pourtraićt en la figure.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 12'''
 +
 +
|'''Cercle N.12.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|Alexander continues with the same sequence. He suddenly moves backward and sets his foot down right behind himself, then rocks back onto it, leaning backward and lifing his left foot. As he does, he pulls his opponent’s hand and sword off to his left, and draws his own sword back to his right side, as we see represented in the figure.
 +
 +
|C’eſt la continuation de la meſme ſuite, faite par <font style="font-variant:small-caps">Alexandre</font>, en retirant & plantant ſoudainemēt le pied droit en arriere, ſur lequel il ſe redreſſe & ſe panche à l’envers, en eſlevant le pied gauche, & retirant à ſoy le bras & l’eſpee contraire, meſme auſſi la ſienne, laquelle il conduit à coſté de ſa perſonne à main droite, la pointe tournée vers le bas; comme on le voit repreſenté à la figure.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 13'''
 +
 +
|'''Cercle N.13.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|''Here, Alexander executes his strike, and pierces his oppnent with a straight arm through the body.''
 +
 +
|''Alexandre execute icy ſon coup, & perce ſa partie d’un bras roide au travers du corps.''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|And here is the final move. Alexander steps with his left foot forward into his opponent, & leaning his body, he drives his sword, with a straight and extended arm, through his opponent’s body.
 +
 +
|En voicy le finale execution. c’eſt qu’<font style="font-variant:small-caps">Alexandre</font> marche avec le pied gauche deſſus ſon homme, & en panchant le corps de meſme, il luy pouſſe d’un bras roide & eſtendu l’eſpee au travers du corps.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 14'''
 +
 +
|'''Cercle N.14.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|''Alexander subjugated his opponent’s sword. Zacharie tries to wound his opponent by disengaging his blade. Alexander perceives this move and swiftly follows, sliding his tip along and again subjugates it.''
 +
 +
|''Alexandre ayant aſſujetti l’eſpee contraire, Zacharie taſche de bleſſer ſa partie en deſtachant ſa lame, Alexandre s’en apercevant le pourſuit vivement & graduant ſa pointe l’aſſujettiſt derechef.''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|Alexander has previously subjugated his opponent’s sword at the Second Instance at the letter G, along the Diameter, according to our precepts and required form. Zachary tries to circularly disengage his blade, which is subjugated underneath the guard, and raise it over Alexander’s, to wound him from above his arm. Alexander feels it is about to disengage, follows it quickly before that can happen, turning it down and outside of the intended path. He does this with his wrist, turning and sliding the point of contact up to the centre of his opponent’s sword, so it cannot escape, at least until the two swords have been raised up at an obtuse angle. Then, with his body upright, he enters in with his left foot forward as he again slides the point of contact up the sword to dominate his opponent’s sword, setting his foot down on the Diameter at the letter Q, bearing  the weight of his body on it, over his bent knee, inside the perpendicular lines, as it appears in the figure.
 +
 +
|<font style="font-variant:small-caps">Alexandre</font> ayant preallablement aſſujetti l’eſpee contraire à la Seconde Inſtance lettre G, au deça du Diametre, ſelon les preceptes & en la forme requiſe. <font style="font-variant:small-caps">Zacharie</font> taſche à luy paſſer circulairement ſa lame, qui eſt aſſujettie par deſſous la garde, pour bleſſer par deſſus le bras. Dont <font style="font-variant:small-caps">Alexandre</font>, qui recognoiſt au Sentiment, qu’elle commence à ſe vouloir deſtacher de la ſienne, la pourſuit vivement avant qu’elle ſe ſoit delivrée, en tournoyant par le bas & en dehors la meſme chemin q’uelle s’en alloit prendre; ce qu’il fait avec le poignet de la main, tournant & graduant ſa pointe un peu devers le Centre de l’eſpee contraire, afin qu’elle ne luy puiſſe eſchapper, juſqu’à tant que les deux eſpees ſoyent conduites en haut en angle obtus; Lors il entre avec le corps eſtendu, le pied gauche devant, en faiſant derechef deſgraduation en aſſujettiſſant l’eſpee contraire, & plantant le meſme pied au deça le Diametre à la lettre Q, menant la charge du corps deſſus ayant le genoil plié, au dedans des perpendiculaires, ainſi qu’il paroit à la figure.
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|This same action can be done, even if Alexander has not yet done more than set his right foot down at the Second Instance, before his left foot has come into place, and the subjugation of his opponent’s blade is but half done. However, in this latter case, one will not have the leisure to set the left foot down at the Second Instance, before one must increase the size of his step, and move in one up motion to the letter Q, keeping in mind all the same particulars as above.
 +
 +
|Ceſte meſme operation ſe pourra pratiquer, moyennant qu’<font style="font-variant:small-caps">Ale</font>xandre n’ait encor planté que le pied droit à la Seconde Inſtance, avant que le gauche y ſoit arrivé, & que l’aſſujettiſſement ne ſoit qu’à demi fait. Toutsfois en ce dernier cas on n’aura pas le loiſir d’aller planter le pied gauche en terre à la Seconde Inſtance, ains il faudra en aggrandir la demarche, & entrer tout d’un train juſqu’à la lettre Q, en obſervant touſiours le meſmes particularitez que deſſus.
 +
 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 +
 +
|'''Circle No 15'''
 +
 +
|'''Cercle N.15.'''
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|This is the follow-on from the preceeding action. Alexander momentarily raises his left foot, making little or no forward motion. He leans on it, moves his left side forward, at the same time disengaging his sword, and seizing hold of his opponent’s guard with his left hand, which he pulls towards himself. He puts the tip of his sword on his adversary’s right side, as the figures demonstrate.
 +
 +
|Voicy une ſuite de l’operation precedente. aſſavoir qu’<font style="font-variant:small-caps">Alexandre</font> eſleve tout à l’inſtant un peu le pied gauche avec peu ou point d’avancement, ſe panchant deſſus, le coſté gauche du corps avancé, en deſtachant au meſme tēps les eſpees, & faiſant prinſe de la garde contraire avec ſa main gauche, laquelle il retire à ſoy, en aſſenant ſa pointe au coſté droit de l’edverſaire; comme les figures demonſtrent.
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|In this action, which proceeds from Circle No 14, where Alexander held his opponent’s blade subjugated with his left foot forward, he follows in Circle No 15 by disengaging the swords while at the same time seizing his opponent’s guard. Note that he could also do the step in with his right foot, and performing the consequent seizure and follow-on without disengaging the blades, as shown in Circles No 2, 3, 4, and 5.
 +
 +
|En ceſte opration precedente du Cercle 14, où Alexandre tient l’eſpee contraire aſſujettie avec le pied gauche devant; laquelle il a pourſuivie au Cercle 15. en deſtachant les eſpees, & faiſant au meſme temps prinſe de la garde contraire. Notez qu’il peut auſſi pratiquer la meſme intrade avec le pied droit, en faiſant conſequemment la prinſe avec le ſuite annexées ſans quitter les lames en conformié de ce qui eſt repreſenté es Cercles 2. 3. 4. 5.
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|This is similar to Circle No 2, when Alexander had his right foot forward, but in any case, nothing impedes him from following on as from Circle No 14 disengaging his sword, seizing his opponent’s guard, and giving his a thrust in the stomach, as is shown in Circle No 15.
 +
 +
|Semblable eſt du Cercle N.2. combien qu’Alexandre y ait le pied droit devant, toutesfois rien n’empſche qu’il n’en puiſſe auſſi tirer la ſuite du 14. en deſtachant les eſpees, à faire prinſe, & luy preſenter l’eſtocade à la poitrine; comme il eſt monſtré au Cercle N.15.
 +
 +
|-
 +
||
 +
 +
|- style="font-family: times, serif; vertical-align:top;"
 +
 +
|The usefulness of seizing the space inside the angle is so obvious, it should require no further proof. Anyone who has entered inside will always have twice the advantage, with regard to timing and distance. For he cannot be hit in a single beat, because he has passed the tip of his opponent’s sword, yet he has not given up the ability to attack however he wishes to. And if his enemy begins to draw back his sword to thrust, he can feel it and wound his enemy before he can pull it far enough, because he is in position, and outside his enemy’s line, and thus has the advantage. Also, note that those who fence in the old style, because they know no better, try to open up the angle, to beat the opposing sword aside. What we do with our sword, they want to do with their left hand. But this is their fault, because, since they always remain face to face against their opponents in a straight line, how is it possible for them to safely open up the angle, when we consider how this is the opposite of the direct line, and cannot happen except when one line crosses the other. This is why they do not know how to engage their enemy’s swords without uncovering their own side at the same time. That is why Alexander always approaches by moving to the side. Because he knows his enemy does not know how to parry the slightest strike without creating an angle. But if he does not create a large enough opening for them, there is nothing that stops him from executing his strike. And if not, he only needs to step inside the angle.
 +
 +
|L’uſage de ſaiſir les angles eſt ſi manifeſte, qu’il n’en faut pas demander des preuves. Car celuy qui eſt entré dedans, a touſiours double avantage au regard du temps & de la meſure. Dont il ne peut eſtre touché au Premier Inſtant, par ce qu’il a paſſé la pointe contraire, & pourtant il ne laiſſe pas d’avoir la commodité luy meſme de travailler à touts moments, ſi bon luy ſemble. & ſi l’Ennemy commence à vouloir ramener ſa pointe, il a le ſentiment qui l’advertit de le bleſſer au meſme temps avant qu’il en ſoit venu à bout de ſorte qu’il a l’ennemi en preſence, eſtant luy meſme dehors, tant il a d’avantage. Auſſi voit on que ceux qui tirent à la veille mode, à faute de ne ſçavoir mieux, ils taſchent d’ouvrir les angles pour battre l’eſpee contraire. Ce que nous faiſons avec l’eſpee meſme, ils le veulent faire avec la main gauche. mais c’eſt leur faute. car puis qu’ils demeurent touſiours viz à viz de leurs contraires en ce droite ligne, comment leur ſeroit il poſſible de bien ouvrir les angles, conſideré que l’angle ceſt tout le contraire de la ligne droite, & qu’il n’y en a peut avoir, ſinon que l’une des lignes ſoit miſe en travers de l’autre. Et c’eſt la cauſe pourquoy ils ne ſçauroyent engager les eſpees des Ennemis, qu’ils ne ſe deſcouvrent auſſi de leur coſté pareillement. Voilà donc pourquoy Alexandre a fait touſiours ſes approches en allant de travers. Pour ce qu’il ſçait que l’Ennemi ne ſçauroit parer le moindre coup ſans faire angle. Car s’il ne fait point aſſez d’ouverture, il n’y a rien qui l’empeſche de faire l’execution; & ſi au contraire, il ne tient qu’à luy d’entrer dedans l’angle.
 +
 
|}
 
|}
 
{{master end}}
 
{{master end}}

Revision as of 23:43, 25 February 2019

Gérard Thibault d'Anvers
Born 1574
Died 1629
Occupation Fencing master
Nationality Dutch
Movement La Verdadera Destreza
Influences
Genres Fencing manual
Language French
Notable work(s) Academie de l'Espée (1630)

Gérard Thibault d'Anvers (ca. 1574–1629)[1] was a 17th century Dutch fencing master and author of the 1628 rapier manual Academie de l'Espée, one of the most detailed and elaborate sources ever written on fencing. Details about Thibault's life are sparse and what we know is based on his book and his album amicorum.[2] The latter contains handwritten notes and celebratory poems from Thibault's friends, relatives, pupils, and colleagues, included among whom are several contemporary fencing masters.[3]

Thibault was born in or around 1574 in Antwerp, son of Hendrick Thibaut and Margaretha van Nispen.[4] Although his father used the surname "Thibaut," Gérard used the French form "Thibault."[4] Hendrick Thibaut came from a well-known family in Ypres, living in Ghent and Antwerp before going into exile in the northern Netherlands.[4] Henrick's eldest son, Christiaen, founded the noble family Thibaut van Aegtekerke.[5]

Thibault first studied swordsmanship in Antwerp under Lambert van Someron, who taught between the years of 1564 and 1584.[6] In 1605, Thibault was a wool merchant in Sanlúcar de Barrameda, south of Seville on the Guadalquivir river, and the hometown of Jerónimo Sánchez de Carranza.[2] There, he took an interest in swordsmanship, studying the Spanish rapier system of Destreza.[2]

Thibault left Spain to return to the Netherlands, and was in Amsterdam as early as 1610.[2] In or around 1611, he presented his system to an assembly of Dutch masters at a competition in Rotterdam.[7] Thibault won first prize, earning an invitation to the court of Prince Maurice of Nassau, where the Prince observed Thibault's system in a multi-day demonstration.[6]

Although initially met with skepticism, Thibault convinced his fellow Dutch fencing masters, including Johannes Damius of Haarlem, Dirck van Stervergen of Leiden, Cornelis Cornelisz van Heusden of Amsterdam, and Thibault's former teacher Lambert von Someron.[6] In 1615, Thibault was invited to the court at Cleves and left Amsterdam, where he once again demonstrated his system successfully.[8] Over the next several years, Thibault traveled from Cleves, Amsterdam, to Spain, back to Amsterdam, and finally to Leiden in 1622.[9] There, Thibault studied mathematics at Leiden University.[10] It is unclear whether Thibault taught his system at the university.[10] It is during his time in Leiden that Thibault likely began working on Academie de l'Espée and employed a team of sixteen master engravers.[11]

Thibault died in 1629, a year before his masterpiece was finally published (despite the date on the title page of 1628, it was not published until 1630).[12]

Treatise

The Academie de l'Espée (1630) is presented in two books. Book 1 consists of a short introduction, populated with plates showing the coats of arms of several nobles who were prominent in and around the court of the low countries at the time he wrote this book, and then introduces training in the use of his system of swordplay.

Thibault, although he does not explain until Plate 8, uses the term estocade to describe a thrust to the near, right side, and the term imbrocade to describe a thrust to the far, left side, from the Italian terms stoccata and imbroccata. English has a single term thrust to mean either, but did borrow the Italian term imbroccata to specifically refer to the latter type of thrust.

Plate I begins with a long philosophical discussion of his worldview. It is a good insight into the late Renaissance worldview relating mathematics and Christian religious beliefs to an idealized human figure. It then explains how to construct his Mysterious Circle. This includes a lengthy discussion of how the circle relates geometrically to the ideal body size, based on Vitruvius, and notes about how the lines and crossing points of the circle will be used. This is the basic reference diagram for the entire system. It also includes explanations of how to measure for the correct sword size for any given person, and some explanation of why this is so, and some introductory explanation of appropriate ranges for swordplay.

Plate II compares his ideal body measurements against a figure by Albrecht Durer. Part 2 discusses his ideal sword scabbard and how to construct and wear it.

Plates III & IV deal with how to properly draw a sword and how to approach an adversary.

Plate V introduces his fighting system. First, how to deal with feints (typical of the schools of the time) and defend against typical thrusts.

Plate VI introduces several basic concepts. The importance of maintaining contact between swords, not typical of schools of the time, and the basic steps to close with and thrust into an opponent. The first steps show the attack as if he were to make no defense. Then he assumes the opponent will try to disrupt the attack, and discusses how to deal with interruptions if they occur at various points during the movement.

Plate VII introduces an opponent using circular disengagements and counterthrusts to disrupt an attack, and how to counter them.

Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.

Plates IX & X introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.

Plate XI continues the exploration of how to deal with different degrees of force against the blade.

Plate XII shows how to create an angle between blades to move in against the opponent

Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.

The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [www.geheugenvannederland.nl]. Search on Girard Thibault.


Additional Resources

References

  1. ↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.288, 297
  2. ↑ 2.0 2.1 2.2 2.3 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289
  3. ↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.297
  4. ↑ 4.0 4.1 4.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288
  5. ↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289
  6. ↑ 6.0 6.1 6.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290
  7. ↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290
  8. ↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.294
  9. ↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.294-296
  10. ↑ 10.0 10.1 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.296
  11. ↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.296, 310
  12. ↑ Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer. Highland Park, TX: The Chivalry Bookshelf, 2006. pp 1-2.


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