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Difference between revisions of "Gérard Thibault d'Anvers"

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(→‎Treatise: Minor edits to Plate 5, full text of Plate 6)
(→‎Treatise: Slight modification to Plate VI, added all of Plate VII)
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The ''[[Academie de l'Espée (Gérard Thibault d'Anvers)|Academie de l'Espée]]'' (1630) is presented in three parts, a short introduction, populated with plates showing the coats of arms of several nobles who were prominent in and around the court of the low countries at the time he wrote this book, Book 1, which deals with training in the use of his system of swordplay, and Book 2 which shows how to use his system against other systems and weapons, including shields, longsword, and firearms.
 
The ''[[Academie de l'Espée (Gérard Thibault d'Anvers)|Academie de l'Espée]]'' (1630) is presented in three parts, a short introduction, populated with plates showing the coats of arms of several nobles who were prominent in and around the court of the low countries at the time he wrote this book, Book 1, which deals with training in the use of his system of swordplay, and Book 2 which shows how to use his system against other systems and weapons, including shields, longsword, and firearms.
  
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Thibault uses the term ''estocade'' to describe a thrust with the back of the hand upwards and fingers downwards, from the Italian term ''stoccata''. He uses the term ''imbrocade'' to describe a stab with the thumb vertical, or the fingers upward, from the Italian term ''imbroccata''.
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Thibault, as he explains in Plate 8, uses the term ''estocade'' to describe a thrust to the near, right side, and the term ''imbrocade'' to describe a thrust to the far, left side, from the Italian terms ''stoccata'' and ''imbroccata''.
  
 
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
  
 
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| title = Book 1 - Tableau / Plate VII
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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|-
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|Colspan="2"|[[file:Thibault L1 Tab 07.jpg|600px]]
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[[http://www.geheugenvannederland.nl/nl/geheugen/view/drie%20grote%20drie%20kleinere%20schermduo%20%20stock%20andries?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-015| Large Version]]
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N.B., the coat of arms at the top belongs to George William (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.
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|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|EXPLANATION OF THE ACTIONS IN THE SEVENTH PLATE
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|DECLARATION DES OPERATIONS DV TABLEAV SEPTIEME
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|- style="font-family: times, serif; vertical-align:top;"
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|After Zachary saw how Alexander advanced against the Direct Line posture, forcing his adversary’s sword aside at the Second Instance, and all that followed from there, he again put himself into the same posture, but with the intention of putting Alexander’s approaches to the test, and to do everything he can against them. In the preceeding Plate, he did nothing against them, except what he had to do of necessity for simple self-defense. In this one, he intends to cross his adversary’s approach with several thrusts, at the beginning, in the middle, and at the end of the action where his sword is being forced aside, taking his opportunity at the moment when Alexander raises his right foot, or when he moves towards the Second Instance, still in balance, or when he lowers it down as his body falls forward, or when he puts it down, or after he is in position. Alexander, knowing nothing of Zachary’s plans, starts again with the Direct Line posture in the same way as before, moving into the First Instance at the other end of the Circle, with his sword likewise held underneath the other.
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|Apres que Zacharie a veu la maniere d’Alexandre d’avancer ſes approches contre la droite ligne, en aſſujettiſſant l’eſpee contraire à la 2. Inſtance, avec tout ce qui en depend; il ſe va planter derechef en la meſme poſture, avec intention de mettre les approches d’Alexandre à l’eſpreuve, & de les travailler en toutes ſortes à luy poſsibles. Car en la Table precedente il n’avoit rien fait alencontre, ſinon ce qu’il eſtoit contraint de faire par neceſsité; pour la ſimple defenſe de ſa perſonne: mais en la preſente il ſe propoſe de traverſer l’approche de ſon contraire par pluſieurs eſtocades, tirees au commencement, à la continuation, & ſur la fin de l’aſſujettiſſement de l’eſpee: prenant le temps qu’il leve le pied droit, ou qu’il l’avance devers la 2. Inſtance, le tenant encor en balance, ou qu’il l’abaiſſe avec le tresbuchement du corps, ou qu’il le plante à terre, ou qu’il y ſoit deſia arrivé. Alexandre donc ne ſachant rien de ceſte intention, recommence à travailler ſur la droite ligne, en la meſme ſorte que devant, ſe mettant à la premiere Inſtance à l’autre bout du Cercle, avec l’eſpee ſemblablement en ligne droite parallele au deſſous de l’autre.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle no 1'''
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|'''Cercle n.1.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander forces his opponent’s sword aside at the Second Instance to the inside of the arm. He proceeds to there with great care, as much when raising his right foot, crossing the swords, and moving forward while sliding down the blade, as when moving the blades to take the upper hand, setting his foot down on the ground precisely in place and following with the other, deliberately, with a circular motion, until he is once again straight on his legs, as shown here in this image.''
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|''Alexandre aſſujettit l’eſpee contraire à la Seconde Inſtance en dedans du bras; y procedant avec grande circonſpection, tant à eſlever le pied droit en accouplant les eſpees, & à l’avancer en faiſant la deſgraduation, qu’à tranſporter les lames & à en prendre deuement la ſuperiorité, en plantant le pied eſlevé à terre au lieu & avec la juſteſſe requiſe, & à pourſuivre avec l’autre lent & circulairement juſqu’a ce qu’il revienne droit ſur ſes jambes; en la forme qu’on le voit icy en figure.''
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|- style="font-family: times, serif; vertical-align:top;"
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|So, to force his opponent’s sword aside at the Second Instance, he begins his work with the right foot, raising it off the ground, keeping his knee straight, at the same time raising the tip of his sword with a small movement of the wrist, making contact with the opponent’s sword to the inside, his 8th Span against the 3rd Span, and pausing briefly. After which he advances his right foot towards his left side, raising the sword further for a second time with the wrist, the inside branch of the crosspiece of his guard turned sightly upwards. In such a way that he conducts the tip of his blade a little over to the side, crossing and sliding up his opponent’s blade moving his own until his 8th Span is against the 4th Span at least, or the 5th at most. He continues to move the foot further along the same line, until his body just begins to fall forward. Then he quickly steps in and puts his foot down along the Inside Square at the letter G, then immediately raises his left foot and moves it deliberately in a circular path through the air, keeping his leg straight until he is opposite the arch of his other foot, which is on the ground. Further, to the degree his body advances with the above actions, he moves his opponent’s sword forward, with a slight roll of the wrist to force it aside, turning the inside branch of the guard vertically, and putting his left foot, currently in the air parallel to the right, down on the circumference of the Circle along the side of the Outside Square, his toes on the Oblique Diameter G-S* and his heel at the letter D. Thus the left side is turned a little forward and the heel of the right foot is on the Collateral G-M. His arm goes downwards and slightly extended, the guard is by the right hip but slightly higher, his blade crossing his opponent’s blade at the numbers mentioned, his tip rising to the top of his opponent’s head, his body is straight and perpendicular, the muscles of his arm and his knee are tensed, his feet the proper and proportional distance apart, to have all his limbs able to move promptly and actively.
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*C S is a typo in the original text. The oblique diameters run from G-S.
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|Et pour aſſujettir l’eſpee contraire à la ſeconde Inſtance, il commence à travailler du pied droit, l’eſlevant de terre avec le genouil roide, en faiſant monter au meſme temps par une petite accomodation du poignet de la main ſa pointe en haut, touchant l’eſpee contraire en dedans, du Nombre 3. le Nombre 8. avec quelque petite pauſe: apres laquelle il avance le meſme pied droit devers ſon coſté gauche, hauſſant encore l’eſpee pour la ſeconde fois à la faveur du poignet, avec les branches de la garde tournees un peu en dedans; de façon qu’il en conduit la pointe de ſa lame un peu de travers, croiſant & deſgraduant l’eſpee contraire en graduant la ſienne, & aſſemblant ſon Nombre 8. avec le Nombre 4. pour le moins ou 5. pour le plus: pourſuivant à avancer le pied plus outre du long de la meſme ligne, juſqu’à tant que le corps commence à tresbucher: lors il ſe haſte d’entrer, & de le planter ſur le coſté du Quarré Inſcrit à la lettre G, continuant à eſlever tout à l’inſtant le pied gauche, & à le porter lent & circulairement en l’air avec la jambe roide, juſqu’à ce qu’il vienne à l’oppoſité du creux de l’autre pied, qui eſt planté en terre. Or à meſure que le corps s’avance avec les ſuſdites aćtions, il emporte auſſi l’eſpee contraire à l’advenant, luy donnant un petit branſle du poignet de la main pour l’aſſujettir, en tournant les branches de ſa garde en dedans verticalement, & plantant le pied gauche à preſent eſlevé in l’air parallele au pied droit, ſur la circonference du Cercle, & ſur le coſté du Quarré circonſcrit, les orteils ſur le Diametre oblique C S, & le talon à la lettre D; dont le coſté gauche du corps ſe tourne un peu en devant, & le talon du pied droit en eſt tiré ſur la collaterale GM; avec le bras deſcendant & mediocrement eſtendu, la garde luy revenant à l’oppoſite de la hanche droite, un peu plus haute, ſa lame croiſant l’eſpee contraire en travers par devant ſa poitrine, & aux Nombres ſuſmentionneez, ſa point aſcendant juſqu’à la hauteur du ſommet de la teſte contraire, le corps dreſſé perpendiculairement, les muſcles du bras & des genoux tendus, les pieds en diſtance juſte & proportionée, pour avoir tous ſes membres à commandement, prompts, & aćtifs.
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|- style="font-family: times, serif; vertical-align:top;"
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|Having duly pushed his opponent’s sword aside, the point of contact between the two swords will be above the two Exterior Collaterals, which cross each other on the Perpendicular Diameter at the letter M. This action is also described in Plate VI, as one of the background figures, but properly presented here, in this Plate, as a more important figure, to clearly show the details of the posture of the body, arm and sword, and the position of the feet in the circle, as is now time that we take a closer look at this action. Just as the figure is larger and more detailed, our description should be more complete and precise, and readers should pay closer attention. What, after all, is more important than knowing how to attack and force your opponent’s sword aside? Or what is more useful than to be able to approach with a distinct advantage? But as superior as this is, it is also difficult. This is one of the most important sequence of operations in our  System, about which we have several important cautions to make, which shall be explained following this discription, and without which it would be impossible to forsee all the infinite number of countermeasures that could be made against this approach. You shall see in this Plate the more notable ones, which are made by means of circular disengagements.
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|Ceſt aſujettiſſement eſtant deuement accompli, il ſera trouvé que le Centre de l’attouchement des eſpees reſpondra juſtement au deſſus des deux collaterales exterieurs, qui s’entrecoupent ſur le Diametre perpendiculaire, à la lettre M. Il eſt vray que la meſme operation eſt auſſi deſcrite en la Table VI. toutesfois conſiderant, qu’elle y eſt demonſtrée par figures de moindre taille, & qu’elle devoit eſtre propoſée en ce Tableau preſent en forme plus royale, repreſentant diſtinćtement la tenue du corps, du bras, de l’eſpee, enſemble la ſituation des pieds ſur le Cercle, & qu’il eſtoit icy proprement queſtion de la mettre à l’eſpreuve; nous avons trouvé bon, que comme la figure y eſt plus grande, que auſſi les particularitez en ſoyent declarées en la deſcription plus exaćtement, & quelles s’y liſent comme en de plus gros charaćteres. Car quelle choſe plus noble, que de ſçavoir attaquer & aſſujettir l’eſpee contraire? ou quelle plus utile, que de faire ſes approches avec un ſi notable advantage? Mais autant qu’elle eſt excellente, d’autant eſt elle difficile: c’eſt l’une des plus importantes opetions de Noſtre Pratique, où il faut proceder avec la caution de pluſieurs obſervations, que ſeront declarées à la ſuite de ceſte deſcription, ſans leſquelles il ſeroit impoſſible de prevenir tant de traverſes, qui ſe pourroyent faire alencontre de ceſte approche juſqu’à un Nombre infini; dont vous en verrez en ce Tableau preſent les plus notables, qui ſe ſont par le moyen de la cavation.
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|- style="font-family: times, serif; vertical-align:top;"
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|One can make this push to the side against several different levels of force, according to what level our adversary gives to us, because of the superior strength we have from made our contact at the 8th Span against his 4th or 5th Span, before we even try to do anything with his blade. In any case one must not fail to pay close heed to this advantage, nor not take care to make the point of contact as exact as possible, and so to diminish the power of the adversary’s sword. One must always moderate one’s own power according to the situation. If the opponent uses less force we must move the point of contact up our blade accordingly. Likewise if he increases his force, we must increase ours down the blade so the force stays the same. But if he pushes hard enough that we can feel that his blade, if we let it go, will open up his centre line with his arm and blade at an angle off to the side, then we offer no resistance, and allow his blade to fly freely off to the side and we then put ourselves inside the open angle and consequently strike him, either high, or low, according to the situation as it presents itself.
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|On peut faire ceſt aſſujettiſſement ſur pluſieurs differents degrez de ſentiment, que l’adverſaire nous donne, à raiſon de la grande ſuperiorité d’avoir aſſemblé le Nombre 8. avec le Nombre 4. ou 5. de l’eſpee contraire, avant que de rien attenter ſur icelle pour la tranſporter. Toutefois qu’on ne ſe fie pas tant ſur cet avantage, qu’on laiſſe de prendre garde, le plus exaćtement qu’il ſoit poſſible, à l’accroiſſement, & à la diminution de la vigueur de l’eſpee contraire. Car il faut touſiours temperer ſes forces à l’advenant. Si elle s’affoiblit, il faut que la noſtre decroiſſe pareillement; ſi elle ſe renforce, il faut que la noſtre s’augmente alencontre, pour travailler touſiours avec poids egalement proportionné. Mais s’il fait un ſi grand effort, que le ſentiment nous rapporte, qu’il s’en va forligner, & faire un angle avec le bras & l’eſpee, lors on le laiſſe aller tout du commencement, ſans nulle reſiſtence, afin qu’il s’eſcarte tant qu’il voudra, & qu’on ſe mette ce temps pendant dedans l’angle pour luy donner conſecutivement l’atteinte en haut, ou en bas, ſuivant l’occaſion qu’il preſente.
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|- style="font-family: times, serif; vertical-align:top;"
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|Likewise, it may happen that, when in the act of forcing the opponent’s sword to the side that he weakens his resistence and yet you continue to press with the same force, without having moderated your force at that instant to equalize with his, you are in danger of overreaching with your blade and could be wounded if he makes a circular disengage and strikes over your arm.  If he gives so much with his blade that you lose contact, and yours begins to fly too far off the line, you should immediately extend your arm and sword up at an obtuse angle towards his face with a little forward motion of the body, still staying in balance. Be aware of where his tip is aiming, either up towards your face, or under your arm, or to your side. Depending on where it is coming, you can defend by moving your body around in conjunction with your arm and sword.
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|Pareillement s’il advient, eſtant en aćte de faire l’aſſujetiſſement, que l’ennemi s’affoibliſſe, & que vous continuez au contraire la vigueur precedente, ſans l’avoir temperée au meſme inſtant, & à l’egal de la ſienne, vous ſerez en tresgrand danger de tresbucher de voſtre lame, & de recevoir quelque atteinte par deſſus le bras, par le moyen de la cavation. Que s’il affoiblit ſa lame ſi avant, que vous en perdiez le ſentiment, & qu’elle commence à tresbucher vous allongerez au meſme inſtant le bras & l’eſpee en angle obtus devers ſon viſage; avec un petit avancement de la partie ſuperieure du corps, le tenant cependant en balance, & en aguettant la part ou la pointe contraire tire, ſoit en haut devers le viſage, ou deſſous le bras, ou à coſté; ce que diſcernant, vous ſeconderez l’extenſion du bras & de l’eſpee avec les mouvemens du corps, ſelon qu’il ſera plus expedient pour voſtre defenſe.
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|- style="font-family: times, serif; vertical-align:top;"
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|One will discover with experience that those who are not schooled in these techniques and who do not understand the fundamental reasons for them, will usually allow an enemy to pull away, even drop the connection at will, without working against him, and thus lose sight of his sword-point until it is too late. So they lose the timing, and real ability to defend themselves, when the enemy has made moves that far ahead, and he has taken such a degree of advantage, that one can no longer take the Direct Line position from him. Then all he needs to do is make a simple step, opening up the angle of approach, where he can enter, if he understands how to take the lead, and maintain his advantage by whatever opportunities present themselves. This demonstrates the vital necessity of being able to respond in time to an opponent’s movements, and the difference between letting him escape from your awareness of his movements and being instantly able to counter them, the latter being done with confidence, the former being very dangerous and impossible to do calmly. To avoid this problem, one must be able to instantly recognize the start of your opponent’s actions from the contact between swords. Having recognized these movements, then use your body, your arm, and your feet equally so they work together to help support the ability to connect with the sword. This is why we have described so thoroughly and precisely all the motions that happen together, including the body, the arms, and the legs. Such as raising the right foot from the ground, making a short pause, and then moving it forward with the knees straight to put it quickly on the ground. Likewise the step with the left foot in all its particulars. If the connection is not supported by the movement of the feet, it cannot be precise enough to detect and counter the opponents actions as they begin.
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|On trouvera par experience, que ceux qui ne ſont pas ſtylez en l’uſage de ceſte Pratique, & n’en comprennent encor à plein les raiſons fondamentales, permettront ordinairement à l’ennemi d’affoiblir, voire meſme de deſtacher ſon eſpee à ſa fantaſie, ſans travailler alencontre juſqu’à tant qu’ils voyent ou il dreſſe ſa pointe. Dont ils viennent à perdre le temps, & la vraye occaſion de leur defenſe; pour ce que l’ennemi quand il eſt venu ſi avant que cela, il s’eſt emparé tellement de la ſuperiorité des lames, qu’on ne luy peut d’oreſenavant clorre la droite ligne; ne reſtant autre apparence que de faire une ſimple parade, accompagnée d’une ouverture d’angle, où l’ennemi ſe peut fourrer dedans, s’il entend la maniere de prendre le temps, & de pourſuivre ſon avantage avec telle ſorte d’execution, qu’il luy viendra plus à propos. Choſe qui demonſtre bien la grande neceſſité de travailler à temps ſur les mouvmens contraires, & la difference qu’il y a de ſe laiſſer eſchapper les commencemens des occaſions hors des mains, ou de les rencontrer tout à la premiere abordee. dont l’un ſe fait avec tresgrande aſſeurance, & l’autre avec ſi extreme danger, qu’il eſt comme impoſſible d’y donner ordre. Pour eviter ceſt inconvenient, il faut recognoiſtre les commencemens des aćtions contraires par l’attouchement des eſpees; & les recognoiſſant, aſſiſter le ſentiment avec le ſecours du corps, du bras, & des pieds egalement, afin que tout aille un meſme train. C’eſt pourquoy, nous avons deſcrit ſi curieuſement & exaćtement tous les mouvemens qui vont par enſemble, tant du corps, que du bras, & des pieds: comme d’eſlever le pied droit de terre, d’en faire une petite pauſe, de l’avancer avec la jambe roide, de le planter haſtivement à terre: pareillement auſſi la demarche du pied gauche, avec toutes ſes particularitez. Car ſi le ſentiment n’eſtoit bien aſſiſté du mouvement des pieds, il ne pourroit eſtre aſſez juſte, pour recognoiſtre & rencontrer les aćtions contraires & leurs commencements.
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|- style="font-family: times, serif; vertical-align:top;"
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|When the feet land on the ground at the Second Instance, they must be exactly on the lines as described, while pressing the opponent’s sword aside. Turn the body so the left side is a little more forward, and the right side slightly back, the right arm lowered and pushed slightly forward, the guard back towards the right, slightly above the hip, with the arm and guard ready to defend the side which is more exposed to danger, as we shall see by the examples in this Plate. This is to uncover the left side to the enemy, which is easier to defend as shown in Circle No 2 in the following Plate.
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|Ce que les pieds doivent ainſi tomber à terre à la Seconde Inſtance, & en tenant l’eſpee contraire aſſujettie, eſtre ſituez preciſement ſur les lignes que nous avons deſcrites; avec le coſté gauche du corps tourneé un peu en devant, & le bras deſcendant, & mediocrement eſtendu, la garde revenant devers le coſté droit, un peu plus haut que la hanche: c’eſt pour deſcouvrir à l’ennemi le coſté gauche, qui eſt le plus facile à defendre, ainſi qu’il paroiſtra par le Cercle 2. du ſuivant; & pour tenir le coſté droit d’autant plus arriere, avec le bras & la garde preparés à ſa defenſe, comme celuy qui eſt le plus expoſé au danger, ce qu’on verra par les exemples du Tableau preſent.
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|- style="font-family: times, serif; vertical-align:top;"
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|We begin our description with Circle No 4. The figures represent the result of two different actions, one direct, the other follows on from Circle No 2. We shall begin with the first case.
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|Or pour venir à ſa deſcription, nous commencerons par le Cercle 4. duquel les figures repreſentent deux differentes operations: l’une qui va de droit devant, & l’autre qui ſuit apres le Cercle 2. nous parlerons donc preſentement de la premiere.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 4'''
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|'''Cercle N.4.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''As soon as Alexander begins to try and cross swords, Zachary makes a thrust to the face from outside the arm. But he is surprised and wounded by Alexander who takes a step to the outside and closes the Direct Line on him.''
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|''Des qu’Alexandre commence à vouloir accoupler les eſpees; Zacharie luy tire une eſtocade en dehors du bras devers le viſage: dont il eſt luy meſme ſurprins & bleſſé par Alexandre, en deſtournant la demarche un peu en dehors, & luy fermant la droite ligne.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Both parties begin in the First Instance in the Direct Line posture, swords parallel. Alexander begins to move with the intention of forcing aside the opponent’s sword when at the Second Instance. To do this, he raised his right foot, and crossed his opponent’s sword to the inside, his strong part to the weak part. Zachary makes a circular disengage and around his opponent’s arm, then gives a strong thrust with a straight arm outside Alexander’s arm, stepping forward with his right foot up to the letter R along the Diameter. Alexander sensing that he has lost contact with his opponent’s sword, instantly extends his arm and sends the tip of his sword towards his opponent’s face, the tip slightly up, crossing his opponent’s sword, and, taking a step to the outside, leaning backwards, his body erect in profile, he puts his right foot along the Interior Collateral C-S and sets it down at the second intersection, while sliding the point of contact up the blade in a circular motion over his enemy’s guard, to wound him in the face. He draws his left foot up into place, to the increase the power of his thrust. This is shown in the picture of him in Circle No 4.
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|S’eſtans trouvez les deux parties à la Premiere Inſtance en poſture de la droite ligne, les eſpees paralleles l’une à l’autre. <font style="font-variant:small-caps">Alexandre</font> commence à travailler avec intention d’aſſujettir l’eſpee contraire à la Seconde Inſtance. Et pour ce faire, ayant levé le pied droit, en touchant l’eſpee contraire en dedans, du foible le fort; <font style="font-variant:small-caps">Zacharie</font> fait ſa cavation, & luy tire avec le bras roide une eſtocade reſolue devers le viſage en dehors du bras, avançant le pied droit juſqu’au point R. ſur le Diametre. <font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment, que l’eſpee contraire ſe commence à ſe deſtacher, il eſtend tout au meſme inſtant le bras & l’eſpee devers ſon viſage, la pointe d’icelle un peu aſcendante, en croiſant l’eſpee contraire & en deſtournant ſa demarche en dehors, avec le dos panché à l’envers, & le corps dreſſé en pourfil, il poſe le pied à terre ſur la ſeconde interſećtion de la collaterale CS. en graduant circulairement l’eſpee de ſon ennemi, & le bleſſant au viſage; & laiſſant ſuivre le pied gauche en trainant proportionnellement, pour accoiſtre la vigueur de ſon eſtocade: ainſi qu’on le voit au pourtrait de ſa figure, Cercle 4.
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary performed this circular disengage immediately after the blades made contact and as Alexander paused just after he raised his right foot. He could as well done this while Alexander was stepping to the left and forcing the swords over to the side, before Alexander reached the point of losing balance. In that case, Alexander responds in the same way. That is, he moves into the enemy by stepping along the Diameter, as far as possible, so as to control his opponent’s sword more easily, almost the same way as when forcing it aside, by crossing over top of the blade as it goes under. The more one closes the distance by moving along the Diameter, the more easily one can close off the Direct Line, and, at the same time, the greater the angle of the enemy’s sword will be, leaving a safer opening to step into.
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|Or ainſi que ceſt cavation à eſté faite par <font style="font-variant:small-caps">Za</font>charie tout à l’inſtant, apres l’eſlevation du pied droit d’<font style="font-variant:small-caps">Ale</font>xandre, & de l’attouchement des deux lames, aſſavoir durant la premiere pauſe; auſſi la pourra il faire durant l’avancement du meſme pied devers le coſté gauche au commencement du tranſport de ſon eſpee, avant que le corps d’<font style="font-variant:small-caps">Ale</font>xandre commence à tresbucher. Cela eſtant, il ſe faudra regler encor en la meſme ſorte. C’eſt qu’on entrerera ſur l’ennemi en allant devers le Diametre, le plus qu’il ſera poſſible, afin de porter l’eſpee tant plus facilement, quaſi par maniere de jetter, en croiſant, au deſſus de celle qui fait la cavation. Car autant plus qu’on s’en approche en tirant vers le Diametre, autant plus aiſement on luy pourra fermer la droite ligne, & autant plus grand ſera l’angle, qui nous ſera ouvert pour y entrer au meſme temps, avec plus d’aſſeurance.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 2'''
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|'''Cercle N.2.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''At the instant Alexander begins to overbalance and his foot goes to the ground, Zachary strikes with a thrust to the face from the outside. Alexander forstalls this before he can complete his circular disengage by moving forward to the inside and sliding his blade up, keeping the arm straight and the point aimed at his face.''
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|''A l’inſtant que le pied droit d’Alexandre commence à tres-bucher vers terre; Zacharie luy va tirer une eſtocade devers le viſage en dehors du bras: dont Alexandre le previent avant qu’il ait achevé ſa cavation, en entrant plus avant dedans & graduant ſa lame; avec le bras roide & la pointe dreſſée contre ſon viſage.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Here we see Zachary begin his circular disengagement at the moment his adversary begins to overbalance. He extends his sword with a straight arm and again aims his thrust in the Direct Line, just as above, towards his opponent’s face from outside the arm, while moving forward and stepping up to the letter V on the Diameter. As soon as Alexander feels how his opponents blade lose force against his, without waiting for it to disengage, he moves his own forward with the arm extended, his tip raised a little towards his opponent’s face, across the opposing sword. He slides the point of contact up and steps with his right foot just inside the Inside Square. He draws his left foot up to the Exterior Collateral G-M to put himself into profile, stopping the point precisely in front of his opponent’s eyes, as shown in the figure.
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|Mais voicy que <font style="font-variant:small-caps">Zacharie</font> commence à faire ſa cavation, au temps que le corps de ſa partie adverſe commence à tresbucher; en eſtendant l’eſpee avec le bras roide, & en tirant derechef ſon eſtocade en ligne droite, ainſi que deſſus, vers le viſage de ſa partie par dehors le bras, avançant le corps & le pied juſqu’à la lettre V. ſur le Diametre. Si toſt qu’<font style="font-variant:small-caps">Alexandre</font> s’apperçoit par le ſentiment, que la lame contraire s’affoiblit, voire qu’elle s’amortit; ſans attendre qu’elle ſoit deſtachee, il avance la ſienne avec le bras eſtendu, la pointe un peu montante vers le viſage du contraire, au travers de ſa dite eſpee; icelle graduant, & entrant avec le pied droit un peu au dedans du Quarré Inſcrit; & laiſſant trainer le gauche proportionnellement derriere ſur la collaterale exterieure GM. dont il ſe met en pourfil, en arreſtant ſa pointe en courtoiſie devant les yeux de ſa partie, ſuivant la repreſentation de la figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|This circular disengage that happens at the instant the opponent begins to overbalance is much more dangerous for Alexander than the preceeding one, which happens while his body is still in balance, and consequently so he can better control it. This is the reason why we chose  to show this second encounter in this figure, as it is the most difficult. You should also know that it is the moment Zachary will choose most often to attack with his circular disengagement. If waits a little longer, until Alexander’s foot is almost on the ground, so that he cannot put it anywhere else than at the letter G, where he expects to be able to cast his opponent’s sword aside, the circular disengage is even more advantageous. In any case, the response remains the same, as long as one can begin to work in time, and move into profile the same as before.
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|C’eſte cavation qui ſe fait à l’inſtant que la Partie commence à tresbucher du corps, eſt plus dangereuſe pour <font style="font-variant:small-caps">Ale</font>xandre, que la precedente, qui ſe fait durant qu’il ſe ſouſtient le corps encor en balance, & par conſequent qu’il le peut miex gouverner. C’eſt la cauſe pourquoy nous avons voulu repreſenter ceſte deuxieme rencontre en figure, comme eſtant la plus difficile. Auſſi devez vous ſçavoir que c’eſt le temps que <font style="font-variant:small-caps">Za</font>charie prendra le plus ſouvent pour tirer avec ſa cavation; que s’il attend encor d’avantage juſqu’à tant que le pied droit d’<font style="font-variant:small-caps">Ale</font>xandre ſoit en aćte de s’abaiſſer, de façon qu’il ne ſoit plus en ſon pouvoir de le planter autrepart, qu’à la lettre G. ou il s’attendoit d’aſſujettir l’eſpee, la cavation luy ſera, en ce faiſant, encor plus avantageuſe. Toutesfois on en fera la rencontre en la meſme ſorte, moyennant qu’on cōmence à travailler au commencement du temps, en mettant conſequemment le corps en pourfil tout de meſme qu’auparavant.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 3'''
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|'''Cercle N.3.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander makes his thrust powerfully. He forces the opponent’s sword and arm aside while moving into the Centre, and pushing his sword with all his strength through his opponent’s head.''
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|''Alexandre faiſant l’execution de l’eſtocade en vigueur, il force le bras & l’eſpee contraire, en entrant juſqu’au Centre, & pouſſant l’eſpee detoute ſa force à travers la teſte de ſon adverſaire.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This is the final part of the previous thrust, done by Alexander, moving forward, sliding the point of contact up the crossed blades with his arm straight and stepping with his right foot into the Centre, bending the right knee, to make his hit with the full weight of his body leaning forwards. He draws the left foot behind up to the letter G, so that he will connect with his opponent’s guard hard enough to force it away, and bending his opponent’s arm, and letting his opponent’s sword fall away to the side, he makes a large enough angle that his opponent loses all possibility of defense.
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|C’eſt la finale execution de l’eſtocade precedente, faite par <font style="font-variant:small-caps">Alexandre</font>, en avançant le corps, graduant les lames avec le bras roide, & entrant avec le pied droit juſqu’au centre, en pliant le genouil d’iceluy, pour y faire avec l’execution du coup la charge du corps, en panchant ſur le devant; & trainant le pied gauche derriere bien pres de la lettre G. de ſorte qu’il vient rencontrer ſi rudement la garde contraire, qu’elle eſt contraint de luy ceder, & pliant le bras, & laiſſant eſcouler ſa lame à coſté; dont il ſe fait une ſi large ouverture d’angle, qu’il en perd toute apparance de ſa defenſe.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 4'''
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|'''Cercle N.4.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary makes his circular disengagement and aims his thrust from the outside of the arm towards the face of his adversary at the moment his sword is forced aside. So Alexander leaned backwards and stepped, and made his hit while Zachary’s sword was below his during the disengage, and followed with his left foot for for support.''
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|''Zacharie fait ſa cavation, & tire l’eſtocade en dehors du bras devers le viſage de ſa partie adverſe au temps que ſon eſpee eſt aſſujettie: dont Alexandre marché à l’envers avec le dos panché de meſme, en luy donnant l’atteinte par deſſus l’eſpee durant le temps de la cavation, l’aſsiſtant avec la pourſuite du pied gauche.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This circular disengage was made even later than the previous one. After Alexander kept pushing his adversary’s sword aside at the Second Instance, as shown in Circle No 1. Zachary made a feint so as to be able to wound him with a Direct Line thrust to the face from the outside over the sword. He moves forward, stepping in with the right foot just beside the Diameter almost to the letter R, following on by shifting his weight onto the forward knee, in the usual style. At the same instant that Alexander feels his opponent’s sword leave his, he extends his arm and sword towards his opponent’s face, with the tip raised up a little, and leans back, while stepping backwards with his right foot, just beyond the Diameter, near the letter E, while moving his sword in a circular motion over and across his opponent’s, so as to hit him. His left foot follows, bringing it up into position, sliding the contact of his sword up his opponent’s, and turning sideways, as is shown in the picture.
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|Voicy une cavation qui a eſté faite encor plus tard, que la precedente. Car apres qu’<font style="font-variant:small-caps">Alexandre</font> tenoit l’eſpee contraire aſſujettie à la Seconde Inſtance, en la forme du Cercle 1. avec un ſentiment moderé de part & d’autre; <font style="font-variant:small-caps">Zacharie</font> luy eſt venu faire une feinte pour le bleſſer en droite ligne au viſage, par dehors & par deſſus l’eſpee; en avançant le corps, & entrant du pied droit un peu par deça le Diametre, quaſi à la lettre R. pourſuivant à faire la charge du corps ſur le genouil de devant, à la mode accouſtumée. Au meſme inſtant donc qu’<font style="font-variant:small-caps">Alexandre</font> s’apperçoit par le ſentiment de l’affoibliſſement de l’eſpee contraire ſe voulant delivrer de la ſienne, il luy eſtend le bras & l’eſpee devers le viſage, avec la pointe quelque peu hauſſé, marchant du pied droit à reculons avec la jambe roide & le dos panché à l’envers au delà du Diametre, & outre la lettre E. jettant au meſme temps ſon eſpee circulairement ſur l’eſpee de ſon contraire en croiſant, & luy donnant l’atteinte; laquelle il pourſuit avec le pied gauche, trainant proportionnellement apres, en graduant les eſpees, & ſe mettant en pourfil; comme il eſt demonſtré en ſa figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 5'''
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|'''Cercle N.5.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''This is the final execution of the preceding, which follows from the others.''
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|''C’eſt l’execution de la precedente, procedant en conformité des autres''
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|- style="font-family: times, serif; vertical-align:top;"
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|This is the final part of the execution of the thrust by Alexander. He keeps his arm straight, steps in along the Diameter between the letter H and the Centre, puts his weight over the forward knee, draws his left foot up behind, sliding up the blades until he strikes his opponents guard with all his strength so hard that he is forced to bend his arm and let his tip fly up at an obtuse angle, as is shown in the figure.
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|C’eſt icy l’execution finale de la meſme eſtocade, faite par <font style="font-variant:small-caps">Alexandre</font> avec le bras roide, en entrant du pied droit ſur le Diametre entre la lettre H. & le Centre: continuant à faire la charge en panchant ſur le genouil anterieur, & à trainer le pied gauche apres, en graduant les lames juſqu’a rencontrer la garde de l’ennemi, de toute ſa force ſi rudement, qu’il le contraint de courber le bras, & de laiſſer aller ſa pointe en haut en angle obtus; comme on le voit repreſenté en ſa figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 6'''
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|'''Cercle N.6.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary again tries his circular disengagement, and consequent thrust with the timing and form as described above, in Circle No 4. Alexander prevents this another way, by stepping further in during the circular disengage, taking the Direct Line and thrusting through the head.''
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|''Zacharie faiſant derechef le cavation, & conſequement l’eſtocade au temps & en la forme que deſſus, Cercle N.4. Alexandre le previent en une autre ſorte, ſe mettant durant le temps de la cavation dedans l’angle, en prennant la droite ligne, & luy perçant en rigueur la teſte.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This action also follows on from Circle No 1. As Alexander moved carefully to the Second Instance, keeping his opponent’s sword away, off the line, with a sensitive, light touch, enough to hold it, but not more. Then Zachary again makes his circular disengage to the outside, coming in, with his arm extended, along the diameter, stepping between the letters V & R.
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|C’eſt operation procede auſſi de l’avantage repreſenté au Cercle 1. Car <font style="font-variant:small-caps">Alexandre</font> a eſté planté preallablement à la Seconde Inſtance, tenant l’eſpee contraire aſſujettie, avec un ſentiment mediocre & temperé des deux coſtez. Lors <font style="font-variant:small-caps">Zacharie</font> luy a fait une cavation pour le bleſſer derechef au viſage par dehors l’eſpee, en entrant ſur luy avec le bras eſtendu ſur le Diametre, au milieu des lettres V. & R.
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|- style="font-family: times, serif; vertical-align:top;"
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|While it is true this situation resembles that of Circle No 4, in any case this is different. Because as soon as Alexander feels Zachary’s blade fall away, which it must to perform the circular disengage around his arm, which opens up an angle and uncovers his face before he can thrust, at that moment Alexander lengthens his arm in the Direct Line, moving into this angle, and stepping straight towards the enemy along the collateral, from where he had his right foot held stopped before, to the letter L, and delivers a thrust to his opponent’s uncovered face at the same time, in the same way and with the follow-through as has been described above, by putting weight on the forward knee while leaning, and drawing the left foot up behind, almost to G, as is shown in the figure, where he has executed a powerful blow.
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|Il eſt vray que l’occaſion eſt toute ſemblable à celle du Cercle 4. toutefois la rencontre en eſt differente. Car dés qu’<font style="font-variant:small-caps">Alexandre</font> s’apperçoit par le ſentiment, que la lame de <font style="font-variant:small-caps">Zacharie</font> s’affoiblit pour ſe deſtacher, dont elle ſera forcee (pour faire la cavation) d’aller circulairement à l’entour de ſon bras, & d’ouvrir un angle avec deſcouvrement du viſage, avant qu’il puiſſe donner l’atteinte; au meſme temps <font style="font-variant:small-caps">Alexandre</font> allonge le bras avec l’eſpee en ligne droite, ſe mettant dedans l’angle ſuſdit, & cheminant droitement ſur l’ennemi au long de la collaterale; ou il tenoit paravant le pied droit arreſté; le bleſſant au deſcouvert du viſage, & poſant le pied à terre à la lettre L. avec pourſuite & execution du meſme coup, à faire ainſi qu’il a eſté dit à pluſieurs fois cy deſſus, en chargeant le corps avec un panchement ſur le genouil de devant, & trainant le pied gauche proproionnellement derriere bien pres juſqu’au G. ainſi qu’il ſe voit en la figure, ou il s’en fait l’execution par rigueur.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 7'''
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|'''Cercle N.7'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary makes his circular disengagement, and tries his thrust to the face from the outside with a bent arm at the moment when Alexander begins to overbalance and step back to the ground. As Alexander put his foot down and straightened his tip, he changed direction and diverted his opponent’s sword, forcing it away to the outside, and putting himself into the open angle.''
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|''La cavitation eſtant fait par Zacharie, l’eſtocade tirée devers le viſage en dehors du bras en ligne courbé, au temps que le pied d’Alexandre commence à tresbucher en terre; ledit Alexandre ayant planté le pied & dreſſé ſa poinćte il en modere la courſe, & en divertiſſant l’eſpee contraire il l’aſſujettit en dehors, en ſe mettant dedans les angles.''
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|- style="font-family: times, serif; vertical-align:top;"
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|We again find our two opponents in the First Instance, and Alexander begins to work the same way, to sweep his opponent’s blade aside at the Second, having raised and moved his right foot, as per the instructions in Circle No 1, having carried the sword over to the point of over balancing. At this instant, Zachary makes his circular disengagement, and gives him a bent-arm thrust from outside the arm and above the sword, to the face, stepping with his right foot along the Diameter to the letter V.
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|S’eſtant derechef trouvez les deux contraires à la Premiere Inſtance, <font style="font-variant:small-caps">Alexandre</font> a commencé à travailler encor de meſme, pour faire l’aſſujetiſſement à la Seconde, ayant hauſſé & avancé le pied droit, ſuivant les inſtrućtions du Cercle 1. & emporté l’eſpee, juſqu’à ce qu’il vient ſur le point de tresbucher: auquel inſtant <font style="font-variant:small-caps">Zacharie</font> fait la cavation, & luy porte une eſtocade courbe, en dehors du bras & par deſſus l’eſpee devers le viſage, entrant du pied droit ſur le Diametre à la lettre V.
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander again feels the lower blade begin to disengage, at that instant he extends his arm and sword, but deliberately towards his opponent’s face, setting his right foot down at the letter G. He swiftly picks up his left. Upon percieving the bent-arm, and how his enemy is bending his arm to the inside, with the interior branch of the crosspiece turned diagonally upwards, and the tip of his adversary’s sword coming at his face. He interrupts the thrust of the tip of his sword towards his opponent’s face mid-way and turns it to his own defence, crossing swords to the outside, his tip raised up and his guard lowered with his arm extended, which he does while he is moving forward and stepping in with his left side, pivoting around on his right foot, all the while putting the 5th Span of his blade against the 8th Span of his opponent. He supports his arm with the weight of his body, holding his elbow against his side, and moves beyond the Perpendicular Diameter into the open angle that he creates as he forces his opponent’s sword aside, putting his left foot down beyond the Diameter at the letter Q. Then holding his opponent’s sword down with carefully applied force, he aims his tip upwards against his opponent, with his body leaning slightly forwards, and his forward knee bent, as is shown in the figure.
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|<font style="font-variant:small-caps">Alexandre</font> s’appercevant derechef par le ſentiment, que la lame inferieure ſe commence à deſtacher, tout au meſme inſtant il allonge le bras & l’eſpee, mais lentement en ligne droite devers le viſage d’iceluy, abaiſſant le pied droit à la lettre G. & eſlevant fort haſtivement le gauche: lors s’appercevant de la courbe, & comment ſon ennemi ſe plie le bras en dedans, avec la branche interieure de la garde tournée diagonalement en haut, & la pointe venante vers ſon viſage; il arreſte la courſe de ſa pointe, qui eſtoit en train & à my-chemin de donner au viſage du contraire, dont il la deſtourne en faiſant ſa defenſe, & accouplant les eſpees par dehors le bras en croiſant, ſa pointe dreſſée en haut, & ſa garde deſcendante avec le bras eſtendu (ce qu’il fait durant l’avancement & l’entree du coſté gauche) tournant le corps ſur le pied droit en forme circulaire, de façon qu’il aſſemble durant ce meſme temps ſon Nombre 5. avec le Nombre 8. peu plus ou moins de ſa partie; & aſſiſte le bras de l’aide du corps, l’affermiſſant contre le flanc, & ſe met au dedans de la perpendiculaire & des angles qu’il s’ouvre luy meſme en deſtournant l’eſpee contraire, poſant le pied gauche à terre par deça le Diametre à la lettre Q. & tenant l’eſpee contraire en devoir avec un ſentiment temperé, ſa pointe dreſſée contremont, avec le corps un bien peu panchant, & le genouil de la jambe anterieure plié; comme il ſe voit en la figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|It is worthwhile to make a few points about this last action, because it frequently happens that we are presented with a bent-line attack.
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|Il vaut la peine de faire quelques annotations ſur ceſte derniere operation, à cauſe qu’elle vient ſouvent à propos, quaſi en toutes occurrences, où on nous preſente la courbe.
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|- style="font-family: times, serif; vertical-align:top;"
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|To begin, take the first case where the enemy makes his circular disengagement and thrust, as soon as you have attacked his sword at the First Instance and raised your right foot. The remedy to this is to advance your raised foot with a short step in a direct line, in the Circle, a little beside the Diameter, while keeping the rest of the precepts.
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|Et premierement poſé le cas, que l’ennemi vous en tire une en faiſant la cavation, dés que vous avez levé le pied droit, & attaqué ſon eſpee à la Premiere Inſtance. Le remede ſera d’avancer le pied, qui eſt eſlevé, d’un pas mediocre en ligne droite, en dedans du Cercle, un peu par deça le Diametre, en obſervant au reſte les meſmes præceptes.
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|- style="font-family: times, serif; vertical-align:top;"
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|For the second case, he makes his circular disengagement while you are moving your right foot towards the Second Instance, while you can still respond. The remedy will again be to move the foot directly towards him, with a short step, and putting it down on the Exterior Transverse between the letters G and E.
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|Pour le ſecond, qu’il face la cavation durant l’avancement du pied droit, allant devers la Seconde Inſtance, tandis que vous l’avez encore à commandement. Le remede ſera derechef de porter le pied droitement ſur luy, en faiſant un pas mediocre, & le plantant ſur la traverſante exterieure entre les deux lettres G. E.
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|- style="font-family: times, serif; vertical-align:top;"
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|If he waits until you are just at the point of overbalancing, again, you must step to the side, as much as possible, and straighten directly against the enemy on the Collateral line before the letter G.
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|s’Il attend juſqu’à tant, que vous ſoyez ſur le point de tresbucher, encores faudra il deſtourner la demarche, tant qu’il ſera poſſible & la dreſſer tout droitement contre l’ennemi ſur la ligne collaterale plus avant que la lettre G.
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|- style="font-family: times, serif; vertical-align:top;"
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|He might also make his circular disengagement at the instant when the body and foot are in the middle of overbalancing, in such as way that it is impossible for you to put your foot anywhere but at the letter G, as intended. This is the most dangerous moment of all. For as you overbalance with your body and your blade, they are that much more difficult to control, and to use for your defence. This is why we chose this moment to illustrate the Plate, as being the most advantageous for the lower blade.
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|Il pourra auſſi faire ſa cavation, à l’inſtant que le corps & le pied ſont deſia en aćte de tresbucher, de façon qu’il vous eſt impoſſible de divertir le pied, qu’il ne tombe à la lettre G. Selon voſtre premiere intention: que eſt le temps le plus dangereux de touts. Car d’autant que vous tresbuchez du corps & de la lame, auſſi ſont ils plus difficiles à gouverner, & à vous en ſervir pour la defenſe. C’eſt pourquoy nous avons propoſé au Tableau ce temps pour un exemple, comme eſtant le plus avantageux pour la lame inferieure.
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|- style="font-family: times, serif; vertical-align:top;"
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|Sometimes he will do his circular disengagement after his sword is forced aside as it appears in Circle No 1. Then you should once again move in a little with the right foot, and raise the left foot, at the same time moving it forward in a circular motion, by pivoting on the right, and following on as previously described.
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|Il fera quelquefois ſa cavation apres l’aſſujettiſſement de ſon eſpee accompli en la forme du Cercle 1. Lors il vous conviendra derechef entrer quelque peu avec le pied droit, en eſlevant quant & quant le gauche, & le portant circulirement en avant, avec un tour du corps pour faire ſur le pied droit, & enſuivant au reſte la deſcription, qui en a eſté donnée.
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|- style="font-family: times, serif; vertical-align:top;"
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|Note this last one is the safest for Alexander. In this case, he is best served by the instructions for Circle No 6. Because after he reaches the Second Instance, there is no significant difference in whether Zachary comes at him with a direct line thrust or a bent-arm thrust. Because in either case, he must pass his sword in a circular move underneath the guard before he can raise the tip up to point at the face. The way in which Alexander has a good regard for the feel of the blade, and if he begins his work as soon as the enemy begins, by extending the arm and sword, moving his body forward, and stepping in with the right foot, he will have wounded his enemy, by putting himself into the angles, before his opponent’s sword has finished its circular disengagement.
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|Or ce dernier temps c’eſt le plus ſeur de tous pour <font style="font-variant:small-caps">Ale</font>xandre. Et vaut mieux qu’en telle rencontre il ſe ſerve des inſtrućtions du Cercle 6. Car apres qu’il eſt venu ſi avant, que de s’eſtre mis à la Seconde Inſtance, ſoit que <font style="font-variant:small-caps">Za</font>charie luy tire ceſte eſtocade en ligne droite, ou en ligne courbe, il n’y a pas grand differēce. Car auſſi bien faut il neceſſairement, qu’il paſſe l’eſpee circulairement par deſſoubs, avant que de la remonter en haut pour vous tirer vers le viſage. De maniere que ſi <font style="font-variant:small-caps">Ale</font>xandre prend bon eſgard au ſentiment, & qu’il commence à travailler dés que l’ennemi commence, en allongeant le bras & l’eſpee, avançant le corps, & entrant du pied droit, il aura bleſſé l’ennemi, en ſe logeant dedans les angles, avant que l’eſpee contraire ait accompli ſa cavation.
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|- style="font-family: times, serif; vertical-align:top;"
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|Furthermore, questions and doubts will frequently present themselves for debate when performing this exercise, which occur when moving from the Second to the Third Instance. To examine them, they must necessarily be put to the test. In that case, to come to the point in question, which occurs between the Second and Third Instance, one usually dispenses with the process of carefully moving to the Second. In the event your partner decides to be rude and try, during the initial steps (which ought to be done without any real threat, in a purely perfunctory way, because otherwise the point in question cannot be explored if the stage of forcing aside the sword is not easily and quickly reached) to do a circular disengagement to try and hit us in the face in the direct line, you cannot respond as you otherwise would, since you are not watching out while stepping. (ed. op.: Get a new partner.) You can quickly respond with this current action, by turning the left side forward. That way your face, which is the target he was aiming at, will be out of the way, and you will gain the advantage of timing and ease of execution to follow the rest of the examples of bent-arm strikes described in Circles No 7 & 8.
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|En outre comme il ſe preſentera ſouventesfois en faiſant l’Exercice, des doubtes à debattre touchant operations, qui ont leur uſage en allant de la Seconde Inſtance à la Troiſieme. Pour leſquelles examiner il eſt neceſſaire d’en faire l’eſpreuve: & qu’en tel cas, pour venir au poinćt de la diſpute, qui giſt entre la Seconde & la Troiſieme Inſtance, on ſe diſpenſe ordinairement d’aller juſqu’à la Seconde avec moins de circonſpećtion. s’Il advient donc, que la partie adverſe nous abuſe durant ce premier temps (qui devroit eſtre exempt de toutes traverſes, à cauſe que le debat ne ſe peut vuider, qu’apres l’aſſujettiſſement de l’eſpee deuement & librement accompli:) s’il nous donne donc en ce temps la quelque traverſe de cavation, pour nous toucher le viſage en droite ligne, on ne pourra faire ſi bien la rencontre en ligne droite, comme il  ſeroit requis, pour n’avoir aſſez bien commené la beſogne. Vous pourrez amender ceſte inadvertence par le moyen & à l’exemple de ceſte operation preſente, en faiſant avec le coſté gauche du corps tourné en devant; dont le viſage, qui eſt le poinćt où il avoit deſtiné l’atteinte ſortira de preſence, & ſi en gaignerez vous le temps & la commodité de pourſuivre le reſte à l’exemple des courbes, ſuivant la deſcription de ces Cercles 7. & 8.
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|- style="font-family: times, serif; vertical-align:top;"
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|Likewise, it sometimes happens that you make too much effort moving the opponent’s sword in order to force it aside, or move your right foot too quickly, and your opponent chooses that moment to perform his circular disengagement. You cannot make use of the Direct Line because you are already committed to the move and would become unbalanced. Nevertheless, you can recover by using this counter against bent-arm attacks.
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|Pareillement s’il advient, que vous ayez fait trop d’effort en emportant l’eſpee contraire pour l’aller aſſujettir, ou que le pied droit ait cheminé trop viſtement; & que la deſſus la partie adverſe face la cavation; ne vous pouvant ſervir aſſez juſtement de la ligne droite, à cauſe du tresbuchement inevitable, pour la faute qui eſt deſia commiſe: elle pourra neantmoins eſtre amandée par la meſme operation de la rencontre des courbes.
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|- style="font-family: times, serif; vertical-align:top;"
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|If you find yourself overbalanced, as mentioned above, through carelessness or in error, nothing is keeping you from turning it into a stratagem, to assault your opponent, either stepping forward vigorously, or harshly attacking opponents swords to make him bend over, to try and strike your face from the outside. If this occurs, it is very easy to counter with the actions shown in Circle No 7. Because the swifter the motion you make when attacking his sword, the more you have the momentum and control to vault the left side forward, entering in with the left foot, and so regain control over the opponent’s sword attacking from the outside and following on as in the example, above.
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|Or ſi le tresbuchement dernierement dit, vous eſt arrivé par nonchalence our par meſgarde, auſſi rien n’empeſche que il ne vous puiſſe aucunefois ſervir comme d’un ſtratageme, pour abuſer le contraire; en cheminant furieuſement en avant, ou en attaquant bien rudement les eſpees, afin qu’il ait occaſion de caver, avec apparance de vous toucher par dehors au viſage. En ceſte occurrence il ſera fort facile de le rencontrer avec ceſt operation du Cercle 7. Car d’autant plus de courſe, qu’on ſe donne en attaquant les eſpees, d’autant plus a on le corps prompt & à commandement, pour ſe volter le coſté gauche devant, en faiſant l’entrade avec le pied ſeneſtre; & pour reprendre tant plus viſtement la ſuperiorité ſur l’eſpee contraire en l’affrontant par dehors, & pourſuivant à l’exemple de ce que deſſus.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 8'''
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|'''Cercle N.8.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander maintains his advantage, ensuring it through a light push against his opponent’s blade, then he raises his left foot and dropping the contact, gives him a thrust under the arm.''
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|''Alexandre pourſuit ſon avantage, moyennant l’aſſeurance d’un petit pouſſement ſur la lame Contraire, dont il leve le pied gauche & en deſtachant les eſpees, il luy donne l’atteinte deſſous le bras.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This shows the action that follows on from the previous one, in which Alexander, sensing only a light pressure from his opponent’s sword, raises his left foot while giving a small push downwards. Usually, the enemy will react by increasing the strength and force of his blade. At that instant, Alexander disengages contact with his sword, he leans back with his shoulders, brings his blade in a counterclockwise circular motion around his opponent’s arm and down, with his elbow and guard held in against his side. At the same time that he moves his left foot forward, bends the left knee, shifts his weight onto that leg, he aims the tip of his sword at the enemy’s side underneath the arm, as clearly shown in the figure.
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|Cecy contient la purſuite de l’operation dernierement precedente, en laquelle s’appercevāt Alexandre par l’attouchement d’un ſentimēt mediocre en l’eſpee contraire il pourſuit l’operation faiſant une petite eſlevation du pied gauche enſemble avec un petit pouſſement vers le bas. Dont il advient ordinairement que l’Ennemy en augmente la vigueur & le ſentiment de ſa lame. Auquel inſtant, deſtachant les eſpees il va pancher des eſpaules un peu à l’envers, & mener ſa pointe circulairement par maniere de jetter de haut vers le bas, s’affermiſſant le bras avec la garde de l’eſpee contre le coſté droit; avançant quand & quand un peu le pied gauche qui eſtoit eſlevé, en pliant le meſme genoil, ſur lequel il va faire la charge, enſemblement dreſſant la pointe de ſon eſpee au coſté de l’Ennemy deſſoubs le bras droićt; comme il ſe voit clairement en la figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|To finish executing the movement, he again moves his left foot further forward in towards his opponent, and moves his right side forwards, drawing the right foot behind, and likewise moving his arm and sword forward in such as way as to pierce his enemy’s body through: as shown previously in Plate V, Circle No 8.
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|Pour en continuer l’execution, il porte derechef le pied gauche plus avant dedans vers ſon Contraire, & avance enſemblement le coſté droićt du corps, trainant le meſme pied apres, & avançant pareillement le bras avec l’eſpee en ſorte qu’il en perce le corps de ſon Ennemy tout outre: ce qui a eſté repreſenté au Tableau V. Sur le  Cercle 8.
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|- style="font-family: times, serif; vertical-align:top;"
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|As much as we have divided this action into two parts, one should not make too much of this, or keep it as a clearly-defined two-step sequence as the figures shown in Circles No 7 & 8 would seem to imply. You must understand that this was divided into two parts to facilitate student’s learning the action, by breaking it down. For those who are more advanced in our training, and particularly in this action, they can execute these in a single, continuous, flowing sequence, without any noticeable break or pause between them. They must, however, be careful to disengage the sword then bring the tip down in a circular motion while they begin to move forward and while the right foot is raised. And when the move forward to step, at the same instant that they thrust, as explained above, with an extended arm, that the right foot follows behind.
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|Or de ce que nous avons diviſé ceſte execution en deux operations, in n’en faut pas tirer de grandes conſequences, comme ſi les temps fuſſent touſiours ſi notablement diſtinguez, ainſi que les figures des Cercles 7. & 8. ſemblent de premiere face donner à entendre. Car il faut ſcavoir, que la diviſion en a eſté faite en faveur des Diſciples, aux quels il eſt neceſſaire de donner des inſtrućtions, à chaſqun mouvement à part. Mais ceux qui ſeront un peu avancez en l’exercice, & notamment en la preſente operation, ils en pourront tirer l’execution ſans nulle pauſe entremoyenne, par la ſeule continuation des meſmes mouvements; à condition qu’ils deſtachent les eſpees, en menant la poinćte circulairement de haut vers le bas, durant qu’ils commencent à advancer le corps, & que le pied droit eſt encore eſlevé; & quand ils l’avancent pour le planter, au meſme inſtant ſera donné & achevé le coup, en la maniere que deſſus, avec extenſion du bras & de l’eſpee, le pied droićt trainant apres l’autre.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 9'''
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|'''Cercle N.9.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''At the very instant that Alexander begins to overbalance, Zachary disengages his sword and aims an acute angle thrust at his stomach, with his hand slightly raised. So Alexander draws his foot back, turning the right side outwards, with his arm and guard dropping down onto his adversary’s blade, his left foot going as far around as needed.''
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|''A l’inſtant que le corps d’Alexandre commence à tresbucher; Zacharie deſtache les eſpees, & luy tire en angle aigu devers le ventre avec la main un peu haute. Dont Alexandre retire le pied, en ſe deſtournant le coſté droit en dehors, avec le bras & la garde deſcendant ſur la lame contraire, le pied gauche allant cependant en rond à meſure que la proportion le requiert.''
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|- style="font-family: times, serif; vertical-align:top;"
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|The two begin in the First Instance. Alexander has begun his attack the same as before, that is, he has crossed his opponent’s blade to the inside of the arm, while raising and moving his right foot to force his opponents blade aside at the Second Instance  before the Diameter. While doing this, at the very instant that his body begins to overbalance, Zachary steps forward with his right foot, and disengages his sword. At the same time that he sets his foot down, a little beside the Diameter near R, he bends his knee and puts his weight on it, straightens his arm, and aims his thrust at an acute angle downwards at his opponent’s lower body. He keeps his shoulder protected by his sword-guard, but his face is open. Alexander recognizes what is happening, partly by sight, seeing his opponent’s body begins to move forward, and partly by feel that he is about to disengage his sword. He does not complete his step with his right foot, which should go as far as the Second Instance, but in place of this, because his body is still enough in balance that he can change where his foot is going, he draws his foot back, putting his toes down on the Oblique Diameter G-I and his heel on the Circumference. At the same time that he moves his left foot circularly around to bring it up into place, he also turns his right foot, pointing his right toes towards his opponent, and by this same motion withdraws his lower right side a little to the outside, leaning his upper body forward, straightening and lowering his arm, so that the guard of his sword is pressing down on top of his opponent’s sword. As his opponent’s tip continues to move towards his body, he continues to withdraw the lower part of his body, while sliding the point of contact up the two blades, so that they become almost parallel, with the lower one underneath the exterior branch of the crossguard. This is what is shown by the figures.
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|Les deux parties s’eſtants premierement tenu ſur la Premiere Inſtance; <font style="font-variant:small-caps">Alexandre</font> a commencé à travailler tout de meſme qu’auparavant, ſçavoir eſt, qu’il a touché la lame contraire avec la ſienne en dedans du bras, en eſlevant & avançant le pied droit pour faire l’aſſujettiſſement à la Seconde Inſtance par deſſoubs le Diametre. Ce que faiſant, au meſme Inſtant que le corps luy commence à tresbucher, <font style="font-variant:small-caps">Zacharie</font> s’avance le corps avec le pied droićt en deſtachant ſon eſpee, & plante le pied quand & quand un peu deça le Diametre aupres de R, pliant le genouil, & panchant le corps deſſus, tirant ſon eſtocade en angle aigu avec le bras roide vers la partie inferieure du corps de ſa partie adverſe; demeurant ſon eſpaule droite couverte par la garde de l’eſpee, mais le viſage à deſcouvert. <font style="font-variant:small-caps">Alexandre</font> recognoiſſant en partie à veuë d’œil, que le corps de ſon Contraire ſe commence à avancer, en partie auſſi par le ſentiment qu’il va deſtacher ſon eſpee, il ne pourſuit pas la demarche du pied droit, qui devoit aller juſqu’à la Seconde Inſtance, mais au lieu de ce faire (puis que le corps eſt encor en balance, en ſorte qu’il en peut divertir le pas) il retire le pied arriere le plantant ſur la Circonference & ſur le Diametre oblicq G I; tournoyant quand & quand le pied gauche circulairement, & le plantant en diſtance proportionelle derriere l’autre, tournant enſemblement auſſi les deux pieds, les orteils devant direćtement contre ſa partie, & au meſme moyen auſſi retirant un peu en dehors la partie inferieure du coſté droit, avec panchement de la partie ſuperieure, fait avec le bras roide en deſcendant en ſorte, qu’il vient à mettre ſon eſpee avec la garde ſur l’eſpee contraire. Et à meſure que la pointe contraire s’avance vers la partie inferieure de ſon corps, ainſi à l’advenant il s’eſloigne avec ladite partie inferieure, deſgraduant cependant les deux lames, en ſorte qu’elles viennent à ſe rendre quaſi paralleles l’une à l’autre, & celle de deſſoubs à ſe retrouver ſoubs la branche exterieure de ſa garde. C’eſt ce qui eſt repreſenté par les figures.
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|- style="font-family: times, serif; vertical-align:top;"
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|In performing this action, sometimes, because the underside of the guard is round, Zachary’s blade will slide underneath the interior branch of the crossguard. This makes no difference to this action, but to the subsequent one, which will be entirely different from that shown in Circle No 10.
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|Or en faiſant ceſte operation, il adviendra quelqus fois, parce que le bas de la garde d’<font style="font-variant:small-caps">Ale</font>xandre eſt rond, que la lame de <font style="font-variant:small-caps">Za</font>charie en gliſſera deſſoubs ſa branche interieure; ce qui ne fait pas de difference en l’operation, mais bien en l’execution qui en depend, laquelle il faudra faire en tel cas tout autrement; comme il ſera monſtré au Cercle 10.
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|- style="font-family: times, serif; vertical-align:top;"
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|Furthermore, this action can be performed at three other moments. First, when Alexander is just raising his foot and is ready to cross swords, or they are already in contact and he is about to move it towards the Second Instance, in order to force it aside like before. If Zachary moves at this moment by stepping with his right foot forward to the letter R, as above, Alexander will again meet his low thrust with this same action, that is, withdrawing his right foot, leaning forward, and lowering his arm, the only difference being that at this time, having not yet moved, he draws his foot straight back, and sets it back down on the Diameter in the Quadrangle, otherwise performing the rest of the movement the same as above.
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|Au reſte cette meſme operation peut encore eſtre pratiquée en trois autres temps; Premierement lors qu’<font style="font-variant:small-caps">Alexandre</font> en eſlevant le pied s’appreſte d’accoupler les eſpees, ou qu’il les a deſia accoupleées pour les emmener & aſſujettir à la Seconde Inſtance, ainſi qu’auparavant. Car ſi <font style="font-variant:small-caps">Zacharie</font> s’avance la deſſus avec le pied droit, comme il eſt dit, juſqu’à la lettre R: <font style="font-variant:small-caps">Alexandre</font> rencontrera derechef ſon eſtocade avec ceſte meſme operation, aſſavoir avec le retirement du pied droit, panchement de la partie ſuperieure du corps, & abaiſſement du bras avec l’eſpee; n’y ayant que ceſte difference, que en ceſte preſente occaſion il retirera le pied eſlevé droitement arriere, & le plantera ſur le Diametre du quadrangle, procedant en tout le reſte ainſi que devant.
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|- style="font-family: times, serif; vertical-align:top;"
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|The second moment occurs when Alexander is already in the act of moving his right foot towards the Second Instance, at which point he is yet still in balance. That is when Zachary tries a thrust in the same way as before. At this time, Alexander withdraws his foot and puts it down on the Circumference where the Collateral GM crosses it, then he turns and, at the same time, draws his left foot up into place behind the other, with the same considerations as above.
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|Le ſecond temps ſera lors qu’<font style="font-variant:small-caps">Alexandre</font> ſera deſia en aćte d’avancer le pied droit vers la Seconde Inſtance, durant qu’ils tient le corps encore en balance; & que <font style="font-variant:small-caps">Zacharie</font> luy tire là deſſus une eſtocade en la meſme maniere que devant. En ceſte occaſion <font style="font-variant:small-caps">Alexandre</font> retirera le pied eſlevé droićtement en arriere, le plantant ſur l’entrecoupure de la Circonference & de la Collaterale G M, en tournoyant & plantant quant & quand le pied gauche proportionnellement derriere l’autre, avec les meſmes opſervations que deſſus.
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|- style="font-family: times, serif; vertical-align:top;"
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|The third moment is the one usually used and best choice for Zachary, which is the one shown in the Circle. That is, the moment when Alexander’s weight is shifting onto his right foot and begins to overbalance. Thus, it is much more difficult for him to control his foot at that instant, than at earlier moments.
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|Le troiſieme temps qui eſt le plus ordinaire & le plus avantageux pour <font style="font-variant:small-caps">Za</font>charie, c’eſt celuy que la figure du Cercle nous repreſente; aſſavoir quand le pied droit d’<font style="font-variant:small-caps">Ale</font>xandre commence à tresbucher par la charge du corps; en ſorte qu’il luy eſt plus difficile de ſe bien gouverner en ceſt inſtant là, qu’és deux autres occaſions precedentes, où il avoit le pied plus à commandement.
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|- style="font-family: times, serif; vertical-align:top;"
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|When performing this action, one must, above all, take care to contact and force the opponent’s blade aside by means of leaning the upper body, by which means the arm can be lowered without making any particular move of its own. Otherwise, nothing would stop the adversary from hitting from the outside over the arm at the instant it descends, because it is not possible to make two contrary motions at the same time, that is, descending and rising, or advancing and withdrawing. This can, however, be done when the body is used to lower the arm, without making any particular motion with the arm. Because even as the body leans forward, the arm remains free to move and can instantly respond to any situation, whether it be to raise it up and move it forward, or to lower it, or otherwise. As such, if the enemy tries a circular disengage to strike over the arm, one can maintain the superior position over the other sword, and not only interrupt his attack, but, what is more, wound him in the process. The reason behind this observation was explained in Plate V in the final annotation to Circle No 12. I know that action was different from this one, being done at a greater distance, nonetheless, one can make good use of the explanation of that other move.
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|En ceſte operation il faut ſur tout prendre garde pour deuement rencontrer & aſſujettir la lame contraire, de le faire avec & moyennant le panchement de la partie ſuperieure du corps, par lequel le bras vienne à deſcendre par compagnie ſans faire aucun mouvement particulier. Car autrement il n’y aura rien qui puiſſe empeſcher la partie adverſe de nous donner une atteinte en dehors par deſſus le bras à l’inſtant qu’il deſcend, pource qu’il ne luy eſt poſſible de faire en un meſme inſtant deux mouvements contraires, ſçavoir eſt, deſcendre & monter ou avancer & reculer enſemble. ce qu’on peut toutesfois faire quand on fait deſcendre le bras avec le corps, ſans mouvement particulier; car encores que le corps ſe panche, toutesfois le bras demeure libre pour s’accommoder au meſme inſtant à toutes occaſions, tant à monter & à avancer, qu’à deſcendre ou autrement. En ſorte que ſi l’Ennemy vient à caver & à avancer l’eſpee pour nous en frapper par deſſus le bras, on en conſervera la ſuperiorité des eſpees, que non ſeulement on luy rompra ſon entreprinſe, mais qui plus eſt, on le bleſſera luy meſme. la raiſon de ceſte obſervation eſt auſſi expliquée au Tableau V. en la derniere annotation du Cercle 12. jaçoit que l’operation en ſoit differente de celle cy, comme eſtant pratiquée de plus loing; toutesfois l’une peut grandement ſervir à l’explication de l’autre.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 10
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander takes a step towards his opponent’s sword, and hits him in the face, executing the blow by sliding up the sword and leaning forward with his arm held straight out in front.''
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|''Alexandre marche devers l’eſpee contraire, & luy donne l’atteinte au viſage, en faiſant l’execution, en graduant & panchant du corps ſur le devant avec le bras roide & avancé.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This is the follow-up and final execution of the previous action. Alexander steps with his right foot towards his right side, setting his foot down on the Diameter at E, quickly followed by his left foot, which he moves in a circular motion to the middle of the Quadrangle, he slides the point of contact from the centre of his blade up his opponent’s, while straightening his arm and moving his body forward, leaning in, and shifting his weight onto his bent right knee, at the same instant wounding his adversary in the face.
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|Voicy maintenant la pourſuite & execution de l’operation precedente: pratiquée par <font style="font-variant:small-caps">Alexandre</font> en avançant le pied droit contre ſa partie à main droite, le plantant ſur le Diametre au poinćt E, avec une ſoudaine pourſuite du pied gauche, à trainer circulairement juſqu’au milieu du quadrangle, graduant enſemblement la lame contraire du centre de la ſienne, avec roidiſſement du bras & avancement du corps, panchant ſur le devant, & ſe pliant ſur le genouil droit, & ainſi bleſſant au meſme inſtant ſa partie adverſe au viſage.
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|- style="font-family: times, serif; vertical-align:top;"
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|This Alexander executes this move stepping with his right foot to the right, as long as his opponent’s blade was underneath the outside branch of his crossguard. But if, on the contrary, (which happens often enough, as noted in Circle No 9) it is the case that the opponent’s sword crosses underneath and is to the inside, the execution has to be done by stepping to the left side with his right foot, allowing his left foot to follow on with a circular motion.
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|Ceſte execution a eſté faite, en entrant du pied droit vers le coſté droit, pour autant que l’eſpee contraire eſtoit revenue deſſous la branche exterieure d’<font style="font-variant:small-caps">Ale</font>xandre: mais s’il advient au contraire (ainſi qu’il advient aſſez ſouvent, comme nous avons remarque au Cercle 9.) qu’elle ſe retrouve deſſoubs la branche interieure, il en faudra faire l’execution en marchant du pied droit vers le coſté gauche, laiſſant ſuivre & trainer le pied gauche circulairement à l’advenant.
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|- style="font-family: times, serif; vertical-align:top;"
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|In summary, we wish, in this and in all other time when one practices actions sideways against an opponent’s blade, whether to the left side or the right, that it be forced aside there. Because the more you can work against it, the greater the angle you will open up, that you can move inside, out of danger, and make certain of your action.
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|En ſomme nous voulons, qu’en ceſte & en toutes autres occaſions on pratique les executions du coſté de l’eſpee contraire, tant à droite, comme à gauche, là ou elle ſera aſſujettie: pource que d’autant plus qu’on travaillera alencontre, d’autant en fera on une plus grande ouverture d’angle, ou on ſe pourra mettre dedans hors du danger, & en aſſeurer l’execution.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 11'''
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|'''Cercle N.11.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''At the instant that Alexander’s body begins to overbalance, Zachary tries again to hit the stomach from an acute angle, covering his face with the guard. So Alexander, moves back and again turning, as in Circle No 9, crossing, and forcing his opponent’s blade aside by leaning forward with his upper body.''
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|''A l’inſtant que le corps d’Alexandre commence à tresbucher, Zacharie luy tire derechef en angle aigu devers le ventre, ſe couvrant luy meſme le viſage par l’entremiſe de la garde: dont Alexandre en retirant & deſtournant derechef comme au Cercle 9. va croiſer & aſſujettir la lame contraire par le moyen de la partie ſuperieure du corps à pancher ſur le devant.''
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|- style="font-family: times, serif; vertical-align:top;"
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|The two adversaries begin at the First Instance with their swords held in the Direct Line position. Alexander begins to work with the intention of forcing aside his opponent’s blade, as in Circle No 1. He has raised his right foot, and crossed swords with his 3rd Span against his opponent’s 8th Span and so begins to step towards the Second Instance beside the Oblique Diameter. Zachary becomes aware that Alexander’s foot is falling back to the ground as he overbalances. At that instant, he steps in, covering his face by raising and interposing his guard, moving his right foot forward to the letter V along the Diameter, at the same time making his thrust by bending his knee and leaning his body forward towards the lower part of his adversary’s body.
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|Les deux parties ayants, preallablement mis à la Premiere Inſtance leurs eſpees en lignes droites; <font style="font-variant:small-caps">Alexandre</font> commence à travailler en intention d’aſſujettir l’eſpee contraire, tout de meſme comme au Cercle 1. Ayant donc levé le pied droit, & aſſemblé les Nombres des lames 3. contre 8. & ainſi marchant vers la Seconde Inſtance par deça le Diametre; <font style="font-variant:small-caps">Zacharie</font> aguette que le pied luy viene à tomber par le tresbuchement du corps, & au meſme inſtant il entre dedans, ſe couvrant le viſage par le hauſſement & entremiſe de ſa garde, en avançant le pied droit juſques outre la lettre V ſur le Diametre, tirant egallement l’eſtocade avec pliement du genouil & panchement du corps vers la partie inferieure du corps contraire.
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander quickly perceives by his sense of  feel that the blades are disengaged and sees that Zachary is protecting his face, continues to follow the blade, crossing it from above with his own and pressing down, together with quickly withdrawing his right side, he sets his right foot down in the middle of the line G-D. He quickly follows with his left foot, bringing it into position behind and a little to the side, while leaning forward with his body, turning the exterior branch of the crossguard diagonally upwards, and sliding the point of contact up his opponent’s sword, until his 9th Span is in contact with Zachary’s 6th or 7th Span, and raising the tip of his sword, so that he is forcing the tip of his opponent’s blade down so far that his right side is uncovered, as shown in the figure.
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|<font style="font-variant:small-caps">Alexandre</font> donc s’appercevant à temps du deſtachement des eſpees par le moyen du ſentiment, & recognoiſſant par la veuë la protećtion du viſage contraire, il continue à pourſuivre la lame, la croiſſant avec ſuperiorité de la ſienne, & enſemble retirant viſtement à coſté droit, plantant au meſme inſtant le pied droit à terre au milieu de la ligne G D; avec une ſoudaine pourſuite du pied gauche, à planter une bonne proportion, derriere l’autre un peu à coſté, panchant cependant du corps ſur le devant, & deſgraduant l’eſpee contraire, en tournant ſa branche exterieure diagonalement en haut avec la pointe de la lame en peu hauſſée, & le Nombre 9. d’icelle accouplé avec le 6.ou 7. de l’eſpee contraire, de façon qu’en aſſujettiſſant il en abaiſſe tellement la pointe, qu’il luy en deſcouvre le coſté droit du corps; comme on le voit repreſenté en la figure.
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|- style="font-family: times, serif; vertical-align:top;"
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|His adversary could try the same thrust at three [four] other times while Alexander is in the act of stepping with his right foot from the First Instance to the Second to force the blade aside.
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|La meſme eſtocade pourra auſſi eſtre attentée par l’adverſaire en trois autres occaſions, durant qu’<font style="font-variant:small-caps">Ale</font>xandre ſera en aćte de marcher du pied droit de la Premiere Inſtance à la deuxieſme, pour faire l’aſſujettiſſement.
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|- style="font-family: times, serif; vertical-align:top;"
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|The first one is when he begins to move his raised foot towards his left side, at the instant when his foot is over the midway point, at the intersection of the two lines C-G and D-E. To parry and counter his adversary’s action, he has to let his foot drop while withdrawing it straight back to the Circumference, turning his right side outwards and quickly drawing his left foot into place to recover his balance.
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|Premierement lors qu’il commence à avancer le pied eſlevé vers ſon coſté gauche, à l’inſtant qu’il arrive au mitan du chemin au deſſus de l’entrecoupure des lignes CG & DE. Pour donc rencontrer & parvenir en ceſt inſtant l’operation de l’adverſaire, il faut laiſſer tomber le pied en le retirant droitement arriere juſques à la Circonference, avec un deſtournement du coſté droit en dehors; & avec ſoudaine pourſuit du pied gauche à gouverner à l’advenant.
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|- style="font-family: times, serif; vertical-align:top;"
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|Likewise, this could be performed at the instant that Alexander’s toes pass the aforesaid intersection of the lines C-G and D-E, which is a little beyond half the distance of the step, and a little before the weight of the body affects the movement of the foot. To defend against the thrust at this moment, Alexander again withdraws his foot, setting it down on the Circumference, following through with the same motion of the left foot as above.
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|Semblablement elle pourra eſtre pratiquée à l’inſtant que les orteils du pied d’<font style="font-variant:small-caps">Ale</font>xandre ſeront paſſez entre ladite entrecoupure des lignes C G, & D E, qui eſt un peu outre la moitié du chemin, & le plus avant que le pied peut aller ſans eſtre incommodé de la charge du corps. Pour ſe defendre de l’eſtocade tirée en cedit dernier inſtant, il convient à <font style="font-variant:small-caps">Alexandre</font> retirer le pied eſlevé droitement en arriere, en le plantant derechef ſur la Circonference, avec la meſme pourſuite du pied gauche, que devant.
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|- style="font-family: times, serif; vertical-align:top;"
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|The third moment to again try the same move is after Alexander has moved his foot and weight over far enough that he is just about to overbalance. At this instant, Alexander must, once again, withdraw his foot to the Circumference, and follow on consequently with his left foot.
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|Le troiſieme inſtant pour pratiquer encore le meſme, ſera apres qu’<font style="font-variant:small-caps">Ale</font>xandre aura porté le pied encore plus outre ſi avant qu’il commence à tresbucher avec le tranſportement du corps: auquel inſtant <font style="font-variant:small-caps">Alexandre</font> doibt derechef retirer le pied eſlevé ſur la meſme Circonference, & conſequemment pourſuivre avec le pied gauche.
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|- style="font-family: times, serif; vertical-align:top;"
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|The last possible time would be when Alexander has moved his foot so far forward as to be overbalancing, which is the most difficult time of all to respond, since he cannot withdraw his foot, but rather only turn on it. For this reason, we treat it with special attention giving it its own sequence in the Plate to show its importance.
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|Le dernier inſtant ſera lors qu’<font style="font-variant:small-caps">Ale</font>xandre aura porté le pied ſi avant, qu’il ſera venu à tresbucher tout à fait enſemble avec le corps; qui eſt l’occaſion la plus difficie de toutes à bien rencontrer, n’eſtant poſſible de retirer le pied, ains ſeulement de le tourner. Pour laquelle cauſe il nous à ſemblé expedient de la repreſenter au Tableau meſme, comme eſtant de plus grande importance.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 12'''
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|'''Cercle N.12.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander trains his point at his adversary’s side, by simply turning his hand, and executes the thrust by sliding the point of contact up the blades, and stepping in with his right foot.''
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|''Alexandre dreſſe ſa poinćte au coſté de l’Adverſaire, en tournant ſeulement la main, & en fait l’execution en graduant les lames, & entrant avec le pied droit dedans.''
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander follows the preceding action. He raises his right foot while he turns his wrist so the exterior branch of his crossguard goes outwards and down from the vertical to contact and hold his opponent’s blade in place, which brings the tip of his own blade near to his adversary’s right side. And at the same time as he slides his blade along his opponent’s so the two guards meet, he moves his foot forward and in to the letter I. He wounds his adversary under the right armpit, by bending his right knee and leaning his body, helped by his left foot following along, and increasing the force of his thrust, so that he goes right through the body. His guard meets his opponent’s, and dominates it so much that his opponent’s tip drops to the ground, as it is shown in the figure.
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|<font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation precedente; en eſlevant le pied droit, & enſemblement tournant du poignet de la main ſa branche exterieure, de verticale qu’elle eſtoit, en dehors juſques à trouver & ſerrer la lame contraire, menant auſſi par ce meſme moyen ſa pointe en la preſence du coſté droit de l’adverſaire: & quand & quand graduant ſon eſpee, durant que le pied s’avance & entre juſqu’à la letre I. bleſſant ſa partie adverſe deſſoubs l’aixelle droite, avec pliement du genouil, & panchement du corps, aſſiſté du pied gauche en trainant apres, & augmentant la vigueur de l’eſtocade, en ſorte qu’il luy en donne à travers du corps; rencontrant la garde contraire de la ſienne, & la maiſtriſe tellement que la pointe en decline vers terre; ainſi qu’il ſe foit au pourtrait de la figure.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 13'''
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|'''Cercle N.13.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary aims at an acute angle towards his adversary’s stomach. Alexander, by turning on his toes and leaning forward, hits him with the Direct Line in his uncovered torso.''
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|''Zacharie tirant en angle aigu vers le ventre de ſon Adverſaire au temps qu ſon eſpce eſt aſſujettie; Alexandre en ſe tournant ſur ſes orteils en panchant ſur le devant, luy donne l’atteinte en droite ligne au deſcouvert de a poitrine.''
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|- style="font-family: times, serif; vertical-align:top;"
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|This action proceeds from that shown in Circle No 1. At the instant that Alexander forces the blade aside at the Second Instance, Zachary comes in on Alexander, stepping forward with his right foot to just beyond the letter V beside the Diameter, aiming an acutely angled thrust with a straight arm at his lower body. Alexander feels the blade disengage and sees that his opponent’s right shoulder is uncovered. He does nothing more than withdraw the lower right side of his body (the target of the thrust) away by turning on his toes and leaning his upper body forward towards his opponent, and attacking him from the Direct Line, by straightening and extending his arm, hitting him at the nearest point, which is the uncovered shoulder. One point to consider is that Zachary’s reach is shortened to the degree that his sword is pointed off the Direct Line, aiming at an acute angle. Whereas Alexander’s lengthens because he is working along the Direct Line, increased by leaning forward, while withdrawing his lower body. This gives him enough of an advantage that he can wound his opponent without the tip of his opponent’s blade getting to him. This is also demonstrated in Plate V, where it is more fully explained and mathematically verified.
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|Ceſte operation procede de celle qui eſt repreſentée au Cercle 1. Car à l’inſtant qu’<font style="font-variant:small-caps">Alexandre</font> accomplit l’aſſujettiſſement à la Seconde Inſtance: <font style="font-variant:small-caps">Zacharie</font> luy vient entrer deſſus, en avançant le pied droit un peu outre le point V au deça du Diametre, luy tirant d’un bras roide une eſtocade en angle aigu vers la partie inferieure du corps. <font style="font-variant:small-caps">Alexandre</font> qui s’apperçoit par le ſentiment du deſtachement des eſpees, & par la veue, que l’eſpaule droite du contraire ſe deſcouvre; il ne fait rien que deſtourner le coſté droit de la partie inferieure du corps (qui eſtoit la bute de l’eſtocade) en ſe tournoyant ſur ſes orteils, & enſemblement ſe panchant ſur le devant devers ſon contraire, & luy aſſenant en ligne droite, moyennant l’extenſion & roidiſſement du bras, un coup de pointe au plus prochain point d’attouchement, qui eſt en la dite deſcouverture de l’eſpaule droite. Eſtant à conſiderer que l’eſpee de <font style="font-variant:small-caps">Za</font>charie ſe racourcit à meſure qu’elle ſe depart de la droite ligne, tirant à l’angle aigu: là où celle d’<font style="font-variant:small-caps">Ale</font>xandre au contraire s’allonge, à raiſon qu’il en travaile en ligne droite, l’aſſiſtant meſme d’un panchement de corps, avec retirement de la partie inferieure. ce qui luy porte ſi grand avantage, qu’il atteint & bleſſe ſon Contraire, ſans que la pointe contraire puiſſe arriver juſques à luy. Ceſte demonſtration eſt auſſi repreſentée au Tableau V, où elle eſt auſſi plus amplement expliquée & verifiée par raiſons de Mathematique.
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|There are some doubts which some might raise against this, which can be resolved here and now. That is, whether the wound Alexander makes could be done against an acutely angled tip. This seems impossible, since this tip moves to the opponent’s body in the blink of an eye without stopping, the two bodies are approaching, and will immediately be so close that the lower sword will have an inevitable opportunity to wound the opponent. The answer appears in the description of the action in the following Circle.
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|Il faut icy reſoudre une doubte, qui pourroit eſtre propoſée alencontre; aſſavoir ſi ceſte bleſſure d’<font style="font-variant:small-caps">Ale</font>xandre, ſe faiſant ainſi avec panchement du corps, pourroit eſtre pratiquée avec une pointe aiguë. Ce qui ſemble ne pouvoir eſtre, à cauſe que ladite pointe paſſant en un clin d’œil le corps contraire ſans nul arreſt, les deux corps s’approcheroyent & viendroyent incontinent ſi fort en preſence que l’eſpee de deſſoubs en acquerroit l’opportunité de contrebleſſer infalliblement ſa partie contraire. La reſponce en paroiſtra d’elle meſme par la deſcription de l’operation du Cercle ſuivant.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 14'''
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|'''Cercle N.14.'''
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|''Alexander makes sure his blade is above his opponent’s and holds it there, as he executes his thrust, stepping into the enemy with his left side leading.''
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|''Alexandre s’aſſeure deſſus la lame contraire, & la tenant en devoir, il fait l’execution de ſon eſtocade, en entrant deſſus l’ennemy avec le coſté gauche devant.''
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|Alexander thus follows through the action he began, he steps in towards his adversary with his left foot and side forward, by only turning on his right foot to make his approach. In this way, the upper body moves down with the arm as it moves forward, which moves the guard over top of the opponent’s blade, in a way which pushes the other tip down further the closer he moves in. As he continues to close together with the effect of leaning, at the same time he slides the point of contact up the opponent’s sword, when he puts his foot down beyond the Diameter in the middle of the line M-S, drawing up the right foot, he reinforces the force of the thrust so much that the shock of striking his opponent’s sword with his guard drives the point down almost into the ground, while pushing his tip through his opponent’s body.
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|<font style="font-variant:small-caps">Alexandre</font> donc pourſuivant l’operation encommencée, il entre ſur ſa partie adverſe avec le pied & le coſté gauche, en ſe tournant le corps ſur le pied droit, ſans aucun autre approchement: & comme ainſi ſoit, que la partie ſuperieure du corps deſcende auſſi à l’advenant avec le bras, il conduit ſa garde deſſus la lame contraire, en ſorte que la poinćte d’icelle en eſt pouſſée vers le bas à meſure que le corps entre: dont en continuant à s’approcher davantage, & enſemblement à ſe pancher ſur le devant, au meſme temps il fait la graduation ſur l’eſpee, & plante le pied eſlevé en deça le Diametre, ſur le milieu de la ligne M S, avec pourſuite du pied droit, renforçant par ce moyen tellement la vigueur de l’execution, qu’il emporte du chocq de ſa garde le bras & l’eſpee contraire, en ſorte que la pointe en tombe quaſi à terre, en luy pouſſant l’eſtocade à travers le corps.
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|These last two actions after Circle No 13 must be done very exactly in practice. Alexandre hits his opponent right at the start of his movement, as soon as he feels the disengagement of the swords, before Zachary has the ability to lean or step forward to within striking distance. This is absolutely necessary to observe. If one does not move at the exact time, and if Zachary has moved his sword and body forward however small an amount, then in that case one can no longer use the lesson of Circle No 13, since one will recieve as much as one gives. Therefore, to avoid this danger, it will be necessary to defend as in Circle No 9, turning to the right side while drawing the feet back as the turn, and following at the same time the execution of the action of Circle No 10, as previous described.
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|If faut tres-exaćtement obſerver en la pratique de ces deux derniers operations, qu’au Cercle 13. <font style="font-variant:small-caps">Ale</font>xandre à donne l’atteinte à ſon contraire tout au commencement de ſon mouvement, ſi toſt qu’il s’eſt apperceu par le ſentiment du deſtachement des eſpees, avant que le corps de <font style="font-variant:small-caps">Za</font>charie ait eu la commodité de ſe pancher ou de s’avancer pour trouver la meſure d’atteindre. Ce qui eſt du tout neceſſaire à obſerver. Car ſi on ne prend le temps juſte, & que <font style="font-variant:small-caps">Za</font>charie ait avancé l’eſpee avec le corps pour peu que ce ſoit, en ce cas on ne ſe pourra pas aider de ceſte meſme leçon du Cercle 13. car encore qu’on donnaſt, auſſi on recevroit. Pour donc eviter & prevenir le danger qu’il nous avoit appreſté, il ſera beſoing de s’en defendre à l’exemple du Cercle 9. en deſtournant le coſté droit avec retirement & tournement des pieds; en pourſuivant quand & quand l’execution du Cercle 10. ſuivant les obſervations qui en dependent.
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|
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|The principle to which every student must aspire in performing the actions in the Plate, is to have exact timing. This is one of the most important points of the entire system, and without this, nothing can be performed either gracefully or surely. For if Hypocrites, that Prince of Doctors, dared pronounce only with care on matters of medicine, which was difficult to observe and diagnose, even when the sypmtoms endured for days, or, at the least, hours, we have even more reason to say, how fast and difficult is the Practice of Arms, wherein we have often a moment of time, and often are presented with but an instant to decide, which is a point of time, indivisible, and without any duration. As such, there are times wherein we can find an opportunity, but few opportunities wherein we find much time. Which is why those who strive to reach this high goal to comprehend correct feel and timing, I shall warn them now, that they must not assume this is an easy thing and they must not be bored with spending a long time practising these exercises presented in this Plate VII. For beyond the confidence that they will provide in the prefection of the Theory and Practice of Arms, they may also be, in and of themselves alone, enough to become competent to enter into a fight against the greatest and toughest fighters they may find, as long as they do not know how to play with feeling. For they are not accustomed to having their swords crossed in contact and even when they are closely embroiled, they always do their best to detach before they can be forced aside. Thus they do not usually present any other action than those which you see represented in this Plate, so that the time spent on these exercises could not be better used.
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|Le principal que le Diſciple doibt pretendre en la Pratique de ce Tableau preſent, c’eſt de prendre exaćtement le temps: qui eſt l’un des plus importants points de tout l’Exercice, & ſans lequel il n’y a rien qui puiſſe eſtre pratiqué ny avec bonne grace ny avec aſſurance. Car ſi Hippocras le Prince des Medecins a oſé prononcer que l’occaſion en medicine eſt difficile à obſerver & à prendre, laquelle y dure cependant des jours ou à tout le moins des heures entieres, à plus forte raiſon pourrons nous dire, qu’elle eſt tresſoudaine & difficile en l’Exercice des Armes, où elle ne dure ſouvent qu’un moment de temps, & ſouvent qu’elle ne s’y preſente qu’en un ſimple Inſtant, qui eſt un poinćt de temps indiviſible & ſans duree quelconque. En ſorte qu’il y a temps auquel on trouve de l’occaſion, mais bien peu d’occaſions où il ſe trouve du temps. Parquoy ceux qui taſcheront de parvenir à ce haut but de cognoiſtre & prendre juſtement les temps, je les avertis, qu’il ne l’eſtiment pas pour choſe facile, & qu’il ne leur ennuye pas de mettre un long Exercice en l’uſage des preſentes leçons de ce Tableau VII. car outre l’aſſeurance qu’elles leur donneront en la parfaite Theorie & Pratique des Armes, auſsi pourront elles eſtre quaſi ſeules tenues pour ſuffiſantes dentrer en la lice avec les plus grands & hardis tireurs d’Armes qu’ils puiſſent trouver, moyennant qu’ils ne jouent pas ſur le ſentiment. Car puis qu’ils ne ſont pas accouſtumez d’avoir les eſpees accouplées, & meſmes qu’ils s’en trouvent incontinent embrouillez, ils font touſiours leur devoir de les deſtacher avant qu’on les puiſſe aſſujettir. dont il ne ſe preſente ordinairement quaſi nulle autre operation que celles que vous voyez repreſentées en ce Tableau. de façon que le temps qu’on y mettra, ne pourra eſtre que tresbien employé.
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Revision as of 00:39, 24 April 2018

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

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

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

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

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

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

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

Treatise

The Academie de l'Espée (1630) is presented in three parts, a short introduction, populated with plates showing the coats of arms of several nobles who were prominent in and around the court of the low countries at the time he wrote this book, Book 1, which deals with training in the use of his system of swordplay, and Book 2 which shows how to use his system against other systems and weapons, including shields, longsword, and firearms.

Thibault, as he explains in Plate 8, uses the term estocade to describe a thrust to the near, right side, and the term imbrocade to describe a thrust to the far, left side, from the Italian terms stoccata and imbroccata.

Additional Resources

References

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


Early Iberian traditions
Esgrima común Destreza.png
Verdadera
destreza
Carrancista
Pachequista
Indeterminate
Others
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