Gérard Thibault d'Anvers/Plates 12-22

Book 1 - Tableau / Plate XII - Stepping inside the Angle betweeen the Swords.

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE TWELFTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV DOUZIEME.
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.	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.
Circle No 1	Cercle N.1.
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.	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.
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.	Apres qu’Alexandre 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 Zacharie 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 Alexandre 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.
Circle No 2	Cercle N.2.
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.	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.
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.	Alexandre 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.
Circle No 3	Cercle N.3.
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.	Alexandre 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.
Circle No 4	Cercle N.4.
Alexander follows on from the previous movements, stabbing his opponent’s right side with the sword-tip.	Alexandre pourſuit les operations precedentes, donnant à ſon contraire un coup de pointe au coſté droit par le fil de ſa lame.
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.	Ceſt encor la continuation du precedent, ou Alexandre 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.
Circle No 5	Cercle N.5.
Alexander completes the final execution of the movement by pushing his thrust with full force through his opponent’s body.	Alexandre faiſant la finale execution pouſſe ſon eſtocade au travers le corps de ſon Contraire de pleine force.
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.	C’eſt la derniere ſuite de la continuation precedente, fait par Alexandre 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.
Circle No 6	Cercle N.6.
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.	Ceſt aćtion prend ſon origine du Cercle 1. à condition, qu’il y ait plus de poids en la lame contraire. Dont Alexandre 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.
Circle No 7	Cercle N.7.
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 Alexandre 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.
Circle No 8	Cercle N.8.
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.
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, Alexandre 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.
Circle No 9	Cercle N.9.
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.
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. Alexandre 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’Alexandre 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.
Circle No 10	Cercle N.10.
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
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 Alexandre eſt repreſenté abaiſſant & aſſujettiſſant la lame cōtraire: à quoy Zacharie à voulu faire reſiſtance, en hauſſant & accroiſſant le poids des lames, toutesfois avec un peu moindre effort, qu’au Cercle dernier precedent. Dont Alexandre 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.
Circle No 11	Cercle N.11.
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. Alexandre 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.
Circle No 12	Cercle N.12.
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 Alexandre, 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.
Circle No 13	Cercle N.13.
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.
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’Alexandre 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.
Circle No 14	Cercle N.14.
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.
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.	Alexandre ayant preallablement aſſujetti l’eſpee contraire à la Seconde Inſtance lettre G, au deça du Diametre, ſelon les preceptes & en la forme requiſe. Zacharie taſche à luy paſſer circulairement ſa lame, qui eſt aſſujettie par deſſous la garde, pour bleſſer par deſſus le bras. Dont Alexandre, 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.
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’Alexandre 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.
Circle No 15	Cercle N.15.
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’Alexandre 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.
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.
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.
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.

Book 1 - Tableau / Plate XIII - Defeating or Defending With The Guard Raised High to Protect the Face

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE THIRTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV TREIZIEME.
It could be that, instead of presenting his sword in a direct line posture, as was performed by Zachary in the preceeding plates, he changes his approach, and presents to you in the way shown here, in Plate XIII, Circle No 1, not moving far from the same posture, except that he holds his hand a little higher, and his tip little lower. In such a way that he can only see his blade through his guard. In this case, it is inadvisable to try and contact his blade according to the previous instructions, to carry it over and subjugate it at the Second Instance. This is because it would be impossible to do without uncovering the upper part of one’s own body far too much. Which is why, to address the problem of carrying the blade away from this position, refer to the instructions in Plate XIX. For the present, I shall show you how you may thrust against this posture, along his blade, and hit under his arm, where he is the most vulnerable. This is because the shoulder, face, and chest remain covered by the wall made by his guard. Thus, in order to avoid the strong of his blade, and to duly work against the weak, here are the actions Alexander must perform, which, as general principles, will serve you well.	Il ſe pourra faire, qu’au lieu de preſenter l’eſpee en droite ligne, comme il a eſté pratiqué par Zacharie aux Tables precedentes, qu’il changera d’avis, & vous la preſentera à la façon qu’il eſt icy pourtrait en ce Tableau XIII. ſur le Cercle N.1. ne s’eſloignant gueres de la meſme poſture, ſinon qu’il tient la main un peu plus haute, pour ſe couvrir le viſage, & la pointe un peu baſſe, en ſorte qu’il ne la puiſſe voir luy meſme, ſi ce n’eſt à travers la garde. En tel cas, il ne ſeroit pas expedient de vouloir trouver ſa lame ſuivant les inſtrućtions precedentes, pour l’emmener & aſſujettir en dedans du bras à la Seconde Inſtance; à cauſe qu’il ſeroit impoſsible de le faire ſans ſe deſouvrir par trop ſoy meſme en la partie ſuperieure du corps. Parquoy s’il eſt queſtion de l’emmener, voyez-en les inſtrućtions au Tableau XIX. Pour le preſent, il vous ſera monſtré, comment vous luy pourrez tirer ſur ceſte poſture au long de ſa lame un coup de pointe ſous le bras, où il ſe deſcouvre le plus; à raiſon que l’eſpaule, la poitrine, & le viſage luy demeurent couverts du rempart de la garde. Afin d’eviter doncques le fort de ſon eſpee, & pour travailler deuëment ſur le foible, voicy les operations d’Alexandre, qui vous ſerviront de preceptes.
Circle No 1	Cercle N.1.
Zachary presents his sword to his opponent with his arm high and his tip low. Against which Alexander approaches with his left foot forward at the First Instance, and covers his opponent’s sword with his guard.	Zacharie preſente l’eſpee à ſon adverſaire, avec le bras haut & la pointe baſſe; ſur quoy Alexandre s’approche du pied gauche à la Premiere Inſtance, & ſe va pancher en devant ſur le meſme, couvrant la lame contraire avec ſa garde.
Zachary has placed himself in the circle inside his quadrangle, right foot on the circumference at X and left foot on the Pedal Line at Z, body extended upright, and presents his sword at his opponent above the Diameter, with his hand raised up, in such a way as to cover his face with his guard, allowing his tip to point downwards by bending his wrist, in order to strike at his opponent. Alexander approaches, with his left foot forwards, which he sets down at the First Instance on the letter C, keeping his body leaning backwards, and in one motion, circles his sword over to the inside line, down from an obtuse to an acute angle, then continuing the movement around until he has once again brought it upwards to the right hand side, as he shifts his body over his left foot, and finally allows his thumb to slide off and around under the crossguard so that it raises up. After a brief pause, he allows his blade to drop and leans forward, lifting his trailing right foot for balance, extending his arm so his guard covers the end of his opponent’s blade at the 1st or 2nd Span, crossing a bit above it, as the figures demonstrate.	Zacharie s’eſtant planté ſur le Cercle dedans ſon Quadrangle, le pied droit à la Circonference lettre X, & le gauche ſur la ligne Pedale Z, le corps eſtendu perpendiculairement, preſente l’eſpee à ſon Contraire, au deſſus du Diametre, avec le bras eſtendu vers le haut, de façon qu’il ſe couvre le viſage de ſa garde, laiſſant deſcendre la pointe vers le bas à l’aide du poignet de la main, pour attendre ſa partie. Là deſſus Alexandre s’approche premierement du pied gauche, qu’il plante à la lettre C en Premiere Inſtance, retenant le corps panché à l’envers, & menant par meſme voye l’eſpee circulairement de haut en bas en dedans du bras, d’angle obtus en angle aigu; dont par la continuation de meſme mouvement il la ramene derechef en haut à main droite, en ſe dreſſant le corps ſur le meſme pied gauche, & finalement ſe laiſſe eſcouler le poulce de deſſus la brance interieure de la garde, où il eſtoit affermi, en deſſous, de ſorte qu’elle en vient à ſe dreſſer contrement; laiſſant par ainſi deſcendre ſa lame, & panchant tellement du corps ſur le devant, avec le pied de derriere eſlevé & le bras eſtendu, que de ſa garde il couvre la lame contraire avec un petit arreſt, à 1 ou 2 Nombres tout contre la pointe, la croiſant un peu de biais vers le haut; comme les figures demonſtrent.
During the time he is moving his guard above the tip of his opponent’s sword, he should pause briefly, as we said: to always be read to adjust to any action or change his opponent may make while he is performing this move, so, being on guard, he cannot surprise you.	Au temps qu’on porte ſa garde par deſſus la pointe contraire, il faut bien adviſer de le faire avec le petit arreſt, que nous venons de dire: & ce pour eſtre touſiours preſt à rencontrer toutes les aćtions, que l’adverſaire pourroit pratiquer durant le meſme temps. autrement il ne faudra pas à nous ſurprendre, ſi nous ne ſommes bien ſur nos gardes.
Circle No 2	Cercle N.2.
Alexander continues his action, by making contact with his guard against the tip of his opponent’s sword and sliding it up as he steps in with his right foot a little beyond the letter H, following in so as to raise his left foot up, thrusting along his opponent’s blade under his arm and into his right side.	Alexandre pourſuit l’operation encommencée, joignant ſa garde au foible & à la pointe de l’eſpee contraire, laquelle il va graduer en entrant avec le pied droit un peu outre la lettre H, à pourſuivre & eſlever tout d’un train le pied gauche en l’air, & luy donner un coup d’eſtocade au coſté droit deſſus le bras par le fil de ſa lame.
Since Zachary is doing nothing more than waiting, Alexander continues with his action, maintaining contact with the tip of his opponent’s blade at the 1st or 2nd Span, trapping it beneath the external branch of his crossguard by sliding the point of contact up the blade. As he straightens his arm, he lowers his sword-tip, and as moves his right foot forward along the Diameter between the centre and the letter H, he continues to lean forward, raising his left foot into the air, so that he enters into the angle which he has created by turning his opponent’s sword aside to the outside and behind himself with the external branch of his crossguard, which he is using to trap the blade. By the same means, his bladepasses over his opponent’s, and he makes a straight arm thrust into his opponent’s right side, below the armpit, as is shown by the figures.	Puis que Zacharie ne fait rien que attendre, Alexandre commence à pourſuivre l’operation, accouplant par en haut ſa garde à la pointe de l’eſpee contraire à 1 ou 2 Nombres, la ſurprennant par deſſous avec ſa branche exterieure, en uſant de graduation, abaiſſe enſemblement ſa pointe avec le bras eſtendu, & avance le pied droit ſur le Diametre entredeux le centre & la lettre H; continuant à ſe pancher en devant avec le corps tout eſtendu, & le pied gauche eſlevé en l’air par la meſme continuation, de ſorte qu’il entre du coſté droit dedans l’angle, qu’il s’eſt ouvert luy meſme, en deſtournant l’eſpee contraire arriere de ſoy en dehors avec l’aide de la branche exterieure, dequoy il la tient enſerrée, & par meſme voye il le bleſſe par deſſus le fil de ſa lame, luy donnant l’eſtocade d’un bras roide au coſté droit deſſous le bras; ſelon qu’il eſt repreſenté en la figure.
Circle No 3	Cercle N.3.
This follows on from the previous, performed by Alexander without pause, by turning his right foot around to the inside, and spinning the other around so his toes come onto the part of the line L-S just beyond the Perpendicular Diameter. He puts his weight on his left foot and leans further backwards, knee and arm bent, continuing to turn his opponent’s blade aside with the exterior branch of his crossguard, and thereby increasing the power of his thrust, as the figures show.	Ceſt la continuation de la precedente, pratiquée par Alexandre tout de ſuite ſans perdre temps; en tournant le pied droit à l’envers, & voltant l’autre de meſme à tout les orteils ſur la ſećtion de la ligne LS par delà le Diametre; ſur lequel il ſe va charger & pancher le dos plus outre, le genou plié, & le bras courbé, en continuant à deſtourner la lame contraire encores davantage au moyen de ſa branche exterieure, & augmenter par ainſi la vigueur de ſon eſtocade; comme on le voit repreſenté.
Circle No 4	Cercle N.4.
To end the action, Alexander drives his sword-tip further by entering in, stepping with his right foot to the letter V along the Diameter, where he puts his weight onto it, bending his knee and and increasing the full power of his thrust, forcing it through his opponent’s body, so that the two guards come together, but without releasing the blade, so that he forces the tip down to an acute angle, and, as it appears in the portrait of the figures, forces it backwards towards Zachary’s right foot, who, off-balance, has already raised it into the air.	Pour mettre fin à l’execution, Alexandre pourſuit ſa pointe à marcher & entrer tout d’une tire avec le pied droit ſur le Diametre lettre V, où il ſe charge deſſus le meſme genou plié, ravivant la vigueur de ſon eſtocade à pleine force, & la pouſſant à travers le corps du Contraire, en ſorte que les deux gardes ſe rencontrent, ſans luy relaſcher pourtant ſa lame, dont il pouſſe la pointe en angle aigu vers le bas, & l’enforce tellement, qu’il le jette à l’envers, comme il appert aut pourtrait des figures, au pied droit de Zacharie, eſtant deſia eſlevé en l’air à faute de reſiſtance.
Circle No 5	Cercle N.5.
The two adversaries began by establishing their position at the First Instance on the Circle, in direct line postures. Alexander, having set his blade parallel to and beneath the other, steps and subjugates his opponent’s blade along the Oblique Diameter at the Second Instance. His opponent then raises his extended arm up to an obtuse angle, so that he covers his face with his guard, allowing his sword-tip to drop downwards. From here the same operations proceed, performed by Alexander, up to the end, as described as follows.	Les deux Contraires s’eſtans preallablement plantez ſur le Cercle à la Premiere Inſtance en droites lignes; Alexandre ayant mis ſa lame parallele au deſſous de l’autre, il marche & aſſujettit le Contraire en deçà le Diametre à la Seconde Inſtance; iceluy hauſſaunt le bras eſtendu en angle obtus, de ſorte qu’il ſe couvre le viſage avec ſa garde, laiſſant deſcendre la pointe à bas; dequoy procedent derechef les meſmes operations, à pratiquer & continuer par Alexandre juſqu’à la finale execution en la maniere qu’il s’enſuit plus particulierement.
After Zachary established his direct line posture in his quadrangel on the Pedal Line Z and presented his sword, Alexander likewise established his position in the opposite Quadrange, right foot along the Circumference at the letter C, his left along his Pedal Line, and brought his sword up parallel to and beneath the other. That done, he then began to perform the actions which lead to this Circle, stepping with his right foot over to the letter G, on the Oblique Diameter at the Second Instance, drawing his left foot up, and subjugating his opponent’s sword. At this instant, his opponent raises his arm up high, covers his face with his guard, and sets his sword-tip low, as the figures demonstrate.	Apres que Zacharie s’eſt planté ſur le Cercle dedans le Quadrangle Z, preſentant l’eſpee en droite ligne; & qu’Alexandre s’eſt planté pareillement alencontre au Quadrangle oppoſite en Premiere Inſtance, le pied droit à la Circonference lettre C, & le gauche ſur la ligne Pedale, portant l’eſpee en droit ligne parallele au deſſous de l’autre. Cela fait il a pourſuivi à pratiquer les aćtions de ce Cercle preſent, marchant avec le pied droit en deçà le Diametre, à la Seconde Inſtance lettre G, à pourſuivre conſequemment du pied gauche, & y aſſujettir l’eſpee de l’adverſaire, qui eſleve à ce meſme inſtant le bras en haut, ſe couvrant le viſage de ſa garde avec la pointe baſſe; comme les figures demonſtrent.
Thereupon Alexander performs the actions as in Circles No 2, 3, & 4, as follows.	Là deſſus Alexandre pourſuit à pratiquer les operations des Cercles N.2.3.4. ſelon qu’il s’enſuit.
While Zachary is raising his arm and the guard of his still-subjugated sword to cover his face and before he can finsh this movement, Alexander moves forward and steps with his right foot to the centre of the Circle, and then his left foot raised in the air, he slides the point of contact up the blades, so as to hit his opponent with his sword-tip on the right side, beneath the weapons, keeping in mind all the previous considerations explained in Circle No 2.	Durant que Zacharie ſe hauſſe le bras & la garde de ſon eſpee qui eſt aſſujettie, pour s’en couvrir le viſage, avant que le mouvement ſoit àchevé, Alexandre s’avance & marche avec le pied droit ſur le centre du Cercle, en continuant à eſlever le pied gauche en l’air, & graduer le lames, de façon qu’il atteint l’averſaire d’un coup de pointe au coſté droit deſſous les armes, y obſervant toutes les meſme conſiderations, qui en ont eſté ſpecifiées au Cercle N.2.
Now, if Zachary’s movement, that is, to raise the arm and guard, had been completed, Alexander would not have been able to do the same the thing again. But the best and the surest way is to move first.	Or combien que le mouvement de Zacharie, aſſavoir de hauſſer le bras & la garde euſt eſté conduit à fin, Alexandre n’euſt pas laiſſé pourtant de faire encor la meſme choſe; mais c’eſt le meilleur & le plus ſeur de prendre le temps meſme.
The follow-up to this action is that Alexander turns instantly about swinging his left foot around his right foot and behind him, a little beyond the letter Q along the Diameter. He leans back onto it, knee bent, and for the rest follows the particulars described in Circle No 3.	La ſuite de ceſte operation c’eſt, qu’Alexandre ſe volte tout à l’inſtant le pied gauche par derriere & alentour le pied droit, un peu outre la lettre Q par delà le Diametre, ſe panchant à l’envers deſſus le meſme, à tout le genou plié, & obſervant au reſte les particularitez de l’aćtion repreſentée au Cercle N.3.
After which he continues on, turning and stepping to the letter W on the circumference, shifting his weight onto that foot and thus he increases the power of his thrust right through his enemy’s body, as done in Circle No 4.	Ce qu’eſtant fait, il pourſuit l’operation juſqu’à la Circonference lettre W, où il ſe charge le corps deſſus, & par meſme voye augmente ſon eſtocade à pleine force à travers le corps de l’Ennemi, en conformité du Cercle N.4.
When Alexander, as he is portrayed here, has subjugated his opponent’s blade at the same time as his opponent raises his guard to cover his face, he can also enter in with his right foot following the line of the same Interior Collateral from where it was at the letter G, up to the letter Q, following with the left foot, and so wounding his adversary, just the same as before, under the arm by sliding the point of contact up the blades, and, by leaning forward to put himself inside the angle of the sword, which he has trapped and turned away, outside and behind him.	Quand Alexandre fait l’aſſujettiſſement, comme il eſt icy pourtrait, au meſme temps que l’Adverſaire ſe hauſſe le bras avec la garde, pour ſe couvrir le viſage, Il peut auſsi entrer avec le pied droit par la trace de la meſme Collaterale interieur, où il eſt planté, juſqu’à la lettre Q, en pourſuivant du pied gauche, & bleſſant ſa partie adverſe, tout de meſme qu’auparavant, deſſous le bras moyennant la graduation des lames, ſe mettant par l’avancement du corps panché, au dedans l’angle de l’eſpee contraire, laquelle il a ſurprinſe & deſtournée en dehors arriere de ſoy.
So, after Alexander has successfully performed this action in divers ways, without his adversary discovering a counter to it, notwithstanding that he has done his best to turn the sword aside in several sorts of ways, this said adversary comes to persuade himself that he can do the same to Alexander, as long as he presents the same posture. Thus he requests that Alexander do this, to test the premise.	Or apres qu’Alexandre a parachevé ceſte operation à diverſes fois, ſans que l’Adverſaire y ait ſceu donner remede, nonobſtant qu’il ait fait ſon devoir à la divertir en pluſieurs ſortes; ledit Adverſaire ſe va perſuader, qu’il en fera tout le meſme à Alexandre, moyennant qu’il luy preſente ſans plus l’eſpee en la meſme poſture. Dont il le requiert amiablement de ce faire, pour en voir la preuve.
Alexander, not wishing to refuse this challenge, adopts the posture in the A-C Quadrangle, right foot on the letter C, left foot on the Pedal Line, holding his sword as was presented to him in Circle No 1. To attack against this, Zachary sets his left foot down at the First Instance on the letter X in the opposing Quadrangle, and consequently will lean forwards raising his left foot in the air behind him, and covering his opponent’s sword from above, as he has seen Alexander do in the aforesaid Circle No 1.	Par ainſi donc Alexandre ne le voulant eſconduire, ſe va mettre le premier en poſture ſur le Quadrangle AC, le pied droit à la lettre C, & l’autre ſur la ligne Pedale, tenant l’eſpee tout de meſme, qu’elle avoit eſté preſentée par le Contraire au Cercle N.1. Pour travailler donc alencontre Zacharie ſe met le pied gauche en Premiere Inſtance à la lettre X au Quadrangle oppoſite, & conſequemment ſe va pancher ſur le devant, en eſlevant le pied de derriere en l’air, & couvrant de par enhaut l’eſpee contraire, cōme il a veu faire à Alexandre audit Cercle N.1.
To perform the strike, Zachary advances his right foot, to thrust to Alexander’s side underneath his arm, as we see in Circle No 2. But, at the same time that he drops the tip of his sword underneath the guard and the arm, Alexander, keeping the swords in contact, turns the guard and his arm in a circular motion downwards and outside to the right, allowing his sword-tip to rise up against his opponent, so that he crosses and subjugates his opponent’s sword, and thus interrupts his intent, as is shown in Circle No 6.	Pour continuer l’operation Zacharie s’avance avec le pied droit, pour luy donner l’eſtocde au coſté deſſous les armes, comme on le voit repreſenté au Cercle N.2. mais au meſme temps qu’il luy deſcend ſa pointe ſous la garde & le bras, Alexandre, tenant les eſpees accouplées, ſe tourne circulairement le bras & la garde en dehors à main droite vers le bas, laiſſant monter ſa pointe au contraire, dont il va croiſer & aſſujettir l’eſpee contraire, en ſorte qu’il luy rompt le deſſein, comme il eſt repreſenté au Cercle N.6.
After that, he continues a follow on to finish, stepping with his right foot forward along the diameter to E, where he puts his weight against the weak of the blade, hitting with the same thrust to the right side that his opponent intended, as it appears in Circle No 7.	Qui plus eſt, Il en fait la pourſuite juſqu’à l’execution, marchant avec le pied droit en avant ſur le Diametre à la lettre E, où il ſe charge le foible, & tirant le meſme coup d’eſtocade au coſté droit de l’Adverſaire, qu’il avoit penſé à tirer ſu luy, comme il appert au Cercle N.7.
And so Alexander once again readies himself on the Circle, in the A-C Quadrangle, presenting his sword in the straight-line posture. Zacharie sets himself against him at the First Instance in the opposite Quadrangle, then steps with his right foot to the Second Instance, along the Oblique Diameter, with his toes on the letter S and heel at W, and subjugates Alexander’s sword. Alexander has raised his arm and guard up high, covering his face, so Zachary finds himself in the same situation as Alexander, portrayed in Circle No 5.	Alexandre ſe va planter autrefois ſur le Cercle dedans le Quadrangle AC, luy preſentant l’eſpee en droite ligne: Zacharie ſe met alencontre au Quadrangle oppoſite en Premiere Inſtance avec l’eſpee parallele au deſſous; puis marche avec le pied droit à la Second par delà le Diametre lettre S, pourſuivant à avancer le pied gauche, les orteils ſur le Diametre oblic, & le talon à la lettre W, & aſſujettir l’eſpee d’Alexandre; qui eſleve au meſme temps le bras avec la garde en haut, s’en couvrant le viſage; de façon que Zacharie s’en retrouve par delà le Diametre en la meſme ſituation qu’Alexandre eſt pourtrait au Cercle N.5.
Circle No 6	Cercle N.6.
Following the previous described action, Zachary tries to strike his adversary under the arm, by moving his right foot forward to the centre of the Circle, and spinning his left forward behind him. At which point Alexander breaks his strike, turning his arm and guard to the outside, dropping down and subjugating the sword.	En ſuite de l’operation dernierement deſcrite Zacharie taſche à frapper l’Adverſaire deſſous le bras, en avançant le pied droit ſur le Centre du Cercle, & voltant le gauche à l’advenant derriere. Dequoy Alexandre luy rompt le coup, ſe tournant le bras & la garde en dehors de haut à bas, de ſorte qu’il luy aſſujettit l’eſpee.
Thus, Zachary subjugates his opponent’s sword at the Second Instance. At the same time, his adversary raises his arm and guard up to cover his face, sword-tip pointing down. In this way, Zachary works against him, allowing his point to descend, and sliding the point of contact up the swords, advancing his right foot to the centre of the Circle, intending to spin his left foot around behind, and by this motion to wound his opponent from beneath the sword. Because he is doing this close in, that is, at the Second Instance, Alexander moves his left foot a little backwards out of the Quadrangle, where he shifts his weight a little backwards onto it, and drawing his other foot along behind. Without disengaging the blades, Alexander brings his wrist down in a circular motion, while turning his arm and guard to the outside and to the right. Thus he traps and subjugates his opponent’s sword, as shown by the figures.	Faiſant donc Zacharie l’aſſujettiſſement de l’eſpee contraire à la Seconde Inſtance, & que l’Adverſaire ſe hauſſe au meſme temps le bras avec la garde, dont il ſe couvre le viſage, avec la pointe deſcendante: En ſemblable Zacharie travaille au meſme temps alencontre, laiſſant deſcendre ſa pointe, & graduant les lames, en avançant le pied droit juſqu’au Centre du Cercle, avec intention de volter le pied gauche alenvers, & de bleſſer par meſme voye ſon Contraire au coſté droit deſſous les armes. Et puis qu’il fait le tout de fort pres, aſſavoir de la Seconde Inſtance, Alexandre ſe retire au meſme temps le pied gauche un peu en arriere au dehors du Quadrangle, où il fait la charge du corps deſſus à pancher vn peu alenvers, & pourſuivre de l’autre pied à l’advenant; enſemble ſe tournant (ſans deſtacher les lames) le bras droit avec la garde de l’eſpee à l’aide du poignet circulairement de haut à bas en dehors & à main droite: dont il enferme & aſſujettit par en haut l’eſpee contraire; enſuivant le pourtrait des figures.
Circle No 7	Cercle N.7.
Alexander presses his attack, using his wrist to turn his arm together with the interior branch of his crossguard upwards in such a way as to catch and seize his opponent’s blade with the other branch of his crossguard. He then steps forward with his right foot up to the letter E and turns the trapped blade behind him as he slides the point of contact up the blade. He leans onto his right foot, drawing his left foot behind him a little bit forwards. He wounds his adversary with a hit from his sword-tip in the right side underneath the armpit, the very sort of thrust Zachary had thought to do, now turned back on him, as evidenced and demonstrated by the figures.	Alexandre pourſuit ſon advantage, en tournant le bras, & enſemblement la branche interieure de ſa garde contremont à l’aide du poignet, de façon qu’il accueilt & enferme avec l’autre branche la lame contraire, laquelle il pourſuit à destourner arriere de ſoy, & à graduer en marchant avec le pied droit à lettre E, où il fait la charge du corps deſſus, laiſſant trainer le pied gauche un peu à l’advenant, & bleſſant de meſme ſa partie adverſe d’un coup de pointe au coſté droit deſſous l’aixelle, de ſorte qu l’eſtocade que Zacharie avoit pourpenſée à Alexandre, elle retombe ſur luy meſme; comme il eſt evident par la demonſtration des figures.
Circle No 8	Cercle N.8.
Zachary again tries to execute the same attack, taking aim at Alexander from the Second Instance, to wound him underneath the arm. Alexander again prevents him, and subjugates his blade, just the same as in Circle No 6 and consequently, having straightened up after leaning backwards, he seizes the sword with the interior branch of his crossguard, sliding the point of contact up the blade, and setting his sword-point precisely in front of Zachary’s eyes, just as the figures show.	Zacharie taſchant à executer encores la meſme entreprinſe, à tirer ſur Alexandre de la Seconde Inſtance, pour le bleſſer deſſous le bras; Alexandre le previent derechef, & luy aſſujettit la lame, tout de meſme qu’au Cercle N.6. & conſequemment s’eſtant redreſsé le corps, qui eſtoit panché un peu en arriere, il la va graduer & enfermer par deſſous avec ſa branche interieure, luy mettant la pointe en courtoiſie devant les yeux; ainſi que les figures demonstrent.
Circle No 9	Cercle N.9.
This is the final step of the preceeding action, performed with determination by Alexander, who steps with his right foot along the Diameter to the letter E, where he leans his body onto it, sliding the point of contact up the swords with his arm extended out straight, so that the two guards crash together and his opponent is forced to bend his arm and allow the raised sword-tip to drive through his head with full force, as is represented by the figures.	Ceſt la finale execution de la precedente, pourſuivie en rigueur par Alexandre, à marcher avec le pied droit ſur le Diametre lettre E, où il ſe panche le corps deſſus, en graduant les lames d’un bras roide & eſtendu, de ſorte que les deux gardes ſe rencontrent ſi rudement, que le bras du Contraire en eſt forcé à ſe plier, & laiſſer monter ſa pointe en haut, en recevant le coup à pleine force à travers ſa teſte, comme il eſt repreſenté par leurs figures.
Circle No 10	Cercle N.10.
Here, Zachary makes the same attempt to wound his adversary in the same way as above. Alexander has again subjugated the blade as in Circle No 6, but instead of moving backwards, he has advanced with his right foot along the Diameter at letter E, where he leaned his body over it, inside the angle, and follows by drawing his left foot after him in a circular motion, while disengaging his sword, so that he makes a backwards cut to the right side of his opponent’s head, as is shown in the figures.	Voicy Zacharie qui a fait encor la meſme preuve, pour bleſſer l’Adverſaire en la meſme ſorte que deſſus: Alexandre luy aſſujettit derechef la lame en conformité du Cercle N.6. mais au lieu de reculer, is s’eſt avancé avec le pied droit ſur le Diametre lettre E, où il ſe panche le corps deſſus au dedans de l’angle, pourſuivant à trainer circulairement le pied gauche apres, & deſachant au meſme temps les eſpees, en ſorte qu’il luy donne un coup de revers au coſté droit de la teſte; comme les figures demonſtrent.
Circle No 11	Cercle N.11.
Zachary again wishes to perform the same attack on Alexander underneath the arm, from the Second Instance, but is once again trapped through the same action as in Circle No 6. Then Alexander, having trapped and subjugated his blade, continues to work against him, stepping with his right foot a little outside the Circle, between the letters D & F, following along in a circular motion with his left foot, and sliding the point of contact down the blade towards the tip, by giving a light push downwards with his wrist and lowering his arm, at which point he leaves it there, lifting his own, carrying it over his head with a movement of his elbow, spinning his left foot around behind the other, and exactly striking his adversary’s left ear, as is seen in the figure.	Zacharie retournant à vouloir donner encore la meſme atteinte à Alexandre deſſous le bras de la Seconde Inſtance, il y eſt derechef attrapé moyennant l’operation du Cercle N.6. dont Alexandre luy ayant enfermé & aſſujetti la lame, continue à travailler, en marchant avec le pied droit vn peu au dehors du Cercle entre deux les lettres D & F, pourſuivant circulairement avec le pied gauche, & deſgraduant avec ſa lame devers la pointe contraire, y faiſtant vn petit pouſſement deſſus avec le bras deſcendant & à l’aide du poignet, dequoy il amortit le ſentiment, & au meſme inſtant il en oſte la ſienne, la menant par deſſus ſa teſte par le mouvement du coude, en voltant le pied gauche derriere l’autre, & preſentant en courtoiſie un coup de taille à l’oreille gauche de ſon Adverſaire; comme il ſe voit en la figure.
If Alexander had wanted to deliver a more severe blow, he would have spun the left foot around a good deal further, and then added another with his right foot, with which he would have repeated the same blow, again spinning the left foot around, and by this means, have found himself behind his enemy, placing himself entirely out of reach of any danger. But here, he puts his left foot right behind the other in order to control the motion of his body and his sword, so that he can keep the blow precise, which he would not be able to easily do otherwise.	Si Alexandre euſt voulu donner le coup en rigueur, il euſt volté le pied gauche un grand pas plus outre, y adjouſtant par apres encor un autre avec le pied droit; dequoy il redoubleroit le meſme coup, en voltant derechef le pied gauche, & par ce moyen viendroit à gaigner le derriere de l’Ennemi, ſe mettant totalement à l’abri de touts dangers: mais qu’il plante icy le pied gauche droitement derriere l’autre, c’eſt pour en moderer la courſe du corps & de l’eſpee, afin qu’il puiſſe retenir le coup en courtoiſie, ce qu’il ne pourroit faire autrement, ſinon à grand peine.
Circle No 12	Cercle N.12.
It is Zachary’s pleasure to once again test the proposition, which is once again nullified by the same action as in Circle No 6. This time Alexander follows up by stepping with his right foot along the Diameter to letter E, and at the same time that leans his upper body forward over it, he lifts his left foot in the air, and seizes his opponent’s hand and guard with his left hand reaching over the crossed swords and pulls it towards him so that his opponent’s sword-tip lowers towards the ground, as is shown by the figure.	Zacharie ſe plait à repeter encor la meſme preuve, qui luy eſt derechef annullée par la meſme operation du Cercle N.6. dont Alexandre pourſuit à travailler en marchant avec le pied droit ſur le Diametre lettre E, où il ſe panche la partie ſuperieure du corps un peu en avant, eſlevant quand & quand le pied gauche en l’air, & faiſant prinſe de la garde contraire avec la main gauche, à porter par deſſus le long des deux lames croiſées, la retirant devers ſoy en ſorte que la pointe contraire s’en abaiſſe devers la terre; comme la figure demonſtre.
Circle No 13	Cercle N.13.
Alexander carries on, by bringing his left foot, already raised in the air, onto the Perpendicular Diameter at the letter M, then right away spins his right foot around behind himself and, setting it down just outside the Circle near the letter W, he leans back on it, and again raising his left foot and stepping towards his adversary on the point Q, he shifts his body forward onto it, bends his knee, and hits his opponent on the right side beneath the arm, driving through his body, as is shown in the figure.	Alexandre pourſuit l’operation, en menant le pied gauche, qui eſt ià eſlevé, en deça le Diametre à la lettre M, & voltant tout de ſuite le pied droit derriere au dehors du Cercle bien pres de l’W, ſur lequel il ſe va pancher à l’envers, en eſlevant derechef, & cheminant avec le gauche devers l’Adverſaire au point Q, où il ſe charge le corps deſſus en avant à tout le genou plié, luy donnant l’atteinte au coſté droit deſſous le bras & la pouſſant à travers le corps; comme il eſt repreſenté en la figure.
Seeing how effectively each time Alexander has parried Zachary’s attempt to strike under his arm, and how he did this in such a way as to control the blade and then confidently made so many effective strikes, Zachary then decides to imitate him, and arranges with Alexander to have him attack with the actions shown in Circles Nos 1, 2, 3, 4, & 5, convinced he cannot fail to perform the same actions, that is, the subjugate, and wound him, in the same various ways that Alexander has done.	Voyant donc qu’Alexandre a destourné ſi avantageusement & à tant de fois l’entreprinſe de Zacharie, qui eſtoit de le bleſſer ſous le bras; de ſorte qu’il luy a gaigné la lame, & en a tiré tant d’executions ſi avantageuſes, meſme qu’il a fait le tout avec ſi grande aſſeurance; Zacharie ſe propoſe de le vouloir imiter, & ſe fait accroire, que ſi Alexandre le vouluſt derechef attaquer avec les operations de Cercles N.1.2.3.4.5. qu’il ne manqueroit pas à luy rendre pareille, c’eſt aſſavoir de l’aſſujettir, & le bleſſer conſequement en telles & ſemblables ſortes, qu’il a veu pratiquer à Alexandre.
To arrive at a result, they reset themselves in the direct-line posture on the Circle at the First Instance. And Alexander, who has set his blade beneath the other to perform the subjugation stepping with his right foot to the Second Instance, in the same way, and in the same conditions as Circle No 5. followed by raising his right foot to step and wound his opponent under the arm, as in Circle No 2. So Zachary parries the strike, bringing his blade circularly around his opponent’s to the right hand side to trap it, and subjugate it, as in Circle No 6.	Pour en venir à l’effećt, ils ſe vont remettre ſur le Cercle à la Premiere Inſtance en droites lignes. Et Alexandre, qui a mis ſa lame deſſous, à faire l’aſſujettiſſement, en cheminant avec le pied droit à la Seconde Inſtance, en la meſme ſorte, & avec les meſmes circonſtances comme au Cercle N.5. pourſuivant à travailler en eſlevant le pied droit pour bleſſer l’Adverſaire en conformité du Cercle N.2. deſſous le bras. Dont Zacharie en deſtourne le coup, menant ſa lame circulairement à la main droite alentour de l’eſpee contraire, pour l’enfermer, & aſſujettir comme au Cercle N.6.
Circle No 14	Cercle N.14.
At the same time that Zachary works to drop his arm, intending to cross over and subjugate his opponent’s blade, Alexander moves his raised right foot forward from the Second Instance to the letter Q on the Oblique Diameter, turning his tip around under his opponent’s arm over the blade and drawing his left foot up to the letter H while placing his tip exactly in front of his opponent’s eyes. However quickly Zachary tries to bring his arm and sword back over his opponent’s to defend himself, he is too late. As is shown in the figure.	Au meſme temps que Zacharie travaille à deſcendre le bras, pour croiſer & aſſujettir la lame contraire; Alexandre s’avance avec le pied droit, qui eſtoit eſlevé, de la Seconde Inſtance, en deçà le Diametre à la lettre Q, tournoyant ſa pointe par deſſous le bras contraire au deſſus de la lame, & entrainant le pied gauche à la lettre H, & enſemblement luy preſentant la pointe devant les yeux en courtoiſie. Et combien que Zacharie ſe ramene derechef le bras & l’eſpee en haut pour ſe defendre, toutesfois il y vient trop tard; comme on le voit au pourtrait de la figure.
Circle No 15	Cercle N.15.
This is the finish, where Alexander extends his arm with the sword, advancing his right foot along the Interior Collateral about as far as the letter V on the Diameter, where he leans onto it, at the same time drawing his left foot up to the letter M on the Perpendicular Diameter, so that the guards smash together with so much force that his opponent’s arm and sword are forced to bend upwards, driving the thrust through the head. As is shown in the figure.	C’eſt l’execution de la precedente, où Alexandre eſtend le bras avec l‘eſpee, s’avançant le pied droit ſur la ligne collaterale interieure en deçà le Diametre pres la lettre V, où il ſe va pancher deſſus, entrainant quand & quand le pied gauche juſqu’au Diametre perpendiculaire lettre M, dont les gardes ſe rencontrent d’une telle violence, que le bras & l’eſpee contraire en ſont forcez à ſe plier & à monter la pointe en haut, luy pouſſant l’eſtocade à travers la teſte; comme il eſt en la figure.
So now Zachary, confused at seeing his plans so frustrated so many times, beaten when he expected to triumph. But because his action was begun at the Second Instance, he begins to suspect that he had perchance begun to work from too close. Thus he requests another chance to start again at the First Instance, as in Circle No 1. This Alexander accords to him and the both set themselves on the Circle in the same way, and Alexander proceeds as in Circle No 2. So Zachary again seeks to subjugate his blade by circling around the arm and guard. Alexander again gets himself out of trouble moving his sword-tip from beneath he arm, and sets it exactly in front of Zacharys face, as in Circle No 14.	Voilà maintenant Zacharie tout confus de ſe voir tant de fois furſtré en ſon entreprinſe, voire qu’il en a eſté vaincu luy meſme au lieu de vaincre. Mais puis que l’operation a eſté commencée à la Seconde Inſtance, il entre en ſoupçon d’avoir travaillé par adventure de trop pres: dont il requiert à recommencer derechef à la Premiere Inſtance, ſuivant le Cercle N.1. Ce qu’Alexandre luy accorde, & ſe vont mettre touts deux ſur le Cercle ſuivant la meſme repreſentation, & Alexandre à pourſuivre comme au Cercle N.2. Dont Zacharie luy veut derechef aſſujettir la lame par le tour du bras & de la garde. Alexandre luy deſrobbe encor ſa pointe par deſſous le bras, & la luy met en courtoiſie devant le viſage, comme au Cercle N.14.
In sum, to see how Alexander does the actions in Circle No 6, by which he captures and subjugates his opponent’s sword, it seems there is nothing easier. This is because he works from a good foundation. And even though the swords do not always make contact in the same place, at the same Spans, nevertheless the choice of thrust, cuts, and holds which follow are entirely his own. He may freely take whichever pleases him. He will completely upend those ignorant or foolhardy imitators who have the temerity to to copy what they have seen done three or four times by a well trained and able man. From which they can gain only a sense of shame and confusion, when they try to test him, and find all their intentions frustrated at every moment, because they do not know the depth of this science, nor how difficult it is, nor the time, well worth the effort, which it requires to learn, nor the amount of study to bring to the subtleties of these examples. Gentlemen both presumptuous and ridiculous, who, having learned but two or three points, convince themselves that they fully understand the techniques, and that they can deal with any situation with the little that they know. They have no consideration of the full expanse, of the infinity of variation which dailly presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say, comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to responses, responses to reviews, reviews to commentaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them.	En ſomme à voir faire à Alexandre l’operation du Cercle N.6. par laquelle il enferme & aſſujettit l’eſpee contraire, il ſemble, qu’il n’y ait rien plus facile. c’eſt pour autant qu’il travaille avec fondement. Et encores que les eſpees ne s’accouplent pas touſiours aux meſmes endroits, & à meſmes Nombres; toutesfois le chois des eſtocades, coups de taille, & prinſes, qui s’en enſuivent, ne depend que de ſa ſeule elećtion; il en prendra librement celle, qui luy viendra le plus à gré. Tout au rebours en ſera il de ces ignorants & hardis entrepreneurs d’imiter temerairement tout ce qu’ils auront veu pratiquer trois ou quatre fois à vn homme adroit & bien fondé: dequoy ils ne peuvent raporter que honte & confuſion, quand il eſt queſtion d’en venir aux preuves, ſe voyants fruſtrez à touts moments de leurs intentions, à faute de ne cognoiſtre pas l’amplitude de ceſte Science, ne combien elle eſt difficle, le temps qu’elle requiert & merite pour l’apprendre, ne l’eſtude qu’il faut apporter à la ſubtilité de ſes demonſtrations. Gents preſomptueux & ridicules; qui n’ayants apprins, que deux ou trois pointilles, ſe ſont accroire, que rien ne leur manque, ſur l’aſſeurance qu’ils ont de faire ſervir à toutes occaſions le peu qu’ils en ſavent; ſans conſiderer la grande eſtendue, voire l’infinité des variations, qui ſe preſentent journellement en la Pratique; par ce que chaſcun a ſa propre maniere à tirer differemment des autres, voire que les heures, les minutes, les inſtants touſiours ſe changent. Dont je puis dire, en faiſant compariſon du bureau, où les debats ſe finiſſent par paroles, avec le parquet où les queſtions ſe terminent par la victoire des armes, que comme les accuſations ſont ſujettes aux exceptions, les exceptions aux repliques, le repliques aux duplications, triplications, & finalement à toutes les Inſtances que la partie adverſe voudra faire; ainſi au fait des armes il n’y a aucun trait tant ordinaire, tant bien examiné, tant priſé, tant ſecret, ne tant admirable, que n’ait ſon contraire; de ſorte qu’il ne faut jamais fier en aucun trait particulier; tout ce qui eſt bon en l’une des occaſions, eſtant faux en l’autre: ſoit aſſailli le mieux du monde, rien n’empeſche qu’il ne ſoit encore mieux defendu. Dont ſi les vulgaires en demeurent eſtonnez, il ne faut pas le trouver eſtrange; attendu que leur pratique, n’eſtant pas fondée en ſcience generale, qui ſoit baſtante à les preparer contre toutes occurrences, il s’enſuit de neceſſité, que les iſſues de leurs entreprinſes dependent en partie du ſort de la Fortune, qui domine par tout, où la Prudence eſt forcloſe.

Book 1 - Tableau / Plate XIIII - Cuts

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE FOURTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV QUATORZIEME.
The most obvious, the most energetic action in a fight, and that which creates the loudest clash are the cuts. The reason for this is because they come from larger motions than a thrust. Thus they are more impressive actions. Thrusts are quicker, because they take the shortest path to hit an opponent. Cuts take a circular path which is slower. Cuts only cause injuries to the outside of the body, whereas thrusts penetrate into the vital organs which causes more mortal wounds. This does not mean our Scholars should see cuts as less worthy of study than thrusts. For there will be times when the one is found to be as useful and needed as the other. Furthermore, the cut aimed at a particular target in the right circumstances will disrupt an opponent as much as a thrust, if he does not know how to appropriately counter it. If he does, then your adversary will be able to take the initiative to his own benefit. But it was in the cause of reason we were moved to first show how to work around thrusts, because the hits are faster and the wounds more dangerous. In any case, the skill needed to counter a cut is not less, as shall be seen through this Table. If the manner of encountering thrusts was found to be different from, and almost contrary to, the tradional style, the manner of countering cuts will be even more so. Thus, in order that everything will presented most clearly, we have seen fit to provide several examples in order, beginning again with the subugation of the sword.	Le plus apparent, & le plus furieux d’un combat, & ce qui y fait le plus grand tintamarre, ce ſont les coups de taille. La cauſe en procede de ce qu’ils conſiſtent en de plus grands mouvements, que les eſtocades; & par tant leurs aćtions ſont plus remarquables. Les eſtocades ſont plus viſtes, par ce qu’elles prennent le plus court chemin pour atteinder; les tailles y vont par un deſtour circulaire qui eſt plus tardif. Celles cy ne touchent qu’à l’exterieur du corps; celles là penetrent au dedans juſqu’aux parties vitales: dont les playes en ſont plus mortelles. Ce n’eſt pas pourtant que noſtre Eſcholier doive tenir les coups de taille en peu d’eſtime. Car les occaſions luy rendront les vnes autant neceſſaires, que les autres. Auſſi le coup de taille eſtant tiré à point nommé avec les circonſtances requiſes, le mettra en deſordre autant que l’eſtocade, s’il ne ſçait travailler deuëment alencontre. Car l’Adverſaire en gaignera le temps de pourſuivre ſon avantage. Mais c’eſt pour demonſtrer la raiſon, qui nous a eſmeus de vous montrer premierement à travailler ſur les eſtocades, pource que les atteints en ſont plus viſtes, & les playes plus dangereuſes. Toutesfois l’artifice de rencontrer la taille ne ſera pas moindre, comme on verra par la dedućtion de ce Tableau preſent. Et ſi la maniere d’accueiller les eſtocades a eſté trouvée differente & quaſi contraire à la vieille mode, celle des tailles le ſera encores davantage. Or afin que le tout vous ſoit repreſenté plus clairement, nous avons trouvé bon d’en mettre icy pluſieurs exemples par ordre, en commenceant derechef par l’aſſujettiſſement de l’eſpee.
Circle No 1	Cercle N.1.
The two parties have again come together beginning in the direct line posture, with swords parallel. Alexander steps with his right foot to the letter G on the Diameter at the Second Instance, at the same time drawing his left foot along the Inscribed Square, between the points D & F, setting his toes along the Oblique Diameter, while subjugating his opponent’s sword.	Les deux parties s’eſtants colloquez preallablement en droites lignes, avec les eſpees paralleles; Alexandre s’achemine avec le pied droit en deça le Diametre à la Seconde Inſtance, lettre G, menant quand & quand le pied gauche ſur le Quarré circonſcrit, entre les points D & F, à mettre les orteils ſur le Diametre Oblicq, en aſſujettiſſant l’eſpee contraire.
We begin after the two parties have met at the First Instance, each in his own Quadrangle, adopted the direct line posture, Alexander’s sword parallel to and beneath the other. He begins to work, raising his right foot, together with the sword-tip by using his wrist, so that he contacts the 8th Span of his opponent’s blade with the 3rd Span of his own. This he then forces over, bit by bit, as his right foot moves forward to where the Oblique Diameter crosses the Inside Square. As he reaches the midway point, just as he begins to overbalance, he pauses briefly, to see that his opponent is not making any movement with his blade to attack. But, as he percieves nothing, he continues his forward step with his raised right foot, and sets it down along the Inside Square, at the letter G, while sliding the point of contact up the blades, so his 8th Span contacts his opponent’s 5th Span. Instantly afterwards, he brings his left foot around in a circular motion and sets it along the Outside Square, all his toes on the Oblique Diameter between the letters D and F. At the same time, he turns the heel of his right foot backwards onto the line G-D, and moves his left side slightly forwards, while subjugating his opponents sword, and turning the exterior branch of his crossguard diagonally upwards, as shown in the figure. In any case, this action and all variations has been fully described in Circle No.1. of Plate VII, and its subsequent paragraphs.	Apres que les Parties ſe ſon colloquez en Premiere Inſtance en droites lignes, chaſcun en ſon Quadrangle, l’eſpee d’Alexandre parallele deſſous l’autre; il commence à travailler, en hauſſant le pied droit, & enſemblement la pointe de l’eſpee à l’aide du poignet de la main, en ſorte qu’il en joint le N.3.au N.8.de la lame contraire; laquelle il emporte peu à peu à l’advenant que le pied droit s’avance en deça le Diametre par la trace du Quarré inſcrit; duquel eſtant venu à my-chemin de l’Inſtance, avant qu’il tresbuche, il en fait une petite pauſe, pour obſerver ſi l’Adverſaire ne fait pas de mouvement à tout ſa lame pour tirer. Mais puis qu’il ne s’apperçoit de rien, il pourſuit à marcher avec le pied eſlevé, & à le planter ſur le Quarré inſcrit, lettre G, en graduant les lames, la ſienne à N.8.& la contraire à N.5. En quoy faiſant il pourſuit tout à l’inſtant à mener circulairement et à planter le pied gauche ſur le Quarré circonſcrit, à tout les orteils ſur le Diametre oblicq entre deux les lettres D & F. & durant ce meſme temps, il ſe tourne le talon du pied droit en arriere ſur la ligne GD, & le coſté gauche du corps un peu en avant, en faiſant l’aſſujettiſſement de la lame contraire, & tournant la branche exerieure de la ſienne diagonalement en haut; comme il eſt repreſenté par la figure. Toutesfois ceſte operation eſt deſcrite plus amplement avec toutes ſes circonſtances au Tabl. VII. Cercle N.1. & aux annotations annexes.
Circle No 2	Cercle N.2.
While Alexander sets his feet down at the Second Instance, subjugating his opponent’s sword, at that moment Zachary advances his left foot to the letter Q, and strikes with a backwards blow to the right side of the head.	Durant qu’Alexandre plante les pieds à la Seconde Inſtance en aſſujettiſſant l’eſpee contraire; au meſme temps Zacharie s’avance avec le pied gauche à la lettre Q, & luy tire un coup de revers au coſté droit de la teſte.
What happens is the opposite of the preceeding circle. In which Alexander has given an opening to his opponent by subjugating the sword with more force than usual, as if he were about to trip over himself. While he moving so crudely, and he sets his feet down at the Second Instance along the Oblique Diameter, at the same time Zachary moves his right foot forward, with a circular disengage underneath the sword, up above his head on the left side, and, as he sets his foot down along the Oblique Diameter at the letter Q, and strikes a backwards blow diagonally downward on the right side of his head. This is shown in the figure.	C’eſt icy l’oppoſite de la precedente; à quoy Alexandre a convié luy meſme ſa partie adverſe, en luy aſſujettiſſant l’eſpee avec plus de poids, qu’à l’ordinaire, comme s’il s’en allaſt tresbucher à tout la ſienne. Cependant qu’il y va donc ſi rudement, & qu’il ſe plante les pieds à la Seconde Inſtance, en deçà le Diametre; au meſme temps Zacharie s’avance avec le pied gauche, conduiſant circulairement l’eſpee par deſſus ſa teſte à la main gauche, & en abaiſſant le pied à terre par delà le Diametre à la lettre Q, il luy tire un coup de revers diagonal au coſté droit de la teſte; comme il ſe voit en la figure.
Zachary’s action, as shown in the figure, will thus be easily recognized, and will allow you to understand more easily the various means Alexander will employ to overcome this attack, which will be shown in the following Circles.	Ceſte operation de Zacharie, vous eſt repreſentée en figure, afin qu’eſtant bien cognue, vous en comprenez auſſi tant plus toſt comment Alexandre la domte en pluſieurs manieres par les operations, qui ſont repreſentées aux Cercles ſuivants.
Circle No 3	Cercle N.3.
Alexander has set his feet down at the Second Instance, and there holds his opponent’s sword subjugated. Zachary moves his left foot forward, bringing his sword circularly overhead, as before. At which, Alexander likewise moves his left foot and side forward at the same time, while hitting him with a thrust to through the head. Just as has been fully described.	Alexandre eſtant planté à tout ſes deux pieds à la Seconde Inſtance, & y tenant l’eſpee contraire aſſujettie; Zacharie s’avance avec le pied gauche, menant l’eſpee circulairement par deſſus la teſte, comme au paravant: ſur quoy Alexandre s’avance pareillement au meſme temps le coſté & le pied gauche, en luy donnant un coup d’eſtocade à travers la teſte; comme il eſt declaré plus amplement en la deſcription.
This action follows from Circle No 1, where Alexander has set both his feet down at the Second Instance, having forcefully subjugated his opponent’s sword. Thus Zachary advances with his left foot, once again moving his blade circularly above his head to the left side, so as to strike his opponent’s right ear with a downwards, reverse, diagonal cut, at the moment he sets his foot down along the Diameter on the letter Q, just the same as in the preceeding Circle. Alexander, who is paying close attention, perceives through his sense of feel, the instant that the previously subjugated blade has begun to disengage, he likewise raises his left foot and steps, while turning and moving the left side of his body forwards, so that he moves away from where his ennemy’s blow was aimed, and sets his foot down on the Oblique Diameter at the letter Q, shifting his weight onto it while keeping both knees straight, and wounding his opponent with a thrust through the head, as is shown in the figure.	Ceſte operation procede en ſuite du Cercle N.1. où Alexandre eſt planté à tout ſes deux pieds à la Seconde Inſtance, ayant aſſujetti l’eſpee contraire avec force. Dont Zacharie s’avance avec le pied gauche, conduiſant derechef ſa lame circulairement de deſſous l’eſpee contraire par deſſus ſa teſte à main gauche, & en tirant meſme voye un coup de revers diagonal à l’oreille droit de l’Averſaire, à planter le pied eſlevé à la lettre Q, par delà le Diametre; tout de meſme qu’au Cercle precedent. Alexandre qui prend de fort pres garde au temps, s’appercevant par le ſentiment, que la lame aſſujettie commence à ſe deſtacher, il eſleve auſſi pareillement & chemine avec le pied gauche, en tournant & avançant le meſme coſté du corps, de façon qu’il abandonne la place, où le coup de l’Ennemy eſt dreſsé, venant à planter le pied en deçà le Diametre à la lettre Q, ſe chargeant meſme le corps deſſus en avant à tout les genoux roides, & bleſſant ſa partie adverſe d’un coup d’eſtocade à travers la teſte; ainſi qu’il eſt repreſenté en la figure.
Circle No 4	Cercle N.4.
This happens as Alexander is prevented from subjugating the blade, before he has set his feet down at the Second Instance. Zachary again tries the same reverse strike to the right side of his head. But at the instant that the sword begins to come downwards from up high, Alexander parries it to the outside, with his tip connecting near the guard, moving forward, stepping with his left foot, he subjugates the blade by sliding the point of contact down the blade, as he sets his foot down at the letter Q.	Cependant qu’Alexandre eſt empeſché à faire l’aſſujettiſſement, devant qu’il ait planté les pieds à la Seconde Inſtance; Zacharie luy va tirer encores le meſme coup de revers au coſté droit de la teſte: mais à l’inſtant que ſon eſpee commence à deſcendre de l’angle obtus vers le bas, Alexandre l’accueilt en dehors du bras, y aſſemblant la pointe de la ſienne tout joignant la garde, & en avançant le corps & le pied gauche, il l’aſſujettit par la desgraduation en mettant le pied à terre en deçà le Diametre à la lettre Q.
Both parties have again begun by setting themselves into position at the First Instance, and Alexander has followed on by subjugating his opponent’s blade, so that he has now set his right foot at the Second Instance and then raised his left foot. At the same instant, Zachary pulls his sword from beneath and makes a circular path above his head, to give Alexander the same backwards cut as before, stepping forward with his left foot towards his ennemy. Alexander works against this, as soon as he feels the subjugated blade has disengaged, by turning his body and moving his raised left foot forwards, he extends his arm with his sword up as high as the top of his opponent’s head at the exact time his opponent begins to bring his blade down for the blow. Alexander receives this to the outside, with the first or second Span of his blade against the 9th or 10th Span of his opponent’s blade. Zachary’s blade continues to descend forcefully, as he sets his foot down at the letter Q along the Oblique Diameter. Likewise Alexander continues to slide the point of contact along the blades, up his own, and at the same time shortens his right arm, which he draws into himself, and turns his left side further forward, closes his elbow against his right side, so that he dominates and parries his opponent’s sword with the aid of his body subjugating it along the Diameter, and setting his raised left foot down at the letter Q, as we see in the picture.	Parties s’eſtants derechef plantez preallabement en Premiere Inſtance, & Alexandre ayant pourſuivi à ſujetter la lame contraire, en ſorte qu’il eſt venu à planter le pied droit à la Seconde Inſtance, & à eſlever conſequemment le pied gauche; au meſme inſtant Zacharie luy oſte ſa lame de deſſous, & la va mener circulairement avec le bras par deſſus ſa teſte à main gauche, pour luy en donner encores le meſme coup de revers, comme deſſus, en marchant avec le pied gauche en avant contre l’Ennemi. C’eſt là deſſus qu’Alexandre travaille. Dés qu’il apperçoit par le ſentiment, que la lame aſſujettie commence à ſe deſtacher, en tournant le corps & avançant le pied gauche en l’air, il s’eſtend le bras avec l’eſpee en haut à l’egal du ſommet de la teſte contraire, & au meſme inſtant, que l’Adverſaire commence à mener ſa lame de haut en bas pour donner le coup; Alexandre l’accueilt avec la ſienne en dehors du bras, en mettant la ſienne à N.1. ou 2. ſur le 9. ou 10.de l’eſpee contraire. Et à l’advenant qu’elle continue à deſcendre avec force, durant que le pied gauche luy tombe à terre à la lettre Q par delà le Diametre; auſſi Alexandre en fait la deſgraduation à l’advenant, en graduant la ſienne, & accourciſſant par meſme voye ſon bras droit, lequel il retire à ſoy, & en avançant un peu davantage le coſté gauche, il s’en l’affermit le coude au coſté droit, de façon qu’il en domte & divertit l’eſpee contraire à l’aide du corps, l’aſſujettiſſant par delà le Diametre, & plantant le pied eſlevé par deçà à lettre Q; comme on voit en la figure.
While it is true that Zachary’s movement, where he brings his sword above his head to the point where he is about to bring it down to strike, is not shown in this current plate, it is shown in Plate XVII, in Circles Nos 3 & 4, which also shows the means of receiving the incoming sword with the sword-point, to dominate and subjugate it. There is only this difference, that Alexander is shown moving to the right hand side along the Diameter, so that he receives his opponent’s blade to the inside of his arm instead of the outside, as shown here. The particulars are more fully explained in that Plate.	Il eſt vray que ce mouvement de Zacharie, dequoy il mene l’eſpee par deſſus ſa teſte, eſtant ſur le point de la laiſſer deſcendre à bas pour achever le coup, n’eſt pas repreſenté en figure en ce Tableau preſent, mais is eſt mis aut Tabl. XVII. Cercle N.3. & au Cercle N.4. du meſme repreſentée la maniere de recevoir l’eſpee qui vient deſcendre avec la pointe, pour la domter & aſſujettir. Il y a ſeulement ceſte difference, qu’Alexandre y eſt repreſenté cheminant à main droite par delà le Diametre, dont il accueilt l’eſpee contraire en dedans du bras, au lieu qu’il le fait icy en dehors. Or les particularitez en ſont plus amplement deduites au lieu meſme.
NOTICE	ADVERTISSEMENT
Note that this way of subjugating such a blow in the manner we have described is an example of the most refined techniques of our art. This requires one take careful notice of all the particulars, that is, all the movements, and that each be done in its own proper time. Doubt not that this is quite difficult to do, and will cause no small amount of frustration to both scholar and novice. But once one has understood the supremely powerful nature of this act, the time and effort put into learning will not seem a hardship, provided one learns well. In any case, it will be of no practical use unluess one has become trained, which cannot happen without spending much time practicing.	Notez que ceſte aćtion d’aſſujettir un tel coup de taille en la maniere que nous venons de deſcrire, c’eſt l’une des plus nobles parties de l’Exercice, qui requiert de fort particulieres obſervations de pluſieurs, voire de touts les mouvements, à faire chaſcun exaćtement à ſon temps. Dont il ne faut pas douter, que la choſe ne ſoit aſſez difficile, & moleſte meſme à l’Eſcholer & à l’entree. Mais apres qu’il en aura comprins la tresgrande vtilité, le temps & le travail qu’il y mettra ne luy ſçauroyent ennuyer, moyennant qu’on luy monſtre bien. Toutesfois il ne s’en pourra guere ſervir en la Pratique, ſinon qu’il en ait acquis une habitude, à quoy ne pourra parvenir autrement qu’avec le temps & par de longs exercises.
The old way of receiving a blow is to put the strong of the blade up in front of the head, sword-tip upwards, to take the blow coming with full force near or on the guard. This is quite dangerous and leaves you vulnerable. For example, your opponent can wound you by driving you sword into your head, or it may break, or he may instead switch to a thrust, by moving forward while leaning his upper body, so that he slips under your weapon and inside the lines, so that he can hit you in the chest or stomach. And even if you have safely parried the blow, in any case you will have in no way improved your position, not that of your body, nor that of your sword, in any way that would allow you to overcome your opponent.	La veille mode de parer vn coup de taille, c’eſt de mettre le fort de l’eſpee devant la teſte avec la pointe montate, pour recevoir le coup venant à pleine force deſſus ou alenviron de la garde. Choſe qui eſt fort dangereuſe & ſujette à beaucoup d’incommoditez; par example, que le Contraire ne vous bleſſe en vous enfonçant l’eſpee, ou qu’il ne la mette en pieces, ou qu’il ne change la taille en eſtocade, en avançant & ſe panchant enſemblement la partie ſuperieure du corps, en ſorte qu’il vous vienne deſſous les armes au dedans des perpendiculaires, don’t il auroit moyen de vous toucher en la poitrine, ou au ventre. Et encores que vous euſſiez paré le coup tout à ſouhait, toutesfois vous n’en auriez nullement amendé voſtre ſituation ny de corps ny d’eſpee, dequoy vous pourriez tirer aucun avantage pour vaincre.
Circle No 5	Cercle N.5.
This then is the follow-on by Alexander and completion of the actions of the preceeding Circle, by turning the right side to the inside with a forward motion of the hand and sword. He turns external branch of the crossguard upwards, sliding the point of contact the length of the opposing sword with a bent arm, and gives him (with a small forward shuffle of the left foot, onto which, while keeping his knee straight, he bends his body forward) a thrust to the head. Thus as this is shown in the figure.	Or voicy maintenant la ſuite & execution de la precedente, continuée par Alexandre, en tournant le coſté droit en dedans, avec avancement du bras & l’eſpee, de laquelle il tourne la branche exterieure en haut, en graduant au long de l’eſpee contraire en ligne courbe, & luy donnant (avec vne petite intrade du pied gauche, ſur lequel, tenant le genour roide, il ſe va pancher du corps en avant) un coup d’eſtocade par la teſte; ainſi qu’il eſt montſtré à la figure.
Circle No 6	Cercle N.6.
Once again, Zachary begins to aim the same reverse cut to the head. But in the time while his sword is coming down, Alexander moves out of the way, forward, and speedily moving his left foot to the letter S on the Oblique Diameter, and delivers the same reverse cut to the right side of Zachary’s head as he spins on his left foot and moves his right foot around, outside the Circle, behind his left foot.	Zacharie recommence à tirer encores le meſme coup de revers à la teſte de ſa partie. Mais au temps que ſon eſpee eſt en aćte te deſcendre, Alexandre ſe deſrobe de la place, s’avançant & portant le pied gauche de grand viſteſſe à la lettre S en deça le Diametre, pourſuivant quand & quand avec le pied droit à volter dehors le Cercle derriere l’autre, en tirant luy meſme le meſme coup de revers à ſon Contraire au coſté droit de la teſte.
This is, again, another follow-on from Circle No 1. While Alexander is prevented from performing the action in Circle No 2 and subjugating his opponent’s sword, Zachary again begins to aim the same reverse cut to the right side of the head. But, during the time it takes to raise the sword it begins to descend, Alexander evades the attack by turning and hopping with his left foot, either continuing the movement, or lifting it from the Second Instance, over to the letter S along the Oblique Diameter. Once there, he spins to the right on it, moving his left side forwards and moving his right foot around behind, while using this momentum to strike with reverse cut to the right side of his opponent’s head, as he sets his foot down outside the Circle. In this way, he strikes his opponent with the same cut that was intended for him. This we see portrayed in the figure.	C’eſt icy derechef une autre ſuite du Cercle N.1. Durant qu’Alexandre eſt empeſché à faire l’operation du Cercle N.2. & à ſujetter l’eſpee contraire, Zacharie recommence à luy tirer encores le meſme coup de revers, mais au temps que ſon eſpee eſt en aćte de deſcendre naturellement de haut à bas pour faire l’execution, Alexandre abandonne la place où le coup eſt dreſſé, en ſe tournant, & ſautant avec le pied gauche, qui eſtoit encores eſlevé, ou meſme qu’il ſoit planté à la Seconde Inſtance, juſqu’à la lettre S par deça le Diametre, ſe tournant ſur iceluy le coſté gauche du corps en devant, à volter le pied droit derriere, en menant au meſme temps un contrecoup de revers à ſon Contraire au coſté droit de la teſte, & à planter le pied droit un pas derriere l’autre dehors du Cercle; de façon qu’il luy donne la meſme atteinte, dont l’Adverſaire avoit penſé de le fraper: comme on le voit pourtrait à la figure.
Note well that in this action, that Alexander does not move from the Second Instance until the his opponent’s sword has already begun to descend. For then his adversary will have no means to hold back the blow, thus Alexander will be completely assure that his opponent has fully committed and he need not fear any change of course. But if Alexander leaves his place too soon, then he will alert his opponent. For the ennemy, having done but the preparatory move of raising his sword on high will still have the power to slow the descent. Without much effort, he could control the blow, to follow the fleeing body of Alexander with a horizontal strike to the same place, in such a way that Alexander would be in danger of being hit.	Notez bien en ceſte aćtion, qu’Alexandre ne partira pas de lieu de la Seconde Inſtance, que l’eſpee contraire ne ſoit deſia en aćte de deſcendre. Car ainſi l’Adverſaire n’aura plus de moyen de retenir le coup. dont Alexandre en ſera tout aſſeuré d’avoir l’entiere notice de l’entrepinſe, & n’y aura plus nul changement a craindre. Mais ſi Alexandre abandonne pluſtoſt ſa place, il en aviendra tout le contraire. Car l’Ennemy n’ayant fait qu’vne preparation d’eſlever l’eſpee en haut, & qu’il ait encore en ſa puiſſance de moderer la deſcente, ſans y avoir employé ſes forces, il pourra gouverner le coup, à pourſuivre le corps frayant avec ſon eſpee, en la menant horizontalement vers la meſme place; de façon qu’Alexandre ſeroit encor en danger d’en eſtre touché.
Circle No 7	Cercle N.7.
This is the follow-on from the preceeding Circle, where Alexander has, without a pause, withdrawn his left foot as he raises his sword on high, set it down beside his right foot, which he then steps by the Quadrangle Z behind his opponent, hitting him again with a cut on the head, as is shown by the figures.	C’eſt la continuation de la precedente, qu’Alexandre y adjouſte ſans nulle pauſe, en retirant à coſté le pied gauche, en ſorte, qu’en ramenant l’eſpee en haut, il le plante joignant le pied droit; duquel il pourſuit à marcher par delà le Quadrangle Z derriere l’Adverſaire, luy donnant derechef un coup d’eſtramaçon à la teſte; ainſi qu’il eſt monſtré par les figures.
Circle No 8	Cercle N.8.
Zachary moves forward with his right foot to the letter V, drawing his left foot up behind which again bringing the same revers cut towards his opponent’s head, but this time horizontally. Then he sets his left foot down beyond the Diameter on the Interior Collateral between M & I. Alexander sees the blow coming in this way, subjugates his opponent’s sword by sliding the point of contact along the blade to the outside, and steps with his left foot to the letter Q. As he did in Circle No 4.	Zacharie s’avance avec le pied droit à la lettre V, à pourſuivre proportionellement avec le gauche, en menant derechef le meſme coup de revers vers la teſte de ſa partie, toutesfois horizontalement, & à planter le pied gauche eſlevé par delà le Diametre ſur la collaterale interieure entre les points M & I. Alexandre qui voit venir le coup à ſoy en ceſte ſorte, aſſujettit l’eſpee contraire en la deſgraduant d’avantage en dehors du bras, portant le pied gauche à la lettre Q; comme au Cercle N.4.
Zachary sees that his adversary has adroitly avoided every reverse cut he has aimed at him from the Second Instance. In this present Circle No 8, he advances with his right foot on the Diameter to the letter V, his left foot following along, and as he aims a horizontal reverse cut, he sets his left foot down along the Interior Collateral between the two points M & I. He does this, believing that, even if his opponent moves from the spot, he will be able to follow and hit with his reverse blow. Alexander seeing the blow coming at him this way, receives his opponent’s blade to the outside of his arm with the tip of his own, as he turns his left side forward, stepping with his left foot and setting it down on the letter Q along the Oblique Diameter. Once again, he dominates and subjugates his opponent’s sword with a larger slide of the point of contact along the blade than in Circle No 4, while at the same time he puts his left hand on top to seize the guard. This is shown in the figure.	Zacharie voyant que l’Adverſaire a eſquivé touts les coups de revers qu’il a tirez ſur luy à la Seconde Inſtance, preſentement en ce Cercle N.8. il s’avance avec le pied droit ſur le Diametre à la lettre V, pourſuivant avec le gauche, & luy tirant cependant un coup de revers horizontal, à planter le pied gauche eſlevé par delà le Diametre ſur le collaterale entre deux les points M & I. ſe faiſant à croire, encores que le corps de l’Adverſaire ſe departe de la place, qu’il ne laiſſera pourtant de le pourſuivre & atteindre à tout ſon revers. Alexandre voyant le coup venir en ceſte ſorte, il accueilt la lame contraire en dehors du bras avec la point de la ſienne, ſe tournant enſemblement le coſté gauche en avant avec le meſme pied avancé, à planter en deçà le Diametre à la lettre Q, domtant & aſſujettiſſant derechef avec une plus grande deſgraduation, que non pas au Cercle N.4. l’eſpee contraire, en faiſant enſemblement prinſe de la garde, à mettre la main deſſus; comme il eſt repreſenté à la figure.
Circle No 9	Cercle N.9.
This is the follow-on from the previous Circle, as Alexander continues in the same vein, moving his right foot and side forward, and pressing his opponent’s guard, which he seized before, down and behind himself, and in this opening, he strikes with a cut inside to the face, as he sets his foot down at the letter X. As is shown in the figure.	C’eſt la pourſuite de l’operation precedente, continuée par Alexandre tout d’un meſme train, en avançant le coſté & le pied droit, & pouſſant à bas arriere de ſoy la garde contraire, qu’il avoit prinſe, & par ainſi luy donne un coup d’eſtramaçon au viſage en dedans du bras, plantant le pied eſlevé à lettre X; comme on voit à la figure.
This last cut being given, one can repeat the strike, using his left foot to spin around on his right foot, turning the left side of his body forwards, shifting his weight back while raising his right foot, then again stepping in and cutting again to the right side of this head, with almost the same action as shown in the following Circle No 13.	Ce dernier coup d’eſtramaçon eſtant donné, on le peut redoubler, en voltant le pied gauche par derriere le pied droit, puis en tournant le corps à main gauche ſe charger deſſus, en eſlevant derechef le pied droit & l’avancer devers le Contraire, & luy donner derechef un eſtramaçon au coſté droit de la teſte; quaſi comme l’operation du Cercle N.13. Enſuivant.
Circle No 10	Cercle N.10.
This one begins in Circle No 4, where Alexander has dominated and subjugated the reverse cut which his opponent has aimed at him. Following which, he performed the action in Circle No 5 with a thrust. Now he will work in a different way, as follows. While his opponent steps with his right foot up to the letter Q, he subjugates his opponent’s sword, at the same time he takes ahold of the guard with his left hand, which he draws toward him along with his opponent’s sword as he turns the right side of his body away and spins his right foot circularly around taking a large step behind his other foot outside of the Circle. At the same time, he extends his arm down by his side with his sword pointing downwards. He leans backward and raises his left foot. As is portrayed in the image.	Ceſtuy-cy a ſon origine au Cercle N.4. où Alexandre a domté & aſſujetti le coup de revers, que l’Adverſaire avoit tiré ſur luy: en ſuite de quoy il en a fait l’execution au Cercle N.5. avec une eſtocade. Maintenant il va travailler d’une autre façon; comme s’enſuit. Durant qu’il marche avec le pied droit à la lettre Q, en aſſujettiſſant l’eſpee contraire, au meſme temps il luy prend la garde avec ſa main gauche, laquelle il retire à ſoy enſemblement avec l’eſpee contraire, en ſe tournant le coſté droit alenvers, & voltant le meſme pied circulairement à un grand pas derriere l’autre dehors le Cercle en deçà, ſe mettant pareillement ſon eſpee à coſté avec le bras eſtendu & la pointe baiſſée; ce que faiſant, il eſleve le pied gauche, & ſe panche le corps un peu alenvers ſur le pied droit; comme il appert au pourtrait de la figure.
This action can also be done following Circle No 8, where Alexander has already come so far forward that he has already grabbed the guard.	Ceſte operation peut auſſi eſtre pratiquée en ſuite du Cercle N.8. où Alexandre en eſt venu deſia ſi avant, que d’avoir fait la prinſe.
Circle No 11	Cercle N.11.
This is the follow-on and final action of the preceeding, done by Alexander advancing and moving his raised foot along the Circle to the letter W, behind the back of his opponent, then leaning forward and shifting his weight onto it, drawing his right foot along behind, and by this same means thrusting his sword with straight arm into the right side of and through his opponent, as we see in the figure.	C’eſt la continuation & l’execution de la precedente, pourſuivie par Alexandre à avancer & porter le pied eſlevé par delà le Cercle, lettre W derriere le dos de l’Adverſaire, en ſe chargeant & panchant le corps deſſus, trainant le pied droit derriere, & pouſſant par meſme voye ſon eſpee d’un bras roide par le coſté droit de l’Adverſaire à tavers le corps; comme on le voit à la figure.
Circle No 12	Cercle N.12.
Alexander subjugates his opponent’s sword at the Second Instance. Zacharie again aims the same reverse cut stepping inside with the left foot. Alexander evades by likewise stepping with his left foot to the letter Q, moving the sword in a circle above his head and then follows on by stepping with his right foot to the letter X, and cuts inside the arm at the left leg of his adversary.	Alexandre aſſujetiſſant l’eſpee contraire à la Seconde Inſtance, Zacharie luy va tirer derechef le meſme coup de revers en marchant dedans avec le pied gauche. Alexandre l’eſquive en marchant pareillement avec le pied gauche à la letter Q, conduiſant l’eſpee circulairement par deſſus ſa teſte, & en pourſuivant à marcher avec le pied droit à la lettre X, il en donne un coup d’eſtramaçon en dedans du bras à la jambe gauche de ſa partie adverſe.
This derives from Circle No 1 where Alexander subjugates the blade. At which Zachary again aims a reverse cut, as in Circle No 2, towards the head, stepping with the heel of his left foot to the letter L, drawing his right foot up behind. But in the time that his blade takes to descend from on high to made the cut, Alexander evades the blow by moving his body forward. As he enters in with his left foot to the letter Q along the Diameter, he uses his wrist to turn his blade in a circle to the left and above his head. He then continues by stepping with his right foot to the letter X. At the same time as he draws his left foot up behind, he delivers an inwards cut to his opponent’s left shin. This is shown in the figure.	La preſente depend du Cercle N.1. où Alexandre travaille en faiſant l’aſſujetiſſement. Sur quoy Zacharie luy tire derechef un coup de revers, comme au Cercle N.2, devers la teſte, en marchant avec le pied gauche le talon à la lettre L, & laiſſant trainer le pied droit proportionellement apres. Or au temps que ſa lame vient deſcendre de haut à bas pour executer le coup, Alexandre l’eſquive, en avançant le corps, & entrant avec le pied gauche à la lettre Q en deçà le Diametre, voltant cependant ſa lame à l’aide du poignet circulairement à la main gauche par deſſus ſa teſte; puis en pourſuivant tout d’un train à marcher avec le pied droit à la lettre X, & trainant quand & quand le pied gauche apres, il luy porte un coup de taille en dedans du bras à la greve de la jambe gauche; comme il appert à la figure.
Circle No 13	Cercle N.13.
Here is the follow-on, which Alexander adds to his strike. (The literal description is unclear.) He turns to the right by spinning his left foot around behind his other, over to the edge of the circle between T & W. The instant he sets his left foot down, he raises his right foot and continues his turn to the right, and sets his right foot down behind him slightly off to the side beyond the Circle. As he turns, he raises his sword in a circle above his head. Then, as if dancing a demi-fleurette, he quickly raises his left foot, then puts it down at S, and with this move he redoubles his cut to the right side of his opponent’s head. As we can see in the image.	En voicy la ſuite, laquelle Alexandre y adjouſte en voltant le pied gauche à droite par derriere l’autre, lequel il eſleve de la terre tout au meſme inſtant qu’il plante ledit pied gauche, & en mettant derechef à terre un peu à coſté en deçà le Cercle, il en fait cōme une fleurette en eſlevant derechef le pied gauche; & comme ainſi ſoit qu’il ait conduit durant ce meſme temps ſon eſpee circulairement par deſſus ſa teſte, il en redouble le coup d’eſtramaçon au coſté droit de la teſte de ſa partie adverſe, en plantant le pied eſlevé dedans le Cercle à la lettre S; comme on le voit repreſenté.
Often, after having made a move very quickly, the second blow happens differently, that is, simply turning the left foot around and then stepping with only the right foot, which is done as in Circle No 7.	Il viendra ſouvent à point apres avoir viſtement travaillé, de redoubler ce deuxieme coup à la teſte de l’Adverſaire, un peu autrement; aſſavoir en voltant le pied gauche, & puis eſlever & avancer tant ſeulement le pied droit. Ce qui ſera fait en conformité du Cercle N.7.
Zachary has tried up to now in several way to hit his adversary with a reverse cut, and Alexander has always overcome and dominated in various ways according to the different situations, so that Zachary has been repeatedly wounded instead. Thus, he decides to no longer allow himself to be subjugated at the Second Instance. He tries to overcome this in the following action.	Or puis que Zacharie à taſché juſqu’à preſent en tant de ſortes de frapper ſon Adverſaire de ce coup de revers, & qu’Alexandre l’a touſiours prevenu & dompté en divers manieres ſuivant la diverſité des occaſions, en ſorte qu’il en a eſté bleſſé luy meſme; ce voyant il ſe propoſe de ne laiſſer plus aſſujettir ſa lame à la Seconde Inſtance; ce qu’il taſche à prevenir par l’operation ſuivante.
Circle No 14	Cercle N.14.
In the time during which Alexander is stepping with his right foot from the First Instance to the Second, to subjugate his opponent’s sword, and is about to follow up with his left, Zachary moves in, stepping with his right foot on the diameter at the letter S, to be followed by bringing his left foot behind onto the Circumscribed Square. At the same time Alexander brings his left foot up to his right doing a demi-fleurette-step & enters in on his opponent with his left side forward, subjugating his blade.	Au temps qu’Alexandre chemine avec le pied droit de la Permiere inſtance à la Seconde, pour aſſujettir l’eſpee contraire, & qu’il vient à pourſuivre avec le pied gauche; Zacharie ſe tranſporte avec le pied droit par delà le Diametre à la lettre S, pourſuivant à mener le pied gauche en ſuit ſur le Quarré circonſcrit. Durant le meſme temps Alexandre ayant planté le pied gauche tout joignant le pied droit, en fait une demi-fleurette, & entre deſſus l’Adverſaire avec le coſté gauche du corps avancé, en luy aſſujettiſſant la lame.
This action likewise begins in Circle No 1. Alexander is the act of subjugating his opponent’s sword and has already stepped with his right foot along the Oblique Diameter to the letter Q, and he is in the proces of drawing his left foot up behind. Zachary steps with his right foot along the Oblique Diameter to the letter S, followed by drawing his left foot into place along the Circumscribed Square. Then, before this movement can be completed, Alexander puts his left foot down near his right foot, which he quickly lifts, performs a quick-step, and puts his left foot down between the centre of the Circle and the Letter I and so moves into his ennemy along the diameter. He leans onto it, and turns his left side forward in such a way as to block Zachary’s path and subjugates his blade, which his arm drawn in and close against his side. As is shown in the figure.	Ceſte operation prend pareillemēt ſon origine au Cercle N.1. Alexandre eſtant en aćte d’aſſujettir l’eſpee contraire, en ſorte qu’il ait deſia planté le pied droit en deçà le Diametre à la lettre Q, & que le pied gauche ſoit en train de pourſuivre: au meſme temps Zacharie s’en va marcher avec le pied droit par delà le Diametre à la lettre S, pourſuivant à mener proportionnelement le pied gauche ſur le Quarré circonſcrit. Dont Alexandre, avant que le mouvement ſoit achevé, plante le pied gauche tout pres le pied droit, lequel il continue tout ſoudainement à eſlever, en faiſant une demi-fleurette, & l’avance devers l’Ennemy par delà le Diametre entre deux le Centre du Cercle & la lettre I. ſe panchant en avant deſſus le meſme, à tout le coſté gauche du corps tourné en avant, de façon qu’il luy coupe le chemin, & luy aſſujettit la lame, avec le bras raccouci & affermi au coſté droit du corps; le tout en conformité de la figure.
Circle No 15	Cercle N.15.
This follow from the previous Circle, in the time it takes Alexander to enter in with his right foot to subjugate the blade. Zachary withdraws a large step backwards with his left foot. He also leans backwards onto the foot, and raises his sword from underneath his opponent’s by shortening his arm, in such a way as to feint to the outside, hoping to have Alexander parry his blade, and so move his sword aside, so that he would be able to hit at the same time to the inside. Alexander feels that his opponent’s blade begins to disengage, so at that moment, he aims his own in a direct line with his arm extended, while stepping forward with his right foot on the Diameter very close to the Centre, in such a way as to wound his ennemy with a thrust to the face before he has a chance to perform the said feint. He follows by pushing right through by leaning his body forwards. Just as is shown in the figure.	Voicy une ſuite de la precedente. Au temps qu’Alexandre s’achemine à tout le pied droit en dedans, pour luy aſſujettir la lame; Zacharie ſe recule un grand pas en arriere à tout le pied gauche; ſe panchant auſſi le corps deſſus à l’envers, & oſtant ſa lame aſſujettie de deſſous la contraire, moyennant l’accourciſſement du bras, de façon qu’il en fait vne feinte à l’Adverſaire en dehors, ſous eſpoir de le faire parer & eſcarter ſon eſpee, en ſorte qu’il auroit moyen de le toucher au meſme temps en dedans. Alexandre s’apperçoit par le ſentiment, que l’eſpee contraire commence à ſe deſtacher, dont il dreſſe au meſme temps la ſienne en droite ligne avec le bras eſtendu, cheminant enſemblement avec le pied droit ſur le Diametre à bien pres du Centre de ſorte qu’il bleſſe l’Ennemy au viſage d’un coup d’eſtocade avant qu’il ait le loiſir de parfaire la ſudite feinte; pourſuivant à la pouſſer tout outre, en panchant du corps ſur le devant; comme il eſt repreſenté en la figure.
It is understood that, when Zachary disengages his blade from Alexander’s, withdrawing and raising it for the aforesaid feint, and he receives at the same time a thrust to the face, even though his blade is free, nevertheless he cannot use it to wound his opponent. This is because, as experience shows, that a man is put into a state of confusion when he receives a wound to the face. His intent is interrupted, his mind is distracted, and his senses are diverted. Thus feints done closer than at the Second Instance can all be overcome in this same way, by extending the arm in a direct line, and wounding the opponent at the same time without any condern for where his blade is, neither to the right, nor to the left.	Il faut entendre, quand Zacharie ſe deſtache de la lame d’Alexandre, en retirant & oſtant la ſienne pour faire la ſuſdite feinte, & qu’il reçoit au meſme temps l’eſtocade au viſage; encores que ſa lame ſoit tout libre, ſi eſt il toutesfois, que’il ne s’en peut nullement ſervir en ce meſme temps pour bleſſer l’Adverſaire: par ce que l’experience monſtre, que l’homme eſt mis en confuſion quand il reçoit une bleſſure au viſage, l’intention luy eſtant rompue, la memoire troublée, les ſens divertis. Or les feintes qui ſeront faites de plus pres que de la Seconde Inſtance, vous les pourrez maiſtriſer toutes en ce meſme ſorte, en eſtendāt le bras en droite ligne, & bleſſant l’Adverſaire au meſme temps ſans vous ſoucier en rien qui ſoit de cercher ſa lame, ny à droite, ny à gauche.
Circle No 16	Cercle N.16.
This action also follows from Circle No 14, where Alexander has cut off his adversary’s path by stepping in against him with his right foot, and subjugating his blade. Here, he follows this action by moving his right foot forward with a quick jump to the letter L on the Oblique Diameter. He then leans forward and moves his left side forward, taking his blade from on top of his opponent’s with a push, then he seizes the guard with his left hand, pulling it towards him, and presenting the tip of his own to the chest of his adversary. As the figures demonstrate.	L’operation preſente procede auſſi en ſuite du Cercle N.14, où Alexandre a coupé le chemin à l’Adverſaire en marchant contre luy avec le pied droit, & qu’il luy aſſujettit la lame. Preſentement il pourſui l’operation, en avançant le pied droit avec un petit ſaut par delà le Diametre à la lettre L; puis en panchant le corps en devant, & avançant davantage le coſté gauche, il oſte ſa lame de deſſus la contraire avec un pouſſement, dont il en fait prinſe de la garde avec la main gauche, la tirant à ſoy, & preſentant la pointe de la ſienne à la poitrine de l’Adverſaire; comme les figures demonſtrent.
Circle No 17	Cercle N.17.
Here, again, is another follow-on from Circle No 14. Alexander enters in with his right foot and takes ahold of the opponent’s guard with his left hand, as in the preceeding action, however here he seizes from above the two blades, keeping them in contact, the follows by pulling the guard to his left side, stepping with his left foot to the letter X, and turning his right side to the outside with his foot raised, as it appears in the image.	Voicy derechef une autre ſuite du Cercle N.14. Alexandre faiſant l’intrade avec le pied droit, & prenant la garde contraire avec la main gauche, cōme en l’operation dernierement precedente, ſinon qu’il fait icy la prinſe par deſſus les deux lames, en les retenant accouplées, pourſuit à tirer la meſme garde à ſon coſté gauche, en marchant avec le pied gauche à lettre X, & deſtournant le coſté droit en dehors avec le pied eſlevé; comme il appert aux figures.
Circle No 18	Cercle N.18.
This is a continuation of the same sequence. Alexander spins on his left foot, so his raised foot goes behind him, and his left side is turned to the front, while raising his opponent’s guard and with it his arm. He pushes it behind his opponent, so that he can move the tip of his sword against his opponent’s right side. This is shown in the figure.	C’eſt la continuation de la meſme ſuite. Alexandre ſe volte le pied eſlevé derriere le pied gauche, qu’il eſleve au meſme inſtant, en tournant le coſté gauche du corps en avant, avec eſlevation du bras & de la garde contraire à pouſſer arriere de ſoy, en ſorte qu’il luy met la pointe au coſté droit; comme on le voit repreſenté en la figure.
Circle No 19	Cercle N.19.
And here is the final action, which Alexander follows through in the same way, closing with his opponent by setting his raised left foot along the Oblique Diameter near the letter T. He leans his body forward, and so pushes the sword right through his opponent’s body. As we can see in the image.	En voicy l’execution, qu’Alexandre pourſuit tout d’un meſme train, en accoſtant le Contraire avec le pied gauche eſlevé, à planter par delà le Diametre tout pres de la lettre T, & à pancher le corps deſſus en avant; dont il luy pouſſe l’eſpee à pleine force à travers le corps; comme il ſe voit en la figure.
Circle No 20	Cercle N.20.
Here we have another action that has the same beginning in Circle No 14, where Alexander subjugates the opposing sword by stepping with his right foot towards the Centre, to block his path. In this Circle, Zachary advances and enters at the same time with his left side and foot, set down at the letter M along the Perpendicular Diameter, drawing the right foot along behind, and grasping with his left hand to grab his opponent’s guard. While he is making these moves, Alexander withdraws his arm and the guard back and to the left side, while putting his left foot on the Outside Square on the Oblique Diameter. He then proceeds to move his sword in a circle above over his head to cut at his opponent’s left ear, while withdrawing his right foot to the letter I on the Oblique Diameter. As we can see in the image.	Voicy une operation qui a auſſi le meſme commencement du Cercle N.14. où Alexandre aſſujettit l’eſpee contraire en marchant avec le pied droit devers le Centre pour luy couper le chemin. En ce preſent Cercle Zacharie s’avance & entre au meſme temps avec le coſté & le pied gauche à planter à la lettre M par delà le Diametre, entrainant & voltant auſſi le pied droit derriere, & gripant avec la main gauche pour prendre la garde contraire. Durant ces dit mouvements Alexandre ſe retire le bras & la garde à main gauche & vers le bas, en reculant auſſi le meſme pied ſur le Quarrè Circonſcrit, à planter ſur le Diametre Oblicq, conduiſant à l’advenant ſa lame circulairement en haut par deſſus ſa teſte, & en donnant un coup de taille au contraire à l’oreille gauche, en retirant le pied droit en deçà le Diametre à la lettre I; comme on le voit en la repreſentation des figures.

Book 1 - Tableau / Plate XV - Working to the Right Hand Side - Resistance and Degrees of Force

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE FIFTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV QUINZIEME.
Through all the preceeding Plates, we have learned all the actions which can be done against the subjugation of the sword to the inside, to the point where the schollar has no more to fear, once he has seized this advantage, on condition that the swords remain in contact or that his adversary does no more than a simple disengage against him. If his enemy attacks, he will always have the most appropriate response. If his ennemy changes position on him, he will recover, or even alter his approach. If his enemy makes to withdraw, he will pursue. If his enemy would wound him with the edge, or the point, from the direct line posture, or with bent arm, or with a reverse cut, he has counters to them all. He may go forward courageously, yet the way is fraught. One may say to me, that there are a great many more ways to engage which are not shown. To this I reply, there is no need of this, nor is it possible, any more than to count all the grains of sand in the sea, because the number of ways an encounter can change are infinite: the head, the arm, the sword, the foot, all can be a bit further forward or withdrawn, higher, lower, to the side. There are always differences, but not always significant enough that one muse extend the precepts to cover them. Which is why, having finished this first part, which is about working on the left hand side, we shall begin hereafter, to show the way to work on the right hand side of the Diameter, up to Plate XXI. Not that we wish that you master all the preceeding lessons before begining to practice the exercise in this Plate XV, that is impossible, for the Plates follow in order of the Theory. But for Practical training, it would be most expedient, after you have well understood by Plate IX the different forces against the blade, to pair up the lessons of attacks to the outside line with those to the inside line. That is, from Plate IX and those which follow, with Plate XV and those which likewise follow, practising each in turn. One must, to the extent possible, teach the arm and the hand which holds the sword to perform the principal parts of our Training, to learn to strengthen them in every way, in order to work favorably and equally well on all sides.	Par les Tableaux precedents nos avons achevé toutes les operations, qui ſe preſentent contre l’aſſujetiſſement de l’eſpee en dedans du bras, de façon que l’Eſcholier n’aura plus rien à craindre, apres qu’il aura prins vne fois ceſt avantage, à condition toutesfois que les eſpees demeurent accouplées, ou que l’Adverſaire ne face qu’vne cavation ſimple alencontre. Car ſi l’Ennemy l’attend, il fera touſiours l’execution convenable; s’il luy veut changer la ſituation, il ſe redreſſera, ou meſme en amendera ſon approche; s’il met peine à ſe retirer, il le pourſuivera; ſi à le bleſſer de taille, ou de pointe, en ligne droite, en courbe, ou en revers, ſans, ou avec cavation, il a des inſtrućtions à tout. Qu’il marche donc courageuſement avant: le chemin eſt frayé. Si on me dit, qu’il y a bien encores des autres occaſions, dont les particularitez n’ont pas eſté repreſentées. Ie reſpons, qu’il n’eſt ny beſoin, ny poſſible de ce faire, non plus que de comter les ſablons de la mer, car les changements ſont infinis: la teſte, le bras, l’eſpee, le pied, un peu plus avancé, ou retiré, plus haut, ou plus bas, ou à coſté, ce ſont touſiours des changements, mais non pas touſiours d’importance, en ſorte qu’il faille eſtrendre les preceptes ſi avant. Parquoy donc ayant achevé ceſte premiere partie, qui eſt de travailler en allant à main gauche, nous commencerons doreſenavant à vous monſtrer la maniere, que vous devez tenir pour aller à main droite par delà le Diametre juſqu’au Tableau XXI. Non pas que nous voulions, que vous ſoyez paſſé maiſtre de toutes le leçons precedentes, avant que d’entrer à la pratique de ce Tableau XV. c’eſt choſe impoſſible, car les Tableaux enſuivent l’ordre de la Theorie. Mais pour la Pratique, il ſera plus expedient, apres que vous aurez bien comprins par le IX. les differences de Poids, de vous adonner tout incontinent à conjoindre les leçons en dehors du bras avec celles qui ſont en dedans; je di le Tableau IX. & ſa ſuite, avec le XV. & la ſienne pareillement, en pratiquant tantoſt les vnes, & tantoſt les autres. Car puis que c’eſt le bras & la main de l’eſpee, qui doivent effećtuer en noſtre Exercice les principales parties de toutes les operations, il faut qu’on aprenne à les fortifier en toutes manieres, pour travailler avantageuſement & egallement de touts coſtez, s’il eſt poſſible.
Circle No 1	Cercle N.1.
Où les parties ſe ſont plantez ſur le Cercle en Premiere Inſtance, avec les eſpees parallels en droite ligne. Alexandre ayant mis la ſienne deſſous la contraire.	Here the two parties are set in the Circle at the First Instance, with swords parallel, in the direct line posture. Alexander has put his underneath his opponent’s.
Zachary has placed himself on the Circle, with the toes of his right foot on the letter X, his heel on the outside edge of the Quadrangle, and his left foot set on the Pedal Line Z, presenting his sword in the direct line posture. Alexander, to work against him, approaches taking two or three steps forwards, according to the distance which is between them. At the same time as he carefully ensures that his left foot lands in a place where he can reach the Circumference at point C with his right foot, he extends his arm at an acute angle in a line off to his right side. Then, at the same time as he steps with his right foot, he raises his arm and sword, extended up at an obtuse angle. Then, with a look, he determines the distance to the body, arm, and sword of his opponent, he takes care to adjust his next step, so that he can bring his sword-tip as close as he possibly can to his opponent and by this means enter into the First Instance. Following this plan he advances his right side, together with his foot, arm, and sword, bringing them in a circular path down to set the toes of his right foot at C, and the heel on the collateral on the right side of the Quadrangle. With his arm extended, he continues to throw his sword out, raised slightly up by means of his wrist, over the Diameter in the direct line posture, and beneath his opponent’s sword, so that the tip of his sword ends up just in front of his opponent’s guard. So his right side is drawn even further forward, and his right heel is turned along the outside edge of the Quadrangle C-B, his left foot drawn by the nervous tension of his muscles up to the Pedal Line A, his body raised up, perpendicular and erect and in profile, by the same motion, with his sword ending parallel to and beneath his opponent’s sword, in the direct line posture. By this means both are standing in the First Instance at the proper position, so that each has his head and the centre of his body exactly over the centre of his Quadrangle, between his two feet. Every nerve and muscle tensed, knees and arms extended, the handle of the guard held straight in the hand, the two swords in parallel lines, in control, in extension, the tip and the hand in line at shoulder height. In this way they are both set in a natural, easy position, ready and free to move forwards, backwards, and to the sides, both left and right with no hesitation or delay. Each one is in a good position to defend against anything his adversary might try. As is shown in Circle No 1.	Zacharie s’eſtant placé deſſus le Cercle à tout les orteils du pied droit ſur la lettre X, le talon ſur le coſté exterieur du meſme Quadrangle, & le pied gauche repoſé deſſus la ligne Pedale Z, preſente l’eſpee en droite ligne. Alexandre, pour travailler alencōtre, le vient approcher en faiſant deux ou trois pas en avant, ſelon la diſtance, qui eſt entre deux; obſervant au meſme tēps qu’il plante le pied gauche à terre en lieu d’où il puiſſe atteindre avec le pied droit la Circonference au point C, de porter enſemblement le bras eſtendu avec l’eſpee en vne ligne à ſon coſté droit en angle aigu; conſequement il eſleve à ce meſme coſté droit le pied enſemble avec le bras & l’eſpee, eſtendu pareillement en vne meſme ligne en angle obtus; & comme il recognoiſt à veuë d’oeil la diſtance du corps, bras, & eſpee contraire, il prend ſa viſee à la garde, pour moderer le pas enſuivant, en ſorte qu’il puiſſe porter ſa pointe au plus pres d’icelle, qu’il ſoit poſſible, & entrer par ce moyen exaćtement ſur la Premiere Inſtance; ſuivant lequel deſſein il avance le coſté droit, enſemble avec les meſmes pied, bras, & eſpee, les conduiſant un peu circulairement de haut à bas, à planter le pied à tout les orteils ſur le point C, & le talon du meſme ſur la collaterale du Quadrangle à droite, continuant à jetter au meſme temps ſon eſpee avec le bras eſtendu, à l’aide du poignet, un peu plus haute en droite ligne au deſſus du Diametre, & deſſous l’eſpee contraire, en ſorte que la pointe en arrive tout pres de la garde. Dont le coſté droit luy eſt tiré d’autant plus en avant, & le talon du meſme pied en eſt tourné ſur le coſté du Quadrangle CB, le pied gauche trainant de ſoy meſme par l’attraćtion des nerfs & des muſcles ſur la ligne Pedale A, le corps ſe dreſſant auſſi par meſme voye tout droit perpendiculair & en pourfil avec l’eſpee parallele en droit ligne deſſous l’eſpee de l’Ennemi. Par ainſi les voilà touts deux plantez à la Premiere Inſtance en bonne proportion, tellement que les teſtes & les Centres des corps leur viennent à reſpondre juſtement deſſus l’entredeux des jambes & deſſus le centre du Quadrangle, chaſcun le ſien; les nerfs, muſcles, genoux, & bras eſtendus, la manche de la garde eſtroitement ſerré au poing, les eſpees ſituées en lignes paralleles modereement eſtenduës, l’eſpaule, la main, & la pointe en egalle hauteur; de maniere qu’ils ſont plantez touts deux naturellement à leur aiſe en un pas arreſté, touts preſts & libres à marcher en avant, en arriere, & aux coſtez, tant à gauche, qu’à droite ſans nulle autre preparation; eſtants chaſcun d’eux en bonne defenſe contre tout ce que l’Adverſaire pourroit machiner; cōme il eſt à voir aux figures du Cercle N.1.
Circle No 2	Cercle N.2.
Alexander continues his action, moving his right foot along the line of the Inside Square to the letter G, at the Second Instance, subjugating his opponent’s sword to the outside.	Alexandre pourſuit l’operation, en allant avec le pied droit par la trace du Quarré Inſcrit à la Seconde Inſtance lettre G, aſſujettiſſant l’eſpee contraire en dehors du bras.
Here, Zachary awaits the follow-on. Alexander raises his right foot, keeping his knee straight, likewise uses his wrist to raise the tip of his sword. He contacts his opponent’s blade to the outside with a small amount of force his 3rd Span in contact with his opponent’s 8th Span. At this moment, he pauses briefly (as we can see pictured in Circle No 4), following which, he turns the exterior branch of his crossguard diagonally upwards, and by the same means raises his tip further. Sliding the point of contact along the sword, he advances his raised foot to the right side, along the line of the Inside Square. Before he begins to overbalance, he again pauses briefly to check if his adversary will attempt to wound him at this time. But, as Zachary remains in place, he continues, leaning slightly back with his foot raised, then sets it down at the letter G at the Second Instance. He lifts his left foot and follows along with a circular motion, setting it down at the letter D, turning his heel straight on the Interior Collateral G-F, and putting his 8th Span in contact against his opponent’s 6th Span, and so fully subjugates it, as is shown in the figure.	Or puis que Zacharie en attend la pourſuite; Alexandre eſleve le pied droit avec le genou roide, en hauſſant pareillement à l’aide du poignet la pointe de ſa lame, de laquelle il va toucher en dehors avec peu de force du N.3 le N.8. contraire, y adjouſtant à ce meſme inſtant une bien petite pauſe (comme on le voit repreſenté au Cercle N.4.) en ſuite de laquelle, tournant la branche exterieure de ſa garde diagonalement contremont, & par meſme voye hauſſant un peu davantage ſa pointe, & graduant ſa lame, il avance le pied eſlevé par la trace du Quarré Inſcrit à main droite; & devant que le meſme vienne à tresbucher avec le corps, il en fait derechef une petite pauſe, pour remarquer, ſi l’Adverſaire ne taſchera point de le bleſſer durant ce meſme temps. Mais comme il demeure encores, il chemine un peu alenvers avec ledit pied eſlevé, le plantant à la Seconde Inſtance lettre G, en eſlevant & pourſuivant circulairemēt à tout le pied gauche, & accouplant les eſpees environ N.8. à N.6. de la contraire, dequoy il l’aſſujettit tout à plein, plantant ledit pied gauche ſur la Circonference à la lettre D, & enſemblement tournant le talon du pied droit ſur la collaterale interieure GF; comme il eſt repreſenté à la figure.
Circle No 3	Cercle N.3.
Alexander continues to step with his right foot, following the same line, to the letter N at the Third Instance. He follows up with his left foot, which he sets down at the letter K on the same Quadrangle, while sliding the point of contact up the blade, further subjugating his adversary’s so that he presents his sword-tip precisely in front of his face.	Alexandre pourſuit à marcher avec le pied droit par la meſme trace à la Troiſieme Inſtance lettre N, & à pourſuivre à tout le pied gauche, lequel il plante ſur le meſme Quadrangle à la lettre K, en graduant les deux lames, & aſſujettiſſant davantage celle de l’Adverſaire, en ſorte qu’il luy preſente la pointe en courtoiſie devant le viſage.
Because Zachary continues to wait, Alexander works further, by first lifting his right foot, then stepping along the line of the Inside Square, making a quick pause midway to the Third Instance, just before he overbalances, to check that his adversary is not about to strike at him. Then, as he slides the point of contact up the blades to subjugate Zachary’s blade even further, he moves to the letter N at the Third Instance, drawing his left foot up behind with a circular movement to the outside, and sets it down flat at the letter K, turning his body sideways to his opponent, and turning his right heel along the outside along the Interior Transverse I-N. Together with this, he turns the exterior branch of the crossguard upwards while sliding the point of contact so the centre of his blade is further down his opponent’s. Thus he increases the subjugation, and puts the point of his sword precisely in front of his opponent’s face before striking. As we see in the figures.	Puis que Zacharie demeure encores à en attendre la pourſuite; Alexandre travaille, en eſlevant premierement le pied droit, qu’il porte en avant par la meſme trace du Quarré Inſcrit, & en fiat une petite pauſe à my-chemin de l’Inſtance avant qu’il tresbuche avec le corps, pour obſerver ſi l’Adverſaire ne fera rien pour tirer ſur luy; conſequemment en graduant les lames il le porte encores plus outre à la Troiſieme Inſtance lettre N, à pourſuivre avec le pied gauche circulairement en dehors, & à planter tout à plat ſur la lettre K, en pourſilant le corps & deſtournant le talon du pied droit en dehors ſur la traverſante interieure IN, enſemblement auſſi ſe tournant la branche exterieure de la garde diagonalement contremont moyennant la graduation, & par la meſme accouplant le Centre de ſa lame à moins de Nombres du Contraire; dont il luy met en augmentant l’aſſujettiſſement, la pointe en courtoiſie tout contre le viſage, avant pouvoir d’en faire l’execution; comme on le voit aux figures.
As for these last two Circles, because they are set in perspective, and with smaller figures, the foot position of Alexander could not be exactly shown, that the Scholar could thereby obtain sufficient instruction. Because this is a point of very great importance, to understand, then with precision, I would return you to the first Plate of all, where you will see the large footprints in Circle No 1, and again in Circle No 4, but smaller. You must place your feet according to these at the Second Instance, to fully achieve the actions described in the second Circle. Likewise for the Third Instance to fully achieve the actions described in this, Circle No 3. And take care to perform them exactly, for otherwise you will do nothing of worth.	Quant à ces deux derniers Cercles, puis qu’ils ſont mis en la proſpećtive, & en figures de moindre taille, le plantment des pieds d’Alexandre n’y a peu eſtre repreſenté ſi exaćtement, que l’Eſcholier en puiſſe tirer ſuffiſante inſtrućtion: car c’eſt un point de treſgrande importance. Pour en comprendre donc la juſteſſe, je vous renvoye au Tableau premier de touts, où vous en verrez les patrons tracez en grande forme au Cercle N.1. & derechef au Cercle N.4. en moindre taille, en conformité deſquesl il vous faudra regler la ſituation de vos pieds tant à la Seconde Inſtance, pour venir à bout de l’operation de ce Cercle deuxieme, qu’à la troiſieme pareillement, pour en venir à l’accompliſſement de ce preſent Cercle N.3. Et prenez garde à les obſerver bien exaćtement. car autrement vous ne ferez chose qui vaille.
A final note about these two Circles, where Alexander subjugates his Opponent in the second and third, he sets his sword-tip precisely in front of his opponent’s face, or he thrusts, as powerfully as he can. We have said nothing on the subject of force one would need to perform these actions. Because one may perform them against several different degrees, either Lively, or Strong, or Stronger, or Very Strong. As long as, while subjugating the sword, one slides the point of contact along the swords at the same time, down his and up one’s own, until the 8th Span is in contact with the opponent’s 6th Span. By doing this, with but a little effort, one can hold down against several different degrees of force, without stumbling or opening up the line, if the enemy should perform a circular disengagement. What is more, in the time that Alexander steps towards the Third Instance while sliding the point of contact up the blade, he will do the same against even greater degrees of force than we have said.	Au reſte en ces deux meſme Cercles, dont Alexandre aſſujettit le Contraire au deuxieme & au troiſieme il luy met la pointe en courtoiſie devant le viſage, ou bien qu’il en face l’execution, comme il en a la puiſſance; nous n’avons rien dit touchant le poids, qui ſoit requis pour leſdites operations; à cauſe qu’on les pourra pratiquer ſur pluſieurs differents degrez, ſoit Vif, ou Fort, Plus fort, ou Tres-fort; moyennāt qu’en aſſujettiſſant l’eſpee, on l’aille enſemblemēt deſgraduant, & graduant au contraire la ſienne propre, juſqu’à en accoupler le N.8. au N.6. du Contraire. Car en ce ſaiſant, avec peu de force on pourra tenir en ſujećtion pluſieurs differents degrez de poids, ſans tresbucher ne forligner, s’il advenoit que l’Ennemi vinſt à faire cavation durant ce meſme temps. Qui plus eſt, au temps qu’Alexandre marchera vers la Troiſieme Inſtance en augmentant la graduation, il fera tout le meſme, encores contre de plus grands efforts que ceux que nous avons ſpecifiez.
We have already explained in Plate VII the ways in which Adversary can increase or diminish the degree of resistance over the time that we have his sword subjugated at the Second Instance, until we wound him at the Third Instance, in the way we have shown in the figures. There is but this difference, that the subjugation was done before to the inside going to the left hand side, and here, in contrast, it is going to the outside to the right. All other observations with respect to the Instance, the forces, and timings are just the same.	Or comment l’Adverſaire peut augmenter ou diminuer ſes degrez de force, durant le temps qu’on luy aſſujettit l’eſpee à la Seconde, ou qu’on le bleſſe à la Troiſieme Inſtance, en la forme que nous venons de repreſenter en nos figures; nous l’avons ſpecifié aſſez amplement au Tableau VII. où il n’y a que ceſte difference, que l’aſſujettiſſement ſe fait là en dedans du bras en allant à main gauche, & icy au contraire en allant à droite en dehors. toutesfois au regard de l’Inſtance, des poids, & des temps, ce ſont toutes les meſmes obſervations.
Circle No 4	Cercle N.4.
Alexander raises his right foot from the ground, at the same time, using his wrist, he raises his sword and brings the swords together, higher up his opponent’s blade, then advancing his foot over to the Oblique Diameter, he will slide the point of contact up his and down his opponent’s blade to subjugate it at the Second Instance.	Alexandre eſleve le pied droit de terre, hauſſant enſemblement à l’aide du poignet & aſſemblant la pointe de ſa lame à plus de Nombres du Contraire, puis avançant le meſme pied par delà le Diametre, il va graduant la ſienne & deſgraduant la contraire pour aſſujettir à la Seconde Inſtance.
We drew this circle reversed, so that Alexander works from the side where, in all previous Circles, we placed his adversary. This is to be able to show the follow-on actions in Circles No 5 & 6, as seen in perspective. Alexander has so far arrived at the First Instance, as in Circle No 1. He raises his right foot off the ground and lifts his sword-tip at the same time using his wrist, so as to join his 3rd Span against his opponent’s 8th Span. Having made a short pause, he steps with that foot to the right hand side over to the Oblique Diameter, following the line of the Inside Square, and slides the point of contact so that his 8th Span joins his opponent’s 6th Span, to subsequently subjugate the blade at the Second Instance. This is the beginning, on which of all the actions which follow depend.	Nous avons figuré ce Cercle preſent tout au rebours des autres, en ſorte qu’Alexandre y travaille du coſté, où nous avons placé à touts les autres Cercle ſon Adverſaire. Ce qui a eſté fait pour accomoder les 5. & 6. qui en procedent, à l’ordonnance de la proſpećtive. Alexandre donc eſtant venu preallablement à la Premiere Inſtance à la façon du Cercle N.1. il eſleve preſentemēt le pied droit de terre, & hauſſe enſemblement la pointe de ſa lame à l’aide du poignet, en ſorte qu’il en aſſemble le N.3 au N.8. du Contraire; ayant fait une petite pauſe, il marche avec le meſme pied à main droite par delà le Diametre, enſuivant la trace du Quarré Inſcrit, & faiſant la graduation de maniere qu’il joingt ſon N.8. au N.6. de la partie adverſe, pour luy aſſujettir conſequemment l’eſpee à la Seconde Inſtance. Et c’eſt le commencement dequoy toutes les operations ſuivantes dependent.
Alexander interrupts his action with a hesitant pause as soon as he has raised his right foot in the air, and again, as he steps towards the Second Instance to the right hand side, he makes a second pause, just before he overbalances. Now we have found it most effective to show this moment in the image, so the student shall be more aware to always do this each time it is necessary to perform this same subjugation. Because these pauses will give him the time to recognize and prevent any of the counters which his adversary might plan to do during this action. In contrast, if he were to step right away from the First Instance to the Second, or from the Second to the Third, without putting in any pause, he would be in grave danger of being wounded. That is all to be said concerning the need to observe the opponent. One should also note that this practice will, from the beginning, not be pleasing to spectators, for the slowness and the interrupted motions of the learner, because of these pauses. Nevertheless, when is well practiced, and can easily adjust his timing to his opponent, instead of slowing him, these pauses will be of great help to him, and as such they will not even be noticeable. But at the beginning, one needs to have the patience to learn this. It may be that, of those who read this, considering how these pauses are quite contrary to the old mode of fighting, where no one knows about making brief pauses, and even less to carefully perform them, or to even to talk of their need, someone might wish to take issue with these instructions, I would ask the suspend judgement until they have fully looked at the usefulness, and self-assurance that they impart to someone who is in a fight, and the degree to which they instil habits that will protect their movements and train him in seeing the true points when actions are most effective.	Or ceſte aćtion d’Alexandre, faiſant incontinent la pauſe du pied droit dés qu’il l’a eſlevé en l’air, voire qu’en marchant avec le meſme devers la Seconde Inſtance à main droite, il en fait encore une autre pauſe pour la ſeconde fois, avant qu’il tresbuche; nous avons trouvé expedient de la repreſenter en figure, afin que le Disſciple ſoit tant mieux averti d’en faire touſiours autant à toutes les fois qu’il fera queſtion de faire ce meſme aſſujettiſſement. Car ces pauſes luy preſteront le loiſir de recognoiſre & prevenir toutes les traverſes, que l’Adverſaire pourra machiner durant ce meſme temps. Au contraire, s’il marche tout d’une tire depuis la Premiere Inſtance juſqu’à la Seconde, ou de la Seconde à la Troiſieme, ſans nulle entremiſe du pauſe, il ſera en mille dangers d’y eſtre bleſſé. Voilà touchant la necessité de l’obſervation. Sachez davantage, que la pratique en ſera du commmencemēt peu aggreable aux yeux des Spećtateurs, pour la tardivité & l’interruption des mouvements de l’apprentif, procedant de ces pauſes ſuſdites. Ce neantmoins quand il en aura prins l’habitude & qu’il en ſaura adjuſter les temps, au lieu de retarder elles avanceront le reſte de la beſoigne, de ſorte qu’elles ne pourront eſtre remarquées; mais pour le commencement il faudra de la patience pour les apprendre. Par adventure auſſi que ceux qui viendront à lire ces eſcrits, conſiderants que telles pauſes ſont du tout contraires à la veille mode de tirer des armes, où l’on ne ſçait que c’eſt de faire pauſes, & moins encores de les obſerver ſi curieuſement, ou de les mettre en la deſcription comme neceſſaires: ſi quelquun en vouluſt tirer occaſion de reprender les inſtrućtions meſmes, je le prie d’en ſurſeoir le jugement juſqu’à tant qu’il en ait examiné l’utilité, & l’aſſurance qu’elles apportent à celuy qui travaille, puis qu’elles l’engardent de prodiguer ſes mouvements & luy monſtent d’en adjuster le vray point des occaſions convenables. (n.b. printing errors in this paragraph were not corrected)
Circle No 5	Cercle N.5.
This is the follow-on from the previous Circle. As Alexander subjugates the opposing sword at the Second Instance to the right hand side, at the instant he overbalances and his right foot falls to the ground, Zachary makes a circular disengagement from underneath his sword, around the guard and up, and steps forward with his right foot to the letter V, together with a thrust to the face with his extended arm. As soon as Alexander senses that the blade is no longer in contact with his, he aims his own sword towards his opponent, setting his foot down at the letter G at the Second Instance, and immediately follows with his left foot in a circular motion, setting it on the Circumference at the letter D. In this way, he turns the left side of his body outwards and the middle of his blade makes contact with his opponent’s at the 3rd or 4th Span. He continues by sliding the point of contact up, extending his arm, and putting his erect body into profile, so that he seizes control of the direct line with his blade, and sets his sword-tip exactly in front of his opponent’s face, where he can now finish the move. This is shown in the figure.	C’eſt icy la pourſuite de la precedente. Alexandre faiſant l’aſſujettiſſement de l’eſpee contraire à la Seconde Inſtance à main droite, à l’inſtant qu’il commence à tresbucher avec le pied droit; Zacharie luy fait une cavation, en deſrobant ſon eſpee de deſſous & alentour de la garde contraire en haut, marchant avec le pied droit en avant à la letter V, & enſemblement luy tire un coup d’eſtocade avec le bras eſtendu vers le viſage. Alexandre, dés qu’il apperçoit par le ſentiment, que la lame inferieure commence à ſe deſtacher, dreſſe au meſme temps la pointe de la ſienne vers le front de l’Adverſaire, en plantant le pied eſlevé à la pretendue Seconde Inſtance lettre G, & pourſuivant circulairement à tout le pied gauche, à mettre ſur la Circonference au point D, au moyen dequoy il ſe deſtourne le coſté gauche du corps en dehors, & accouple le centre de ſa lame à N.3. ou 4. de la contraire, continuant à la graduer en eſtendant le bras & mettant le corps eſtendu en pourfil, de façon qu’il prend & ferme la droite ligne avec ſa lame, & en met la pointe en courtoiſie devant le coſté droit du viſage de l’Adverſaire, ayant pouvoir d’en faire l’execution; comme il eſt repreſenté en la figure.
Circle No 6	Cercle N.6.
After Alexander has set himself at the Second Instance, holding his opponent’s sword in subjugation (the same way as in Circle No 2) he wishes to perform the action in Circle No 3. While he is in the act of stepping with his right foot along the line of the Inside Square, at the instant he begins to overbalance, Zachary makes a circular disengage, moving the tip of his sword from underneath Alexander’s guard and upwards, moves his right foot forward, and aims a thrust inside the arm towards the face. Alexander, as soon as he feels the blades disengage, immediately arranges his in the direct line posture with his arm extended towards the top of his opponent’s head, and as he sees the sword coming towards him, he meets it with the centre of his blade at about the 3rd or 4th Span of his opponent’s, and slides the point of contact up the blade as he sets his foot down at the intended spot at the Third Instance on the letter N. He then brings his left foot up to the letter K, draws his body upright in profile, thus closing down the direct line. Thus he wounds his opponent in the side of the face. As is shown by the figures.	Apres qu’Alexandre a eſté planté à la Seconde Inſtance, y tenant l’eſpee contraire aſſujettie (en conformité du Cercle N.2.) il eſt veu à pourſuivre l’operation du Cercle N.3. Eſtant donc en aćte de marcher avec le pied droit par la trace du Quarré Inſcrit, à l’inſtant qu’il commence à tresbucher avec le corps; Zacharie luy fait une cavation, delivrant la point de ſon eſpee de deſſous la garde contraire vers le haut, en avançant le pied droit, & luy tirant un coup d’eſtocade en dedans du bras devers le viſage. Alexandre, dés qu’il ſent le deſtachement des lames, dreſſe incontinent la ſienne en droite ligne avec le bras eſtendu devers le ſommet de la teſte contraire, & comme il en voit venir l’eſpee à ſoy, il l’accueilt avec le centre de la ſienne à N.3. ou 4. continuant à la graduer, & à planter le pied au lieu pretendu de la Troiſieme Inſtance lettre N, puis à mener conſequemment le pied gauche ſur la lettre K, & à dreſſer le corps en pourfil, fermant par ainſi la droite ligne; dont il bleſſe le Contraire au coſté droit du viſage; comme il eſt monſtré par les figures.
Circle No 7	Cercle N.7.
This action derives from Circle No 2, where Alexander, on the Oblique Diameter, has subjugated his opponent’s sword at the Second Instance to the outside of the arm. He begins to step towards the Third, to execute the actions as in Circle No 3. At this moment, Zachary increases the force on the blade, and, sliding the point of contact up the blade, and tries to force his opponent’s sword to his own outside, back towards the centre of the circle. Alexander feels this as he sets his foot down, as intended, at the letter N at the Third Instance, so he performs a dance quick-step putting his left foot down beside his right foot and raising his right foot in the air and moves it over to the Outside Square between P & T, while, at the same time, he completely releases his opponent’s sword, allowing his own blade to pass underneath his opponent’s as it jumps uncontrollably to the left, the brings his up, over, and down to make a reverse cut to the head as he swings his left foot around and behind him, as the figures demonstrate.	L’operation de ceſtuy-cy provient du Cercle N.2. où Alexandre a tenu l’eſpee contraire aſſujettie à la Seconde Inſtance en dehors du bras par delà le Diametre, & qu’il ait commencé à marcher avec le pied droit devers la Troiſieme, pour accomplir l’execution du Cercle pareillement 3. en Nombre. En ce meſme temps Zacharie augmente le poids, & en graduant ſa lame tranſporte la contraire à main droite en dehors du bras. Sur quoy Alexandre, qui en eſt adverti par le ſentiment, plante au meſme inſtant le pied droit à la pretendue Troiſieme Inſtance lettre N, & pourſuit tout continuellement avec le pied gauche, à planter en forme d’une demie-fleurette tout joignant l’autre; lequel eſlevant derechef, il porte de grand viſteſſe ſur le Quarré Circonſcrit entre les points P&T, & au meſme temps laſchant l’eſpee contraire, qui en vient aucunement à tresbucher par la force du pois, il conduit la ſienne de deſſous vers le haut, & luy en tire un coup de revers (en voltant le pied gauche) au coſté droit de la teſte; ainſi que les figures demonſtrenet.
So, having delivered the blow, it is possible to give a second one, by taking another step across in front of the opponent with the right foot, and repeating the step with the left foot, while using the wrist to bring the sword around in a circular motion overhead and down to cut across the left side of his head. An action which the figure and description will be examined in following Plates.	Or ayant donné le coup, il a moyen de le redoubler encores, en continuant à marcher avec le pied droit par devant le corps de l’Adverſaire, & iterant la volte du pied gauche, durant laquelle il ſe tournera l’eſpee circulairement par deſſus ſa teſte à l’aide du poignet, & en donnera un coup d’eſtramaçon à l’Adverſaire au coſté gauche de la teſte. Operation de laquelle la figure & la deſcription ſeront propoſées aux Tables ſuivantes.
Circle No 8	Cercle N.8.
Here is another action, which also derives from Circles Nos 2 & 3, beginning exactly the same way as before, except that this time Zachary uses a more violent amount of force to resist and push against his opponent’s blade. Thus when Alexander releases his blade, it flies even further over. Alexander works with this larger opening when he steps in, as in the previous Circle, and using his elbow, brings his blade overhead to cut at his opponent’s left ear. This is shown by the figures.	Il s’enſuit encores une autre, qui procede auſſi des meſmes Cercles N.2. & 3. accordant en toutes les particularitez avec la precedente, horsmis que Zacharie fait icy le tranſportement de l’eſpee contraire en dehors du bras avec plus de violence, qu’au Cercle dernier precedent, dont ſa lame eſtant laſchée en fera un plus grand tresbuchement. Alexandre donc travaillant là deſſus, & faiſant l’intrade, comme au Cercle precedent, conduit ſa lame à l’aide du coude par deſſus ſa teſte, pour en mener un coup d’eſtramaçon à l’oreille gauche de l’Adverſaire; comme les figures demonſtrent.
Having made the blow, he can likewise repeat the same cut, as we noted before.	Le coup eſtant achevé, il le pourra ſemblablement redouble en la meſme ſorte, que nous venons de dire en l’annotation precedente.
Circle No 9	Cercle N.9.
And here is another which likewise derives from when Alexander has stepped to the Third Instance to perform a thrust as shown in Circle No 3. Thereupon, Zachary forces Alexander’s sword over and subjugates it on the right hand side above the Perpendicular Diameter, aligning his with moderate force over the Principal Diameter. At the same time, Alexander sets his right foot at the letter N at the Third Instance, following along with his left foot, which, as he turns his left side outwards, he puts on the angle of the Inscribed Square, at the letter O. At the same time, with his arm extended and his sword-tip slightly lowered, he turns the interior branch of his crossguard upwards to protect his face, so that his opponent cannot hit him with a single move into into the direct line posture, but he must move his blade in a circle around the guard. So he would need to take more time if he wanted to hit him. Alexander, in contrast, would find it easier to engage him, by maintaining his sense of contact between the blades and thus carrying the swords over and performing a subjugation to his right hand side.	En voicy derechef un autre, qui procede pareillemēt de ce qu’Alexandreeſt venu à marcher devers la Troiſieme Inſtance pour faire l’execution de l’eſtocade repreſenté au Cercle N.3. Là deſſus Zacharie luy tranſporte & aſſujettit l’eſpee à main droite par deſſus le Diametre perpendiculaire, en mettant la ſienne avec moderation de force par deſſus le Diametre principal. Au meſme temps Alexandre ſe plante le pied droit à la Troiſieme Inſtance lettre N, en faiſant la pourſuite avec le pied gauche, lequel en ſe deſtournant un peu le coſté gauche en dehors, il aſſeoit ſur l’angle du Quarré circonſcrit marqué de la lettre O, en tournant enſemblement, avec le bras eſtendu & la pointe un peu deſcendante, ſa branche interieur cōtrement à la defenſe du viſage; de ſorte que l’Adverſaire ne l’y puiſſe toucher en en ſeul temps en droite ligne, mais qu’il ſoit contraint de faire un circuit entour la garde, à cauſe de la branche; dont il auroit beſoin de plus de temps s’il y vouluſt toucher, & Alexandre au contraire plus de commodité pour l’en engarder, en pourſuivant touſIours le ſentiment & l’aſſemblage des lames & en faiſant derechef le tranſport & l’aſſujetiſſement à ſa main droite.
Please note that Alexander’s arm and sword-tip in reality would finish this action pointing directly out of the picture at the viewer, which is too difficult to show properly. This is why the arm is shown raised a bit up and the tip a bit lower, so the viewer can see what is happening.	Notez d’autant que le bras & la pointe d’Alexandre viennent à reſpondre en ceſte aćtion tout droitement contre les yeux du peintre, qu’il a eſté trop difficile de les repreſenter exaćtement en leur vraye ſituation. C’eſt pourquoi le bras y eſt pourtrait un peu plus eſlevé, & la pointe plus baſſe, pour mettre en veuë au ſpećtateur & au peintre meſme.
Circle No 10	Cercle N.10.
This is the follow-on. Zachary holds his sword over his opponent’s sword with the same degree of force. Alexander increases the force on his, attempting to move them to the outside (as we can see in Circle No 11). At which point Zachary prevents this, by likewise increasing the force of his resistance against it. Alexander, who realizing what is happening, drops the contact, releasing Zarhary’s blade so it flies out of control. He uses this opening to perform a circular disengagement around his opponent’s guard to bring his blade upwards. He takes a short step to the right, turning his right side towards his opponent, and, with his arm out straight, aims his sword tip precisely at his opponent’s face. As is shown by the figures.	C’eſt icy la ſuite de l’operation precedente. Puis que Zacharie tient ſon eſpee deſſus l’eſpee contraire avec telle moderation, qu’il eſt dit; Alexandre augmente le poids de la ſienne, en taſchant de les tranſporter en dehors du bras (cōme on voit au Cercle enſuyvant N.11.) Dequoy Zacharie luy empeſche l’execution, en augmentant pareillement le ſien alencontre, pour luy reſiſter. Alexandre qui en a l’advertiſſement, luy laſche ſa lame, laquelle en vient à treſbucher plus ou moins, en faiſant cependant avec la ſienne un circuit d’embas vers le haut, à l’aide d’un deſtournement du coſté droit du corps à tourner en dehors à pieds fermes, en ſorte qu’il luy preſente la pointe en courtoiſie devant les yeux avec le bras eſtendu; comme il eſt repreſenté aux figures.
Circle No 11	Cercle N.11.
This begins in the preceeding Circle No 9 where we come to be start of the action in the last circle, that is, that Alexander begins to increase the force of his blade against his opponent to force the swords over, which was prevented before. Here his opponent, using only a light force against him, allows the blades to be moved. Alexander then moves his left side forwards, closes his right arm against his side, and continues to move his left foot along the Interior Transverse between the letters S & R. By this move, he forces his opponent’s sword over, which he subjugates to the outside, as the figures show.	Il prend ſon origine au precedent Cercle N.9. eſtant venu au commencement de l’operation du dernier precedent, aſſavoir, qu’Alexandre commence à augmenter le poids de ſa lame inferieure pour tranſporter les eſpees, dont il a eſté empeſché au precedent de faire l’execution; preſentement le Contraire, en uſant d’un poids mediocre alencontre, le luy accorde. Alexandre donc avançant le coſté gauche, s’affermit le bras au coſté droit, cōtinuant à porter le pied gauche en avant ſur la ligne traverſante interieure entre les lettres S & R, accompliſſant par ce moyen le tranſport de l’eſpee contraire, qu’il aſſujettit en dehors du bras, comme les figures monſtrent.
Circle No 12	Cercle N.12.
This depends on the previous Circle, the move continued by Alexandre, entering in with his right foot and at the same time turning his bent arm with the exterior branch of his crossguard turned up, sliding the point of contact along the swords, so that the two guards smash together so hard that his opponent is driven back, allowing him to raise his sword-tip and striking him with his arm bent, as his raised foot comes down along the Outside Square at the letter W. From here he finishes, driving his thrust through the head, as we can see in the figures. Some will observe that Alexander’s foot is shown along the Oblique Diameter. You should know that it is better to set it on the Outside Square, as described.	C’eſt la dependance de la precedente; continuée par Alexandre, en faiſant l’intrade avec le pied droit, & au meſme temps tournant le bras courbé avec la branche exterieure contremont, & faiſant la graduation des eſpees, en ſorte que les deux gardes ſe rencontent ſi rudement, que le bras du Contraire en eſt forcé à ceder, & à laiſſer monter la pointe en haut, en luy donnant par ainſi l’atteinte avec le bras courbe, en plantant le pied eſlevé ſur le Quarré circonſcrit lettre W, dequoy il en fait l’execution, en luy pouſſant l’eſtocade à travers la teſte; comme on le voit aux figures; eſquelles ſi vous trouvez le pied droit d’Alexandre planté ſur le Diametre, ſachez toutesfois qu’il eſt plus convenient de le mettre ſur le Quarré circonſcrit, ſuivant la deſcription.
Circle No 13	Cercle N.13.
This circle also follows on from Circle No 9. Alexander is in the process of forcing his opponent’s to the right hand side to subjugate it, as in Circle No 11, helped by a step forward with his left foot. Zachary increases the force on his blade to resist against his opponent’s sword, which is already raised up while performing the move. We can see the figures as they struggle.	Auſſi l’operation de ce Cercle preſent procede en ſuite de N.9; Alexandre eſtant en aćte de tranſporter la lame contraire à main droite pour l’aſſujettir, comme au Cercle precedente N.11. à l’aide de la demarche du pied gauche: Zacharie augmente fort le poids de ſa lame, pour reſiſter à l’eſpee contraire qui eſt ja montée en haut en faiſant le tranſportement; comme on voit en leurs figures qu’ils s’en debattent.
Circle No 14	Cercle N.14.
Here is the follow-on. Alexander feels the increased force from his opponent’s sword, which resists against being moved. He suddenly disengages so that the sword flies, uncontrolled, over to his left side. At the same time he enters with his left foot along the Diameter to the letter V, following up with his right foot, and grabbing his opponent’s guard with his left hand. He turns his own sword from pointing down to pointing upwards, and presses his right arm against his side as he sets his sword-tip against his opponent’s neck. As he sets his right foot down at the letter I on the Diameter, he leans back, shifting his weight onto it, as we can see in the figure.	C’en eſt icy la pourſuite. Alexandre ſentent l’augmentation de force en l’eſpee cōtraire, qui reſiſte au tranſportement, la quitte en ſorte qu’elle tresbuche à ſon coſté gauche; au meſme temps il entre avec le pied gauche ſur le Diametre lettre V, pourſuivant à l’advenant avec le pied droit, & faiſant enſemblement avec ſa main gauche prinſe de la garde contraire, & tournant ſa propre eſpee d’embas vers le haut, laquelle il affermit à ſon coſté droit, & en met la pointe au col de l’Adverſaire, en mettant le pied droit à terre par delà le Diametre à la lettre I, & faiſant la charge du corps panché alenvers ſur le meſme; comme on le voit repreſenté en la figure.
Circle No 15	Cercle N.15.
Alexander completes the action, pulling the guard and his opponent’s sword to him with his own body leaning backwards and his left foot raised. He sets it down on the Diameter at R, entering in and shifting his weight with his right foot. He wounds his opponent at the same time with a forceful thrust through the head, as we can see in the figures.	Alexandre pourſuit l’operation, en tirant la garde & l’eſpee cōtraire à ſoy avec le corps panché à l’envers, & le pied gauche eſlevé, lequel il va planter à reculons ſur le Diametre au point R, en faiſant l’intrade & la charge du corps avec le pied droit, & bleſſant le Contraire au meſme temps d’un coup d’eſtocade à pouſſer en rigueur à travers la teſte; ainſi qu’on voit aux figures.
History tells of the Roman General Fabius Maximus, who harassed the army of Hannibal and thus saved the Republic. VNVS HOMO NOBIS CUNCTANDO RESTITVIT REM (“One man, by delaying, restored the state to us”). Our students should take heed to likewise learn above all to manage their attack with patience. There is no reason at all to be hasty during the initial approach, because one does not know how one’s adversary will behave, whether one must work quickly or slowly, attacking forward, or defending backwards. Anything else would be temerity made manifest. It is true that those who hold to the common style agree with this, except when it comes to performing the pauses which we require when in the midst of combat, then they strongly object. They claim that victory is lost whenever one holds back, and that each slight pause is a fault, because, they say, one cannot disrupt an enemy, except by constant speed, so that he does not have time to respond, and it would be useless to even think of doing anything differently; that one could neither offend, nor defend, since pauses cannot be but like a burden that slows a packhorse and would leave one unable to meet the short, fast attacks which strike and strike again, and hit before one could stop them. I reply, to those who value nothing other than that one thing, that in our system we have no intention of only taking our time and disregarding speed, but that each one has its use, as much as the other, and that security comes from caution, as much as strikes succeed through quickness. It is not the back-and-forth motion of the arms, nor the clash of swords, nor the impetus of the body, nor the stamping of the feet which produce hits, these are merely movements. Careful preparations are not in fear, but in order to effectively deliver big hits, one needs to make certain of one’s approach, until one has the range and opportunity to hit with one quick motion. This how to offend your adversary, together with your proper defense, instead of just using speed which leaves you completely uncovered because it does not allow you time to assess your opponent’s actions.	L’hiſtoire teſmoigne de Fabius Maximus General de l’Armee Romaine, qu’en trainant l’Armee de Hannibal il a redreſſé la Republique: Vnvs homo nobis cunctando restituit rem. Noſtre Eſcholier ſe doit propoſer ſemblablement d’apprendre ſur tout à meſnager ſes forces. Auſsi n’a il nulle raiſon de ſe haſter durant les premieres approches, par ce qu’il ne ſçait quelle ſituation l’Adverſaire doit prendre, s’il doit travailler viſte ou lentement, en avant, ou en arriere. Ce ſeroit donc une temerité manifeſte. Et de vray ceux qui ſe tiennent à la Pratique vulgaire, confeſſent le meſme. Mais touchant les pauſes que nous requerons au milieu de la bataille, il leur ſemble qu’ils ont grande occaſion d’y contredire. Car ils objećtent, que la vićtoire s’envole à touts les fois qu’on la refuſe, & que touts les clins d’oeil qu’on ſe retarde, ſont autant de fautes; pour ce qu’on ne peut mettre l’Ennemy en desorder, ſinon par la viſteſſe, de façon qu’il ne ſache de quelle part il nous doive attendre: & ſi nous penſons d’y aller autrement, que nous ne ferons rien qu vaille, ny pour offenſer, ny pour defendre, d’autant que la tardiveté ne pourra eſtre baſtante à rencontrer tant de fretillements, qui paſſent, & repaſſent, & arrivent avant qu’on le puiſſe atteindre. Ie reſpons que ce n’eſt pas notſte intention de priſer la ſeule tardiveté des aćtions & en desprinſer la viſteſſe: mais que l’une y doit avoir ſa place, auſsi bien que l’autre, & que les aſſeurances procedent de la tardiveté, comme les executions de la viſteſſe; reprenant ceux qui n’eſtiment rien valable aux prix d’elle ſeule. Ce ne ſont pas les branſlements du bras, ny le cliquement des eſpees, ny les impetuoſitez du corps, ny le battements des pieds, qui donnent les atteintes, ce ſont des ſimples mouvements: les grandes preparations, ne ſont pas à craindre, mais les grands coups, pour leſquels effećtuer il ne faut qu’aſſeurer ſes approches, juſqu’à tant qu’on ait le moyen de prendre une ſeule fois le temps à ſon avantage. Voilà la maniere d’offenſer voſtre Adverſaire, conjoinćte avec voſtre propre defenſe, au lieu de ceſte grande viſteſſe qui en eſt toute deſnuée, par ce qu’elle n’a pas le loiſir d’examiner les aćtions du Contraire.

Book 1 - Tableau / Plate XVI - More on Resistance and Degrees of Force Working to the Right Hand Side

Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
EXPLANATION OF THE ACTIONS IN THE SIXTEENTH PLATE.	DECLARATION DES OPERATIONS DV TABLEAV SEIZIEME.
When we are surprised by some great danger, it is natural thing to stop short, to consider the best means of protection. Before one has accomplished this, one feels as if one’s hands are tied and feet encased in mud. For I believe there is not a man in the world who can consciously commit so completely to his path that he cannot be instantly distracted from it if one were to suddenly place an obstacle in his way, such as a large rock, or a stick thrown between his legs. Who needs to have explained to them the effect of some disconcerting sight, or the rattling of resolve, no matter how firm at first, when unexpected danger crosses one’s path? The same reasons induce us to approach our work with slow, deliberate care, and it cautions us to work with circumspection in the middle of a fight. Dangers which cross our way come from all over and give us pause. But, as much as such pauses are a natural consequence of caution, it is also necessary to know when to instantly, and without hesitation, take advantage of an opening. Because we are not moving slowly merely to take a break, or rest, but to work better, to gather our strength, and to use it well, to seize the opportunity, and not let it pass. So we shall see how Alexander, in this current Plate XVI, as he does throughout this book, during the time his hand, his feet, or his body are stopped, prepares himself to take action swiftly and with power, just like those who take two or three steps back in order to leap higher and further. So, let us look at these examples.	A toutes les fois qu’on eſt ſurprins d’un grand danger, c’eſt choſe naturelle de s’arreſter tout court, pour conſiderer le moyen de ſa defenſe; & avant que de l’avoir fait, il ſemble qu’on ait les mains comme liées, & les pieds quaſi engourdis. Car je croy, qu’il n’y a homme au monde, qui ſe puiſſe adonner ſi furieuſement à la courſe, qu’il ne la rompe tout à l’inſtant meſme, qu’on luy jettera à l’impourveu une pierre ou un baſton à travers les jambes. Quelle main neceſſera d’eſcrire s’il ſe vient preſenter aux yeux un horrible ſpećtacle, ou qu’elle reſolution ſi ferme, qui ne ſoit incontinent troublée, quand le danger non attendu le traverſe? La meſme raiſon qui nous induit à travailler lentement au commencement des approches, c’eſt celle qui nous advertit pareillement de travailler avec circonſpećtion au milieu du bataille. Tout y eſt plein de dangers, plein de traverſes. Mais autant qu’il eſt naturel de faires ces pauſes, autant eſt il neceſſaire de les ſçavoir abbreger à l’inſtant que l’occaſion ſe preſente de prendre nouvel avantage. Car ce n’eſt pas pour repoſer qu’on ſe retarde; c’eſt pour travailler mieux, pour unir ſes forces, pour les diſpenſer juſtement, & pour prendre l’occaſion, qu’elle ne ſe paſſe. Ainſi en verra on faire à Alexandre en ce preſent Tableau XVI, comme auſsi par tout ce livre: Durant l’arreſt du pied, de la main, ou du corps, il ſe prepare à la viſteſſe de l’aćtion enſuivante, à l’imitation de ceux qui ſe reculent trois ou quatre pas en arriere pour ſauter avec plus de force en avant. Or voyons en les examples.
Circle No 1	Cercle N.1.
Alexander subjugates his opponent’s sword to the outside, moving across to the Oblique Diameter to the right hand side from the First Instance to the Second.	Alexandre aſſujettit l’eſpee contraire en dehors du bras, en allant par delà le Diametre & à main droite de la Premiere Inſtance à la Seconde.
The two parties stand upon the Circle at the First Instance. Alexander will begin to work first, he raises his right foot, keeps his knee straight, using his wrist to raise the tip of his sword, he then brings it into contact to the outside of his arm, setting his 8th Span against his opponent’s 3rd Span, using but a little force. Next, he raises it a little more and, while sliding the point of contact up the blade, he moves his raised right foot just over to the Oblique Diameter following the line of the Inside Square. When his foot is halfway there, before his body begins to overbalance, he pauses briefly, to be sure his adversary is not about to attempt a strike as he moves on. Following on, he takes a slightly backwards step with his right foot, to set it in place on the letter G at the Second Instance, then, with a circular motion, draws his left foot after it. With his 4th Span pressed against his opponent’s 3rd Span, he subjugats the sword as he sets his foot down on the Circumference at D, turning the heel to lie along the Interior Collateral G-F, as we see portrayed in the figure.	Les deux parties s’eſtants placez ſur le Cercle en Premiere Inſtance; Alexandre s’en va preſentement travailler le premier, en eſlevant le pied droit avec le genouil roide, & hauſſant enſemblement la pointe de ſon eſpee à l’aide du poignet, dequoy il en accouple avec peu de poids en dehors du bras le N.3. avec le N.8. du contraire; puis en ſuite il hauſſe encore un peu d’avantage en graduant, & avançant le pied droit eſlevé par delà le Diametre enſuivant la trace du Quarré inſcrit; duquel eſtant venu à my-voye de l’Inſtance, avant qu’il vienne à tres-bucher avec le corps; il en fait une petite pauſe, pour eſtre ſur ſes gardes ſi l’adverſaire vouloit tirer ſur luy durant ce meſme temps: pourſuivant l’aćtion il marche un peu alenvers avec le meſme pied pour le planter ſur l’endroit de la Seconde Inſtance lettre G, en eſlevant & continuant à mener circulairement le pied gauche apres, joignant enſemble ſes N.3. à N.4. de l’eſpee contraire, l’aſſujettiſſant & plantant enſemblement le pied eſlevé à la Circonference lettre D, & tournant la talon du pied droit ſur la collaterale interieure G F; comme en la voit pourtraićt à la figure.
Circle No 2	Cercle N.2.
Zachary holds his blade with dead weight, or with only a slight degree of force. Alexander moves forward with his right foot to the letter Q, and follows up with his left foot, driving a thrust through the head.	Zacharie tenant ſa lame morte, ou en peu de poids, Alexandre s’avance avec le pied droit pour le planter ſur la lettre Q, & pour trainer en ſuite le gauche, luy pouſſant un coup d’eſtocade à travers la teſte.
Here we have one possible follow-on from the preceding. Alexander feels that his his opponent’s subjugated sword presses back with only dead weight, or with but a slight degree of force. He advances his right foot (while disengaging his blade) onto the Oblique Diameter at the letter Q, while at the same time he hits his opponent with a direct thrust to the face, which he reinforces and pushes right through by leaning his body forward, and drawing his left foot behind up to the External Collateral between the points G & M, as we can see in the figure.	Voicy une ſuite de l’operation precedente. Alexandre s’appercevant par le ſentiment, que l’eſpee du contraire aſſujettie devient morte ou en petit Poids, il s’avance avec tout le corps & avec le pied droit, lequel il plante (en deſtachant les lames) par delà le Diametre à lettre Q, donnant par meſme voye une atteinte en droite ligne au viſage du contraire, laquelle il renforce & pouſſe tout outre ne panchant le corps en avant; de ſorte que le pied gauche en eſt trainé derriere juſqu’à la collaterale exterieure entre les deux points G & M; ſelon qu’on voit en la figure.
This same action can also be done when the subjugated sword is pressing back with a Sensitive degree of force, or even a bit more, as long as Alexander does a small push down on it, before his blade leaves the other, so that he lowers it and confuses his opponent’s sense of feeling, while putting himself inside the lines, and consequently performs the same action.	Ceſte meſme operation pourra auſſi eſtre pratiquée, quand l’eſpee aſſujettie tiendra le poids de ſentiment ou un peu plus, à condition qu’Alexandre face un petit pouſſement deſſus avant qu’il l’abandonne, de façon qu’il l’abbaiſſe & en trouble le ſentiment, ſe mettant cependant au dedans de ſes perpendiculaires, & ainſi conſequemment en venir à la meſme execution.
Circle No 3	Cercle N.3.
Here is another follow-on proceeding from Circle No 1. This time Zachary has increased the degree of force of his subjugated blade to Strong, Stronger, or Very-Strong. Which Alexander resists by matching his own force, and at the same time bringing his left foot and side slowly forward, pressing his right arm against his side, and lowering his right hand below his navel, to guard against overbalancing if his adversary suddenly disengages, thus forcing his opponent’s sword a bit lower as he sets his raised left foot along the Diameter at the letter L. He puts his body entirely inside the angle and lines of his opponent, as we can see in the figure.	Voicy encor une autre ſuite de la precedente Cercle N.1. aſſavoire que Zacharie augmente à ceſte heure le ſentiment de ſa lame aſſujettie en Poids fort, plus fort, ou tresfort, à quoy Alexandre luy reſiſte en moderant le ſien à l’advenant, & portant à ce meſme temps le coſté & le pied gauche lentement en avant, s’affermiſſant auſſi le bras droit au coſté, avec la main abbaiſſé au deſſous de nombril, pour s’engarder de tresbucher s’il advenoit que l’Adverſaire fiſt cavation, luy ſujettant ainſi l’eſpee un peu plus bas, & plantant le pied eſlevé par delà le Diametre à lettre L, & ſe mettant tout le corps au dedans de l’angle & des perpendiculaires du Contraire; comme on le voit repreſenté en la figure.
Circle No 4	Cercle N.4.
C’eſt icy une dependance de la derniere precedente. Ainſi qu’Alexandre s’avance le coſté & le pied gauche, pour aſſujettir derechef comme auparavant, l’eſpee contraire; Zacharie luy fait unc cavation pour le bleſſer en dedans au coſté gauche; Alexandre à l’inſtant qu’il s’apperçoit par le ſentiment du deſtachement des eſpees, s’avance le coſté droit avec le meſme bras eſtendu en deſtournant le coſté gauche, & aſſemblant le Centre de ſon eſpee au foible de la Contraire, laquelle il pourſuit à graduer en avançant & plantant le pied gauche eſlevé par delà le Diamettre à la lettre Q, & pourſuivant à bleſſer enſemble le Contraire d’un coup d’eſtocade à travers la teſte, avec le corps panché en avant; comme la figure demonſtre.	This follows directly from the previous, in that as Alexander moves his left foot and side forwards, to again subjugate his opponent’s sword, Zachary makes a circular disengage to the inside to wound his left side. Alexander, at the instant he feels the swords disconnect, twists his right side forward with his right arm extended, which turns his left side away, and brings the centre of his sword against the weak of his opponent’s, after which he proceeds to slide the point of contact up the blade, forcing it away to the side, and then continues to set his raised left foot down along the Oblique Diameter at Q, and proceeds to wound his opponent with a thrust through the head, leaning his body forwards, as demonstrated in the figure.
Circle No 5	Cercle N.5.
N.B. Gerard has made an error. His discription reverses the footwork from what is shown in the drawing. The drawing makes sense, the description does not. I have corrected this in the translation. This is another move which likewise follows from Circle No 3. Alexander has stepped in with his left foot to the letter L and subjugated his opponent’s sword. His opponent lessens the pressure against him to Deadweight or very little feeling. At this, Alexander, leaving his opponent’s sword, extends his own moving his right arm and side forward, in such a way as to wound him with the tip, while stepping forward with his left foot, setting it down along the Diameter at V, drawing his right foot behind, up to the letter I. He leans his body forward, driving his sword wth full force through the head. This is demonstrated by the figures.	C’eſt icy encore une autre, qui depend pareillement de ce Cercle N.3. Car Alexandre ayant failt l’intrade du pied gauche à la lettre L, & aſſujetti l’eſpee contraire, ſa partie en amoindrit le Poids juſqu’à tomber morte ou en peu de Sentiment. Là deſſus Alexandre s’avance avec le pied gauche en quittant l’eſpee contraire, & eſtendant la ſienne enſemble avec le bras & le coſté droit avancé, en ſorte qu’il le bleſſe d’un coup de pointe, en mettant le pied à terre ſur le Diamettre lettre V, trainant le gauche apres à la lettre I, & avec le corps panché en avant, il luy pouſſe l’eſpee à pleine force à travers la teſte; comme les figures demonstrent.
Circle No 6	Cercle N.6.
This action also follows from Circle No 3, differing not at all from the preceeding one, save that where Zachary in the last one weakened the force from his blade to the degree of Slight Sensation, or Deadweight, from which the aforesaid action proceeded, in this present Circle, he does exactly the opposite, increasing to Lively or Strong. Thus Alexander moves forward with his right foot, turning in circular motion to the right hand side, bending his arm while turning the exterior branch of his crossguard upwards, while sliding the point of contact up the blade to the same Span, where he holds it subjugated, until he sets his right foot down along the Perpendicular Diameter on the Outside Square at the letter T, and drawing his left foot along just beyond the letter Q, and giving a hit with the tip of his sword to the face, still with his arm bent, as we see shown in the figure.	L’operation preſente procede auſſi de ce meſme Cercle N.3. ne differant en rien de la precedente, ſinon que Zacharie qui avoit dernierement affoibli ſa lame juſqu’au Poids de ſentiment, ou juſqu’à mort, de quoy s’en eſt enſuivie ladite execution; preſentement il fait tout le Contraire, car il l’augmente juſqu’au Vif ou fort; dont Alexandre s’avance avec le pied droit, allant circulairement à main droite en ſe courbant le bras en portant l’eſpee avec la branche exterieure contremont, enſemble faiſant la graduation de ſa lame par le meſme Nombre, ou it tenoit la contraire aſſujettie, juſqu’à planter le pied droit qui marche par delà le Diametre ſur le Quarré circonſcrit lettre T, & trainant le pied gauche à l’advenant circulairement un peu outre la lettre Q, en luy portant au long de la lame un coup de pointe au viſage avec le bras touſiours courbé; comme on le voit repreſenté à la figure.
Circle No 7	Cercle N.7.
This current action again has its beginning in Circle No 3. While Alexander begins to perform the preceeding Circle, stepping in with his right foot and sliding the point of contact up the blade, Zachary parries by bending his arm, moving it to the outside right hand rear, with his pommel raised up and the sword tip, in contrast, pointing downwards. At the same time, Alexander, in the process of stepping, sets his right foot down short along the Diameter at M, and instantly moves his left side forward followed by his foot, together with a circular motion up, over, and down around his opponents guard and raised elbow, so that he brings his point beneath the raised arm, while at the same time he seizes the wrist with his left hand and pushes it upwards and bad. Setting his left foot down where the Exterior Collatoral crosses the line V – W, he bends his knee and leans onto it, and wounds his enemy by extending his hand from the right side of his body, and pushing the thrust forcefully through his opponent’s body, as we can see shown in the figure.	De ce meſme Cercle N.3. la preſente operation en depend encores pareillement. Durant le temps qu’Alexandre ſe met à pratiquer celle du Cercle precedente, en faiſant l’intrade avec le pied droit, & la graduation de ſa lame; Zacharie pour le parer ſe courbe le bras en dehors & arriere du corps à main droite, avec le pommeau de l’eſpee aſcendant, & la pointe au contraire deſcendante. Au meſme temps Alexandre ſe plante le pied droit, qui eſtoit en chemin, par delà le Diametre à la lettre M, en avançant tout à l’inſtant le coſté gauche & pourſuivant avec le meſme pied, & faiſant enſemblement de ſon eſpee un circuit de haut en bas alentour la gare & le bras contraire, de ſorte qu’il luy en conduit la pointe deſſous le bras hauſſé, luy faiſiſſant auſſi au meſme Inſtant par le bas avec ſa main gauche le poignet de la main, laquelle il pouſſe arriere de ſoy vers le haut, en poſant le pied gauche à terre ſur la derniere interſećtion de la ligne V W, ou il ſe charge le corps deſſus avec le genouil plié, en bleſſant l’Ennemy avec le bras eſtendu au coſté droit de la poitrine, & luy pouſſant l’eſtocade en rigeur à tavers le corps; comme on le voit demonſtré par la figure.
Circle No 8	Cercle N.8.
This one begins the same way as, and is very like, the preceeding action, except that while Alexander enters with his right foot, sliding the point of contact up the sword, as in Circle No 6, Zachary uses a great amount of force to carry the swords over to his right side. At which point Alexander lowers his foot to the letter L, continuing to draw his left foot behind, and performs a circular disengage with his sword, around his opponent’s hand and up, as he presses his right arm against his side, so that his opponent’s unopposed sword overbalances and flies off to his left. Alexander again moves his left side forward, seizes his opponent’s wrist with his left hand, which he then pushes, along with the sword, downwards and away to the left, puts his left foot down where the Interior Collateral crosses the line V – W, bends his knee and leans onto it, and wounds his enemy the same as before, as the figures show.	Celle-cy procede & eſt du tout ſemblable à l’operation precedente, ſinon qu’au temps qu’Alexandre fait l’intrade avec le pied droit, en graduant ſon eſpee, comme au Cercle N.6, Zacharie luy tranſporte l’eſpee à main droite uſant de force; ſur quoy Alexandre abaiſſe le pied droit en terre à la lettre L, continuant à pourſuivre avec le pied gauche, & menant ſon eſpee par cavation contremont, en affermiſſant le bras au coſté droit du corps, dont l’eſpee contraire vient à tresbucher avec le bras, & Alexandre avançant le coſté gauche davantage, luy ſaiſit avec la main gauche le poignet du bras, lequel il pouſſe enſemble avec l’eſpee plus bas, mettant le pied à terre ſur l’interſećtion de la ligne V W, & ſe chargeant le corps pour ſe pancher en avant deſſus le meſme avec le genouil plié, de maniere qu’il le bleſſe de ſa pointe au viſage; en conformité des figures.
Circle No 9	Cercle N.9.
Here is another which originates in Circle No 3, where Alexander has entered with his left foot to the letter L, holding the opposing blade subjugated to the outside of his arm on the right hand side, and is in the act of raising his right foot to perform the action of Circle No 6. Zachary withdraws with a rearward step of his left foot outside the Circle, and thereupon taking another with his right foot, while, at the same time disengaging with his sword underneath his opponent’s blade and rasing his tip so as to aim a thrust at his opponent’s face. Alexander, observing through his sense of feel that his opponent’s blade has lost contact with his own, innstantly extends his arm meeting the weak of his opponent’s blade with the strong of his own. He follows up by sliding the point of contact up the blade while moving his body forward, setting his raised right foot down at the letter Q, putting his weight on it, and wounding his opponent by driving the sword-tip throught the head; as is shown by the figures.	En voicy encor une qui prend pareillement ſon origine du Cercle N.3. ou Alexandre eſt entré avec le pied gauche à la lettre L, tenant la lame contraire aſſujettie en dehors du bras à main droite, & eſtant en aćte d’eſlever le pied droit pour venir à l’operation du Cercle N.6. Zacharie ſe retire faiſant un pas en arriere avec le pied gauche au dehors du Cercle, & y en adjouſtant encor un autre par deſſus avec le pied droit, faiſant enſemblement de ſon eſpee une cavation de deſſous la contraire contremont, en ſorte qu’il luy en tire une eſtocade devers le viſage. Alexandre appercevant par l’obſervation du Sentiment, que l’eſpee contraire commence à ſe deſtacher, il eſtend à l’inſtant le bras de l’eſpee en accueillant de ſon fort le foible du Contraire, pourſuivant à le graduer en avançant le corps avec le pied droit eſlevé pour planter par delà le Diametre à la lettre Q, & en ſe chargeant le corps deſſus le meſme, bleſſer le Contraire d’un coup de pointe à travers la teſte; comme il eſt repreſenté aux figures.
Circle No 10	Cercle N.10.
This one now follows from Circle No 1. We see Alexander has done the subjugation at the Second Instance, at letter G, and has begun to step towards the Third in order to strike as shown in the 3rd circle of the preceeding Plate (XV). At the instant when his right foot is about to overbalance, Zachary prevents the strike by raising his arm and extending his blade upwards. Therefore Alexander likewise extends his upwards, such that the two guards meet, which pushes his opponent’s arm and sword higher, while, at the same time, he changes course with his foot so it comes down on the Diameter at the letter L . He pivots very quickly on this foot, bringing his left foot around and setting it down along the line V-W, shifts his weight onto his left foot so that he enters in between he lines and under the weapons, always keeping his face turned to the right so as to keep his opponent in sight. This is as shown in the figure.	Il s’enſuit maintenant une qui procede en ſuite du Cercle N.1. Car Alexandre ayant fait l’aſſujettiſſement à la Seconde Inſtance lettre G, & commençant à marcher du pied droit devers la Troiſieſme, pour y donner l’atteinte repreſentée au Tableau precedent Cercle N.3. à l’inſtant que le pied droit s’en va tresbucher avec le corps, Zacharie luy pare le coup en hauſſant le bras avec l’eſpee eſtendue pareillement en haut; dont Alexandre eſtend ſemblablement le ſien en haut avec l’eſpee, de ſorte que les deux gardes ſe rencontrent, qui pouſſe le bras avec l’eſpee contraire plus haute, deſtournant cependant le pied qui chemine de ſa courſe pour le planter par delà le Diametre à la lettre L, tournoyant le corps deſſus le meſme, & voltant de grand viſteſſe le pied gauche avec les orteils ſur l’interſeçtion de la ligne V W, ſur lequel il ſe charge le corps en avant, de façon qu’il luy entre dedans les perpendiculaires & deſſous les armes tenant touſiours le viſage tourné à main droite pour regarder ſon homme entre les deux yeux; comme il eſt repreſenté à la figure.
Circle No 11	Cercle N.11.
Alexander continues the motion by keeping his feet in place, left side forwards, and ducking his head beneath his adversary’s arm, keeping his own right arm extended behind him, with his elbow turned down, so that his sword-tip lowers downwards alongside his opponent’s, as portrayed by the figures.	Alexandre en pourſuit la continuation, ſe tenant à pieds fermes le coſté gauche en avant, & panchant pareillement de la teſte deſſous le bras de l’adverſaire, avec le bras droit eſtendu en arriere & le coude renverſé en deſſus, en ſorte que la pointe de ſon eſpee ſe coule vers le bas au long de l’eſpee contraire; ſelon le pourtraićt des figures.
Circle No 12	Cercle N.12.
Here we see the final execution of the movement, having allowed his point to drop along, then below his opponent’s sword and with a twist o his wrist brought it down and over his left arm, which he closes up against his chest, as he turns his left side a bit further forward, moving his left foot to the Diameter at the letter X, shifting his weight onto it, and wounds his adversary in the right side, driving his sword through him, as is shown by the figures.	Il en fait icy l’execution, laiſſant deſcendre ſa pointe au long & deſſous l’eſpee contraire, & la jettant à l’aide du poignet de haut en bas ſur ſon bras gauche, lequel il s’affermit contre la poitrine, en avançant un peu le coſté gauche, pour le replanter ſur le Diametre lettre X, ou il ſe charge le corps en avant, & beſſe l’adverſaire au coſté droit, en luy pouſſant l’eſpee à travers le corps; comme il eſt repreſenté en leurs figures.
Two renowned Sword Masters of this country travelled one day to see Alexander, having leafed through the Plates from this book, determined to demonstrate a counter to the action presented in Circle No 10, declaring that they would absolutely be able to hit him if he were to perform this spin while working against them. Alexander agreed to prove to both of them, one after the other, that however they did their best by whatever means, under whatever conditions they chose, that they, themselves, would be caught and that the action in these 3 Circles could be done many different ways, until they could no longer conceive of any further attacks against it.	Deux des principaux Maiſtres de ce pays, qui furent un jour pour voir Alexandre, ayants feuilletté les Tableaux de ce livre, ſe prindrent fort à contrerooller la repreſentation de ceſte operation preſente du Cercle N.10. ſouſtenants fort & ferme qu’ils toucheroyent infalliblement quand on travailleroit ſur eux en ceſte ſorte, à volter ainſi le pied gauche. Alexandre permit volontiers faire la preuve à touts deux, l’un apres l’autre, & combien qu’ils fiſſent leur extreme devoir & en diverſes manieres pour le toucher, ſi les vint il touſiours à rencontrer ſi avantageuſement, qu’ils en reſterent attrapez eux meſmes, & que les operations de ces 3. Cercles furent à diverſes fois executées en la meſme ſuite. Et quand ils ne ſceurent plus rien faire alencontre.
Alexander offered to both to arrange himself as seen in Circle No 10, without any knowledge of how they would proceed, and he would pause his action to allow them the initiative. To which, they readily agreed. But as he was working from his sense of feel, he was able to respond to his own advantage, in such a way that nothing they tried worked. This took place in the presence of several interested parties aside from myself, who are eyewitnesses willing to testify to this story.	Alexandre leur offrit à touts deux de ſe mettre en la propre ſituation de ce Cercle N.10. à condition de ne ſe prevaloir plus de la meſme continuation qu’il venoit de pratiquer; mais qu’il s’arreſteroit pour les laiſſer travailer les premiers. A quoy ils s’accorerent tres volontiers, & recommencerent à luy donner pluſierus traverſes. Mais comme il travailloit ſur le Sentiment, il les prevint touſiours à la faveur d’iceluy, de maniere que rien ne leur reuſſit. Or ce fut en la preſence de pluſieurs amateurs de l’Exercice, & entre autres de moy, qui en recite & certifie ceſt hiſtoire comme teſmoin oculaire.
Concerning the action in Circle No 11, as this is portrayed and explained, Alexander has moved his sword along and beneath his opponent’s to continue with the action in Circle No 12. Nonetheless, he can perform this action when when his opponent drops his sword down instead, by then moving his sword-tip along and over his opponent’s sword, [i.e. not stepping under] then moving it over his left arm and so arrive again in exactly the same position. In summary, to perform this precisely as described, it is necessary to adjust and execute these movements quickly, as wel as the spin and duck. This is the beginning the difficult techniques for the scholar to lean. But with continuous study and practice, he will have no fear of achieving his goal. Which is why he must bravely give himself over to his studies.	Touchant l’operation du Cercle N.11. comme elle eſt icy pourtraićte & expliquée en la deſcription. Alexandre y à conduit ſon eſpee du long & par le deſſous de la contraire, pour en venir à la continuation & execution du Cercle N.12. Aucunefois il la pourra pratiquer; quand l’eſpee contraire deſcendra vers le bas en conduiſant ſa pointe au long & par le deſſus de la meſme lame contraire; ſur ſon bras gauche, & ainſi conſequemment en venir derechef à la meſme execution. Au reſte pour pratiquer le tout juſtement ſelon la deſcription, ou il eſt neceſſaire d’adjuster & accomplir viſtement les temps des mouvements, comme auſſi la volte & le pliage du corps; ce ſera du commencement choſe difficile à l’Eſcholier; mais par la continuelle eſtude, & par l’Exercice qu’il s’aſſeure hardiment d’y parvenir. Parquoy qu’il s’y adonne tant plus courageuſement.
Circle No 13	Cercle N.13.
Alexander, moving from the Second Instance to the Third, abruptly sweeps his opponent’s sword aside, stepping outside the arm and inside the line, so that it flies over the line between I and H, as is fully described below.	Alexandre cheminant de la Seconde Inſtance à la Troiſieſme, donne à l’eſpee contraire un tour de ſecouſſe, allant dehors le bras en dedans de l’eſpee, de façon qu’elle en ſaute & tresbuche ſur la ligne I H, comme il eſt declaré plus particularement cy deſſous.
This action begins with Circle No 1, where Alexander has subjugated his opponent’s sword. But to perform this more easily he makes this subjgation with his tip raised and the 8th or 9th Span of his blade against the 4th Span of his opponent. He turns the external branch of his crossguard diagonally upwards (trapping his opponent’s blade). He continues to lift his right foot and as he steps, he raises his opponent’s sword up and to his right side, at which point he makes a slight pause, before he allows his body to overbalance and completes the step, entering in with his foot following along the Inside Square to the letter N on the Perpendicular Diameter at the Third Instance. As he brings his left foot along to the letter K on the Outside Square, he uses this motion to increase the force of his shoulder on his extended arm to push his opponent’s sword up, over, and down towards his left side, sliding the point of contact down his blade and up his opponents until they meet about the middle. In this way with the rotation of his arm and the turn of his left foot, he throws his opponent’s sword over so it stops over the line between I and H. This is shown by the figures.	Voicy une operation qui prend ſon commencement du Cercle N.1. ou Alexandre à ſujetté l’eſpee contraire; Mais pour effećtuer la preſente plus commodement, qu’il face l’aſſujettiſſement de l’eſpee contraire avec ſa pointe plus haute, accouplant ſon N.8. ou 9. à N.4. de l’adverſaire; avec ſa branche exterieure tourné diagonalement contremont; continuant à eſlever & avancer le pied droit enſemble auſſi à tranſporter un peu plus haut & à ſon coſté droit l’eſpee contraire, de laquelle il face une petite pauſe, avant qu’il ſe laiſſe tresbucher le corps; puis continue à entrer avec le meſme pied eſlevé par delà le Diametre ſuivant la trace du Quarré Inſcrit à la Troiſieme Inſtance lettre N, pour pourſuivre au meſme temps avec le pied gauche, de ſorte qu’il prenne de là une nouvelle vigueur & qu’il jette à pleine force avec le bras eſtendu par le mouvement de l’eſpaule l’eſpee contraire de haut à bas devers ſon coſté gauche, en deſgraduant la ſienne propre & graduant ladite contraire, juſque bien pres du Centre, de façon qu’en luy donnant ce tour du bras & plantant le pied gauche ſur le Quarré exterieur lettre K, il la jette avec force, en ſe tournant le coſté droit devant, qu’elle vient à ſauter & tresbucher au deſſus de la ligne I H; comme il eſt monſtré par les figures.
Circle No 14	Cercle N.14.
Alexander continues the preceeding action. Keeping hs feet fixed in place, he immediaely turns his right side to his opponent, while raising his blade up from below, keeping his arm straight, presenting himself in profile and in the direct line posture and putting his point precisely in front of his face, before he can make any other move to defend himself. As we see represented by the figures.	Alexandre continuant l’operation precedente, ſe tourne incontinent à pieds fermes le coſté droit du corps vers ſa partie, conduiſant enſemblement ſa lame avec le bras eſtendu d’en bas & haut, la preſentant ave le corps eſtendu & pourfilé en droite ligne en courtoiſie devant le viſage de l’adverſaire, avant qu’il puiſſe faire aucun autre mouvement pour ſe defendre; comme on voit repreſenté aux figures.
There is no question but physical strength is of very great importance , when it comes to fighting. Nature herself imprints this, with I cannot say what degree of terror, such that we are often stunned, not just by the sight of those who are blessed with huge size, but at the mere mention of such. However, we can see that even the strength of lions, bears, and tigers are of no use against man’s agility and cleverness. Where does this come from, if not that great power is always accompanied by some weakness by which one can exploit? The same thing is in our System. If our opponent’s appearance seems to be intimidating, yet they still have their weaknesses, through which we can master and overcome them and against which they will never have the luxury of enough time to work out a counter-move. Having seen the benefits of Alexander’s agility, we should do likewise. We may hold our physical strength in high regard, but we will lose all benefit should we try to resort to that too early. That is why Alexander remains content to contain his adversary with small movements, reserving his strength until the proper time to make use of it presents itself so perfectly that is impossible not to take full advantage of the chance. Which we can manifestly see in all the examples in this current Plate. Il eſt certain que les forces corporelles ſont de tres-grande importance, quand il eſt queſtion de ſe battre. Nature meſme leur a empraint, je ne ſay quelle marque effroyable, par laquelle nous ſommes eſtonnez non ſeulement en regardant entre les yeux ceux qui en ſont douez par deſſus les autres, mais encore aſſez de fois, à les ouir nommer tant ſeulement. Cependant on voit qu’aux Lions, Ours, & Tigres toute leur force ne profite de rien contre la dexterité des hommes. D’ou vient cela? Sinon de ce que la force eſt touſiours accompagnée de quelque foibleſſe, où on l’attrappe. Le meſme en eſt il en noſtre Exercice. Si les mouvements du Contraire ſont terribles en apparance, ils ne laiſſent pas pourtant d’avoir leur foibleſſe, durant laquelle on les peut maiſtriſer & prevenir, qu’ils n’ayent jamais le loiſir de ſe renforcer à leur avantage. Voylà la dexterité de noſtre Alexandre faiſons en de meſme. Eſtimons grandement nos forces corporelles; mais ſachons que nous en perdrons le fruit, ſi nous en voulons avoir l’uſage avant le temps. C’eſt pourquoy Alexandre ſe contente d’entretenir l’Adverſaire avec de petits mouvements, reſervant ſes forces juſqu’à tant que l’occaſion de s’en prevaloir ſe preſente ſi belle, qu’il ſoit impoſsible quelle luy eſchappe: comme on voit manifeſtement en touts les Exemples de ce preſent Tableau.