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Difference between revisions of "Pedro de Heredia"
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Now the accommodation of the body to be on guard will be holding the body straight with the right side a bit forward, turning the left side a bit backward, leaning the body on the left leg, of which the knee must be bent; the left arm is raised near the face like a semi-circle, the right leg extended or slightly bent, the two heels face-to-face to one another showing only the flank; you will cover with your right arm well extended below and a bit in front above the right thigh, the sword point looking in front of the enemy's right shoulder a bit higher than the fittings<ref>According to Lauvernay, fourniment is the powder case of arquebusiers and musketeers (sometimes extended to all the equipment carried). The word is only used once to indicate a place on the body, probably a bit below the shoulder.</ref>, and traversed somewhat inward, properly going on all sides to the enemy's sword. It is the third guard that I hold to be the most perfect, and in which all observations of good technique can be better preserved, since everything that derives from the other guards can easily (at least in part) be accommodated by this one. However having previously spoken of the four guards, I want to explain each of them in their place, to show that it is not necessary to rest in only one, because I hold them all good when performed well. | Now the accommodation of the body to be on guard will be holding the body straight with the right side a bit forward, turning the left side a bit backward, leaning the body on the left leg, of which the knee must be bent; the left arm is raised near the face like a semi-circle, the right leg extended or slightly bent, the two heels face-to-face to one another showing only the flank; you will cover with your right arm well extended below and a bit in front above the right thigh, the sword point looking in front of the enemy's right shoulder a bit higher than the fittings<ref>According to Lauvernay, fourniment is the powder case of arquebusiers and musketeers (sometimes extended to all the equipment carried). The word is only used once to indicate a place on the body, probably a bit below the shoulder.</ref>, and traversed somewhat inward, properly going on all sides to the enemy's sword. It is the third guard that I hold to be the most perfect, and in which all observations of good technique can be better preserved, since everything that derives from the other guards can easily (at least in part) be accommodated by this one. However having previously spoken of the four guards, I want to explain each of them in their place, to show that it is not necessary to rest in only one, because I hold them all good when performed well. | ||
| − | Before putting the said guards in effect, a good master must teach his disciples the steps which are called | + | Before putting the said guards in effect, a good master must teach his disciples the steps which are called pacing, turning, traversing, and linear following before putting the sword in their hand, to make them more agile and swift in all movements, which having understood, he will give them sword in hand, teaching them the ensuing guards from which all the others derive as their principal element. |
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| − | | <p>'''Section 7 - Four ways of | + | | <p>'''Section 7 - Four ways of pacing.</p>''' |
| − | <p>The first | + | <p>The first pacing performs outward from the enemy's sword. The second will be from the left side, the third will be closing the step going in a straight line. The fourth will be pacing one foot in front of the other; be advised that with this last pacing, the left foot must move first.</p> |
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| <p>'''Section 12 - Understanding when one is on guard with advantage.'''</p> | | <p>'''Section 12 - Understanding when one is on guard with advantage.'''</p> | ||
| − | <p>The advantage will be when you have the sword point right at the enemy's shoulder, and his sword does not face | + | <p>The advantage will be when you have the sword point right at the enemy's shoulder, and his sword does not face your point.</p> |
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| <p>'''Section 13 - Some definitions of words that are noted to understand fencing.</p> | | <p>'''Section 13 - Some definitions of words that are noted to understand fencing.</p> | ||
| − | <p>''' | + | <p>'''Pace''' means to always move without changing intention except when the opportunity arises.</p> |
<p>'''Rotate'''<ref>Volter is an Italian loanword of voltare which means "to turn".</ref> properly speaking means going or twisting toward the part that one wants to offend whether it is inward or outward.</p> | <p>'''Rotate'''<ref>Volter is an Italian loanword of voltare which means "to turn".</ref> properly speaking means going or twisting toward the part that one wants to offend whether it is inward or outward.</p> | ||
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<p>Sometimes if one is said to '''shoot a stab''' to the face or a cut to the head, that may be a feint, therefore, one must use discretion. | <p>Sometimes if one is said to '''shoot a stab''' to the face or a cut to the head, that may be a feint, therefore, one must use discretion. | ||
| − | <p>'''Beating of the foot''' means | + | <p>'''Beating of the foot''' means to feint to push a resolute high-thrust with firm foot such that the enemy must parry and after he does to redouble to another where you will see him open.</p> |
<p>'''Flourish''' means to vary your point below the enemy's sword, both outward and inward, so that the enemy cannot know your intention, nor cover your sword.</p> | <p>'''Flourish''' means to vary your point below the enemy's sword, both outward and inward, so that the enemy cannot know your intention, nor cover your sword.</p> | ||
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<p>'''Article 7'''</p> | <p>'''Article 7'''</p> | ||
| − | <p>Finding the enemy in second guard, you will go from third to cover with the middle of your strong on the middle of his weak, always observing the extension of the arm and body by subduing the sword before | + | <p>Finding the enemy in second guard, you will go from third to cover with the middle of your strong on the middle of his weak, always observing the extension of the arm and body by subduing the sword before performing a step with the right foot; and having gained this measure, if the enemy disengages to push a stab outward, you can counter-disengage passing your sword below his; raising your point and meeting his weak with your strong, you will push with the correct edge a high-thrust from fourth along his blade to the right shoulder, retiring quickly on guard without abandoning the blade.</p> |
<p>'''Article 8'''</p> | <p>'''Article 8'''</p> | ||
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<p>'''Article 17'''</p> | <p>'''Article 17'''</p> | ||
| − | <p>If you find the enemy in second guard, you can put yourself in third, holding your sword point raised below the middle of his strong; from there, advancing a step with the right foot, letting the left follow, you will push a low-thrust from second outward, over the middle of his strong to compel him to parry; in this time, you will disengage your point below his elbow, striking him below the armpit, returning into second.</p> | + | <p>If you find the enemy in second guard, you can put yourself in third, holding your sword point raised below the middle of his strong; from there, advancing a step with the right foot, letting the left follow, you will push a low-thrust from second outward, over the middle of his strong to compel him to the parry; in this time, you will disengage your point below his elbow, striking him below the armpit, returning into second.</p> |
<p>'''Article 18'''</p> | <p>'''Article 18'''</p> | ||
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<p>To perform the voids well, you will hold your sword guard close to the belt, the legs widened to be in your strength; and if the enemy shoots a low-thrust, you will disengage your point inward against the middle of his blade and removing the body, you will push with firm foot to the right shoulder.</p> | <p>To perform the voids well, you will hold your sword guard close to the belt, the legs widened to be in your strength; and if the enemy shoots a low-thrust, you will disengage your point inward against the middle of his blade and removing the body, you will push with firm foot to the right shoulder.</p> | ||
| − | <p> | + | <p>Performing the voidance, note that it is necessary removing or dodging the body, that the toes twist backward, and the heels forward, such that what was behind goes forward, and what was forward back, all at once.</p> |
<p>'''Article 2'''</p> | <p>'''Article 2'''</p> | ||
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| <p>'''Article 6'''</p> | | <p>'''Article 6'''</p> | ||
| − | <p>You can still from second guard, having the hand twisted in a low-thrust, extend your point inward opposite of the middle of the enemy's strong, in order to entice him to gain your weak with his strong; having | + | <p>You can still from second guard, having the hand twisted in a low-thrust, extend your point inward opposite of the middle of the enemy's strong, in order to entice him to gain your weak with his strong; having performed this you will disengage your point, extending your strong on his weak and passing with the left foot, you will push the same low-thrust to the right shoulder, extending the arm and body before the left foot moves.</p> |
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| <p>'''Article 19'''</p> | | <p>'''Article 19'''</p> | ||
| − | <p>Finding your enemy in third guard, you can put yourself in fourth holding the hand in low-thrust, your point outward; and the enemy trying to cover your weak outward, you will twist your hand in high-thrust, and beating with your wrist, you will pass from the left foot outward to the right shoulder. This passing, you can | + | <p>Finding your enemy in third guard, you can put yourself in fourth holding the hand in low-thrust, your point outward; and the enemy trying to cover your weak outward, you will twist your hand in high-thrust, and beating with your wrist, you will pass from the left foot outward to the right shoulder. This passing, you can perform it while the enemy tries the subjection of your sword.</p> |
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| <p>'''Article 4'''</p> | | <p>'''Article 4'''</p> | ||
| − | <p>Wanting to | + | <p>Wanting to perform the same subjection outward, as soon as the enemy presses to resist with his sword against yours, you will disengage your point at the same time, pushing from high-thrust to the right shoulder with firm foot.</p> |
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| <p>'''Article 8'''</p> | | <p>'''Article 8'''</p> | ||
| − | <p>You can also from high third hold your point inward in order to invite the enemy to go cover it; | + | <p>You can also from high third hold your point inward in order to invite the enemy to go cover it; performing so, you will disengage with a call of the left foot backward; and the enemy wanting to continue a low-thrust outward, you will shoot a high-thrust inward to the right shoulder accompanying at the same time the hand.</p> |
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| <p>'''Article 9'''</p> | | <p>'''Article 9'''</p> | ||
| − | <p>Likewise, you can inward, when the enemy tries to shoot you with high-thrust inward toward the right shoulder, which you will parry inward, releasing the slash also inward.</p> | + | <p>Likewise, you can inward<ref>The transcription has "dedans" placed both before, after, and within the every clause.</ref>, when the enemy tries to shoot you with high-thrust inward toward the right shoulder, which you will parry inward, releasing the slash also inward.</p> |
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| <p>'''Article 10'''</p> | | <p>'''Article 10'''</p> | ||
| − | <p></p> | + | <p>If being in high third or in second, the enemy tries to gain with his strong your weak inward to subjugate you, you will shoot him a low-thrust outward toward the head, entering with a large step with the right foot; and in case the enemy parries it, you will force your sword against his to avert his point from your right shoulder; then passing with the left foot, you will shoot a slash inward to the leg.</p> |
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Revision as of 06:47, 9 October 2022
| Pedro de Heredia | |
|---|---|
| Spouse(s) | unknown |
| Occupation |
|
| Nationality | Spanish |
| Movement |
|
| Influences | Girolamo Cavalcabo |
| Genres | Fencing manual |
| Language | Middle French |
| Notable work(s) | Book of Lessons |
| Principal manuscript(s) |
|
Pedro de Heredia is the presumed name of a fencing master who taught young schoolchildren and wrote three French manuscripts. The manuscripts do not contain any attributions. However a catalog description from 25 June 1900 attributed one of the manuscripts to Pedro de Heredia for reasons unknown.
The manuscripts do not contain a title, but the plates in one of the manuscripts refers to the work as Le Livre des Leçons ("The Book of Lessons"). It is influenced by Girolamo Cavalcabo's Nobilissimo discorso intorno il schermo ("Most Noble Discourse on Defense").
The real Pedro de Heredia was a 17th century Spanish servant of the king at the start of the 17th century. He married in 1618 and pursued a military career in the Netherlands. He was a cavalry captain by 1630, and in 1648, he became the governor of Leau (now Zoutleeuw), Netherlands. It is unlikely that de Heredia was a fencing master because of his position.
Contents
- 1 Treatises
- 1.1 Preface
- 1.2 Single Sword Play
- 1.2.1 Chapter 1 - Simple lessons of the single sword.
- 1.2.2 Chapter 2 - The discard[9].
- 1.2.3 Chapter 3 - Double lessons of the single sword.
- 1.2.4 Chapter 4 - Feints.
- 1.2.5 Chapter 5 - Voids[10] and remedies.
- 1.2.6 Chapter 6 - The passings.
- 1.2.7 Chapter 7 - Times and counter-times.
- 1.2.8 Chapter 8 - Lessons on sword attack.
- 1.2.9 Chapter 9 - On the use of the free hand.
- 1.2.10 Chapter 10 - On sword-takings and their remedy.
- 1.2.11 Chapter 11 - The gainings[13] or the subjections of the sword.
- 1.2.12 Chapter 12 - Slashes[14], reversals, and their remedies.
- 1.2.13 Chapter 13 - Single sword play in mathematics form.
- 1.2.14 Chapter 14 - Discourse and advice of the single sword play, both for gaining land and other required subtleties.
- 1.2.15 Chapter 15 - Rule to avoid being surprised on the time of the foot.
- 1.2.16 Chapter 16 - Single sword play against sword and dagger.
- 1.2.17 Chapter 17 - On the short sword.
- 1.2.18 Chapter 18 - On the use of the cloak.
- 1.2.19 Chapter 19 - The grapples of the single sword.
- 1.2.20 Chapter 20 - Against the left-hander.
- 1.3 Sword and Dagger Play
- 1.3.1 Chapter 1 - First the dagger parries.
- 1.3.2 Chapter 2 - The simple lessons of sword and dagger.
- 1.3.3 Chapter 3 - The feints of the said sword and dagger play.
- 1.3.4 Chapter 4 - On the beats of both sword and dagger.
- 1.3.5 Chapter 5 - On the long play.
- 1.3.6 Chapter 6 - The double intentions.
- 1.3.7 Chapter 7 - The passes and their remedies.
- 1.3.8 Chapter 8 - The disappearances.
- 1.3.9 Chapter 9 - On times and counter-time.
- 1.3.10 Chapter 10 - The encroachment.
- 1.3.11 Chapter 11 - The advancing[16] on the long and short play.
- 1.3.12 Chapter 12 - On the breaking.[17]
- 1.3.13 Chapter 13 - The slashes of the sword and dagger play.
- 1.3.14 Chapter 14 - Binding and unbinding.
- 1.3.15 Chapter 15 - Subjugation, disengagement, and avoidance of engagement.
- 1.3.16 Chapter 16 - Lessons of dagger cuts.
- 1.3.17 Chapter 17 - How one can throw the sword out of the hand.
- 1.3.18 Chapter 18 - On the left foot.
- 1.3.19 Chapter 19 - Against the left-hander.
- 1.3.20 Chapter 20 - Discourse and advice of the sword and dagger play.
- 1.3.21 Chapter 21 - Know who has more advantage being in a mountainous place, he who holds the top or the bottom.
- 1.3.22 Chapter 22 - Know who has more advantage, the left-hander or the right-hander.
- 1.3.23 Chapter 23 - Rule against those withdrawing that we want to catch off guard while you pursue.
- 1.3.24 Chapter 24 - Know who has more advantage, the sword and cape or the sword and dagger.
- 1.3.25 Chapter 25 - Advice on how a little man needs to control a big man.
- 1.3.26 Chapter 26 - The grapples of the sword and dagger.
- 1.3.27 Chapter 27 - The guard takes against dagger cuts.
- 1.4 Copyright and License Summary
- 2 Additional Resources
- 3 References
Treatises
Preface
Single Sword Play
Sword and Dagger Play
Copyright and License Summary
Additional Resources
References
- ↑ According to Lauvernay, fourniment is the powder case of arquebusiers and musketeers (sometimes extended to all the equipment carried). The word is only used once to indicate a place on the body, probably a bit below the shoulder.
- ↑ Droit can mean "right" or "correct" (as in not incorrect) or "true".
- ↑ Volter is an Italian loanword of voltare which means "to turn".
- ↑ Estocade is the French loanword for the Italian stoccata and is used in this treatise as "supination".
- ↑ Brocade is the French loanword for the Italian imbroccata and is used in this treatise as "pronation".
- ↑ Caver is the French loanword for the Italian cavare, which means "to dig or to excavate".
- ↑ Lit. translated as "right-hands".
- ↑ Estramaçon is a loanword for the Italian stramazzare which means "to fall heavily". It is also French for greatsword.
- ↑ Credits to Alan Bloniarz for providing context to the word "garatusa" which is a Spanish card game where one discards their cards to win.
- ↑ Écarté is the French loanword for the Italian technique "inquartata" and means "discarded"
- ↑ "Derobement" is a modern fencing term to mean avoiding an entrapment of some sort.
- ↑ "Tirer" is normally translated as "shoot" but in this case I believe "pull" makes more sense.
- ↑ Gannance is a loanword derived from the Spanish word "ganancia", which means "gain". It is used to describe a situation where your blade is used to restrict the opponent's blade movement. Credit to Tim Riviera for the explanation.
- ↑ The Spanish word "cortar" simply means "to cut".
- ↑ The transcription has "dedans" placed both before, after, and within the every clause.
- ↑ Chassement means "chasing". In this case, it is the back foot chasing the front. In modern fencing, this is known as advancing.
- ↑ Crèvement means "to burst or to puncture." In the treatise, it is used to describe breaking guards.
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