Difference between revisions of "Gérard Thibault d'Anvers"

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

Latest revision as of 17:07, 31 October 2024

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 fencing 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 fencing, studying the Spanish rapier system of Destreza.^[2]

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

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

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

Treatise

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

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

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

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

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

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

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

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

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

Plates IX & X introduces the idea of blade control and resistance using various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force. His recommendation to pursue a course of study, rather than master all the lessons from Plate IX to XIII before begining to practice the exercise in Plate XV, where he introduces attacking to the right hand side, but for practical training, to pair up the lessons of attacks to the outside line with those to the inside line. That is, do the exercises from Plate IX then Plate XV, Plate X with Plate XVI, and so on, practising each in turn. This way, the student learns to fight to both left and right hand side while acquiring increasing skills and ability.

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

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

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

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

Illustrations	Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
	Academy of the Sword by Girard Thibeault of Antwerp, wherein is demonstrated by means of mathematical rules, upon the foundation of the mysterious Circle, the Theory and Practise of the true and, until present, unknown secrets of the handling of arms both on foot and on horseback. M.DC.XXXVIII (1628)	Academie de L'ESPÉE de Girard Thibault d'Anvers ou ſe demonſtrent par Reigles mathematiques ſur le fondemont d'un Cercle mysterieux la theorie et pratique des vrais et iuſq'a preſent incognus ſecrets du maniement DES ARMES a Pied et a Cheval. M.DC.XXVIII
	In tranquil reason, not impatient in his work, leads us courageously along his meandering path. Gerard Thibault of Antwerp Rejoice. Patience endures.	TRANQVILLA RATIO, NEC SVI IMPATIENS LABOR, MODUM EVAGANTI PRÆSTRVIT FEROCIÆ. Gerard Tibault d'Anvers Gaudet Patientia duris
	To the valliant heart, nothing is impossible. Arms and sundry titles of George William (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.	Au coeur vaillant rien n'est impossible Serenissimo Principi ac Domino Domino Georgio Guilermo Marchioni Brandenburgensi S. Romani imperii Archicamerario et Electori; Borussiæ, Iuliæ, Cliviæ, Montium Stetini, Pomeraniæ, Cassubiorum, Vandalorum et in Silesia Crosnæ, Carnovi, æ’que Duci Burggravio Norimbergensi Principi Rugiæ. Comiti Marchiæ, ac Ravensbergi. Dynatæ Ravenstein y, &c.
	Work well without pause, and the hours pass quickly. Arms and sundry titles of Johan Sigismund (1572 – 1619), Elector of Brandenburg (1608 – 1619) of the House of Hohenzollern, Elector of Brandenburg from 1608 and Duke of Prussia, through his wife Anna, from 1618.	Fais biens sans demeure, et peu de temps se passe l’heure Serenissimo Principi ac Domino Do. Io. Achimo Sigismundo. Marchioni Brandenburgensi, Borussiæ, Iuliæ, Cliviæ, Montium Stetini, Pomeraniæ, Cassubiorum, Vandalorum, et in Silesia Crosnæ, Carnoviæ ‘que Ducter
	Everything with God, Nothing without Reason. Arms and title of Christian (the Elder) (1566 - 1633), Duke of Brunswick and Lunenbourg.	Tout Avec Dieu, Rien Sans Raison Serenissimo Principi ac Domino Domino Christiano Duci Brunswicensi et Lunenburgensi
	(Order of the Garter about the arms – Shame to him who evil thinks) I maintain Arms and titles of Maurice of Nassau (1567 - 1625), who became Prince of Orange in 1618.	(Order of the Garter about the arms – Honi soit qui mal y pense) Ie Maintiendray Ilustrissimo Heroi Muritio Principia Auraico, Comiti Nassoviæ, Cattimeliboci, Viandæ, Diestii, Lingæ, Mursiæ, Bueræ, Leerdami, &c. Marchioni Veriæ, ac Frissinge Baroni Bredæ. Civitatis Graviæ, ac ditionis Cuyckiæ, Herrstas, Cranendonc, Warneston, Arlaii, Svti Viti. Daesburgi &c. Vicecomiti Hæreditario Antwerpiæ, et Bizantii &c. Gubernatoi Geldriæ, Hollandie,, Lelandiæ, Westfrisiæ Zutphaniæ, Ultraiecti, Transisalaniæ, Groninge et Omlandiæ; Summo earundem Provinciarum terra mario, misitiæ Duci
	Of the homeland. With the homeland. Arms and titles of Frederick Henry (1584 - 1647), Prince of Orange (1625-1647)	Patriæ. Patrique Illustrissimo Principi ac Domino D. Frederico Henrico Principi Auraico. Comiti Nassoviæ, Dominio Geertrudis-bergæ, utriusque Swaluæ, Naeldwici. Marischalco Hæreditario Hollandiæ, Unitarum Provinciarum Equitum Præfecto Generali &c.
	Constant Arms & titles of Ernest Casimir (1573-1632), Count of Nassau-Dietz (1606-1632)	Constant Illust[rissi]mo Principi Ernesto Casimiro Comiti Nassoviæ, Catimeliboci, Viandæ, Dies Rii; Domino Bilsteiniæ, Castrorum Unitarum Provenciarum Praefecto; Gubernatori Frisiæ &c.
	God and all Dedication and Arms of Simon VII (1587-1627), Count of Lippe (1613-1627), and his brother Otto (1589 – 1657), Count of Lippe-Brake (1621-1657)	Deo et Cunctis Generosis vere’q Germanis Fratribus, Simoni et Otthoni, Comitibus et Nobisibus Dominis de Lippia
	Nothing without God Arms of Stephan Gans, Baron Putlitz	Rien sans Dieu Nobilissimo, Generosissimoq; Heroi Domino Stephano Gans, Libero Baroni PotlitzI, Nec non Wolffshagiæ, turmæ equestris sub ductu et moderamine Illustrissimi Principis Auraici præfecto
	Arms of Louis XIII Louis de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name. 1628	LOVIS DE BOVRBON DICT LE IUSTE PAR LA GRACE DE DIEV TRES-CHESTIEN ROY DE FRANCE ET DE NAVARRE. TREIZIESME DE CE NOM 1628
	To the most august, most high, most powerful, high, magnficent Emperors, Kings, Princes, Dukes, Counts, and all other Lords and noble Teachers and Amateurs, of the most noble science of handling Arms	Aux tresauguste, treshaults, trespuissants, tresillustres, hautes, magnfiques, Empereur Roys Princes Ducs Comtes et touts autres seigneurs et nobles Fauteurs & Amateurs de La tresnoble science de manier les armes
		In nob. Et eximii viri D. GERARDI THIBAULTII Gladiatoriam artem, symbolo ac praemio ab illustrissimo principe Mavritio à Nassau, &c. Donatam. Inter ſe geminas ferro concurrere dextras, Fortuna ſuerat, nunc erit artis opus. Nam hoc Roma parens, quamuis Mauortia, non hoc Lećtorem docuit Gratia tota ſuum. Temporibus noſstris, ipſa ſe teſte, vetuſtas Vincitur, & faſſas dat ſupera manus; Artis inops: totus quam dum confiderat orbis, Tyronem unius ſe videt eſſe viri. Hanc rude donatus Veianius ineret arenam. Intrata eſt numquam dicet arena mibi. Trecius au debit cum Myrmillone ſub armis Stare, nec hic illi jam metuendus erit. Hanc Samnis teneat, teneat qui prouocat, artem; Ignauo neuter ſanguine tinget hamum. Hanc colit, hac noſstrum Thibautius imbuit auum, Hanc nondum genitis nobile donat opus. Nec negat hoc Martis ſoboles Naſſovius Heros, Et jam victori præmia certa dedit: Inſtrućtorque operis, plauſuque opibusque parenti Adfuit, & partem vindicat ipſe ſibi. Quælibet arguto peragenda eſt judice cauſa: Hac à non victo Pricipe palma datur. D. Heinsius
	GRANT OF PRIVILEGE BY THE KING OF FRANCE By grace and privilege of the King, it has been permitted and granted to Gerard Thibault native of Antwerp, to print, sell, and distribute the present book and figures, in such character and volume as to him seems fit, in all the Kingdoms, lands, and holdings of his Majesty during a period of nine years counting from the day he shall have it printed, with all protections from all persons of whatever quality and condition they may be, to sell and distribute the said book, in part or portion thereof, whether a lithograph, woodcut, etched plate, stolen or counterfeit, or to sell the said figures alone or with summary of what they represent, either separately or jointly, on pain of contravention of loss of goods and five thousand pounds fine, half applicable to his Majesty, and the other to the said Thibault; who, moreover carries full letters to this effect, given in Paris, the XXI Day of December, in the year of grace one thousand six hundred and twenty and in fourth of the reign of the said King. Signed by the King in his Council and sealed with the great seal of his Majesty in yellow wax on a ribbon.	EXTRAICT DU PRIVILEGE DU ROY DE FRANCE Par grace & privilege du Roy, il a eſté permis & oćtroyé à Gerard Thibault natif d'Anvers, d'imprimer vendre & debiter le preſent livre & figures, en tel charaćter & volume que bon luy ſemblera, par tous les Royaumes pays terres & Seigneuries de ſa Majeſté, pandant le temps de neuf ans à compter du jour qu'il ſera achevé d'imprimer: avec deffences à toutes perſonnes de quelque qualité & condition qu'ils ſoyent, de vendre & debiter ledićt livre part ou portion d'iceluy, avec leſdites figures ſeuls ou ſans icelles, ſoit taille douce, de bois, d’eau forte, de le pocher ou contrefaire, ou vendres leſdites figures ſeules ou avec ſomaire de ce qu'elles repreſentent, ſoit ſeparemant ou conjoinćtment, ſur pene au contrevenant de perte des exemplaires, & de cincq mille livres d'amande; moitie applicable à ſa Majeſté, & l'autre audićt Thibault; comme plus a plein eſt porté aux lettres ſur ce obtenues, données à Paris le XXI. Jour de Decembre, l'an de grace mil ſix cent vengt, & du regne du dićt Seigneur le quatieſme. Seignées par le Roy en ſon Conſeil Perrochet, & ſcellees du grand ſeau de ſa Maieſté en cire jaune à queue pendant.
	PRIVILEGE The Estates General of the United Provinces of the Netherlands, have consented and granted, and do consent and grant to the named Gerald Thibault, that be during the time of next thirty years to come, alone in these united Lands, affiliated lands and towns, full rights and privileges that he may print, sell, and distribute this treatise, engravings, instructions, knowlege, & exercises entitled “Academie de GIRARD THIBAULT d'Anvers, ou ſe demonſtrent d'un cercle mysſterieus la theorie & praćticque des vrais, & juſtes à preſent ingcognus ſecrets du maniement de Armes à pied & à cheval.” Forbidding one and all within the jursdiction of these lands, to offer for sale copies of the aforesaid book for the aforsaid time of thirty years, directly or indirectly, in whole, or in part either greater or lesser, neither the imprint, nor the engravings, nor the explanations of the engravings. Upon pain of forfeture of all copies and payment of a fine of the sum of nine hundred guilders. One third part thereof to be given to the officer who performed the arrest, the second third to the watchmen, and the remaining third to the aforesaid Girardo Thibault. Given in Graven-Hague this fifth of June Sixteen-Twenty-Seven. Gaspar van Vosgbergen. By order of the President of the Estates-General. I. van GOCH.	PRIVILEGIE De Staten Generael der Vereenighde Nederlanden, hebben gheconſenteert ende gheoćtroyeert, conſenteren ende oćtoyeren by deſen d'erfghanamen van Giraldo Thibault, dat ſy gheduerende den tijdt van dertich eerſt-ckomende Iaren, alleene in deſe vereenighde Landen, gheaſſocieerde Landtſchappen ende Steden, ſullen moghen Drucken, doen Drucken, ende uytgheven ſeeckere Wapen-kunſt, beſtaende in Figuren, met regulen, aenwijſinghen ende leer-ſstucken, gheinſituleert Academie de GIRARD THIBAULT d'Anvers, ou ſe demonſtrent d'un cercle mysſterieus la theorie & praćticque des vrais, & juſtes à preſent ingcognus ſecrets du maniement de Armes à pied & à cheval. Verbiedende allen ende een yeghelijck Ingheſetenen van deſe Landen, de voorſchreven Wapen-konſte binnen den voorſchreven tijdt van dertich Iaren, direćtelijck ofte indirećtelijck, in't geheel, ofte ten deele, in't groot oſte in't kleyne, na te Drucken, ende uyt te gheven, oſte elders na ghedruct, hier te Lande te brenghen om verkoſt te werden, by verbeurte van alle de na-ghedruckte exemplaren, ende daer-en-boven van de ſomme van neghen hondert guldens; 'tappliceren een derdendeel daer van ten behoeve van Officier die de calangie doen ſal, het tweede derdendeel ten behoeve van de armen, ende het reſterend derdendeel ten behove van de voorſchreven erfghenamen van Girardo Thibault. Ghedaen in s'Graven-Haghe op den vijfden Iunij ſeſthein-hondert ſeven en twintich. Gaſpar van Vosberghen Vt. Ter ordonnantie van de Hooch-ghemelte Heeren Staten Generael. I. van GOCH
	NOTICE CONCERNING the figures of this book.	AVERTISSEMENT SVR LA CONSI- deration des figures de ce livre.
	Because the reader shall find it strange that many of the images are not placed upon the ground, but are above or below the horizon, we think it best they be conceived of as paintings upon the walls; this being because of the unequal circles above the horizon compared to the ground, and for more convenient representation of the doctrine, & for easier intelligbility in a manner which does not extend perspectives. Thus in Plate 3, high on both sides, we see 4 men painted on the walls, & in Plate 5 there are four pieces in the form of paintings in the middle of the masonry wall each with its own appropriately-sized circle. In Plates 6, 16, 21, 22, 25, & 28 we find painted canvasses & murals on the sides, and on the lower parts of the walls. In Plates 7 & 27 we understand they are made in the form of charts. In Plate 19, a tapestry hangs in the middle, in which the doctrines are embroidered. The Plates 5, 8, 14, 17, 18, 20, 22, 25, 26, 27, 28, & 29 likewise have painted walls, but the most important parts are shown alive on the ground or as painting on the wall base, because we have put there the means to see how the position of the swords relates to the lines of the Circle in the form of shadows on the lower line or base. We can see the positions of the blades, on the ground of the circle, by which means the capability to work out the movements of the swords the figures have in their hands becomes quite easy.	Pource que le ſpećtateur trouveroit eſtrange, que pluſieurs Images ne ſont fixement poſées ſur le fondement, taut au deſſus qu'au deſſoubs de l'Horiſon: nous avons touvé bon de l'advertir, qu'il les faut concevoir comme eſtant deſpeintes aux murailles; cela eſtant fait à cauſe des Cercles inegaux tant au deſſus de l'Horiſon que ſur le plan, pour la repreſentation plus commode de la doćtrine, & pour l'intelligence plus facile du commun qui n'entend les perſpećtives: ainſi au Tableau 3. au deſſus d'un & d'autre coſté ſont deſpeints 4. hommes aux parois, & en la Table 5. il y à quatre pieces en forme de peinture au millieu de la muraille ou maſſonerie, deſquels Cercles chaſcun ſuſſit pour ſoy, & es Tables 6. 16. 21. 22. 25. & 28. au millieu des toilles peinturées, & au coſtez ſont deſpeintes à la paroy, es Tables 7. & 27. faut entendre que cela eſt fait en forme de chartes, & en la Table 19. un tapi tendu ou pendu au millieu, dans leſquel les doćtrines ſont tiſſues, & es Tables 5. 8. 14. 17. 18. 20. 22. 25. 26. 27. 28. 29. de meſme deſpeint aux murailles, mais les premieres pieces ſe demonſtrent plus vivement ſur le fond ou baſe que les autres, car la ſe voit la façon des accords des eſpées & leur operation par les lignes du Cercle; pour ce que en forme d'Eſquierre de la ligne Inferieure ou baſe, on trouve un accord des lames, fait au fond ou Cercle, par lequel le jugement des operations mouvantes des eſpées que les figures tiennent en main, eſt rendu tres-facile.

Main article: Gérard Thibault d'Anvers/Plates 1-11

Main article: Gérard Thibault d'Anvers/Plates 12-22

Main article: Gérard Thibault d'Anvers/Plates 23-33

For further information, including transcription and translation notes, see the discussion page.

Work	Author(s)	Source
Images	courtesy of Reinier van Noort	Thibault.zip
Translation	Bruce G. Hearns	Wiktenauer
Transcription	Bruce G. Hearns	Wiktenauer

Additional Resources

Howden, Matthew. "Comparison of Thibault’s Circle and the Leiden Circle". Sworded Contemplations. April, 2008. Retrieved 08 February 2015.

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

Fontaine Verwey, Herman de la (1978). "Gerard Thibault and his Academie de l'Espée." Quaerendo 8(4): 283-319. doi:10.1163/157006978X00188.
Majár, János; Zoltán Várhelyi (2014). "Thibault and Science I. Measure, Distances and Proportions in the Circle." Acta Periodica Duellatorum 2(1): 67-104. doi:10.1515/apd-2015-0014.
Johann Georg Pascha; Heinrich von und zum Velde (2018). Proper Description of Thrust-Fencing with the Single Rapier. Trans. by Reinier van Noort; Jan Schäfer. Glasgow: Fallen Rook Publishing. ISBN 978-0-9934216-7-9.
Thibault, Gérard (2006). Academy of the Sword. Trans. by John Michael Greer. Highland Village, TX: Chivalry Bookshelf. ISBN 978-1891448409.
Thibault, Gérard (2017). Academy of the Sword. Trans. by John Michael Greer. London: Aeon Books. ISBN 978-1-190465-884-9.
Van Noort, Reinier; Jan Schäfer (2017). "An analysis and comparison of two German thrust-fencing manuscripts." Acta Periodica Duellatorum 5(1): 63-74. doi:10.36950/apd-2017-002.

References

↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.288, 297
↑ ^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
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.297
↑ ^4.0 ^4.1 ^4.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289
↑ ^6.0 ^6.1 ^6.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.294
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.294-296
↑ ^10.0 ^10.1 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.296
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.296, 310
↑ Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer. Highland Park, TX: The Chivalry Bookshelf, 2006. pp 1-2.

[1] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.288, 297

[Verwey.2C_Herman_Fontaine_1978_p.289-2] 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] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.297

[Verwey.2C_Herman_Fontaine_1978_p.288-4] 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] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289

[Verwey.2C_Herman_Fontaine_1978_p.290-6] 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] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290

[8] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.294

[9] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.294-296

[Verwey.2C_Herman_Fontaine_1978_p.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] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.296, 310

[12] Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer. Highland Park, TX: The Chivalry Bookshelf, 2006. pp 1-2.

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[2]

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Difference between revisions of "Gérard Thibault d'Anvers"

Latest revision as of 17:07, 31 October 2024

Contents

Treatise

Book 1 - Introduction. Arms of Patrons and supporters of Thibault

Book 1 - Tableau / Plates I - XI

Book 1 - Tableau / Plates XII - XXII

Book 1 - Tableaux / Plates XII - XXII

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@@ Line 45: / Line 45: @@
 Thibault was born in or around 1574 in Antwerp, son of Hendrick Thibaut and Margaretha van Nispen.<ref name="Verwey, Herman Fontaine 1978 p.288">de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288</ref> Although his father used the surname "Thibaut," Gérard used the French form "Thibault."<ref name="Verwey, Herman Fontaine 1978 p.288"/> Hendrick Thibaut came from a well-known family in Ypres, living in Ghent and Antwerp before going into exile in the northern Netherlands.<ref name="Verwey, Herman Fontaine 1978 p.288"/> Henrick's eldest son, Christiaen, founded the noble family Thibaut van Aegtekerke.<ref>de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289</ref>
-Thibault first studied swordsmanship in Antwerp under Lambert van Someron, who taught between the years of 1564 and 1584.<ref name="Verwey, Herman Fontaine 1978 p.290">de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290</ref> 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.<ref name="Verwey, Herman Fontaine 1978 p.289">de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289</ref> There, he took an interest in swordsmanship, studying the Spanish rapier system of Destreza.<ref name="Verwey, Herman Fontaine 1978 p.289"/>
+Thibault first studied fencing in Antwerp under Lambert van Someron, who taught between the years of 1564 and 1584.<ref name="Verwey, Herman Fontaine 1978 p.290">de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290</ref> 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.<ref name="Verwey, Herman Fontaine 1978 p.289">de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289</ref> There, he took an interest in fencing, studying the Spanish rapier system of Destreza.<ref name="Verwey, Herman Fontaine 1978 p.289"/>
 Thibault left Spain to return to the Netherlands, and was in Amsterdam as early as 1610.<ref name="Verwey, Herman Fontaine 1978 p.289"/> In or around 1611, he presented his system to an assembly of Dutch masters at a competition in Rotterdam.<ref>de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290</ref> 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.<ref name="Verwey, Herman Fontaine 1978 p.290"/>
@@ Line 75: / Line 75: @@
 Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.
-Plate IX introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.
+Plates IX & X introduces the idea of blade control and resistance using various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force. His recommendation to pursue a course of study, rather than master all the lessons from Plate IX to XIII before begining to practice the exercise in Plate XV, where he introduces attacking to the right hand side, but for practical training, to pair up the lessons of attacks to the outside line with those to the inside line. That is, do the exercises from Plate IX then Plate XV, Plate X with Plate XVI, and so on, practising each in turn. This way, the student learns to fight to both left and right hand side while acquiring increasing skills and ability.
-Plate X continues the exploration of how to deal with parries by force.
+Plate XI continues the exploration of how to deal with different degrees of force against the blade.
+Plate XII shows how to create an angle between blades to move in against the opponent
 Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
-The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [[http://www.geheugenvannederland.nl/ www.geheugenvannederland.nl]]. Search on Girard Thibault.
+The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [http://www.geheugenvannederland.nl/ www.geheugenvannederland.nl]. Search on Girard Thibault.
 {{master begin
   | title = Book 1 - Introduction. Arms of Patrons and supporters of Thibault
-  | width = 60em
+  | width = 90em
 }}
-{| class="wikitable"
+{| class="master"
-! Images
+! Illustrations
 ! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 ! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 |- style="font-family: times, serif; vertical-align:top"
 |[[File:Academie de l'Espée Title.jpg|200px]]
@@ Line 122: / Line 124: @@
 |To the valliant heart, nothing is impossible.
-Arms and sundry titles of [[https://en.wikipedia.org/wiki/George_William,_Elector_of_Brandenburg|George William]] (1595 – 1640), Elector of Brandenburg (1619 – 1640).
+Arms and sundry titles of [https://en.wikipedia.org/wiki/George_William,_Elector_of_Brandenburg George William] (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.
 |Au coeur vaillant rien n'est impossible
@@ Line 135: / Line 137: @@
 | Work well without pause, and the hours pass quickly.
-Arms and sundry titles of [[https://en.wikipedia.org/wiki/John_Sigismund,_Elector_of_Brandenburg|Johan Sigismund]] (1572 – 1619), Elector of Brandenburg (1608 – 1619)
+Arms and sundry titles of [https://en.wikipedia.org/wiki/John_Sigismund,_Elector_of_Brandenburg Johan Sigismund] (1572 – 1619), Elector of Brandenburg (1608 – 1619) of the House of Hohenzollern, Elector of Brandenburg from 1608 and Duke of Prussia, through his wife Anna, from 1618.
 |Fais biens sans demeure, et peu de temps se passe l’heure
@@ Line 147: / Line 149: @@
 |Everything with God, Nothing without Reason.
-Arms and title of [[https://en.wikipedia.org/wiki/Christian,_Duke_of_Brunswick-Lüneburg|Christian (the Elder)]] (1566 - 1633), Duke of Brunswick and Lunenbourg.
+Arms and title of [https://en.wikipedia.org/wiki/Christian,_Duke_of_Brunswick-Lüneburg Christian (the Elder)] (1566 - 1633), Duke of Brunswick and Lunenbourg.
 |Tout Avec Dieu, Rien Sans Raison
@@ Line 160: / Line 162: @@
 I maintain
-Arms and titles of [[https://en.wikipedia.org/wiki/Maurice,_Prince_of_Orange|Maurice]] (1567 - 1625), Prince of Orange (1618 – 1625)
+Arms and titles of [https://en.wikipedia.org/wiki/Maurice,_Prince_of_Orange Maurice] of Nassau (1567 - 1625), who became Prince of Orange in 1618.
 |(Order of the Garter about the arms – Honi soit qui mal y pense)
@@ Line 175: / Line 177: @@
 |Of the homeland. With the homeland.
-Arms and titles of [[https://en.wikipedia.org/wiki/Frederick_Henry,_Prince_of_Orange|Frederick Henry]] (1584 - 1647), Prince of Orange (1625-1647)
+Arms and titles of [https://en.wikipedia.org/wiki/Frederick_Henry,_Prince_of_Orange Frederick Henry] (1584 - 1647), Prince of Orange (1625-1647)
 |Patriæ. Patrique
@@ Line 187: / Line 189: @@
 |Constant
-Arms & titles of [[https://en.wikipedia.org/wiki/Ernest_Casimir_I,_Count_of_Nassau-Dietz|Ernest Casimir]] (1573-1632), Count of Nassau-Dietz (1606-1632)
+Arms & titles of [https://en.wikipedia.org/wiki/Ernest_Casimir_I,_Count_of_Nassau-Dietz Ernest Casimir] (1573-1632), Count of Nassau-Dietz (1606-1632)
 |Constant
@@ Line 199: / Line 201: @@
 |God and all
-Dedication and Arms of [[https://en.wikipedia.org/wiki/Simon_VII,_Count_of_Lippe|Simon VII]] (1587-1627), Count of Lippe (1613-1627), and his brother [[https://en.wikipedia.org/wiki/Otto,_Count_of_Lippe-Brake|Otto]] (1589 – 1657), Count of Lippe-Brake (1621-1657)
+Dedication and Arms of [https://en.wikipedia.org/wiki/Simon_VII,_Count_of_Lippe Simon VII] (1587-1627), Count of Lippe (1613-1627), and his brother [https://en.wikipedia.org/wiki/Otto,_Count_of_Lippe-Brake Otto] (1589 – 1657), Count of Lippe-Brake (1621-1657)
 |Deo et Cunctis
@@ Line 211: / Line 213: @@
 |Nothing without God
-Arms of Stephan Gans, [[https://en.wikipedia.org/wiki/Gans_zu_Putlitz|Baron  Putlitz]]
+Arms of Stephan Gans, [https://en.wikipedia.org/wiki/Gans_zu_Putlitz Baron  Putlitz]
 |Rien sans Dieu
@@ Line 223: / Line 225: @@
 |Arms of Louis XIII
-[[https://en.wikipedia.org/wiki/Louis_XIII_of_France|Louis]] de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name.
+[https://en.wikipedia.org/wiki/Louis_XIII_of_France Louis] de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name.
@@ Line 339: / Line 341: @@
 |- style="font-family: times, serif; vertical-align:top"
+| class
-|Because the reader shall find it strange that many of the images are not placed upon the ground, but are above or below the horizon, we think it best they be conceived of as paintings upon the walls; this being because of the unequal circles above the horizon compared to the ground, and for more convenient representation  of the doctrine, & for easier intelligbility in a manner which does not extend perspectives. Thus in Plate 3, high on both sides, we see 4 men painted on the walls, & in Plate 5 there are four pieces in the form of paintings in the middle of the masonry wall each with its own appropriately-sized circle. In Plates 6, 16, 21, 22, 25, & 28 we find painted canvasses & murals on the sides, and on the lower parts of the walls. In Plates 7 & 27 we  understand they are made in the form of charts. In Plate 19, a tapestry hangs in the middle, in which the doctrines are embroidered. The Plates 5, 8, 14, 17, 18, 20, 22, 25, 26, 27, 28, & 29 likewise have painted walls, but the most important parts are shown alive on the ground or as painting on the wall base, because we have put there the means to see how the position of the swords relates to the lines of the Circle in the form of shadows on the lower line or base. We can see the positions of the blades, on the ground of the circle, by which means the capability to work out the movements of the swords the figures have in their hands becomes quite easy.
-|Pource que le ſpećtateur trouveroit eſtrange, que pluſieurs Images ne ſont fixement poſées ſur le fondement, taut au deſſus qu'au deſſoubs de l'Horiſon: nous avons touvé bon de l'advertir, qu'il les faut concevoir comme eſtant deſpeintes aux murailles; cela eſtant fait à cauſe des Cercles inegaux tant au deſſus de l'Horiſon que ſur le plan, pour la repreſentation plus commode de la doćtrine, & pour l'intelligence plus facile du commun qui n'entend les perſpećtives: ainſi au Tableau 3. au deſſus d'un & d'autre coſté ſont deſpeints 4. hommes aux parois, & en la Table 5. il y à quatre pieces en forme de peinture au millieu de la muraille ou maſſonerie, deſquels Cercles chaſcun ſuſſit pour ſoy, & es Tables 6. 16. 21. 22. 25. & 28. au millieu des toilles peinturées, & au coſtez ſont deſpeintes à la paroy, es Tables 7. & 27. faut entendre que cela eſt fait en forme de chartes, & en la Table 19. un tapi tendu ou pendu au millieu, dans leſquel les doćtrines ſont tiſſues, & es Tables 5. 8. 14. 17. 18. 20. 22. 25. 26. 27. 28. 29. de meſme deſpeint aux murailles, mais les premieres pieces ſe demonſtrent plus vivement ſur le fond ou baſe que les autres, car la ſe voit la façon des accords des eſpées & leur operation par les lignes du Cercle; pour ce que en forme d'Eſquierre de la ligne Inferieure ou baſe, on trouve un accord des lames, fait au fond ou Cercle, par lequel le jugement des operations mouvantes des eſpées que les figures tiennent en main, eſt rendu tres-facile.
-|}
-{{master end}}
-{{master begin
- | title = Book 1 - Tableau / Plate I - Philosophical Discussion; Construction and Mathematics of the Circle; Concerning the Sword: Proper Length and Introduction.
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|- style="font-family: times, serif; vertical-align:top"
-|Colspan="2"| [[file:Thibault L1 Tab 01.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
-|EXPLANATION OF THE FIRST PLATE
-|DECLARATION DV TABLEAV PREMIER
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps"
-|Contents<br>
-The proportions of the body, their relationship to the dimensions of our Circle, and the proper length of the sword.
-|Contenant<br>
-Les proportions du corps de l'homme, rapportées à la figure de noſtre Cercle; & à la iuſte longeur de l'Eſpée.
-|- style="font-family: times, serif; vertical-align:top"
-|A discourse on the superiority & perfection of man, declaring that his body is comprised of  an exact relationship of Divisions, Weights, & Measurements, having movements that relate to the Circle.
-|Diſcours de l'excellence & perfećtion de l'homme, dećlarant que ſon corps eſt exaćtement compaſſé par Nombres, Poids, & Meſures, ayant des mouvements qui ſe rapportent à la figure Circulaire
-|- style="font-family: times, serif; vertical-align:top"
-|Man is the most perfect and most superior of all the creatures in the world, in which is found, amongst the other marks of divine wisdom, such an exquisite representation of the entire universe, in his whole and in his principal parts, that he has been rightly called by the ancient philosophers “microcosm” which is to say, the small world. For beyond the dignity of the soul, which has so many advantanges above all thats is perishable, his body contains a an abridgement, not only of all that we see down here on Earth, but also that which is in Heaven itself. Representing the whole with a harmony so delicate, so beautiful, and complete, and with such concurrence of Divisions, Measures, and Weights, which relates so marvellously to the virtues of the Four Elements, and to the influences of the Planets, that there is no other like it to be found. That most-perfect number Ten continually appears before his eyes, and in its entirety on his digits; and again in two equal halves on his two hands, on each by the number of 5 digits; which are also unequally partitioned by the thumb and by the rest into One and Four, of which the One is composed of two phalanxes, and each the Four of Three: in such fashion this structure has always in view the first and most beautiful Numbers: 1, 2, 3, 4, 5, & 10, which so many illustrious philosophers, like Pythagoras, and Plato, & all those of their schools, held in such esteem, that they sought hide away and so deduce from them the greatest mysteries of their doctrines. As well, we see in the height, width, and thickness of the human body, which has been so precisely measured, that the greatest Architects, both Ancient and Modern, could concieve of no other thing in the world that would make a better basis for the architectural orders than this model, based on man. In this they saw a divine proportion that God Himself  put into the human body, from which they took their inspiration to build, from that time on, into the architecture of Temples, Theaters, Amphitheaters, Palaces, Towers, Vessels, and all other constructions, some of peace, some of war, not just in the whole, but also reflected in the parts: the columns, the peristyles, capitals, pedistals, and other such parts. Thus we read that the Temple of Salomon, this great adornment and miracle of the flourishing Republic of the Jews, was sized according to this same proportion: and what is more, God Himself commanded the Patriarch Noah, upon building of the Ark, to follow the same rule. So that in each one the length is six times the width, and ten times the depth. This is a proportion for which the numbers are always right in front of our eyes, and can be demonstrated clearly on our fingers, where we are accustomed to learning the earliest lessons in natural arithmetic. For this whole sum, which is 10, when multiplied by 3, makes 30 for the depth; and by 5, makes 50 for the width; and multiplied by 10, and by 3 again, makes 300 for the length. These measurements agree with what several noted Authors wrote concerning the same matter. Vitruvius, amongst others, reported the stature of man to be 6 feet measured geometrically. Divide each foot  into 10 degrees, and each degree into 5 minutes, gives 60 degrees and 300 minutes, echoing exactly the three hundred cubits of the Ark. As much as I do not wish to rest so precisely on Vitruvius' authority and accept his geometrical figure of six feet length; it is enough that we can divide the body into six equal measures. Pliny also notes in book 7, chapter 17, that this natural stature of a well-proportioned man accords exactly with the measure of his own arms from the tips of the fingers on one to the end of the other. In summary, all philosophers have made so much of these measurements, and of the proportions of the human body, and have researched so much in one fashion or another that Pythagoras dared declare man as the Measure of All Things. As to the proportion of weight, we cannot doubt that this was also observed with as much art as the numbers or the measurements. All of which is easy to recognize, because man alone, of all the animals, walks upright; in such fashion he holds himself always in counterweight and in balance in all actions, otherwise he would be constantly inconvenienced. For his structure is such, that as each part (except the arms) is higher from the ground, it also increases more and more in weight; so that the lighter and more fragile parts support the other heavier and more robust parts: which would be against Nature and would make it utterly impossible to continue long, in doing so many kinds of movements as we can see performed by the human body, were this not moderated with regard to weight in all the parts from the top of the head to the soles of the feet, in a singular and perfectly artful way. A more complete discussion of this material belongs to anatomists, whose profession is to discuss the particuliarities of this noble structure. We who seek only to explore that which concerns the use of weapons, shall be content to discuss some generalities, notably about the external proportions, so that it shall be much easier to judge the nature and reach of each movement, as we proceed. Since the movements are sometimes made with the whole body, sometimes and more usually with just the arms and hands, and other times with the legs and feet, we shall demonstrate presently that men are capable of performing these necessary and useful movements more easily and promptly than other animals do. What one must know that it is ordinarily, and properly, the job of the arms and hands to carry out the actions of our Will, as use or need requires. The legs and feet serve only to move and turn the body, so as to place the arms and hands so they can properly perform the task we wish to perform where we wish to perform it. Furthermore there is this difference, that the arms and legs are especially suited to perform large movements, whereas the feet and hands perform smaller ones; and as the arms are best used in moves that require strength, the hands are best used in work that requires dexterity. The feet, as pillars that support the body, are, almost immobile when the weight is on the heels, but when on the toes, move quite promptly. Because of this difference, the body can stand firmly by means of the one and yet move and turn swiftly and conveniently by means of the other. From heel to toe, the size of the foot gives him a solid and stable base when he stops, and when he moves, helps to push him forward and give him speed. All parts of the hands are quite agile, and contain, in their width, exactly half the width of the face, which is a quarter of the trunk; the length of the hand is two times the width, and if the hand is closed, the contour of the fist is one third the contour of the trunk: and the hand can naturally act as a small shield, held out in front, either open and extended, or firmly closed. This is why the Jewish author Philo is very right to say that, instead of the natural weapons and defenses of other animals, man was blessed with Reason as his Guide, and Hands as Tools to do as Reason wills; and in that Reason is the Hand of Understanding, the Hand of Reason is the Word, and our hands perform as the Word commands.
-Instruments which have within them all the abilities of the other creatures, and are, consequently, at least equal in greatness, if not superior. This is why man comes into the world deprived of all natural weapons either offensive or defensive, and has but this sole instrument of the hand, by which he may prevail over all. The other animals defend and attack their opponent, one with teeth, another with claws, with hooves, with horns; thus it is wth Elefants, Lions, Bears, Horses, Bulls, Tigers, & other beasts, to whom nature gave each one a single type of natural weapon for their own defence, but to Man, who appears deprived, was blessed with Understanding to know things, Wit to forge things, and Hands to use each and every thing that he can create. In the same way so that he could have even greater advantage, nature gave him, as a special privilege, the power to flex his arms behind and his feet in front at the same time, something impossible for other creatures: and also for the same, or possibly similar reason, the arms were placed in such a way as to be always in view and so help and assist more easily the other parts as they need. So just as the above-mentioned Artists, Architects, Perspectivists, & others have tried to prove the foundations of their rules via the proportions of the human body, so have we navigated the same course, but more adeptly, and have found, with the aid of this same compass, the actual and proportional measure of all Movements, of all the Tempos and Distances necessary to observe in our Training: as it shall be demonstrated in a moment in the description of our Circle; where the measurements and proportions of Man are applied to man himself, and to the movements he makes with his own limbs, from where we derive the aforesaid proportion, and without which it is impossible for him to perform the slightest action in the world. In the practice of swordplay, which I have done for several years, in different countries, and with great experts; of which some come from French schools, others from Italian, and, in sum, each in his own way, I have seen people all over accustom themselves to strange postures, body twisted, feet and hands disjointed out of all natural positions, and in postures inconsistent with the ordinary way in which we walk or stand: such that, instead of evoking through these contortions some sort of power, it impairs and minimizes one's own strength, rather than producing the intended effect. Thus, considering closely, and knowing that in other cases all Arts follow Nature, without ever contravening her, I have chosen to conduct our Training within the same school as this Sovereign Mistress of all good inventions. About which I said at first, that all the Distances and Instances (i.e. steps in the process of fighting) to be observed in training (which are the basic foundations and support for all the following parts) proceed from the proportions of Man, therefore without this same awareness, they cannot be duly comprehended, nor practiced with confidence.
-And the same goes for the Steps and Approaches, short and long, required by the variety of positions  in the performance of these Exercises. From which it is apparent that one must begin with a good knowledge of the proportion of limbs and body parts, that one may at least be able to make some reasonable judgement on the reach of each movement, proportionally to the limb, or limbs, on which the movement depends, and from which it must be continued, ended,  turned, returned, released, bound, or changed in a thousand different ways.
-|L'homme eſt la plus parfaite & la plus excellente de toutes les Creatures du Monde; auquel ſe trouve, parmy les autres marques de la ſageſſe divine, une ſi exquiſe repreſentation de tout l'Vnivers, en ſon entier & en ſes principales parties, qu'il en a eſté appellé à bon droit par les anciens Philoſophes Microcoſme, c'eſt à dire, le Petit Monde. Car outre la dignité de l'ame, qui a tant d'avantages par deſſus tout ce qui eſt periſſable, ſon corps contient un abbregé, non ſeulement de tout ce qu'on voit icy bas en terre, mais encores de ce qui eſt au Ciel meſme;
 |}
@@ Line 3,786: / Line 348: @@
 {{master begin
-  | title = Book 1 - Tableau / Plate VII - Counters to circular disengagements.
+  | title = Book 1 - Tableau / Plates I - XI
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 1-11}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 07.jpg|600px]]
-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.
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE SEVENTH PLATE
-|DECLARATION DES OPERATIONS DV TABLEAV SEPTIEME
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary saw the manner in which Alexander advanced against the Direct Line posture, subjugating his adversary’s sword at the Second Instance, and all that followed thereupon, he again put himself into the same posture, but with the intention of testing Alexander’s ability as he approaches, and to perform all manner of moves against him. In the preceeding Plate, he did nothing against him, except what he had to do of necessity in his own defense. But in this one he intends to cross his opponent’s approach with several thrusts, at the beginning, in the middle, and the end of the move during which Alexander subjugates the sword. He times his counter either at the moment when Alexander raises his right foot, or when he moves towards the Second Instance, but still in balance, or when he lowers it as his body begins to fall forward, or when he puts it down, or after he is in position. Alexander, knowing nothing of Zachary’s plans, and starts again from 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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1.'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander subjugates his opponent’s sword at the Second Instance to the inside of the arm. He proceeds to move 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 foot deliberately, with a circular motion, until he is once again straight on his legs, as shown here in this image.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|So, to subjugate his opponent’s sword 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 he raises the tip of his sword with a small movement of the wrist, makes contact with the opponent’s sword to the inside, his 8th Span against the 3rd Span, and briefly hesitates. 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 left side, crossing and sliding up his opponent’s blade until his 8th Span is at least against the 4th Span, 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 but slightly extended, the guard is before 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.
-*C S is a typo in the original text. The oblique diameters run from G-S.
-|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 en 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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-|Having duly subjugated his opponent’s sword, he will find that 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. While this action was also described in Plate VI, it was only shown as one of the background figures, and it is more fully discussed here, in this Plate, and presented as a much larger 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 it 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 subjugate your opponent’s sword? 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 make several important cautions, 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.
-|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 [sic] 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 font par le moyen de la cavation.
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-|One can make this subjugation against  different degrees of force, according to what our adversary gives to us, because of the superior strength we have from our contact with 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 be complacent about having this advantage. One must take care to keep the point of contact as exactly as possible, and so 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.
-|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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-|Likewise, it may happen that, when in the act of subjugating the opponent’s sword 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, then 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.
-|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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-|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 contact at will, without working against him, until they see where his point is going. Thy thus lose the proper 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.
-|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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-|When the feet land on the ground at the Second Instance, while subjugating the opponent’s sword, they must be exactly on the lines as described. 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.
-|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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-|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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4.'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''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.''
-|''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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-|Both parties begin at the First Instance in the Direct Line posture, swords parallel. Alexander begins to move intending to subjugate his opponent’s sword when he arrives at the Second Instance. To do this, he raised his right foot, and crossed his opponent’s sword to the inside, his strong part against the weak part. Zachary makes a circular disengage under and around his opponent’s arm, then gives a determined thrust with a straight arm from outside Alexander’s arm, stepping forward with his right foot up to the letter R along the Diameter. Alexander sensesing 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, he leans backwards, his body erect in profile, and puts his right foot down at the second intersection along the Interior Collateral C-S, 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.
-|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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-|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, force his enemy’s sword out at a greater angle, leaving a safer opening to step into.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2.'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This time, Zachary begins 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 before, 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 his opponents blade weaken against his, as it goes dies away, without even waiting for the disengage, he moves his own blade forward by extending his arm, raising the tip of his sword 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 with precision in front of his opponent’s eyes, as shown in the figure.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|This circular disengage occurs 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 so consequently he has better control. 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. He waits just a bit, 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 subjugate his opponent’s sword, so 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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3.'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the final part of Alexander’s thrust, from the previous Circle. He moves forward with his arm straight, sliding the point of contact up the crossed blades as he steps with his right foot into the Centre, bending the right knee and drawing the left foot behind up to the letter G, so as to put the full weight of his body leaning forwards behind the hit. Thus he will connect with his opponent’s guard hard enough to force it back, and his opponent’s arm to bend. He lets his opponent’s sword fall away to the side, and makes a large enough angle that his opponent loses all possibility of defense.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4.'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This circular disengage was made even later than the previous one, after Alexander subjugated his adversary’s sword, with an appropriate degree of force, as he moved over to 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 and over his sword. He moved forward, stepping in with the right foot along 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 catch it and thrust at 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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5.'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This is the final execution of the preceding, which follows from the others.''
-|''C’eſt l’execution de la precedente, procedant en conformité des autres''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here Alexander executes the final part of his thrust. 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 Zachary is forced to bend his arm and let his tip fly up at an obtuse angle, as is shown in the figure.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6.'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary again tries his circular disengagement, and subsequent thrust with the same 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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action also follows on from Circle No 1. As Alexander moved carefully to the Second Instance, keeping his opponent’s sword subjugated 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|While this position very much resembles that of Circle No 4, this interaction is, however, different. Because as soon as Alexander feels Zachary’s blade fall away, which it must to perform the circular disengage around his arm, which also opens up an angle and leaves Zachary’s face uncovered for a moment before he can thrust. At that moment Alexander lengthens his arm in the Direct Line posture, moves into this angle, and, by stepping straight towards the enemy along the collateral, from where he had stopped his right foot before, up to the letter L, he delivers a thrust to his opponent’s uncovered face, in the same way and with the follow-through that has been described above, by putting his 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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7.'''
-|'''Cercle N.7'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''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, subjugating it to the outside, and putting himself into the open angle.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|We again find our two opponents at the First Instance, and Alexander begins to work the same way. To subjugate his opponent’s blade at the Second, he raised and moved his right foot, according to the instructions in Circle No 1, having forced the sword over, to the point where he begins to overbalance. 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander once 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, how his enemy is folding 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 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, with his body leaning slightly forwards, and his forward knee bent, as is shown in the figure.
-|<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.
-|- style="font-family: times, serif; vertical-align:top;"
-|It is worthwhile to make a few points about this last action, because it frequently happens, in almost all circumstances, that we are faced with a bent-arm attack.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|To begin, take the first case where the enemy makes his circular disengagement and thrust, as soon as you have raised your right foot and attacked his sword at the First Instance. 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|For the second case, he makes his circular disengagement while you are moving your right foot towards the Second Instance, but 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|He might also make his circular disengagement at the instant when the body and foot are at the point 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 use for your defence. This is why we chose this moment to illustrate the Plate, as being the most advantageous for the lower blade.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|Sometimes he will do his circular disengagement after his sword is subjugated as it appears in Circle No 1. Then you should once again move in a little with the right foot, and at the same time raise the left foot, move it forward in a circular motion, by pivoting on the right, and following on as previously described.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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 care 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 inside the angles, before his opponent’s sword has finished its circular disengagement.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|Furthermore, when performing this training,  questions and points for debate will frequently present themselves for discussion when moving from the Second to the Third Instance. To examine these, they must necessarily be put to the test. In that case, to come straight to the points in question, which occur 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 subjugating the sword is not easily and quickly reached) to do a circular disengagement to try and hit to the face in the direct line attack, you cannot respond as you otherwise would, since you are not watching out while stepping.* You can, however, quickly respond with this move, 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.
-*(Note: find a new partner.)
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|Likewise, it sometimes happens that you put too much effort into moving the opponent’s sword in order to subjugate it, or move your right foot too quickly, and thereupon 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 have become unbalanced. Nevertheless, you can recover by using this counter against bent-arm attacks.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|If, through carelessness or by mistake, you find yourself overbalanced, as described above, nothing is keeping you from turning it into a stratagem to assault your opponent. You can either step forward vigorously, or harshly attack your opponents swords to give him the opportunity 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 as he attacks from the outside and following on as in the example, above.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8.'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander 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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9.'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the very instant that Alexander begins to overbalance, Zachary disengages his sword and aims thrust at an acute angle towards 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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two begin at 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 subjugate his opponents blade at the Second Instance just above 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 along 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 realizes, partly by sight, that his opponent’s body has begun 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 instead, because his body is still enough in balance that he can change direction 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 back and 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|Furthermore, there are three other moments when this action can be done. 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 subjugate it as 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|When performing this action, one must, above all, take care to contact and subjugate the opponent’s blade by leaning over with 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 a superior position above 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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10.'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|In summary, we want, in this and in all other times when one performs actions sideways against an opponent’s blade, whether to the left side or the right, to subjugate the blade there. Because the more you work against it, the greater the angle you will open up, into which you can move, out of danger, and make certain of your action.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11.'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|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 subjugating 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander quickly perceives by his sense of  feel that the blades are disengaged and seeing 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 opponent's right side is uncovered, as shown in the figure.
-|<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.
-|- style="font-family: times, serif; vertical-align:top;"
-|His adversary could try the same thrust at three other times while Alexander is in the act of stepping with his right foot from the First Instance to the Second to do the subjugation.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12.'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander 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.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues 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 the point of contact of his blade along his opponent’s so the two guards meet, he moves his foot forward and enters 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.
-|<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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13.'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary aims at an acute angle towards his adversary’s stomach while his sword is being subjugated. Alexander, by turning on his toes and leaning forward, hits him with the Direct Line in his uncovered torso.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action proceeds from that shown in Circle No 1. At the instant that Alexander subjugates the blade at the Second Instance, Zachary enters 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-|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.
-|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.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14.'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander secures himself with his sword above his opponent’s and holds it under control, as he executes his thrust, stepping into the enemy with his left side leading.''
-|''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.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander thus follows through the action he began, he steps in towards his adversary with his left foot and side forward, by turning on his right foot without any further move to make his approach. In this way, the upper body and the arm move down as they move 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.
-|<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.
-|- style="font-family: times, serif; vertical-align:top;"
-|These last two actions beginning in 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.
-|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.
-|- style="font-family: times, serif; vertical-align:top;"
-||
-|- style="font-family: times, serif; vertical-align:top;"
-|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 play at learning to feel the sense of contact. For these others are not accustomed to having their swords crossed and in contact and even when they are closely embroiled, they always do their best to detach before they can be subjugated. 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.
-|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.
-|}
-{{master end}}
-{{master begin
- | title = Book 1 - Tableau / Plate VIII - Counters to Imbroccata attacks.
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 08.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE EIGHTH PLATE
-|DECLARATION DES OPERATIONS DV TABLEAV HUICTIEME
-|- style="font-family: times, serif; vertical-align:top;"
-|Up to now we have clearly shown how to guard the right side against dangers arising from circular disengagements, we now follow with the dangers of, and counters to, thrusts from the outside line which are aimed at the left side, called Imbrocata (from the Italian term). Those who wish to keep the attacking sword at a distance, will be obliged to either withdraw in retreat or attack their opponents first, either with the Direct Line, or with a bent arm, as is shown by the examples in this Plate. The first type of thrusts which are made from the Direct Line will always need to use a circular disengagement to move to the outside of the sword, but the other sort require no preparations whatsoever. For as you move the opponent’s sword to your left side, so he can aim an imbrocata by merely following on from the movement. The former are aimed at the right side, whereas the latter are aimed at the left. Those attacks that are made from the Direct Line posture are met by closing down the opening by using the same Direct Line posture against them to counter the opponent, while those attacks made with a bent arm are countered by taking the sword and moving it off-target with a counter-bend, so that the harder the opponent pushes, the further his tip moves from his intended target. So, let us see some examples.
-|Puis que iuſques icy il a eſté monſtré aſſez clairement comment il faut garantir le coſté droit du danger de la cavation, il ſemble que l’ordre nous convie à traitter preſentement du danger & du remede des Imbroccades, qui pourroyent eſtre tirées vers le coſté gauche. Car ceux qui ne veulent ſouffrir qu’on leur attaque l’eſpee de loing, ſont neceſſairement obligez ou à ſe retirer en arriere ou bien à tirer les premiers ſur leurs contraires, ſoit en ligne droite, ſoit avec le bras courbe, ainſi qu’on verra par les exemples du preſent Tableau. Les premiers eſtocades qui ſe font en droite ligne, requierent touſiours l’aide de la cavation pour venir au dehors de l’eſpee; les autres n’on beſoing de preparation qui ſoit. Car ainſi qu’on emporte l’eſpee contraire à coſté, auſsi en peut on tirer des Imbroccades par la ſeule pourſuite du meſme mouvement. Celles là ſont portées vers le coſté droit du corps, celles cy vers le gauche: celles de la droite ligne ſe rencontrent pareillement en fermant la meſme droite ligne alencontre pour prevenir le contraire, celles de la courbe, en ſurprenant l’eſpee meſme d’une courbe contraire la faiſant aller à vuide, en ſorte que d’autant plus que le Contraire y employe de force, d’autant plus ſa pointe s’enſuit du poinćt d’attouchement qu’il avoit deſtiné. Or venons en aux Exemples.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1.'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the instant Alexander sets his foot down at G, to subjugate his opponent’s sword, Zachary moves in and aims an imbrocata at his stomach.''
-|''A l’inſtant qu’Alexandre abaiſſe le pied droit à la lettre G. pour aſſujettir l’eſpee contraire; Zacharie s’avance & luy tire une imbrocade à la poitrine.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two parties have before this begun at the First Instance with swords parallel in the Direct Line posture. Alexander began his work to subjugate his opponents sword at the Second Instance along the Oblique Diameter, just the same as in the first Circle of Plate VII. As he did so, at the moment his right foot touched the ground and he drew his left foot up with a circular motion. Zachary then enters in, stepping with his right foot to the outside up to the letter S, along the Oblique Diameter, leaning forward onto the right foot, bending his arm, turning the outside branch of his crosspiece upwards and inwards to deliver the imbrocata to his opponent’s chest, then following up with his left foot onto the Quadrangle, as is shown in the picture.
-|Les parties y ayant preallablement eſté à la Premiere Inſtance avec les eſpees paralleles en ligne droite; <font style="font-variant:small-caps">Alexandre</font> a commencé à travailler pour aſſujettir l’eſpee contraire à la Seconde Inſtance par deça le Diametre, tout de meſme qu’au Cercle N.1. du Tableau VII. En quoy faiſant, à l’inſtant qu’il abaiſſe le pied droit à la lettre G. & qu’il pourſuit circulairement avec le pied gauche; <font style="font-variant:small-caps">Zacharie</font> entre ſur luy portant lepied droit dedans juſqu’à la lettre S. au deça du Diametre, ſe panchant en avant ſur le pied droit, & courbant par meſme moyen le bras, il tourne ſa branche exterieure en dedans verticalement; & ainſi il donne l’imbrocade à ſa partie adverſe en la poitrine, pourſuivant a mener le pied gauche en dehors par deça le quadrangle, ainſi que il eſt repreſenté en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|This action is only described here to more clearly demonstrate what Zachary intends to do, so that it will be easier to understand Alexander's actions that are shown in the following Circle.
-|Ceſte operation n’eſt icy exprimée, que pour demonſtrer plus evidement l’intention que Zacharie pretend d’accomplir, afin qu’il ſoit plus facile de comprendre l’operation d’Alexandre, qui eſt repreſentée au Cercle ſuivant.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2.'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander seeing the imbrocata his opponent begins to aim at him, traps his opponent’s blade while turning his left side away to the outside, and puts his sword-tip in front of his opponent’s eyes.''
-|''Alexandre s’appercevant de l’Imbrocade que ſon Contraire luy commence à tirer, au meſme temps il ſurprend la lame contraire, en ſe deſtournant le coſté gauche du corps en dehors, & luy mettant ſa poinćte devant les yeux.''
-|- style="font-family: times, serif; vertical-align:top;"
-|We repeat the actions of Alexander and Zachary from the start up to the moment when Zachary has begun to step forward with his right foot, bend the arm, turn his crosspiece upwards to send his imbrocata into his opponent’s chest. Alexander clearly perceives his opponent’s attack as much by the feel of the blade as by sight. At the same time that he straightens his arm, he turns the interior branch of his crossguard out and upwards as far as the top of his head, to trap his opponent’s blade from underneath, raising it up, while, turning on his feet, he moves his left side (the aim of the thrust) outwards and away from his opponent’s attack. At the same time, he aims his own blade directly at his opponent’s eyes, carefully stopping his  blade, so that his opponent’s cannot advance without wounding himself in the face. This is shown by the figures.
-|Comme donc ces dites operations d’<font style="font-variant:small-caps">Alexandre</font> & de <font style="font-variant:small-caps">Zacharie</font> ſont encommencées & continuées, juſques à ce que <font style="font-variant:small-caps">Zacharie</font> commēce à avancer le pied, courber le bras, mener & tourner ſa branche exterieure en dedans à la hauteur de l’eſpaule pour aſſener ſon Imbrocade en la poitrine de ſa partie adverſe: <font style="font-variant:small-caps">Alexandre</font> s’apperçoit aſſez clairement de l’approche du corps de ſon cōtraire, par le ſentiment & meſmes par la veüe; que fait qu’au meſme temps en roidiſſant le bras, il tourne ſa branche interieure en dehors verticalement juſqu’à la hauteur du ſommet de ſa teſte, en ſorte qu’il en ſurpren la lame contraire par deſſoubs, & la fait monter en haut, destournant au meſme inſtant à l’aide des pieds le coſté gauche, (ou l’atteinte avoit eſté deſtinée,) en dehors, & dreſſant par meſme moyen la pointe de ſa lame droit aux yeux de ſa partie adverſe, l’arreſtant par courtoiſie, en ſorte que ſon contraire ne ſe peut avancer ſans ſe bleſſer luy meſme au viſage: ainſi qu’il eſt repreſenté par les figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3.'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary aims an imbrocata thrust at his opponent’s chest, stepping in and bending his arm up as high as his head, at the moment his sword is being subjugated.''
-|''Zacharie donne à ſon Contraire un coup d’Imbrocade en la poitrine, en entrant & courbant le bras à la hauteur de ſa teſte, au temps que ſon eſpee eſt aſſujettie.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The action in Circle No 3 comes a little later than the previous one, that is, after Alexander has stepped to the Second Instance and subjugated his opponent’s sword. At this moment, Zacharay advances on him, stepping out with his right foot into the letter S, bending his arm and turning the outside of his crosspiece upwards to the top of his head at at the same time. Thus, he gives an imbrocata thrust at his opponent’s chest by leaning his body forward, and drawing his left foot to the outside by the Quadrangle. Zachary’s actions is shown here for the same reason as Circle No 1. The only difference here is that Alexander has already moved up to the Second Instance, forcing Zachary to raise his arm higher to give his imbracata thrust from higher up and further outside. This is the situation; the counter follows.
-|Ceſte operation du Cercle 3. vient un peu plus tard que l’autre, aſſavoir lors qu’<font style="font-variant:small-caps">Alexandre</font> eſt deſia arrivé à la Seconde Inſtance, y ayant aſſujetti l’eſpee contraire: auquel temps <font style="font-variant:small-caps">Zacharie</font> s’avance ſur luy, en entrant du pied droit juſqu’à la lettre S. tournant enſemblement d’un bras courbé la branche exterieure de ſa garde verticalement juſqu’à la hauteur du ſommet de ſa teſte; donnant ainſi à ſa partie adverſe un coup d’Imbrocade en la poitrine panchant le corps, & accomodant le pied gauche pour le trainer en dehors deſoubs le quadrangle. Ceſte operation de <font style="font-variant:small-caps">Zacharie</font> eſt icy repreſentée pour la meſme conſideration que la prededente Cercle 1. Auſſi elle n’en differe pas autrement, ſi ce n’eſt qu’en ce Cercle preſent <font style="font-variant:small-caps">Ale</font>xandre avoit les pieds deſia plantéz ſur la Seconde Inſtance, & que pour ceſte cauſe <font style="font-variant:small-caps">Za</font>charie a eſté obligé de porter la main plus haut pour donner l’Imbrocade de plus haut. Voilà l’occaſion; s’enſuit la rencontre.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4.'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander again perceives his opponent aiming an imbrocata at him after his sword has been subjugated. He turns his left side away, lowering his arm and catching his opponent’s blade, in such a way that he he leans backwards to do the move.''
-|''Alexandre s’appercevant derechef de l’Imbrocade que l’Adverſaire luy tire apres l’aſſujettiſſement, il ſe deſtourne au meſme temps le coſté gauche du corps en dehors, en baiſſant le bras & ſurprenant la lame contraire, en ſorte qu’il en fait l’execution en plongeant avec le corps panché à l’envers.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Just as soon as Zachary raises his foot and moves it forward, he bends his arm while turning his wrist so the exterior branch of the crossguard moves upwards to about head-height, to do his imbrocata thrust the same way as before. Alexander, who knows his opponent’s intention from the feel and movement of his sword, at once raises his right foot, spins his left side out and away and, catching his opponent’s sword with the crossguard, raises his arm up above his head and aims his point down towards his opponent’s face, putting his foot down on the line between G and L, and then puts his weight on it by learning backwards, drawing his left foot up behind into place, and executes his hit by sliding the point of contact along the blades, as is shown in the figure.
-|Tout auſſi toſt que <font style="font-variant:small-caps">Zacharie</font> eſleve & avance le pied, courbant en haut le bras, & enſemble tournant ſa brāche exterieure en haut à l’endroit de ſa teſte, pour donner l’Imbrocade en la meſme forme que deſſus: <font style="font-variant:small-caps">Alexandre</font> cognoiſſant ſon intention par le ſentiment & par les mouvements du corps de ſon contraire, eſleve au meſme temps le pied droit en l’air, deſtournant le coſté gauche du corps en dehors, & hauſſant le bras avec la garde, il eſtraint la lame contraire de ſa branche interieure, laquelle il tourne en haut au deſſus de la hauteur de ſa teſte, en dreſſant la pointe vers le bas au viſage du Contraire, & ainſi plantant le pied entre GL ſur la ligne, & ſur iceluy chargeant le corps en panchant à l’envers, meſme avec le pied gauche trainé proportionellement derriere, il pourſuit & execute ſa pointe en plongeant & graduant les eſpees de haut en bas, comme il eſt pourtrait en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|To correctly counter these imbrocata thrusts, you must take care to move at the same instant that your opponent bends his arm, turning the exterior branch of his crossguard upwards, and thus presenting his left side. Turn your left side away, straighten your right arm, and turn the interior branch of your crossguard upwards, so as to catch your opponent’s blade. While sliding the point of contact up the blades while you wound him, make sure to keep your hand slightly above your opponent’s, so his tip will always be above your head, and so you will hit him while being certain of his sword being out of the way at an obtuse angle.
-|Pour prevenir juſtement ces dites Imbrocades, il faut prendre garde qu’au temps que la partie adverſe courbe le bras en tournant la branche exterieure en haut, & preſentant enſemblement le coſté gauche, de travailler au meſme inſtant juſtement au contraire, en deſtournant le coſté gauche hors de preſence avec le bras droit eſtendu, & la branche interieure de la garde tournée en haut; en ſorte que la lame contraire en ſoit ſurprinſe. Auſſi en graduant les lames durant l’execution de la bleſſure, il faut obſerver de porter tourſiours le bras avec la garde un peu plus haute que la main contraire, afin que ſa pointe vous aille au deſſus de la teſte & qu’ainſi vous luy donniez l’atteinte hors de l’angle obtus avec aſſurance.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5.'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''While Alexander is stepping from the Second Instance to the Third, Zachary moves forward and aims an imbrocata thrust at his face. So Alexander is constrained to move in against him, turning his opponent’s sword aside with his body leaning backwards, and stepping between the perpendicular Diameters, to turn in place.''
-|''Au temps qu’Alexandre chemine de la Seconde Inſtance vers la Troiſieme; Zacharie s’avance, & luy tire une Imbrocade devers le viſage: dont Alexandre eſt contraint de s’avancer pareillement alencontre, en deſtournant l’eſpee contraire avec le corps panché à l’envers au dedans des perpendiculaires, pour y faire la volte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Alexander arrived at the Second Instance, having subjugated his opponent’s sword, he intends to step to the Third and execute the attack as shown and described up to the 6th Circle of Plate VI, he has just raised his foot to take a step. Zachary again moves forward in the same way as above, moving his right foot out to the letter S, bending his arm, turning his wrist so the exterior branch of his crossguard is vertical and above his head, to give Alexander an imbrocata thrust to the face. Alexander raised his foot and moved it forward, so his body is a bit higher and slightly closer.  At the very instant he realizes it is no longer possible for him to overcome his opponent with a bent arm attack that forces the tip of his opponent’s sword aside so he can deliver a downward strike, he moves likewise against him, holding his sword and arm straight out in front, upwards at an obtuse angle, he steps in between the two Diameter lines at point I, then turns his left side away, while at the same time raising his left foot and spinning it around the other so far that that his toes land on the line between R and S which helps to lean his body backwards. So his body is in the angle between the perpendicular lines, arm extended, his guard pushing his opponent’s guard and hand higher up, so that while he is in this position, he can do nothing against him. This, then, is the meaning of this figure.
-|Apres qu’<font style="font-variant:small-caps">Alexandre</font> en aſſujettiſſant l’eſpee contraire eſt venu à la Seconde Inſtance, & qu’il commence à marcher vers la troiſieſme, en intention d’y toucher & executer en la maniere qui eſt demonſtrée par le Tableau VI. au Cercle 6. dés auſſi toſt qu’il a eſlevé le pied droit pour cheminer; <font style="font-variant:small-caps">Zacharie</font> s’avance derechef en la meſme ſorte que deſſus, en portant le pied droit juſqu’à la lettre S. ſe courbant le bras, & tournant ſa branche exterieure verticalement par deſſus la hauteur de ſa teſte, pour luy donner une Imbrocade au viſage. <font style="font-variant:small-caps">Alexandre</font> s’eſtant un peu hauſſé, & approché par l’eſlevation & l’avancement du pied; tout à l’inſtant il cognoiſt qu’il ne luy eſt plus poſſible de ſe prevaloir de la ligne courbe, en deſtournant la pointe contraire contremont, & aſſenant à meſme temps la ſienne en plongeant de haut en bas, parquoy au meſme inſtant, que l’adverſaire commence, il s’avance pareillemēt alencontre, avec le bras & l’eſpee roidement eſtendus en angle obtus, & plante le pied au deça le Diametre au poinćt I. en deſtournant le coſte gauche en dehors, & quand & quand eſleve le pied gauche, & le volte par derriere l’autre ſi avant, qu’il en plante les orteils ſur la ſećtion de la ligne RS. panchant le corps à l’envers, à l’aide des pieds que ſe tournent en dehors; ſe mettant ainſi le corps au dedans des perpendiculaires, avec le bras eſtendu, rencontrant & pouſſant de ſa garde la garde & le bras contaire plus haut, en ſorte qu’elle l’empeſche durant ce meſme temps, de ne pouvoir rien attenter au contraire. Voila là le ſens de la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6.'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander spins around his left side while at the same time moving his sword-tip over and down, wrapping his left arm around himself while making a quick step with his left foot so as to hit his opponent in the chest.''
-|''Alexandre ſe volte le coſté gauche devant, en menant au meſme temps ſa poinćte de haut en bas, l’entortillant de ſon bras gauche avec eſlevation du pied gauche, pour executer ſa poinćte à travers la pointrine de ſon adverſaire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander immediately continues on from the previous action, turning his body around with his left side forward as he turns his feet, and, at the same time, turning his wrist and hand to disengage from his opponent’s blade and move his sword-tip down to point at his opponent’s chest, with his right hand held in close against his side and his left arm wrapped close across his front. At the same time, he lifts his left foot makes a short step forward to the point S, bending his knee to put his weight on it, drawing his right foot up behind from point I to the letter L on the Perpendicular Diameter, so he can easily drive his opponent backwards, as is shown in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> pourſuit ſans intermiſſion l’operation precedente, en tournant les pieds & le corps en dedans avec le coſté gauche devant, & au meſme temps, en tournant du poignet de la main la pointe de ſon eſpee de haut en bas, il abandonne la lame contraire, en ſerrant la ſienne contre ſa pointrine, icelle entortillant de ſon bras gauche; eſlevant & avançant quand & quand un bien peu le pied gauche, juſqu’à la lettre S, portant la charge du corps ſur le meſme genouil plié. le pied droit ſuivant proportionellement juſqu’à la lettre L. ſur le Diametre perpendiculaire, & dreſſant ſa pointe ſur le bas de la pointrine de ſon Contraire, en ſorte qu’il ne tient qu’à luy de le jetter à l’envers par terre, ainſi que les ſituations des figures le repreſentant.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7.'''
-|'''Cercle N.7'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Once again, while Alexander is stepping with his foot towards the Third Instance, Zachary confidently aims an imbrocata thrust up towards his face, confident in his superior position.''
-|''Cependant qu’Alexandre chemine avec le pied droit devers la Troiſieme Inſtance; Zacharie luy tire derechef une Imbrocade haute devers le viſage, en prenant l’aſſeurance de la ſuperiorité.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Again, Alexander has reached the Second Instance, and has just raised his right foot to step over to the Third Instance at the letter N from where he intends to strike his opponent in the face. At the same time, Zachary steps forward with his right foot to the letter S, body erect, drawing his left foot up to the letter X. At the same time he bends and turns his arm inwards, the guard up above his head and, by moving the point of contact up his blade and down Alexander’s, gains superiority over his opponent, to hit him with an imbrocata thrust to the face.
-|<font style="font-variant:small-caps">Alexandre</font> eſtant derechef arrivé à la Seconde Inſtance au poinćt G.& ayant pareillement eſlevé le pied droit pour aller à la troiſeme à la lettre N. en intention d’y donner l’atteinte au viſage de ſon Contraire: au meſme temps <font style="font-variant:small-caps">Zacharie</font> marche avec le pied droit & le corps eſtendu juſqu’à S. le pied gauche revenant avec le talon levé juſqu’à la lettre X. & au meſme temps il courbe & tourne le bras dedans par deſſus la hauteur de ſa teſte, de ſorte qu’il en acquiert par l’augmentation de ſes Nombres la ſuperiorité des lames, pour donner encore à ſon Contraire un coup d’Imbrocade au viſage.
-|- style="font-family: times, serif; vertical-align:top;"
-|His sense of feel tells Alexander that his opponent has begun to dominate and is about to attack his face. He immediately redirects his foot down onto the collateral line near L, quickly lifts and moves his left foot forward, while turning his left side forward, as he turns the interior branch of the crossguard upwards, catches his opponent’s sword from beneath, and extends his right arm up above his head and to the outside, so his guard forces his adversary’s tip upwards past his head, as shown in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment tant de la ſuperiorité que de l’intention de ſon Contraire, il divertit la demarche en mettant le pied à terre ſur la ligne collaterale pres de la lettre L, hauſſant & avançant enſemblement le pied gauche, & tournant le coſté gauche, & le bras droit eſtendu en dehors par deſſus la hauteur de ſa teſte; avec la branche interieure de ſa garde tournée contremont; dont il ſurprend par en bas la lame contraire, & en mene la poinćte par deſſus la hauteur de ſa teſte, ainſi qu’il ſe voit au pourtrait de figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8.'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has set his right foot down and, seeing he has lost the advantage, lets his blade drop, and disengages as he jumps with his left foot beside his adversary, and makes a reverse cut to his leg.''
-|''Alexandre plantant le pied droit & s’apppercevant de la ſuperiorité perdue, il laiſſe eſcouler ſa lame, & en la deſtachant il ſaute avec le pied gauche à coſté de ſon adverſaire, luy donnant un coup de revers à la jambe.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander can feel that his adversary is still putting force on his blade, pressing it downwards, to aim an Imbroccata thrust at his face. He lifts his guard forward, and allows his wrist to flex so the tip of his sword drops away to the right. With his still-raised left foot, he leaps outside the circle, putting all his weight forward onto that foot while at the same time raising his right foot up and, while doing this, disengages his sword, allowing it to swing circularly around, upwards, and then down so that he can cut diagonally backwards across the thick of his opponent’s calf, as is shown in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment, que ſon Adverſaire luy continue le poids de ſa lame, en pouſſant la ſienne vers le bas, pour luy donner l’Imbrocade au viſage; il en hauſſe à l’advenant la garde & en laiſſe deſcendre la pointe à l’aide du poignet de la main; ſautant du pied gauche qui eſt eſlevé vers ſa partie, en dehors au deſſoubs le Cercle, avec pareille eſlevation du pied droit, menant quand & quand la charge du corps en panchant ſur le pied gauche, & durant le meſme temps deſtachant les eſpees, & la ſienne la menant circulairemēt dehaut en bas, en ſorte qu’il en tire un coup de revers diagonal au gras de la jambe droite de ſon Contraire. ainſi qu’il eſt peint en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9.'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He presses his advantage, pivoting around and siezing his opponent’s guard, while Zachary is trying to turn his sword on him. He puts his sword-tip into Zachary’s right armpit.''
-|''Il pouſuit ſon advantage, en voltant le corps & faiſant prinſe de la Garde Contraire, cependant que Zacharie ſe prepare à luy preſenter l’eſpee; en luy aſſenant conſequemment ſa poinćte deſſoubs l’aixelle droite.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This follows from the preceeding circle. Alexander takes his raised right foot quickly around with a circular move well behind his left foot which he raises at the same time off the ground. Zachary, seeing how his adversary is about to get behind him, at the same time moves his left foot, with his heel raised, over the diameter to the letter W, thus turning, so his right arm and sword are towards his opponent. While he does this Alexander grabs his guard from beneath with his left hand, moving it over his head and pulling down towards him as he leans back on his right foot. He closes his left arm against his side to hold the guard firmly in place while aiming the tip of his sword at his adversary as his left foot comes down, so that his adversary is suddenly drawn onto it, as the picture shows.
-|C’eſt la pourſuite du preeedent: en laquelle <font style="font-variant:small-caps">Alexandre</font> mene le pied droit eſlevé d’une grande viſteſſe circulairement & fort avant par derriere le gauche, lequel il pourſuit quand & quand à eſlever en l’air: dont <font style="font-variant:small-caps">Zacharie</font> recognoiſſant que ſa partie adverſe luy viendroit à gaigner la crouppe, au meſme temps il porte le pied gauche avec le talon levé au delà du Diametre à l’W, preſentant par ainſi le corps avec les pieds, le bras droit, & l’eſpee devers ſon Cōtraire. Durant lequel mouvemēt <font style="font-variant:small-caps">Alexandre</font> luy empoigne la garde par deſſous, la tournant & tirant à ſoy vers le bas, avec le corps panché à l’envers ſur le pied droit, que eſt planté; s’affermiſſant le bras avec la garde de l’eſpee contre le coſté droit, en aſſenant & executant la poinćte au coſté droit de l’adverſaire avec le planter du pied gauche, en ſorte que ledit adverſaire en eſt ſurmonté tout à fait, ſelon que les figures demonſtrent.
-|- style="font-family: times, serif; vertical-align:top;"
-|It often happens, when doing the actions in Circle No 7, that Zachary will cross swords at the 6th or 7th Span with the 7th or 8th Span of his own, in order to subjugate the blade and so more easily aim his intended Imbrocata thrust. At which point, Alexander will once again bring his guard up, with the interior of his crossguard turned vertically upwards above his head while allowing his sword-tip to drop lower, and bringing his right foot closer to the Perpendicular Diameter, towards the letter N. Whereas in Circle No 8, he followed up with a reverse cut to the leg. So now, with his tip lowered even further, he will most often use a reverse-cut to the head. Likewise, instead of what was shown in Circle No 9, where he took ahold of the guard, when it sometimes happens that as his adversary turns towards him, this will not be possible to do. In that case he must execute a thrust to the face with the tip of his sword.
-|Or il adviendra ſouventefois en pratiquant l’operation du Cercle 7. que <font style="font-variant:small-caps">Zacharie</font> en donnant la courbe, ira croiſer par en haut la lame contraire aux Nombres 6. ou 7. avec les 7. ou 8. des ſiens, pour l’aſſujettir & tirer plus aiſemēt l’execution de l’Imbrocade pretendue: Sur quoy <font style="font-variant:small-caps">Alexandre</font> menera derechef la garde, avec la branche interieure tournée verticalement par deſſus la hauteur de ſa teſte en laiſſant cependant aller la poinćte plus baſſe, & menant le pied droit plus en deça le Diametre devers la lettre N. Et comme au Cercle 8. il a pourſuivy l’operation avec un coup de revers tiré à la jambe; ainſi maintenant, ſa poinćte eſtant baiſſé d’avantage, il en menera le plus ſouvent un coup de revers à la teſte. Pareillement au lieu de ce qui eſt repreſenté ſur le Cercle 9. qu’il fait prinſe de la garde, au meſme temps que ſon Contraire ſe tourne avec l’eſpee devers luy, il adviendra quelquesfois qu’il luy ſera impoſſible de ce faire; toutesfois il ne laiſſera d’executer ſur ſon Contraire, en luy tirant par le foible de l’eſpee une eſtocade en droite ligne au viſage.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the moment Alexander is about to reach the Third Instance, Zachary advances and again aims an Imbrocata thrust at his chest, but with his left side leading.''
-|''A l’inſtant qu’Alexandre penſe arriver à la Troiſieme Inſtance: Zacharie s’avance, & luy tire derechef une imbrocade à la poitrine, avec le coſté gauche tourné en devant.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Alexander has subjugated his opponent’s blade at the Second Instance and is moving towards the Third, intending to thrust as usual. But as soon as he starts to shift his weight, Zachary again enters in, moving his right foot from the Diameter to the point S, drawing his left foot up to the letter X, with his heel raised. He moves his left side forward while bending his arm up above his head, and turning his wrist so the exterior branch of his crossguard goes upward. In this way his sword-tip is aimed straight at his opponent’s chest, ready for an outside thrust. Alexander is forced to put his foot down on the Interior Transverse by the letter M, drawing his left foot up behind.
-|<font style="font-variant:small-caps">Alexandre</font> apres avoit aſſujetti la lame contraire à la Seconde Inſtance, il s’acheine vers la troiſieme, en intention d’y tirer l’eſtocade à la mode accouſtumée: Mais auſſi toſt qu’il en approche le pied <font style="font-variant:small-caps">Zacharie</font> vient derechef entrer ſur luy, en portant le pied droit en deça le Diametre juſqu’au poinćt S. Avec pourſuite du pied gauche avec le talon levé juſques à l’X. & enſemblement avançant le coſté gauche du corps, courbant le bras par deſſus la hauteur de ſa teſte, & tournant la branche exterieure de ſa garde en haut; & par ainſi preſentant la point de ſa lame en forme d’imbrocade droit à la poitrine de ſon contraire: iceluy en eſtant forcé de planter le pied eſlevé ſur la traverſante aupres de la lettre M. le pied gauche ſuyvant proportionnellement apres.
-|- style="font-family: times, serif; vertical-align:top;"
-|This incomplete action is shown here so you can better understand Zachary’s intentions and the timing he chose to make his move as the most convenient, and how his move is forseen and countered by Alexander's actions in the following Circles.
-|Ceſte operation vous eſt icy repreſentée imparfaite, pour donner tant mieux à cognoiſtre l’intention de <font style="font-variant:small-caps">Za</font>charie, & le temps qu’il y choiſit pour le plus convenable; & comment elle luy ſera prevenue & annullée par <font style="font-variant:small-caps">Ale</font>xandre en la pourſuite de l’operation demonſtrée par les Cercles ſuivants.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11.'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has been forced to turn the hit aside using the end of his blade, while stepping inside the angles, to prepare to turn about.''
-|''Alexandre eſt forcé à deſtourner le coup par l’entremiſe de ſa lame, en entrant dedans les angles, & ſe preparer à faire la volte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Everything that was said in the last Circle about moving from one side to the other, describes the two opponents moving against each other at the same time, until Zachary leans forward, bending his arm and turning hand and sword to attack with his Imbrocata thrust. Alexander, seeing that his opponent has come in so close into range that he cannot parry him simply with a bend of his arm, as he did before in Circles No 2 and 4, puts his right foot down at the letter M. He moves his right side forward and his arm and sword against his opponent’s sword, parrying it and pushing it away, with his guard low and the tip up. At the same time, that he sweeps his left foot around and behind his other foot, setting it down by the letter S, along the Inscribed Square, he turns his left side outwards and towards his opponent, and in this way, steps in between the perpendicular diameters and the opponent’s blade, all the while keeping his eye on his opponent until the last possible moment. This is clearly shown by the figures.
-|Tout ce qui à eſté dit au Cercle dernier precedent, ſeſtant ainſi paſſé tant d’un coſté que d’autre, les deux Contraires s’avançent à meſme temps l’un contre d’autre, juſqu’à ce que <font style="font-variant:small-caps">Zacharie</font> panche le corps ſur le devāt, courbant & tournant le bras & l’eſpee pour luy donner l’Imbrocade: <font style="font-variant:small-caps">Alexandre</font> s’apperçevant que ſa partie adverſe luy eſt venue ſi avant dedans la meſure, qu’il ne le pourroit toucher avec la courbe contraire (ainſi qu’il avoit fait auparavant aux Cercles 2. & 4.) plante au meſme temps le pied à terre à la lettre M. En avançant le coſté droit du corps enſemble avec le bras & l’eſpee devers l’eſpee contraire, la deſtournant & pouſſant en dehors par l’oppoſition de la ſienne avec ſa garde baſſe & ſa pointe haute: pourſuivant quand & quand à volter le pied gauche, enſemble avec un tournoyement du coſté gauche en dehors par derriere l’autre juſqu’à bien pres de l’S. ſur le coſté du quarré inſcrit, ſe fourrant par ainſi dedans les perpendiculaires de la lame contraire, & continuant encor juſques audit dernier inſtant à regarder ſon contraire au viſage: ainſi qu’il eſt clairement demonſtré par les figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12.'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He continues his about-turn to the left, keeping control of the blades.''
-|''Il fait l’aćtion de la volte, en tournant le coſté gauche, avec l’aſſeurance des lames.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues the movement he started, swiftly turning his body and particularly his left side outwards, turning on his feet, his back to his opponent, so that he cannot see his face for an instant, but still keeping his arm straight with the sword pressed against his opponent’s sword, the same as before, as shown in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> continue le mouvement encommencé, en tournant viſtement le corps, & notamment le coſté gauche plus en dehors à l’aide des pieds, avec le dos devers ſa partie contraire, en ſorte qu’il ne le peut regarder en ceſt inſtant au viſage, laiſſant toutesfois cependant le bras droit avec l’eſpee appuyée contre l’eſpee adverſaire, en la meſme ſituation, qu’ils eſtoyent paravant; ainſi qu’il paroit aux figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13.'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander spins around, disengaging his blade, bringing the sword-tip around and down and setting his left foot down at the moment he makes his thrust.''
-|''Alexandre luy donne l’atteinte enſuite de la volte, en deſtachant les lames, & conduiſant ſa poinćte de haut en bas avec le pied gauche eſlevé, lequel il plante en faiſant l’execution.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues with his action, turning his left side and feet towards his opponent, and at the same time using his wrist to move the flat of his blade around and down to hold it against his side. He wraps his left arm across his stomach and holds it there, while stepping forward and beyond the circle with his left foot and putting his weight down on it, hitting his opponent in the lower chest at the same time, so that he delivers the most power behind his thrust through his opponent’s body, enough to knock him backwards as he follows through with his right foot.  This is the sense of the figure.
-|<font style="font-variant:small-caps">Alexandre</font> pourſuivant encore la meſme operation, tourne le coſté gauche du corps & les pieds devers ſon Contraire, & au meſme temps il conduit avec le poignet de ſa main le plat de ſa lame de haut en bas alencontre de ſa poitrine; l’embraſſant & affermiſſāt avec le bras gauche, portant enſemblement le pied gauche en avant par deça le Cercle, & avançant ſur iceluy la charge du corps, donnant à ſa partie adverſe l’atteinte au bas de la poitrine: en ſorte qu’il eſt  en ſa puiſſance meſme de le jetter à l’envers, en executant ſur luy ſon eſtocade à travers le corps avec pourſuite & aſſiſtance du pied droit. Tel eſt le ſens de la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|As soon as Zachary raised his guard up to head height in Circle No 11 to attack with his Imbrocata thrust, Alexander was forced to parry off to the side holding his sword and guard shoulder-high. He could also do it this way, had Zachary tried the same Imbrocat on him, but with his sword and hand going not much higher than his shoulder. More often, he would keep even lower, trying to hit the lower part of Alexander’s body. In all such situations, Alexander would defend in the same way, by bringing his guard and blade lower and forward. He must also be sure to meet all Imbrocata attacks, whether from high, or low, at about the 9th Span against his opponent’s blade, his sword-tip aimed upwards so that he cannot be hit down low along his blade, nor can his opponent go above his blade to hit high up. Following this beginning, I shall show some variations in the continuation and final execution of the hit, in a way that is very easy to understand and will not need much explanation.
-|Or tout ainſi que <font style="font-variant:small-caps">Zacharie</font> a hauſſé ſa garde au Cercle 11. à l’egal de ſa teſte, pour tirer ſon Imbrocade; dont <font style="font-variant:small-caps">Alexandre</font> a eſté contraint de la deſtourner avec le bras & la garde haute au parage de l’eſpaule: auſſi ſe pourra il faire que <font style="font-variant:small-caps">Zacharie</font> entreprendra de tirer ſur luy les meſmes Imbrocades, n’allant point plus haut avec le bras & l’eſpee que ſes eſpaules; voire aſſez  ſouvent, il demeurera encore plus bas, en taſchant de donner le coup en la partie inferieure du corps. En toutes leſquelles occaſions <font style="font-variant:small-caps">Alexandre</font> ſe defendra touſiours en la meſme ſorte en menant auſſi ſa garde & ſa lame plus baſſe à l’advenant: & obſervant en toutes occurrences d’Imbrocades tirées ſoit de haut ſoit de bas de mettre le point 9. ou environ contre la lame adverſaire, la poinćte dreſſée contremont afin qu’il ne puiſſe eſtre touché en bas au long de ſa lame, ny en haut par deſſus. Et ſuivant ce commencement la continuation & l’execution du coup en recevront auſſi quelque changement à l’advenant; qui eſt fort facile à comprendre, & ne requiert point d’autre explication.
-|- style="font-family: times, serif; vertical-align:top;"
-|Finally, note that these three Circles, 11, 12, & 13, are not three separate actions, to be done in three parts, but rather a single sequence of three steps, shown this way for ease of the student to observe and understand the principles he must follow. As the student follows our style of fighting, they will perform these different parts one after the other so smoothly that they will come to be seen as a single fluid motion, the parts existing only in theory.
-|Soit obſervé en ces trois Cercles 11. 12. 13. que ce ne ſont pas trois diverſes aćtions, diſtinguées en trois temps chaſcune à part ſoy: combien que la repreſentation en ſoit ainſi faite par articles en faveur des Diſciples, pour leur demonſtrer les principales obſervations ſelon leſquelles ils ſe doivent regler. Car quand ils y ſeront ſtylez, ils pratiqueront, toute l’operation de bout en bout d’une ſi parfaite promptitude, que les parties icy repreſentées y ſeront pluſtoſt recogneues par imagination que par la veuë.
-|- style="font-family: times, serif; vertical-align:top;"
-|
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-|- style="font-family: times, serif; vertical-align:top;"
-|Here then, in these two Plates VII & VIII, we have presented the actions which will typically be used against those whose style of fighting does not involve swords in contact. As such, its usefulness is self-evident. But speaking especially about Plate VIII, I believe I should not be taken to task for the most part for these demonstrations, with these reversals of the arm, raising it up to, or even above, head-height, and making this jump from about the Third Instance to the adversary’s side, and making these spinning moves, both high and low, which appear to be strange and extreme, and, what is worst of all, to be disadvantageous to someone attempting them. To which I must respond that mistakes made while trying to follow these instructions should not be taken as a weakness of an otherwise powerful art. For, insofar as untrained students may not be able to successfully execute these moves, this does not mean the principles are not correct. Which is why, if any would criticize this system, they must show that there is some fault in the action being displayed, such as taking too long to set up, or being too awkward to perform the move as shown. To say these are extremely difficult moves means nothing if they cannot show an easier one instead, which would be appropriate in the same situations. Because everything we do is forced on us in response to our opponents moves. Because, in any case, the law of performing movements in a natural way must be held inviolable, you understand that there is nothing more compelling than necessity, which force drives all laws to be as stable as they can be. This is a general answer, which must suffice to respond to criticisms that these movements shown here are not natural, which entirely wrong. These may be difficult to put into practice at first, nevertheless, with a little practice, they become very easy to do, so that when and where they are needed, they can be done quite gracefully, and unbelievably quickly, and very successfully, not done by chance, but through skillful application of this art, grounded in rational science. These examples should not be taken as in any way unnatural, because Nature herself not only advocates these methods, but teaches us they are the answer when we are pressed to the point of being able to do nothing else, in the same way that Nature instructs a man who has fallen into the water to swim. I will say that this art does have some apparently strange moves, and is, at first, quite difficult to learn, but after some training, one will find oneself so capable, that there is not one person in the whole world who would not admit that this art is entirely in accordance with natural principles.
-|Or voilà donc en ces deux Tableaux VII. & VIII. les operations qui ſe preſentent ordinairement à faire contre ceux qui ſont accouſtumez à tirer des armes ſans l’uſage du ſentiment. En ſorte que l’utilité en eſt evidente d’elle meſme. Mais touchant ſpecialement le VIII. je croy qu’il ne faudra pas d’eſtre reprins en la plus part de ſes demonſtrations en ces renuerſemens du bras à porter en haut à l’egal de la teſte ou encores plus, en ce ſaut à faire depuis environ la Troiſeme Inſtance juſques à coſté de l’adverſaire, & en ces voltes du corps tant hautes que baſſes, qui ſembleront à pluſieures eſtre des mouvements eſtranges, & extremes, & qui eſt le pire de tout, deſavantageus pour celuy qui les voudroit mettre en pratique. Auxquels il faudra reſpondre, que les fautes commiſes a l’encontre des regles ne doivent prejudicier à la certitude de l’art meſme. Car encores que le diſciple malverſé n’en puiſſe venir à bout, toutesfois les preceptes n’en laiſſent pas d’eſtre juſtes. Parquoy s’ils les veulent reprendre il faut qu’il nous demonſtrent, qu’il y a de la faute en la demonſtration meſme, comme n’ayant pas le temps ou la preparation ou la commodité requiſe pour mettre en œuvre ce qu’elle monſtre. Car de dire que ce ſont des mouvements extremes, cela n’importe ſi ce n’eſt qu’ils nous en monſtrent des autres plus faciles, qui ſoyent neantmoins convenables en ces meſmes occaſions. Car tout ce que nous faiſons l’adverſaire nous y force: & partant combien que la loy de ſuivre les mouvements naturels doive eſtre inviolable, toutsfois il faut entendre que la neceſsité n’en a nulle, & qu’elle enfonce toutes loix quelques ſtables qu’elles puiſſent eſtre. Ce que nous alleguons pour une reſponce generalle, qui pourroit eſtre tenue pour ſuffiſante, encores que les mouvements icy repreſentez fuſſent contre la nature, ce qui eſt toutesfois autrement. Car encores qu’il ſoyent difficiles à pratiquer du commencement, ce neantmoins ils nous ſont rendus par l’excercice tres faciles, en ſorte qu’en lieu & temps on s’en ſert avec tres-bonne graçe, voire avec une viſteſſe incroyable, & avec un heureux ſuccés procedant non par hazard mais de la ſevreté de l’art, fondé en raiſon naturelle. Ces exemples ne doivent donc pas eſtre tenues pour choſes contre Nature, puis que c’eſt la nature meſme qui non ſeulement les avoüe, mais meſme les enſeigne, quand elle eſt reduite au point de ne pouvoir autrement; tout ainſi qu’elle monſtre à l’homme eſtant tombe en l’eau l’art de la nage; jaçoit que ledit art conſiſte en des mouvements fort eſtranges, & du commencement fort difficiles à apprendre: deſquels il ſe rend toutesfoit par l’exercice ſi capable, qu’il n’y a perſonne au Monde, qui ne confeſſe que ledit art ne ſoit du tout accordant à la Nature.
-|}
 {{master end}}
 {{master begin
-  | title = Book 1 - Tableau / Plate IX - Introduction to Degrees of Force
+  | title = Book 1 - Tableau / Plates XII - XXII
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 12-22}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 09.jpg|600px]]
-N.B., the coat of arms at the top belongs to Maurice of Nassau, Prince of Orange (1567 – 1625) who became Prince of Orange in 1618.
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;font-variant: small-caps"
-|A DISCUSSION ON THE VARIOUS DEGREES OF FORCE
-to serve as an introduction to the ninth plate.
-|DISCOVRS SVR LA DIVERSITE DES
-poids, servant d’introdvction av tableav nevfieme.
-|- style="font-family: times, serif; vertical-align:top;"
-|It is evident from the previous demonstrations that attacks made from long range are extremely dangerous, and if they succede at all,  it as much by chance as by skill. It follows that the advantage in our Art consists of the ability to close in with confidence. This cannot be done without having full knowledge of the importance of feel and sight. However, we are going to address only the former in this present Plate, not to separate the usage of one from the other, but we shall discuss the latter more fully in its proper place. In actuality, both are so tightly intertwined together that the use of one cannot even be started without the use of the other. These are the two, and only, pillars of our entire system of Training. We use sight to duly move into distance, we use feel to be more sure of it. We use sight to come to the point where we can reach out and make contact to use our sense of feeling, we use our sense of feel to execute the moves. In the way we use light to guide the eyes, we use our eyes to guide our sense of feel, and likewise our sense of feel to guide our movements. Sight is necessary at all different ranges, but Feeling can be used only when in contact, it cannot be used but at closer ranges. Nonetheless, Feeling has some excellent advantages, not only to enable us to respond against our opponent’s moves in time, but also with precision and control. This sense of feel alerts us, not only to the initial moves, but informs us of the amount of force being used, and the direction where it is going. These are things that are absolutely necessary to know, above all else, and about which sight alone can tell us so little as to be virtually useless.
-|Puis qu’il eſt evident par les Demonſtrations precedentes, que les coups qu’on tire de loing, ſont accompagnez d’un extreme danger, & s’ils reuſſiſſent aucunefois, que c’eſt pluſtoſt par hazard que par ſcience; il s’enſuit, que tout l’advantage de l’Art conſivte en l’aſſeurance de faire ſes approches. Ce qui ne peut eſtre pratiqué ſans avoir entiere cognoiſſance de l’importance du Sentiment & de la Veuë. Toutesfois nous ne traitterons en ce Tableau preſent que du premier tant ſeulement, non pour en ſeparer l’uſage d’avec l’autre, mais nous remettrons à parler plus amplement de la Veuë en ſon lieu propre. Car en effećt ils ſon liez touts deux ſi eſtroitement enſemble, que l’operation de l’un ne peut eſtre ne commencee ne pourſuivie ſans qu’elle ſoit à touts moments aſſiſtée de l’aſſeurance de l’autre. Car ce ſont les deux & uniques ſouſtiens de tout l’Exercice. On ſe ſert de la veuë pour venir deuëment en preſence; du ſentiment pour y eſtre plus ſeurement: par la veuë on vient au Sentiment, & par le Sentiment à l’Execution meſme; en ſorte que comme la lumiere eſt la guide aux yeux, ainſi les yeux le ſont pareillement au Sentiment & à la faculté motive. La veuë eſt neceſſaire en toutes ſortes de meſures; mais le Sentiment puis qu’il ne peut eſtre pratiqué ſinon par l’attouchement, il ne peut ſervir qu’en meſure plus eſtroite: toutesfois il ne laiſſe pas d’avoir auſſi en contreſchange des avantages fort nobles, par leſquels il nous aide & guide, non ſeulement à travailler ſur les mouvements contraires à temps, mais auſſi avec la juſteſſe & moderation requiſe. par ce que c’eſt luy qui en recognoiſt touſiours les premiers commencements, & la diverſité de l’effort, & la route de leur courſe; choſes autant neceſſaires, que nulle autre, & auſquelles la Veuë apporte ſi peu d’utilité, qu’elle n’y peut entrer en compte.
-|- style="font-family: times, serif; vertical-align:top;"
-|So now we come to the differences in Forces, which can be a considerably large number. We have, however, divided it into nine parts, or, more properly, degrees. To each of which, we have given a name to describe it, to avoid confusion, and make it more understandable. Here is the list:
-|Pour venir donc aux differences des Poids, encores qu’elles puiſſent eſtre en aſſez grand nombre. Nous en rapportons cependant toutes les principales à neuf eſpeces, ou à proprement parler, degrez; auxquels nous avons auſſi donné à chaſqun ſon nom propre, pour eviter confuſion, & pour les rendres plus intelligibles. Or en voicy donc la Table.
-|- style="font-family: times, serif; vertical-align:top;"
-|The First,.............Deadweight.
-|Le Premier,..................Mort.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Second,.............Sensation.
-|Le Second,..............Sentiment.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Third,...................Alive
-|Le Troiſieme,..................Vif.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Fourth,.................Lively.
-|Le Quatrieme,.............Gaillard.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Fifth,.................Livelier.
-|Le Cinquieme,.........Plus-Gaillard.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Sixth,..............Very-Lively.
-|Le Sixieme,...........Tres-Gaillard.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Seventh,.................Strong.
-|Le Septieme,...................Fort.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Eighth,................Stronger.
-|Le Huićtieme,.............Plus-Fort.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Ninth,..............Very-Strong.
-|Le Neufieme,..............Tres-Fort.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, to understand the meaning and, at the same time, learn how this works in practice, observe the following.
-|Maintenant pour en entendre le ſens, & en apprendre auſſi par meſme moyen la pratique, vous ſeres comme il s’enſuit.
-|- style="font-family: times, serif; vertical-align:top;"
-|Firstly, attack the opponent’s blade, and subjugate it, stepping from the First Instance to the Second near the Diameter, so that you arrive at the position shown in Circle No 1, subjugating the opponent’s sword, so that it is perpendicular to yours, above the letter M, almost along the the Exterior Collateral line.
-|Premierement attaquez la lame contraire, & l’aſſujettiſſez de la Premiere Inſtance à la Seconde au deçà le Diametre, en ſorte que vous en reveniez  en la forme du Cercle 1. tenant l’eſpee contraire deuement aſſujettie, faiſant qu’elle reſponde perpendiculairement au deſſus de la lettre M, quaſi ſuivant le fil de la collaterale exterieure.
-|- style="font-family: times, serif; vertical-align:top;"
-|Being situated thusly I assure you that you can discern exactly from the feel of the blade all the nine degrees of force that this lower blade can exert on yours. And to explore them more fully, so as to leave no questions or doubts in your mind, in practice, disengage the blades as quickly as possible, pulling yours up, over, and across to the outside, so that his blade, although it springs upwards by itself, more or less, according to the degree of Force applied, cannot catch yours. As you do this, we shall show you now how to discern and name all the Forces, which are listed above.
-|Eſtant donc ainſi ſitué, je dis, que vous pourrez exaćtement diſcerner par le Sentiment touts les neuf degrez de Poids, que ceſt lame inferieure pourra pratiquer contre la voſtre. Et pour les examiner plus ſeurement ſans nulle reſerve de doubte, deſtachez en pratiquant les lames le plus viſtement qu’il ſoit poſſible, en oſtant la voſtre, & la jettant circulairement de deſſus la ſienne en dehors, en ſorte que la ſienne, qui ſautera d’elle meſme apres, plus ou moins à l’advenant du Poids, ne la puiſſe atteindre. Ce que faiſant, nous vous monſterons preſentement à diſcerner & à nommer touts le Poids, ainſi qu’il ſont ſpecifiez cy deſſus.
-|- style="font-family: times, serif; vertical-align:top;"
-|''The First Force, that is, Deadweight.''
-|''Le Premier Poids, aſſavoir Mort.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the default Force, when the opponent’s lifeless blade presents no force against yours. This is easy to feel  because in the lower blade there is no resistance, and yours would drop to the ground of the weight of its own force, if you were not holding it up. Disengaging, lifting your blade off it, the opponent’s blade will remain where it is, in the same place above the External Collateral line without moving, because there is no action in it.
-|C’eſt le default du Poids, quand la lame contraire ne ſe meut non plus contre la voſtre, qu’une choſe morte; ce qui vous ſera aiſé à cognoiſtre au rapport du Sentiment, par ce que la lame inferieure ne vous fait nulle reſiſtence, & meſme que la voſtre s’en va tresbucher vers le bas à faute d’appuy, ſi vous ne la ſouſtenez. En partant, en oſtant la voſtre de deſſus, elle demeurera comme morte en la meſme ſituation au deſſus de la collaterale exterieure ſans changer de place, à cauſe qu’elle n’eſtoit pas en aćtion.
-|- style="font-family: times, serif; vertical-align:top;"
-|''The Second Force, which I call Sensation.''
-|''Le Second Poids, que j’appelle Sentiment.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This one makes a certain amount of effort, but very small, trying to raise the upper blade up, with a light feeling of force. This must be dominated and held, using the same amount of strength against it. Then, suddenly, disengaging the blades, as described above, allowing his blade to move freely, it will move from the letter M to above the Interior Collateral line, crossing the Perpendicular Diameter at the letter L, coming to rest in the direct line position pointing at your body.
-|C’eſt celuy qui uſe de quelque effort, mais tres-petit, taſchant d’eſlever la lame ſuperieure en haut, avec quelque peu de ſentiment. Lequel il faut dompter & arreſter, en uſant d’un pareil ſentiment alencontre: puis tout à l’inſtant, en deſtachant les lames en la maniere auparavant deſcrite, laiſſer aller la ſienne tant qu’ell pourra ce qui ne ſera, que depuis la lettre M.juſqu’au deſſus de la collaterale interieure coupant le Diametre perpendiculaire au poinćt L; & reſpondant en droite ligne ſur voſtre corps.
-|- style="font-family: times, serif; vertical-align:top;"
-|''The Third Force, which I call Alive.''
-|''Le troiſieme Poids, que je nomme Vif.''
-|- style="font-family: times, serif; vertical-align:top;"
-|You will recognize this likewise through the sense of feel, because the lower blade will be working harder to raise yours. So you will need to cross it lower down his blade. Then, when you again disengage your blades, the lower one will spring from the letter M, where it was held, to just above the centre of the Circle.
-|Vous le cognoiſtrez pareillement au rapport du ſentiment, par ce que la lame de deſſoubs travaillera avec plus d’effort pour hauſſer la voſtre; en ſorte que vous aurez auſſi beſoing d’accroiſtre à l’advenant le voſtre d’avantage. Puis  en deſtachant derechef vos lames, celle de deſſous ſautera depuis le point M, où elle eſtoit aſſujettie juſtement deſſus le Centre du Cercle.
-|- style="font-family: times, serif; vertical-align:top;"
-|But it must be observed that these three proofs presume that you have both begun in the First Instance along the Diameter, with swords held parallel and in direct line, and that you subsequently moved the opposing blade out of the direct line, off to the left hand side, to the Second Instance, but without the opponent moving either his feet or his body to even the smallest degree. This is necessary to observe, to make this practice and the explanations easier, since these demonstrations depend on Natural reactions. When the opponent remains with his feet and body in this position, with the sword forced off line, he is naturally inclined to try and recover the arm and sword back to the Centre, along the Diameter. The degree to which he uses force against the upper blade will naturally result, when the blades are suddenly disengaged, in his blade springing back towards the Diametre, to a greater or lesser degree, according to the amount of force he used. Thus the Sensation Force will spring from the letter M to the letter L above the Interior Collateral line. When it feels Alive, it will spring from the same point M to above the principal Diameter. From whence it again appears that as well as with an infinite number of other considerations, that the lines drawn within our Circle are not only in accordance with Natural movements, which they also demonstrate, but also that they demonstrate the effects of Forces that result from those moves.
-|Or il faut obſerver, que ces trois dernieres preuves preſuppoſent que vous ayez preallablement eſté touts deux à la Premiere Inſtance ſur le Diametre avec les eſpees paralleles en ligne droite; & conſequemment que vous ayez emmené la lame contraire hors de la droite ligne à la Seconde à main gauche, ſans que le Contraire ſe ſoit pourtant en rien bougé de ladite droite ligne, ny de corps ny de pieds, pour peu que ce ſoit. Ce qui eſt du tout neceſſaire à obſerver, pour en rendre la Pratique plus facile, enſemble auſſi pour en declarer plus aiſement les raiſons, dont les demonſtrations dependent de la Nature meſme. Car quand il ſe tiendra avec les pieds & le corps en ceſte dite poſture, encores que la ſituation de l’eſpee en forligne, toutesfois elle ne laiſſe pas du s’encliner naturellement enſemble avec le bras devers le Diametre, qui en eſt comme le Centre. De maniere que ſi elle uſe de poids alencontre de la lame ſuperieure, il eſt neceſſaire, en deſtachant les eſpees, qu’elle ſaute & s’avance devers le Diametre plus ou moins à l’advenant du ſentiment qu’elle y employe. Dont le Poids de Sentiment s’en avencera depuis la lettre M, juſques à L au deſſus de la ligne Collaterale: & avec le Sentiment Vif elle ſautera depuis le meſme poinćt de la lettre M. juſques au deſſus du Diametre principal. D’où il appert derechef ainſi qu’en une infinité d’autre conſiderations, que les lignes menées dedans noſtre Cercle, ne ſont pas ſeulement accordantes avec les mouvements naturels, mais auſſi qu’elles les demonſtrent, voire auſſi qu’elles demonſtrenet les effećt des poids, dont ils ſont accompagnez.
-|- style="font-family: times, serif; vertical-align:top;"
-|But as for the rest of the Forces on the list, which include more or less extra effort than the natural tendencies, the spring which follows the disengagement of the swords will fly a further or shorter distance beyond the Diameter line. Moreover, all the jumps which pass beyond the Centre limit of the natural movements, must necessarily be unnnatural, and, at each increase of Force, each increase of the distance beyond the Diameter becomes smaller, unlike those up to the Diameter.
-|Mais quant au reſte des poids enſuyvants, qui ſont accompagnez d’un effort plus que naturel, le ſaut qui en procedera en deſtachant les eſpees, outrepaſſera la ligne du Diametre, plus ou moins. Or il faut que tout ce qui outrepaſſe le Centre des mouvements naturels, ſoit neceſſairement violent, & conſequemment qu’il aille touſiours en s’affoibliſſant de plus en plus, dont is s’enſuit que les ſauts qui procedent du poids de l’eſpee ſe raccourciſſent plus à l’advenant au dela du Diametre, qu’ils ne font en deça.
-|- style="font-family: times, serif; vertical-align:top;"
-|Therefore, to mark on the Perpendicular Diameter the six points where the sword will come to rest from each of the six remaining Forces, we must divide it into six unequal parts.
-|En ſorte que pour marquer ſur le Diametre perpendiculaire les ſix points, au deſſus d’eſquels l’eſpee contaire ſe viendra rendre à la fin de ſa courſe en chaſcun des ſix poids reſtants, il nous faudra partir inegalement en ſix parties.
-|- style="font-family: times, serif; vertical-align:top;"
-|Divide each of the two quarters of the Circumference on the far side of the Diameter into six equal parts, that is, six from C to N and likewise six more from X to N.
-|Partiſſez les deux quarts de la Circonference, qui ſont au delà du Diametre, chaſqun en ſix egalles parties: aſſavoir ſix depuis le C juſqu’à l’N. & pareillement ſix autres depuis l’X. juſques au bout du quadrangle, qui eſt à main droite.
-|- style="font-family: times, serif; vertical-align:top;"
-|Next run a line parallel to the Diameter from the first point marked along the Circumference, across the Perpendicular Diameter, to the first point opposite. Mark the first section point on the Perpendicular Diameter.
-|Puis mettez voſtre ligne parallele au Diametre principal, depuis le premier point qui ſera marqué en la Circonference, à travers le Diametre perpendiculaire, juſques au premier poinćt oppoſite: & au poinćt de la ſećtion du Diamette perpendiculaire mettez y une marque.
-|- style="font-family: times, serif; vertical-align:top;"
-|Do the same with the other points following along, connecting each point to the one opposite.
-|Faites en apres auſſi le ſemblable des autres points enſuyvants: en mettant touſiours la ligne d’un poinćt à l’autre, à chaſcun le ſien.
-|- style="font-family: times, serif; vertical-align:top;"
-|In this way you will mark five points along the Perpendicular Diameter, and the letter N will be the sixth.
-|Et par ce moyen vous trouverez cinq poinćts à marquer ſur le Diametre perpendiculaire: & la lettre N. y ſervira pour le ſixieme.
-|- style="font-family: times, serif; vertical-align:top;"
-|After this, we conventionally label each point with its own number. The first one, which is closest to the Centre, is 4. On the next one beyond that, 5. Then 6, 7, & 8 follow, so that the final point, which is on the N, will be number 9.
-|Apres il conviendra mettre à ceſdits poinćts à chaſcun ſon nombre: aſſavoir ſur le premier, qui eſt le plus proche du Centre 4. ſur le prochain enſuyvant 5. plus 6. 7. & 8. conſequement: en ſorte que le dernier poinćt, qui eſt marqué de l’N.ſera  tenu pour le 9.
-|- style="font-family: times, serif; vertical-align:top;"
-|So, to begin the numbering, and the practical ability to discern all the different Forces, if the opposing blade lacks any sensation, so that when you disengage your sword it remains above the Exterior Collateral, where it crosses the Perpendicular Diameter at M, it is the first Force, which we call, Deadweight.
-|Pour venir donc, au denombrement, & à la pratique pour diſcerner touts les Poids; ſi la lame contraire manque de tout ſentiment, de ſorte qu’en deſtachant les eſpees, elle demeure immobile au deſſus de la Collaterale exterieure marquée ſur le Diametre perpendiculaire de la lettre M. c’eſt le premier Poids que nous appellons, Mort.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the Second Force, which is Sensation, upon disengagement, the sword springs over to the Interior Collateral, above the letter L.
-|Avec le ſecond Poids, qui eſt le Sentiment, en deſtachant les eſpees, elle ſautera juſques à la Collaterale Interieure au deſſus de la lettre L.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the third, which is Alive, it springs to above the principal Diameter.
-|Avec le tiers, qui eſt le Vif, elle ſautera juſqu’au deſſus du Diametre principal.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the fourth, which is Lively, it springs to above the point marked number 4, as it is the place of the fourth level of force.
-|Avec le quatrieme, qui eſt Gaillard, elle ſautera juſqu’au deſſus du point marqué en ciffre 4. comme eſtant l’endroit du quatrieme poids.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the fifth, Livelier, it will go to the point marked number 5.
-|Avec le cinquieme, Plus-gaillard, elle arrivera juſqu’au poinćt marqué en ciffre 5.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the sixth, Very-Lively, it will spring to point number 6.
-|Le ſixieme, Tres-gaillard, ſautera juſqu’au poinćt 6.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the seventh, Strong, it will spring to point number 7.
-|Le ſeptieme, Fort, juſqu’au 7.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the eighth, Stronger, it springs to point number 8.
-|Le huićtieme, Plus-fort, juſqu’au poinćt 8.
-|- style="font-family: times, serif; vertical-align:top;"
-|The ninth, called Very Strong, will spring over to the ninth point, which is at the letter N. And as this is the edge of the Circle, it is also the last and the strongest of all the Forces, that we will work with.
-|Le neufieme, Tresfort, ſautera juſqu’au neufieme poinćt, qui eſt l’endroit de la lettre N: & comme c’eſt la borne du Cercle, auſſi eſt ce lendroit du dernier & du plus fort de tous les Poids: hors mis les Extremes.
-|- style="font-family: times, serif; vertical-align:top;"
-|When you are at the Second Instance, and you are subjugating your opponent’s sword, in the way described, you will be able to judge by the feel, which of the nine degrees of Force your opponent’s blade is pressing up with against yours. Then, the instant you disengage swords, you will name that Force: Deadweight, Sensation, Alive, Lively, Livelier, and so on, whichever it is, and you will see how well your judgement accords with how far the sword springs. Continue this exercise until you are quite capable of judging correctly each time. The most expedient way to achieve this is to practise from the Second Instance, with the advantage of having the upper blade, and the convenience of not moving. Because if the body was moving, it would diminish the ability to feel the opponent’s blade. But being stopped, one’s senses are all freer, because all there is, is the force on the blade. I would like, then, for the Student to be well-versed in these exercises to develop his judgement, and to assist him, we present the best and most convenient opportunities to learn as possible. Because the lower blade cannot always be constrained to act against the upper blade with all the different Forces, as we specified. But I would, nontheless, that the Student be able to feel them, to be able to recognize them more easily.
-|Eſtant donc à la Seconde Inſtance, & y tenant l’eſpee contraire aſſujettie en la forme ſuſdite, Vous jugerez par le ſentiment avec lequel de ces neuf poids la lame cōtraire travaille par deſſous contre la voſtre: puis en deſtachant les eſpees, vous nommerez le poids au meſme inſtant ſelon  le jugement que vous y aurez fait, ſoit Mort, Sentiment, Vif, Gaillard, Plus-Gaillard, ou autre quel qu’il ſoit: & puis verrez ſi le jugement s’accorde au ſaut de l’eſpee. Auquel exercice il faudra continuer juſques à tant que vous en ſoyez rendu capable. Or le plus expedient pour y parvenir, c’eſt de le pratiquer du commencement à la Seconde Inſtance, avec l’avantage de la ſuperiorité, & la commodité d’avoir le corps arreſté. Car le corps eſtant en aćtion, il ne peut eſtre que le ſentiment n’en ſoit aucunement amoindri; mais eſtant arreſté, il a touts les ſens plus libres; par ce qu’il eſt tout en puiſſance. Ie veux donc que le Diſciple ſoit bonnement exercé à faire ceſdites jugements, & que pour l’y ſtyler, on luy preſente les meilleures & plus commodes occcaſions qu’il ſoit poſſible. Car la lame inferieure ne peut eſtre contrainte de travailler à la Seconde Inſtance avec tant de poids differens, comme nous venons de ſpecifier; mais je veux toutesfois qu’elles s’en ſerve en faveur du Diſciple, pour les luy apprendre à cognoiſtre plus aiſement.
-|- style="font-family: times, serif; vertical-align:top;"
-|In any case, one should not think this is never used. On the contrary, after you have subjugated your opponent’s sword at the Second Instance, if you raise your right foot and move forward so as to step and then thrust at him along the line of the Inside Square from the Third Instance, as shown in Circle No 5, then as you step forward you must duly increase your control by sliding the point of contact along the blades, so that you will have a greater advantage when you aim your hit at your opponent’s face. He will be forced, if he does not want to be hit, to increase the degree of force of his blade as you move in, even up to “Very Strong,” which is the highest degree of all, or be unable to resist your increased domination if he does not.
-|Toutesfois il ne faut penſer pourtant qu’ils ne viennent jamais en uſage. Car au contraire, apres que vous luy aurez tenu l’eſpee aſſujettie à la meſme Seconde Inſtance, ſi vous eſlevez conſequemment le pied droit avec avancemēt de corps pour cheminer & donner l’atteinte au long du Quarré Inſcrit à la Troiſieme Inſtance, ainſi qu’il eſt icy repreſenté au Cercle 5. Et qu’en cheminant ainſi en avant vous augmentiez deuement voſtre ſuperiorité par la graduation des eſpees, en ſorte que le coup en ſoit dreſſé avec autant d’avantage devers le viſage du Contraire; in en ſera forcé, s’il ne veut recevoir l’atteinte, d’augmenter ſon poids à l’advenant, ne pouvant reſiſter à voſtre ſuperiorité tant augmentée, s’il ne prend en aide tout le reſte des poids, meſmes juſqu’au Tres-fort, qui eſt le dernier de touts.
-|- style="font-family: times, serif; vertical-align:top;"
-|Once you are able to instantly judge and name, just from the feel, all the different degrees of Force, when standing still, free, and in a strong posture at the Second Instance, you must also practice the same, and in the same way, while you are moving, when your foot is raised to step from the Second Instance along the Inside Square towards the Third, always with the goal of performing the same strike to the head as above. At which point your adversary will be forced to defend by increasing his effort, augmenting the force. Thus you again disengage swords at the same time, in the same way as above, likewise naming the degree of force you believe it to be, to see if it still matches with your judgement. You must continue to practise until you have acquired a solid basic aptitude. Since each level of force requires a different response, as the following examples will make clear,  you can be assured that this skill is the foundation of self-confidence and precision in everything else.
-|Or apres que vous ſerez rendu capable de juger & nommer tout à l’inſtant touts les poids au rapport du ſentiment, le corps eſtant arreſté à la Seconde Inſtance, libre, & totallement en puiſſance; auſſi faudra il conſequemment que vous alliez pratiquant le meſme, & en la meſme ſorte, durant que le corps ſera en aćtion, & que le pied droit ſera deſia eſlevé pour cheminer de la Seconde Inſtance au long du Quarré Inſcrit devers la Troiſieſme, en intention d’y donner touſiours la meſme atteinte, que deſſus. A laquelle occaſion, le Contraire ſera forcé pour ſe defendre d’accoiſtre ſon effort, en augmentant le poids. Dont vous deſtacherez derechef au meſme inſtant les eſpees en la meſme ſorte que deſſus, nommant pareillement le nom du poids ſelon ce qu’il vous en ſemble, pour voir encores ſil le ſaut en accordera avec voſtre jugement. En quoy il faudra que vous continuiez ſemblablement, juſqu’à tant que vous y ayez acquis une mediocre habitude. Car puis qu’il eſt neceſſaire d’appliquer à chaſque difference de poids differentes operations, ainſi que les exemples ſuyvants feront paroiſtre, il faut croire que ceſte habitude eſt le fondement de l’aſſeurance, & de la juſteſſ de tout le reſte.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1.'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Showing how Alexander has subjugated his opponent’s sword to the inside, while moving from the First Instance, along the Inside Square, to the Second.''
-|''Repreſentant comme Alexandre a aſſujetti l’eſpee contraire en dedans, en allant de la Premiere Inſtance au long du Quarré Inſcrit à la Seconde.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Suppose the two adversaries have begun with their swords held in the Direct line posture at the First Instance. Here we see Alexander has Subjugated his opponent’s blade to the inside, at the Second Instance, stepping with his right foot along the line of the Inside Square, and following with his left foot in a circular movement, setting it down along the Outside Square, toes at the Oblique Diameter, heel at D. This procedure was explained fully in Table VII, Circle No 1. But now we must take a close look at how he must act, after he has reached this position, to take advantage of what he can discover about his opponent’s intentions from his sense of feel. Therefore, once at the Second Instance, and holding his opponent’s sword subjugated according to the proper amount of force required, he pays serious attention to the feel so as to know exactly which degree of Force his opponent is using against his blade. He may percieve that it lacks any sensation at all, as if deadweight. His immediate and subsequent actions that he uses to deal with this will be explained below, in Circle No 3. Take note that the Student must be very prudent before beginning to act, and so I must necessarily present a word of explantion about why he must be so.
-|Preſuppoſant que les deux Contraires ayent preallablement tenu les eſpees en droite ligne à la Premiere Inſtance; voicy conſequemment Alexandre qui à aſſujetti la contraire en dedans du bras à la Seconde Inſtance, cheminant avec le pied droit par la trace du Quarré Inſcrit, & pourſuivant circulairement avec le pied gauche, à planter ſur le Circonſcrit, les orteils ſur le Diametre oblique, & le talon ſur la lettre D. dont il n’eſt beſoing d’en expliquer maintenant la procedure, voyant qu’elle eſt amplement deſcrite au Tableau VII. Cercle 1. Mais preſentement il faut examiner comment il ſe doibt gouverner apres qu’il y ſera arrivé, pour ſe prevaloir de la cognoiſſance du Sentiment. Eſtant donc à ladite Seconde Inſtance, &  tenant l’eſpee contraire aſſujettie ſelon la juſteſſe requiſe, il prend ſerieuſement garde au ſentiment pour en conoiſtre le Poids, avec quoy, la lame inferieure travaille contre la ſeinne, que s’il s’apperçoit quelle manque de ſentiment, comme eſtant morte. L’operation & la pourſuite qu’il doibt faire là deſſus, ſera tantoſt ſpecifiée au Cercle 3. Car ainſi qu’il faut une grande circomſpećtion au Diſciple avant que de la commencer, ainſi il m’est neceſſairement avant que la declarer, de vous en expoſer en un petit mot la cauſe.
-|- style="font-family: times, serif; vertical-align:top;"
-|Up until now, we have exempted our Student the need to consider the different degrees of force pressing against his sword. Because at first he would not be able to, and he had enough to do to learn to control his body, learn the footwork, and learn the arm and sword movements without adding on these extra considerations, where he would find himself completely lost in a multitude of competing considerations which are of no use to know at the beginning of training. And we have, moreover, supposed, in all the previous lessons, that when subjugating the blade at the Second Instance, and in following on, that the Adversary would constantly present him with the best possible openings, so that he would have to think of nothing more than to easily follow the lessons as shown by the figures. In this way, having arrived at the Second Instance, he would follow his path, moving on directly towards the Third Instance without any other consideration. This he can no longer begin to do, without first carefully considering what is the best course of action to follow. Because different degrees of force shall, from no on, require different actions in response, which present a danger he could not safely avoid, if he wished to proceed otherwise. We shall demonstrate this principle in Circle No 2, where we can see Alexander will undoubtedly be wounded because he did not pay enough attention to, and work appropriately with, the amount of force with which he was presented.
-|Iuſqu’icy nous avons diſpenſe noſtre Diſciple de travailler avec obſervation de Poids: à cauſe que du commencement il n’en eſtoit pas capable, & qu’il avoit aſſés à faire à gouverner ſeulemēt bien le corps, les demarches des pieds, & les mouvements du bras & de l’eſpee, ſans ſe mettre de premiere abord en des preceptes, où il ſe trouveroit tout incontinent embrouillé par la multitude, & encores plus par la ſubtilité, qui ne luy eſt nullement neceſſaire à l’entree de l’Exercice. Et partant nous avons preſuppoſé en toutes les leçons precedentes, qu’en aſſujettiſſant l’eſpee contraire à la Seconde Inſtance, & depuis travaillant conſecutivement, que le Contraire luy baillera touſiours les occaſions auſſi belles qu’il ſera poſſible, afin qu’il n’aye à penſer a rien, ſinon à mettre commodement en execution les leçons qui luy ſont repreſentées par les figures. En ſorte qu’eſtant venu à la Seconde Inſtance, il pourſuivra ſa demarche, en cheminant conſecutivement ſans nulle autre conſideration devers la 3. Ce qu’il ne pourra toutesfois deſormais commencer, ſans aſſeior preallablement un bon jugement de ce qui luy ſera plus convenable. Car puis que la diverſité du Poids requiert auſſi à l’advenant diverſes operations, il ne pourroit eſchapper le danger, s’il y vouloit aller autrement. Pour laquelle choſe repreſenter, nous en mettons icy un example au Cercle 2. auquel eſt demonſtré qu’Alexandre ſera bleſſé indubitablement, s’il ne travaille ſelon l’exigence du Poids, qui luy eſt preſenté.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2.'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander, at the Second Instance, has not noticed that his opponent’s blade had no force; it was Deadweight. He attempted to give a thrust from the Third Instance, but instead found himself wounded.''
-|''Alexandre n’ayant obſervé à la Seconde Inſtance le Poids de la lame contraire, qui eſtoit Morte; entreprend de luy vouloir donner l’eſtocade à la Troiſieme Inſtance: dont il ſe trouve eſtre bleſſe luy meſme.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here we see Alexander, who will work against his opponent’s subjugated sword without having paid attention to how it feels. For, as he raised his foot from where it was at point G, to step over to the letter N, he has slid his sword along his opponent’s, moving the point of contact the same number of Spans up his sword, as he has along his opponent’s, from where it was subjugated, to where it is under the centre of his blade, and so move to wound his opponent in the face, as we see, for example, in Circle No 5. But because his opponent’s blade is Deadweight, that is, he feels nothing from it, at the instant he puts his foot down, Zachary can disengage the swords without Alexander noticing and hit him underneath his guard, without moving his firmly planted feet.
-|Voicy donc, <font style="font-variant:small-caps">Alexandre</font>, qui va travailler ſur l’eſpee aſſujettie ſans prendre garde du ſentiment. Car en levant la pied droit du lieu ou il eſoit planté au poinćt G. pour aller à la lettre N. il augmente la graduation de ſon eſpee, par les meſmes nombres de l’eſpee contraire, où elle eſtoit preallablement aſſujettie, pour y mettre deſſus le Centre de la ſienne, & ainſi le bleſſer au viſage, à l’exemple de ce qui ſe voit repreſenté au Cercle 5. Mais d’autant que la lame contraire eſt morte, en ſorte qu’il n’en avoit pas de ſentiment, ſur l’inſtant qu’il plante le pied à terre, <font style="font-variant:small-caps">Zacharie</font> deſtache les eſpees ſans qu’il s’en puiſſe à peine appercevoir, & luy en donne au meſme inſtant l’atteinte au deſſoubs de la garde, du lieu ou il eſtoit planté ferme a ferme.
-|- style="font-family: times, serif; vertical-align:top;"
-|Nonetheless, Alexander could give the same hit with less danger, if he, while sliding the contact along the blade, had opened up the angle and so be able to step inside it by moving his right foot forward.
-|Toutesfois il pourra donner le meſme coup avec moins de danger, ſi <font style="font-variant:small-caps">Ale</font>xandre en graduant ſon eſpee à fait quelque ouverture d’angle, & qu’il prenne bien l’occaſion de s’y fourer dedans, moyennant l’avancement du pied droit.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3.'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Sensing that the subjugated blade is just Deadweight, he works against it accordingly, by stepping directly forward along the Interior Collateral, towards his adversary in order to wound him.''
-|''S’appercevant par le Sentiment, que a lame aſſujettie eſt Morte; il travaille deſſus ſelon l’exigence, en bleſſant & marchant droitement ſur ſon Contraire au long de la meſme Collaterale, où il eſt eſtoit planté.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action shows the correct follow-on from Circle No 1, when Alexander subjugated his opponent’s sword at the Second Instance, where it remained a lifeless Deadweight. To follow on according to the needs of this situation, he moves his body by stepping forward along the Interior Collateral that runs near to Z, wounding his opponent with a straight arm thrust to the face as he does so, drawing his left foot up behind him, and thus stepping inside the angle of his opponent’s sword. Because it is held in a lifeless manner, Zachary cannot begin move it in time to make any sort of defense. It remains immobile, above the Exterior Collateral, where it was subjugated. This is what the figures are showing.
-|Ceſte operation demonſtre la vraye pourſuite du Cercle 1. où Alexandre tenoit l’eſpee contraire aſſujettie à la Seconde Inſtance, icelle demeurant Morte. Pour y proceder donc ſelon l’exigence de l’occaſion, il s’avance le corps en eſlevant le pied droit, du quel eſtant arrivé à la moitié du l’Inſtance, il deſtache les eſpees, plantant enſemblement le pied ſur la Collaterale interieure juſqu’aupres de Z, & bleſſant au meſme temps d’un bras roide ſon Contraire au viſage, avec proportionnelle pourſuite du pied gauche, ſe mettant ainſi dedans l’angle de l’eſpee inferieure: laquelle puis qu’elle eſtoit morte ne ſe peut mouvoir à temps pour faire aucune defenſe convenable; ains elle demeure immobile au deſſus de la Collaterale exterieure, où elle avoit eſté aſſujettie. Voilà le ſens des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4.'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He perceived that the subjugated sword resisted his to the degree called Sensation. To work against it, he stepped moving both feet over to the Diameter, and placed his sword-point precisely in front of his opponent's face.''
-|''Ayant apperceu, que la lame aſſujettie tient du Sentiment; il travaille deſſus en entrant avec les deux pieds un peu à coſté ſur le Diametre, & luy mettant ſa poinćte par courtoiſie devant le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Tbis action also begins by subjugating the sword, but in this case the sword resists with Sensation, the second degree of Force. Alexander feels through the contact of the swords that his opponent’s blade has Sensation. He moves his right foot forward and a little to the right side, with his body leaning slightly backwards. At the instant he overbalances, he disengages the swords, whereupon the lower sword springs according to the degree of Force, as far as the Interior Collateral, where Alexander was before, but by this time he set his foot down at the Centre of the Circle, out of his opponent’s danger zone, while again placing his sword tip exactly in his opponent’s face. He then brings his left foot up into place at H, and bends his arm to hold his tip exactly in place. This is shown by the figures.
-|Ceſte operation prend auſſi ſon origine de l’aſſujettiſſement de l’eſpee, en cas qu’elle tienne du Sentiment, qui eſt le ſecond Poids. <font style="font-variant:small-caps">Alexandre</font> donc s’appercevant par l’attouchement des eſpees, que la lame Contraire à du Sentiment; il s’avance du pied droit un peu à coſté à main droite avec le corps panché à l’envers; & à l’inſtant qu’il commence à tresbucher, il deſtache les eſpees, dont celle de deſſoubs en ſaute ſuyvant l’effort du Poids juſqu’au deſſus de la Collaterale Interieure, où <font style="font-variant:small-caps">Ale</font>xandre eſtoit planté premierement, mais à preſent au meſme temps il plante le pied droit avec le corps panché en arriere ſur le Centre du Cercle (en ſorte qu’il luy eſt ſorti hors de preſence) luy mettant enſemblement la poinćte de l’eſpee devant le viſage, avec proportionnelle pourſuite du pied gauche trainant juſques à l’H. & courbant cependant le bras pour arreſter ſa poinćte par courtoiſie; ainſi que les figures demonſtrent.
-|- style="font-family: times, serif; vertical-align:top;"
-|In the actions of both these last two Circles, take great care not to drop the connection with the opponent’s sword before the right foot has reached the mid-way point to the Instance, and that at the same time as you suddenly set your foot down, to strike. If, by chance, at the moment you raise your foot up, your opponent increases the force of his blade, then you must first stop or reduce his movement it with a small push back, always assuming that the force he uses can be safely controlled. But if, as you begin, he increases the degree of Force to Lively or Very Lively, then you must follow with other actions. That is, while you are taking a whole step towards your opponent, you can allow him to lift the swords up a little, so it seems to him that he is forcing them aside, but then, at the moment your foot comes down to the ground, you dominate his sword and subjugate it once again  and so be able to move inside the angle of his sword. From this position, you can work against him as opportunity presents, as will be shown in following Plates.
-|En toutes les deux operations de ces derniers Cercles, il faut observer de n’abandonner jamais l’eſpee contraire, avant que le pied droit ſoit arrivé à my-voye de l’Inſtance, & que lors en le plantant ſoudainement, on donne au meſme temps l’atteinte. Et s’il advient d’adventure au commencement en eſlevant le pied droit pour cheminer, que le cōtraire augmente quelque peu le poids de ſa lame, alors il la faudra premierement engourdir ou amortir avec un petit pouſſement, preſuppoſant que l’augmentation du poids de laquelle il ſe ſera ſervi puiſſe eſtre dompté avec aſſeurance. Mais s’il l’augmente du commencemēt juſques à en venir, au Gaillard ou plus Gaillard, il faudra pourſuivre l’operation autrement; aſſavoir en vous avançant avec le pied droit un pas entier devers le contraire, durant lequel vous luy laiſſerez monter un peu les eſpees, avec quelque apparence de les tranſporter, mais le redompterez, & aſſujettirez derechef à l’inſtant que mettrez le pied en terre, en vous logeant par meſme moyen au dedans de ſon angle. Et apres vous travaillerez de ce lieu là ſuyvant ce que les occaſions requerront, comme il en ſera demonſtré pluſieurs exemples à la ſuite des autres Tableaux.
-|- style="font-family: times, serif; vertical-align:top;"
-|Note again that when practicing these actions, to place the tip of the blade exactly in front of your adversary’s eyes with your body erect and your arm slightly extended, that to do this against the Deadweight degree of Force, you only need to take a short step forward with the right foot along the Interior Collateral,  that against the Sensation degree of  Force you move the same foot onto the Diameter at the letter H. But if opportunity presents a chance to make a forceful, direct attack, one must move from the Second Instance to the inside with a double-length step, bending the forward knee and leaning the body over it, in the usual way of other strikes, and as is shown in Circle 6.
-|Obſervez encor en faiſant l’exercice de ces meſmes operations, que pour mettre la poinćte de l’eſpee en courtoiſie devant les yeux du contraire avec le corps droit, & le bras mediocrement eſtendu, que ſur le Poids Mort il ne vous faut avancer qu’un pas arreſtant par le droit ſur la Collaterale Interieure; & ſur le Poids de Sentiment il faut mener le meſme pied ſur le Diametre à la lettre H. Mais s’il eſtoit queſtion de tirer à bon eſcient & d’en faire l’execution en rigueur; il faudroit s’avancer depuis la Seconde Inſtance en dedans d’un pas double, en pliant meſme le genouil anterieur, & panchant le corps deſſus, à la maniere ordinaire des autres executions, & comme il eſt repreſenté en ce preſent Tableau au Cercle 6.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5.'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''The opposing blade, while subjugated, pushes back with an Alive degree of Force. Alexander advances to the Third Instance, sliding the point of contact up the sword, and again puts his tip in his opponent’s face.''
-|'' La lame aſſujettie demeurant Viſve; Alexandre s’avance à la Troiſieme Inſtance, en faiſant la graduation, & luy mettant derechef la poinćte contre le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action begins the same way, in Circle No 1, where Alexander has subjugated his opponent’s blade aside at the Second Instance. However, this time the force against it is different, instead of being Deadweight, or just the Sensation degree of Force, it is pushing back with the third degree of Force, called Alive. Against this Alexander enters in against his opponent by moving along the Inside Square, and, when he is mid-way, above where the Exterior Collateral crosses the line of the Inscribed Square, keeping his body straight, he extends his arm, and slides the point of contact up the sword, so that, as he sets his foot down at point N and leans his body forward, he catches the blade with the inside branch of his crossguard, and the centre of his blade crosses the 4th or 5th Span of his opponent’s blade. As his contact slides up, he circles his tip towards the right to aim at the right side of his opponent’s head. He wounds him as he draws his left foot along the Outside Square to the letter K, while, at the same time, he turns his right foot so the heel rests along the Circumference of the Circle, as shown in the figure.
-|Ceſte operation prend pareillement ſon origine de celle du Cercle 1. ou Alexandre a tenu l’eſpee contraire aſſujettie à la Seconde Inſtance: toutesfois le poids en a eſté different: car au lieu qu’elle eſtoit paravant Morte, ou qu’elle n’avoit qu’un ſimple Sentiment, maintenant elle uſe de Poids Vif. Sur lequel voicy comment Alexandre travaille. Il entre ſur ſa partie adverſe enſuivant la trace du Quarré Inſcrit, & parvenant à my-voye de la Troiſieme Inſtance au deſſus de la ſećtion des lignes, il va graduer avec le corps droit & le bras eſtendu, en ſorte qu’en panchant du corps ſur le devant, & plantant le pied eſlevé au poinćt N. il ſurprend de la branche interieure de ſa garde, & par meme voye il aſſemble le Centre de ſa lame aux Nombres 4. ou 5. de la lame contraire; en dreſſant avec ladite graduation la pointe circulairement vers le coſté droit de la teſte de ſa partie; le bleſſant avec pourſuite du pied gauche à planter moitié au Quarré Circomſcrit ſur la lettre K. tournant enſemblement le talon du pied droit du Quarré Inſcrit ſur la Circonference du Cercle; ainſi qu’il eſt repreſenté en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, when performing this action, to adapt it perfectly to your opponent, great care must be taken while the right foot is making its way, before your body overbalances, and before you begin to work against his sword. If he does not change his counter, then continue on as shown by the figures.
-|Or en pratiquant ceſte operation, pour la bien adjuſter il faut exaćtement prendre garde, cependant que le pied droit chemine, & avant qu’il commence à tresbucher avec le corps, & devant que vous ayez commencé à travailler. Car s’il ne le change point, vous en pourſuivez la continuation en la forme que les figures repreſentent.
-|- style="font-family: times, serif; vertical-align:top;"
-|But if he increases his resistance to the Lively level of Force, with which he could move the swords enough to parry the thrust, one must apply the actions of Circle No 7.
-|Mais s’il alloit renforcer ſa lame juſqu’au Poids Gaillard; dont il pourroit parer l’eſtocade en tranſportant les eſpees, il y faudroit appliquer l’operation du Cercle 7.
-|- style="font-family: times, serif; vertical-align:top;"
-|If he reinforces his blade with a little less than a Lively level of Force, you only need, to keep your superiority over him, to slide the point of contact up to a stronger Span and add however much strength as required to dominate his, and then strike him the same way as before, having made his change of Force useless.
-|S’il la renforçoit un peu moins que Gaillard, il ne faudroit que temperer voſtre ſuperiorité alencontre, en graduant un peu vos nombres, & en renforçant l’effort de voſtre lame un petit à l’advenant pour maiſtriſer la ſienne, & luy donner encor la meſme atteinte que devant, conſideré que le changement qu’il y apporte luy eſt rendu inutile.
-|- style="font-family: times, serif; vertical-align:top;"
-|On the contrary, if it should happen, before your body begins to overbalance, that you feel him lessen the Force against your blade, it is certain the he is beginning to move his blade away, to disengage and strike you, perhaps on the right side of your blade by moving underneath the guard, then stepping forward, as he must, to enter in from your right side. Therefore, you must be careful not to continue the same steps, until you have made sure that the opponent’s sword cannot easily disengage from yours. Your right foot will be raised up, halfway through the step towards the Third Instance. By quickly turning it outwards, you can withdraw it a little to the left and adroitly turn your right side away, setting your foot down, and quickly drawing your left foot up, body leaning forwards, arm straight, tip pointing at his face, with the blade going downwards a little bit, proportionally, with the guard keeping his sword blocked, so he cannot reach underneath, and so he will be wounded in his face or the upper part of his chest.
-|Au contraire, s’il advient, avant que le corps vous commence à tresbucher avec le pied elevé, que le Sentiment vous die, que la lame de deſſoubs affoiblit ſon Poids, c’eſt choſe indubitable, qu’elle commence à travailler pour ſe delivrer de la voſtre, en intention de vous bleſſer, peut eſtre au coſté droit au long de voſtre lame au deſſoubs la garde, avec un pas quil doit faire en entrant ſur vous du pied droit. Pourtant en ce cas, vous vous garderez de cōtinuer la meſme demarche, ains avant que l’eſpee aſſujettie aye aucunement le loiſir de ſe deſacher de la voſtre, le pied droit eſtant preſentement eſlevé en l’air à my-voye de la Troiſieme Inſtance, en le tournant en dehors vous le retirerez un peu à gauche en eſquivant le coſté droit, & plantant ſoudainement le meſme pied à terre, avec une ſoudaine pourſuite du pied gauche, le corps panché ſur le devant, le bras roide & la pointe de l’eſpee aſſenée au viſage du Contraire, la lame deſcendant proportionnellement un peu avec la garde, en retenant touſiours la ſuperiorité, en ſorte qu’il ne puiſſe toucher par le bas, & qu’il en ſoit bleſſé luy meſme au viſage, ou en la partie ſuperieure de la poitrine.
-|- style="font-family: times, serif; vertical-align:top;"
-|But if he begins to lessen the force of his blade when you are already overbalanced and cannot avoid stepping forward, in this case set your foot down as far backwards as you can, even if you cannot avoid setting your foot down on the letter N at the Third Instance. At that point, carry on and proceed as before.
-|Mais s’il commençoit à vous faire ceſdits changements, au temps que le pied droit commence à tresbucher enſemble avec le corps; il vous faudroit obſerver en ce cas de le planter touſiours autant qu’il ſeroit poſſible en arriere, & quant au reſte y proceder encor en la meſme ſorte que devant: voire meſme combien que le pied fuſt venu ſi avant qu’il fuſt impoſſible de l’empeſcher de tomber à terre au poinćt N. à la Troiſieme Inſtance.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6.'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the follow-on and rigurous execution of the action begun previously, by which <font style="font-variant:small-caps">Alexandre</font> slides the contact of his sword up his opponent’s blade with a straight arm, driving the two guards together and back, then quickly, with the right foot, stepping up to the letter S, along the Diameter, and putting his weight on his knee, but without moving his left foot up. So his sword pierces his opponent’s head, as is portrayed by their figures.
-|C’est la pourſuite & execution en rigueur de l’operation dernierement precedente, faite par Alexandre en graduant d’un bras roide l’eſpee contraire, en ſorte que les deux guardes viennent à s’entredonner avec force, cheminant avec le pied droit juſqu’à l’S, qui eſt au deça le Diametre, & menant ſur le genouil d’iceluy la charge du corps, ſans nulle pourſuite du pied gauche; perçant ainſi la teſte à ſon Contraire; comme il eſt pourtrait en leurs figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7.'''
-|'''Cercle N.7'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has moved against the Alive degree of Force from the Second Instance towards the Third, to perform the same thrust as in Circle 5. He percieves, as his foot reaches N, that Zachary has, to defend himself, increased his resistance to the Lively degree. So he steps with his other foot to W, so his left side comes around in front, and, with his arm bent, places his sword-tip before his opponent’s face.''
-|''Alexandre s’eſtant acheminé ſur le poids Vif de la Seconde Inſtance vers la Troiſieme, pour y effectuer encor la meſme eſtocade, qu’au Cercle 5. il s’apperçoit, que Zacharie augmente le Sentiment du poids Gaillard, pour ſe defendre, dont il met le pied droit en terre à la lettre N. pourſuivant avec l’autre juſqu’à l’W. en avançant le coſté gauche, & luy preſentant ſa poinćte d’un bras courbé devant le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Having precisely countered the Alive degree of Force and subjugated his opponent’s sword, Alexander is in the act of making his way towards the Third Instance to again perform the same strike as in Circle No 5. At the same instant that he arrives at the mid-point towards the Instance, and as he begins to slide his sword along, he senses his opponent’s blade increase to a Lively degree of Force, so as to turn aside the thrust he is aiming at Zachary’s face. Therefore, as this change begins, Alexander, while setting his foot down at the Third Instance, prevents his opponent’s sword from rising up, by adjusting the force on his own blade to match and contol the lower one. At the same time, he continues on by lifting and advancing his left foot. As he does this, feeling that his opponent’s blade is keeping the same increased amount of Force, he bends his arm so that his sword rises upwards, and turns his body slightly to bring his left side forward. As his opponent continues to try and move the swords over and force his aside, he suddenly bends his arm to the inside (i.e. drawing the right elbow back), turning the outside branch of the crosspiece upwards, which alows his opponent’s sword to spring freely too far off line, so that it comes of its own accord back into contact with the weak part against either the strong part or the centre of his own sword. In this same way, he can aim his tip precisely, straight towards his opponent’s eyes, trapping the sword from beneath with the exterior branch of his crosspiece, while spinning so his raised left foot comes inside the angle of the sword to the letter S, with his knee bent and weight forward on it. Thus, he then has but to forcibly execute the thrust, as can be seen in the portraits of the figures.
-|Apres le juſte aſſujettiſſement de l’eſpee contraire tenant le Poids Vif, <font style="font-variant:small-caps">Alexandre</font> s’eſtant  à cheminé devers la Troiſieme Inſtance pour y donner encor la meſme atteinte, comme au Cercle 5. au meſme inſtant qu’il arrive avec le pied droit à my-voye de l’Inſtance, & qu’il commence à faire la graduation, il s’apperçoit par le ſentiment, que le Sentiment de la lame contraire s’augmente en Poids Gaillard, pour deſtourner le coup, qui luy eſt dreſſé vers le viſage. Au commencement doncques de ce changement, <font style="font-variant:small-caps">Alexandre</font> empeſche l’eſpee contraire de monter, en mettant le pied en terre à la Troiſieme Inſtance, & en domptant par la moderation de ſon propre poids à l’advenant de celuy de deſſoubs; pourſuivant quand & quand d’eſlever & avancer le pied gauche; durant laquelle aćtion, ſentant que le Contraire continue touſiours en a meſme augmentation de Poids qu’il avoit commencée, il s’aſſeure ſur le ſentiment de laiſſer un peu monter & tranſporter les eſpees, en ſe courbant le bras un peu en dedans vers le haut, & preſentant de meſme voye le coſté gauche peu à peu devant: & d’autant que la partie adverſe ne laiſſe pas de continuer encor à luy vouloir tranſporter & aſſujettir l’eſpee, il courbe ſoudainement le bras en dedans, avec la branche exterieure haute, en donnant à l’eſpee contraire courſe libre, en ſorte qu’elle retombe d’elle meſme avec le foible au fort & Centre de la ſienne; & que par meſme voye il luy dreſſe ſa pointe par courtoiſie droit à la veuë, en ſurprenant la lame contraire par embas avec la branche exterieure de la ſienne, ſe tournant cependant avec le pied eſlevé au dedans de l’angle, & le plantant à la lettre S. avec le genouil plié, & le corps panché deſſus: quoy qu’il n’aye tenu qu’à luy d’en faire l’execution par rigueur: ainſi qu’il eſt aiſé de recognoiſtre aux pourtraits des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Note that, while you are allowing the swords to raise up a little, if your opponent begins to weaken his force, instead of allowing him to carry the swords across, you must once again dominate and force his sword down and away, while moving the left side and raised left foot forward and inside the angle of the sword.
-|Notez en laiſſant de voſtre conſentement un peu monter les eſpees, ſi l’adverſaire commençoit d’affoiblir ſon poids, qu’au lieu de luy accorder de les tranſporter, il vous faudroit la redompter & reaſſujettir derechef une autrefois, en avançant le coſté gauche & vous logeant derechef avec le pied eſlevé au dedans de l’angle.
-|- style="font-family: times, serif; vertical-align:top;"
-|Inasmuch as we have described Alexander’s actions putting his left foot down on the letter S on the Inside Square, there are also occasions which present themselves where he should move his foot the same distance, but along the Outside Square. For example, when the Opposing Force weakens, changing where he puts his foot is no longer merely desireable, but also necessary, so that when stepping forward with the right foot, the cut which must follow will be much easier. In any case, one must not decide in advance one way or the other, but respond according to the situation as it presents itself.
-|Or ainſi que nous venons de deſcrir l’operation d’Alexandre pour mettre le pied gauche à la lettre S. ſur le coſté du Quarré Inſcrit, auſſi il ſe preſentera des occaſions de le planter en meſme diſtance ſur le Quarré Circonſcrit; aſſavoir en cas que le Poids du Contraire ſoit un bien peu plus foible. car alors il ne ſera pas ſeulement loiſible, mais auſſi neceſſaire: & le coup d’eſtramaçon qui s’en doit enſuivre avec l’avancement du pied droit, n’en ſera que d’autant plus facile. Toutesfois il ne faut affećter ne l’un ne l’autre, ains ſimpement travailler ſelon que les occasions convient.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8.'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''While Alexander moves towards the Third Instance, to again perform the same strike, Zachary parries him, by increasing the force of his blade to Livelier, and so moves the blades to the inside. At this instant, Alexander sets his right foot down at the letter N, weighting it so as to close up with his left foot, which he sets down beside the other, then moves his right foot again, over to the letter L on the Perpendicular Diameter, shifts his weight over it, while turning his left side forward, and bending his arm so as to point his sword-tip in his opponent’s face.''
-|''Cependant qu’Alexandre s’achemine devers la Troiſieme Inſtance, pour y effectuer encores le meſme coup; Zachary le pare, en augmentant le Sentiment des lames en poids Plus-Gaillard, dont il les tranſporte en dedans. Auquel inſtant Alexandre met le pied droit en terre à la lettre N. ſe baſtant comme pour le chaſſer avec le pied gauche, le quel il met en terre parallele à l’autre, il tranſporte derechef le pied droit ſur le Diametre perpendiculaire au poinćt L. avançant ſur iceluy le corps avec le coſté gauche, & preſentant eſemblement d’un bras courbé ſa poinćte au viſage de ſon Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action begins the same way as the one before, continues on the same way, to the moment Alexander begins to slide the point of contact up the blade and aim his sword-tip. To parry this, Zachary, who worked the previous Circle with the Lively degree of Force, now increases this by a degree. Against this, Alexander again begins to counter by maintaining control over his blade, pushing down and dominating so the swords cannot come upwards. Meanwhile, he sets his right foot down at the Third Instance at N, quickly following on with the left foot, which he places on the ground parallel to and beside the other, and instantly lifts his right foot, almost as if he is dancing a demi-fleurette (quick-step), stretching his body up and allowing his opponent’s sword to rise. Zachary continues to increase the force on his sword, Alexander allows the swords to be moved over bit by bit, which he avoids by moving his body to the right, with his left side slightly forward and his arm slightly bent inwards. At the instant the swords reach the point of passing over the top of his head Alexander suddenly extends his arm outwards, knowing that Zachary’s sword will spring over out of control, carried by the force behind it, as far as the Principal Diameter before he can stop it. Alexander turns the crosspiece so the exterior branch is diagonally upwards. The blades connect so that a low-numbered Span in the weak part of his opponent’s blade crosses near the guard of his own, extending beyond and so trapped behind the exterior branch of his crosspiece. He aims his tip at his opponents face, setting his right foot down at L along the Perpendicular Diameter, his weight on his bent knee, and follows this by drawing his left foot up to N. The whole is shown precisely in detail, without executing the thrust which is entirely within his ability. This can be clearly seen in the representation by the figures.
-|Ceſte operation à le meſme commencement que la precedente, continuant auſſi en la meſme ſorte, juſqu’à tant qu’<font style="font-variant:small-caps">Alexandre</font> ſe met à faire la graduation, & à dreſſer ſa pointe; pour laquelle parer <font style="font-variant:small-caps">Zacharie</font>, qui a travaillé au precedent Cercle avec le Poids Gaillard: l’augmente icy un degré plus avant. Sur lequel <font style="font-variant:small-caps">Alexandre</font> travaille derechef au commencement pour luy tenir la lame en devoir, en la contrepeſant & domptant en ſorte qu’elle ne puiſſe monter; & cependant il plante le pied à la Troiſieme Inſtance au poinćt N. avec pourſuite du pied gauche, lequel il met tout ſoudainement parallele  aupres de l’autre, & derechef il eſleve le droit au meſme inſtant, quaſi comme en faiſant une demi-fleurette, avec extenſion du corps. & donnant quelque permiſſion de monter à l’eſpee contraire: laquelle continuant en l’augmentation du poids, il luy conſent de tranſporter peu à peu les eſpees, leſquels il ſuit avec le corps en allant à l’advenant vers le coſté droit avec le coſté gauche un peu avancé & le bras courbe lentement en dedans: & à l’inſtant que les eſpees viennent ſur le point de paſſer l’endroit du ſommet de ſa teſte: <font style="font-variant:small-caps">Alexandre</font> s’allonge le bras courbé en dehors, ſur l’aſſeurance de la continuation du poids, juſqu’au deſſus du Diametre principal, eſtant la branche exterieure de la garde tournée diagonalement en haut; le tout pour donner à l’eſpee contraire courſe libre: laquelle vient à ſe rendre avec le foible Nombre contre la garde de la ſienne, au dehors de la branche exterieure: en ſorte qu’il luy en dreſſe la pointe devant le viſage, en plantant le pied droit ſur le Diametre perpendiculaire à la lettre L, & en chargeant le corps ſur le genouil d’iceluy plié avec avancement du coſté gauche, & pourſuite du meſme pied à l’advenant, trainant juſques à l’N. Le tout ſe demonſtre par courtoisie, ſans en faire l’execution qui eſt toutesfoit en ſa puiſſance; ainſi quil ſe voit clairement en la repreſentation des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9.'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander again proceeds in the same way as before from the Second Instance to the Third. Zachary turns the hit aside, moving the blades over with a Very-Lively degree of Force. Which makes Alexander place his right foot at the Centre, moving his body forward and over his knee, drawing his foot to M, and once more putting the tip of his sword before his opponent’s eyes.''
-|''Alexandre procedant encor en a meſme façon de la Seconde Inſtance vers la Troiſieme; Zacharie deſtourne le coup en tranſportant les lames avec Poids Tres-Gaillard: qui faićt Alexandre va planter le pied droit ſur le Centre, en avançant & panchant le corps deſſus, trainant le pied juſques à l’M. & mettant enſemblement (comme devant) ſa poinćte devant les yeux du Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|In this action, there is no other difference from the two ones preceeding, except that while Alexander is in the process of extending the thrust at the Third Instance, Zachary parries to the inside with a Very-Lively level of Force, even more than before. Thereupon, Alexander controls himself again according to the principles from the previous Circle, moving his right foot along the Perpendicular Diameter over to the Centre, and leaning his body over his bent knee, following along with his left foot up to the letter M. He rapidly extends his inwardly bent arm along the Perpendicular Diameter, until it is above the Collateral, which releases his opponent’s sword to spring over until the weak part of the blade connects to the strong of his own, by which he can, in the same moment, turn his tip towards his opponent’s eyes, as we see in the figure.
-|En ceſte operation il n’y a nulle autre difference d’avec les deux derniers precedēts, ſinon que pendant qu’Alexandre eſt en aćtion d’allonger l’eſtocade à la Troiſieme Inſtance; que Zacharie la pare en dedans avec Poids tres-Gaillard, où il y a autant plus d’effort qu’au precedent. Là deſſus donc Alexandre ſe gouverne encore ſuyvant les obſervations du Cercle precedent, en cheminant avec le pied droit au long du Diametre perpendiculaire juſqu’au Centre, & y panche le corps à coſté deſſus le genouil plié, avec pourſuite du pied gauche revenant à la lettre M. & extenſion du bras droit courbé en dedans au deſſus du Diametre perpendiculaire, juſqu’à l’endroit de la Collaterale, moyennant laquelle, l’eſpee contraire eſt portée de ſon propre mouvement avec le foible au fort de la ſienne, de laquelle il luy en met en meſme temps la pointe devant les yeux; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander is again mid-way to the Third Instance, and sliding the point of contact up the blade to thrust. His opponent increases the force against him and raises the blades to move them to the inside. In response, he again dominates and subjugates the blade and forces it to the side, sliding the point of contact up his blade, and as he sets his foot down at N at the Third Instance, he leans his body over it and promptly moves his left foot to just outside the Circle along the line K-N. This action can also be done against the three preceeding degrees of force, Lively, Livelier, and Very-Lively.''
-|''Alexandre eſtant derechef à my-chemin de la Troiſieme Inſtance, & y faiſant la graduation pour donner l’eſtocade; ſa partie augmente le poids & hauſſe les lames pour les tranſporter en dedans; dont au meſme temps il le redomte & raſſujettit, en luy deſgraduant la lame, & poſant le pied droit en terre à la Troiſieme Inſtance, lettre N. avec le corps panché deſſus& logé dedans l’angle des eſpees, & le pied gauche pourſuivant promptement & revenant un peu dehors le Cercle alendroit de la ligne K N. Qui eſt une operation qui ſe peut pratiquer ſur les trois precedents Poids, Gaillard, Plus-Gaillard, & Tres-Gaillard.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This present action also begins in Circle No 1, where Alexander held his opponent’s sword subjugated, where we presume that his opponent used, and continued to use, the Alive degree of Force. Thus Alexander begins to continue to make his way towards the Third Instance. After he has reached the mid-point on the way, he once again, as before, begins to slide the point of contact up the opponent’s blade, keeping his body from leaning forward, to again hit as he did in Circle No 5. But his sense of feel tells him that the Force of the opposing blade is increasing from the level of Alive to one of the three previous levels, that is, either Lively, Livelier, or  Very-Lively, as shown, and each different action described, in the 7th, 8th, and 9th Circles, respectively. However, these levels of Force can all be responded to with the same action which we show here. That is, according to the degree to which Zachary increases the force on his blade, Alexander also increases his own, carefully allowing the swords to rise a bit, and the point of contact to slide up his opponent’s sword and down his own, so as to give the appearance that they are being moved across, meanwhile setting his right foot down at the letter N at the Third Instance. Insofar as he does this, his body moves forward while leaning in, while at the same time, by means of a slide along the blade, he again returns the point of contact back to the same Spans as before, when he previously controlled his opponent’s blade. He closes the upper right arm against his body, to further reinforce his sword, and to guard against overbalancing, and to bring his opponent’s sword back downwards and properly subjugated. With a rapid circular move, he follows on with his left foot setting it, at the proper distance, down ouside the Circle along the line K-N while moving his left side around and, with a slight lean of the body forward onto the right foot, comes inside the open angle of his opponent’s sword, which he just created.
-|La preſente operation prend auſſi ſon commencement du Cercle 1. où <font style="font-variant:small-caps">Alexandre</font> a tenu l’eſpee contraire aſſujettie, preſupposant qu’elle uſe, & continue à uſer du Poids Vif. Dont il a commencé a cheminer conſecutivement devers la Troiſieme Inſtance; & en eſtant venu à la my-voye, il ſe met derechef ainſi que devant à graduer un peu la lame contraire avec le corps aucunement panché ſur le devant, pour donner encor l’atteinte du Cercle 5. Mais il cognoiſt par le ſentiment que le Poids de la lame contraire, ayant eſté ſeulement Vif, s’augmente juſqu’en l’un des trois dernierement precedents, aſſavoir Gaillard, Plus-Gaillard, ou Tres-Gaillard: Sur leſquels ont eſté faites és Cercles 7. 8. & 9. autant de differentes operations à chaſcun la ſienne: leſquelles peuvent cependant toutes eſtre prevenues par celle que nous mettrons icy preſentement. C’eſt aſſavoir à meſure que <font style="font-variant:small-caps">Zacharie</font> ira augmentant ſon Poids; qu’<font style="font-variant:small-caps">Alexandre</font> augmentera auſſi à l’adventant le ſien, avec moderation & diſcretion de laiſſer monter un petit les eſpees, avec graduation de la contraire & deſgraduation de la ſienne propre, donnant comme apparence de les laiſſer tranſporter, & mettant cependant le pied droit en terre à la Troiſieme Inſtance au poinćt N. Et d’autant qu’en ce faiſant ſon corps s’avance avec abaiſſement, au meſme temps il regaignera derechef moyennant la deſgraduation, les nombres où il tenoit preallablement l’eſpee contraire en ſubjećtion, s’affermiſſant le haut du bras au coſté droit, pour en renforcer l’eſpee d’autant d’avantage, & pour l’aſſeurer cōtre les tresbuchements, & enſemble en ramener l’eſpee contraire vers le bas ſuyvant la juſteſſe de l’aſſujettiſſement; avec ſoudaine pourſuite circulaire du pied gauche, iceluy plantant dehors le Cercle à proportion de l’autre & reſpondant ſur la ligne K N: & enſemble preſentant le coſté gauche devant, lequel il loge (par le moyen du panchemēt de la partie ſuperieure du corps, repoſé ſur le pied droit) au dedans de l’angle, qu’il s’eſt ouvert ſur l’eſpee contraire.
-|- style="font-family: times, serif; vertical-align:top;"
-|The actions which can follow from this will be seen elsewhere.
-|Les executions qui ſe pourront faire en ſuite de ceſte operation ſe verront autrepart.
-|- style="font-family: times, serif; vertical-align:top;"
-|It may appear that the position of Alexander’s left leg lagging behind at G is not in accord with the description we have given above. This was drawn like this deliberately to be able to clearly show the actions of the arm, hand, and sword-guard, which would not be possible, as they would be hidden, if his back were turned forward.
-|Or combien que la ſituation du pied gauche d’<font style="font-variant:small-caps">Ale</font>xandre, ſemble contrarier en la figure à la deſcription que nous en venons de faire; à raiſon qu’il y ſemble demeurer à la Seconde Inſtance au poinćt G. toutesfois il faut entendre, qu’il a eſté là pour mettre à deſcouvert les operations du bras, de la main & de la garde de l’eſpee, ce qui n’euſt eſté praticable, en cas que le dos de la figure fuſt tourné devant.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11.'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has once again come to the mid-way point to the Third Instance, sliding his sword and turning the tip of his blade towards his opponent’s face. Zachary defends himself by increasing the degree of Force up to Strong, carrying the swords to the inside, so that Alexander, at the same time he sets his foot down at N, disengages the swords by bringing his up high, and gives his opponent a cut across the face while stepping with his left foot swiftly forward to the letter W but making sure to keep his body erect.''
-|''Eſtant encores venu à my-chemin de la Troiſieme Inſtance, graduant & tournant la poinćte de ſa lame devers le viſage de Zacharie, iceluy s’en defend par l’accroiſſement du Sentiment en poids Fort, en tranſportant les eſpees en dedans, donc Alexandre mettant au meſme temps le pied en terre à la lettre N. il deſtache les eſpees en menant la ſienne en haut; & en donne à ſon Contraire un coup d’eſtramaçon au viſage, en marchant avec le pied gauche viſtement en avant juſqu’à W. avec le corps aucunement panché en devant.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here we have yet another action which likewise follows from Circle No 1 where Alexander has subjugated his opponent’s sword and is moving from the Second Instance towards the Third. His right foot has reached the mid-way point and makes the briefest of pauses at the same time that he begins to slide the point of contact along the two swords, extends his body, and aims his sword-tip towards his adversary’s face. Who, in turn, to deflect the strike, increases the level of Force against the blade to Strong. In this way, he raises the blades up and carries them across, but with the sudden force, he cannot stop his blade from reading the centre line. This is why Alexander offers no resistance, allowing the blades to follow this path, then quickly enters in, placing his right foot down at the Third Instance, and, spinning on his right toes, swiftly follows, stepping with the left foot all the way to W along the Circumference, turning his left side forwards, along with the guard and part of his right arm. As he does this, using his wrist, he swings his blade around so the tip of his sword goes backwards under his opponent’s blade, then up, overhead and, as his left foot comes down, his blade also comes down and cuts across the right side of his opponent’s head, as it is shown in the figure.
-|Voicy encor une autre operation, qui procede pareillement du Cercle 1. où Alexandre a tenu l’eſpee contraire aſſujettie & comme il s’eſt acheminé de la Seconde Inſtance vers la Troiſieme, en eſtant venu avec le pied droit à my-chemin, il y a fait comme une petite pauſe, & quand & quand, il y a commencé à graduer toutes les deux eſpees, eſtendant le corps & dreſſant ſa poinćte devers le viſage de ſa partie adverſe. Lequel pour deſtourner le coup, augmente le ſentiment de ſa lame en Poids Fort; au moyen duquel il eſleve & tranſporte les lames avec une ſoudaine force, dont la ſienne ne peut s’engarder de tresbucher. C’eſt pourquoy Alexandre luy donne courſe libre ſans reſiſtence, en entrant viſtement avec le pied droit à la Troiſieme Inſtance, & ſoudainement pourſuivant avec le pied gauche, en l’avançant avec le coſté gauche, & auſſi un peu le bras droit avec la garde, en jettant au meſme temps à l’aide du ſeul poignet de la main, ſa poinćte en arriere de deſſoubs l’eſpee contraire en deſſus, & par la continuation du meſme mouvement, plantant le pied gauche ſur la Circonference au poinćt W, il donne à ſon Contraire un coup d’eſtramaçon, allant par deſſus la lame & le bras au coſté droit de la teſte, avec pourſuit du pied gauche, qui ſuit & traine apres l’autre ſur les orteils; comme il eſt pourtrait en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12.'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This circle again continues in the same way, up to the part when he moves his left foot. Instead of making the aforesaid cut to the face, because the force of the opponent’s sword has carried it further downwards, he raises his sword-tip upwards in a circular way, closing his hand and guard against the right side of his chest and wounds his opponent with the sword-tip above the arm, with his body leaning forwards.''
-|''Continuant derechef en la meſme ſorte, juſqu’à tant qu’il commence à avancer le pied gauche, au lieu, de donner le ſuſdite coup d’eſtramaçon ( à cauſe que l’eſpee contraire eſt en aćtion des tresbucher un peu plus bas) il conduit ſa poinćte circulairement en haut, s’affermiſſant la main & la garde contre la poitrine au coſté droit, & bleſſant ſa partie de poinćte au viſage par deſſus le bras avec le corps panché en avant.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action accords with the preceeding one, not only in that they both begin from the same position when subjugating his opponent’s blade, but also in the Strong degree of Force with which his opponent resists against him. There is but this difference, in that, in the preceeding Cercle, Alexander set his right foot down and, while he moved his raised left foot around forwards, at the same time he disengaged his sword, bringing the sword-tip from underneath to above his opponent’s blade as it went past. But this time his adversary’s sword goes further down than in Circle No 11, giving Alexander time, in this present action, to turn his hand so the interior branch of the crossguard is upwards and hold it against his right side, slightly lower down than is shown here, as he moves his left side forward. He again sets his left foot down at W along the Outside Square, leaning slightly forwards over the bent knee, pointing the sword-tip over his opponent’s arm and sword at his adversary’s face. This action is performed with exactness, as it appears in the figure.
-|Ceſte operation n’eſt pas ſeulement accordante avec la precedente, en ce qu’elles prennent toutes deux leurs commencements de l’aſſujetiſſemēt des eſpees, mais auſſi meſmes en l’augmentation de poids, que revient en l’une & en l’autre juſqu’au fort. Il n’y a que ceſte difference, qu’en la precedente <font style="font-variant:small-caps">Alexandre</font> plantant le pied droit & eſleveant en avant le gauche, il a deſtaché au meſme temps les lames, en menant la pointe de la ſienne de deſſoubs en deſſus la lame contraire tresbuchante: laquelle deſcend preſentement d’avantage qu’au Cercle 11. dont <font style="font-variant:small-caps">Alexandre</font> ſe tourne en ceſte operation preſente la main avec la garde de l’eſpee la branche interieure en haut, & l’affermit (en menant le coſté gauche du corps devant) contre ſon coſté droit, un peu plus bas qu’il n’eſt icy repreſenté au pourtraićt, en preſentant enſemblement la pointe par deſſus l’eſpee & le bras contraire au coſté droit de la teſte de ſa partie adverſe, avec le pied gauche pour planter au poinćt W ſur le Quarré Circonſcrit, le corps panchant de meſme deſſus le geuouil d’iceluy plié. Le tout eſt pratiqué par courtoiſie; comme il appert aux figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13.'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''While he advances his right foot towards the Third Instance, slides his sword up his blade, and aims his point at the face of his opponent, at the instant his foot comes down at the letter N, his adversary increases the level of Force against him to Very Strong, enough to carry both the swords backwards. So, at the same time as he guides the swords overhead, he sets his left foot down beside his right, and almost chases his right foot outside the Circle to W, and leans forward while cutting to the right side of the head.''
-|''Cependant qu’il s’avance avec le pied droit devers la Troiſieme Inſtance, graduant & dreſſant ſa poinćte avec le bras ferme devers le viſage de ſon Contraire; à l’inſtant que le pied s’abaiſſe à la lettre N. ſa partie augmente le Sentiment en poids Plus fort, & luy tranſporte l’eſpee; dont au meſme temps il la mene de bas en haut en entrant du pied gauche & le plantant parallele, comme en chaſſant l’autre un peu dehors le Cercle à l’W, & enſemble donnant un coup d’eſtramçon à ſon Contraire au coſté droit de la teſte, avec le corps panché en avant.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action follows from the same beginning and continuation as the previous. That is, Alexander has first subjugated his opponent’s sword at the Second Instance. From there he began to make his way to the Third, and when his right foot had reached about half-way, he began to slide the point of contact of his sword along, arm straight, by the same number of Spans to keep his opponent’s sword subjugated. Thus Zachary began to increase the force of his resistance. To which Alexander likewise at first maintained his dominance by increasing his counter-force as needed, in such a way as to keep the swords from rising up. Thus continuing the slide up the sword, with a circular motion, he aims his point at the face of his adversary as he sets his foot down at N. By this, Zachary is constrained to parry and carry the swords across to the inside by increasing the level of Force to Stronger. Thereupon Alexander, by abruptly disengaging and allowing the sword to spring over, then brings his own up, with a sudden step with the left foot, he sets it down next to his right, which, at that same moment, he raises and moves forward, almost like the quick-step dance-move, and while he does this, as he sets his foot down just beyond the Circle near W, he cuts his adversary diagnonally across the right side of his head, while leaning his body forward, as is shown in the figure.
-|Ceſte cy procede encor d’un meſme commencemēt & d’une pareille continuation comme la precedente: aſſavoir qu’Alexandre à premierement tenu l’eſpee contraire aſſujettie à la Seconde Inſtance: d’où il s’eſt acheminé devers la Troiſieme, & eſtant venu avec le pied droit environ le milieu, il a commencé d’avancer la graduation de ſon eſpee d’un bras roide, par les meſmes Nombres où l’eſpee contraire eſtoit aſſujettie: dont Zacharie a commencé d’augmenter ſon poids. Le quel Alexandre à pareillement domté au cōmencement, par l’augmentation de ſon contre-poids à l’advenant, en ſorte qu’il a empeſché les eſpees de monter en haut; & ainſi continuant la graduation, il a dreſſé ſa pointe circulairement contre le viſage de ſa partie adverſe, en poſant le pied à terre à la Troiſieme Inſtance au poinćt N. De quoy Zacharie eſt contraint de parer & tranſporter les lames en dedans en augmentant le Sentiment en Poids Plus fort. Là deſſus Alexandre en la deſtachant tout à l’inſtant, & la laiſſant tresbucher, mene la ſienne de bas en haut, avec une ſoudaine pourſuite du pied gauche, le plantant tout joignant l’autre, lequel quand & quand il leve & avance, cōme en forme d’une demy-fleurette, & durant icelle, il donne à ſon Contraire un coup d’eſtramaçon diagonal au coſté droit de la teſte, avec le corps preſt à pancher ſur le devant, pour planter le pied droit un peu hors du Cercle, en deça le poinćt W. comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14.'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has passed though all the previous steps, to the moment he sets his foot down at N. Zachary parries his attack, carrying the swords over with a Very Strong degree of Force. Therefore, Alexander advances with his left foot under him, bringing his sword from underneath the other, over his head, and setting his foot down at W and leaning forward, delivers a reverse cut to the back of Zachary’s head.''
-|''S’eſtant passé encores tout le meſme juſqu’au temps que le pied droit d’Alexandre s’abaiſſe à la lettre N: Zacharie luy pare le coup, en tranſportant les eſpees avec poids Tres-fort: dont Alexandre s’avance avec le pied gauche deſſus luy, menant l’eſpee de deſſoubs l’autre au deſſus de ſa teſte, & en plantant le pied à l’W. avec le corps panché de meſme, il bleſſe le Contraire d’un coup de revers au derriere de la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action likewise begins with the same steps as the preceeding ones, in the same order. Alexander is moving from the Second Instance to the Third, and at the same time gradually sliding the point of contact up the sword, when his Adversary increases the Force against him. This he overcomes by appropriately increasing his own force, and because of his superior position, prevents the swords from rising up. As he continues to slide the point of contact, keeping his arm straight and extended, he directs his sword-tip towards his opponent’s neck, while putting his foot down at N, and beginning to bring his left foot forward. As the attack comes in this way, Zachary has no option but to increase the Force of his resistance to Very Strong, so that he turns the blades aside, forcing them over to the inside. Alexander feels this, but unlike previously when he disengaged his sword and allowed his opponent’s to freely fly across, he now keeps contact as they pass overhead until they have lowered enough, before he releases Zachary’s sword to spring and overshoot down and out of the way, while bringing his own in a circular path around and over his head to strike diagonally down across the back of his opponent’s head, using his extended arm, as his left foot lands on the Outside Square at W, and his right foot spins on his toes to point forward, as is shown by the figures.
-|Ceſte operation a pareillement le meſme commencement, que les precedentes, & la meſme pourſuite. <font style="font-variant:small-caps">Alexandre</font> allant de la Deuxſieme Inſtance vers la Troiſieme, & au meſme temps qu’il ſe met à faire lentement la graduation, le Contraire luy augement le poids. Lequel il dompte par la juſteſſe du contrepois qu’il luy oppoſe, & par l’avantage de la ſuperiorité, dont il engarde les lames de monter plus haut, & continue la graduation encommencée avec le bras roide & eſtendu, dirigeant ſa pointe circulairement vers le col de ſon Contraire, en plantant à meſme temps le pied droit à la lettre N. & pourſuivant d’avancer le gauche. Le coup eſtant porté en ceſte ſorte, <font style="font-variant:small-caps">Zacharie</font>s n’a point d’autre rememde pour le parer, que d’augmenter le Sentiment juſqu’au Poids Tres-fort, dont il deſtourne & tranſporte les lames en dedans. Ce que ſentant <font style="font-variant:small-caps">Alexandre</font>, qui a par cy devant deſtaché les eſpees, en donnant à la contraire courſe libre, preſentement durant le tranſport, il les tient accoupleés juſqu’à tant qu’elles ſoyent aſſez deſcenduës, avant qu’il la laiſſe ſauter & tresbucher à val de route, en menant la ſienne circulairement de bas en haut par deſſus ſa teſte, & en donnant par la continuation du meſme mouvement à la teſte du Contraire par derriere un coup de revers diagonal avec le bras eſtendu, le pied gauche tombant ſur le Quarré Circonſcrit au poinćt W, & le droit ſe tournant proportionnellement à l’advenant; ainſi que repreſentent les figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|In all the actions described in this Plate from Circle 11 on, Alexander has made his way from the Second Instance to the Third, intending to thrust his opponent in the face. Zachary has forseen this and parried, by raising and carrying Alexander’s sword across to the inside, intending to subjugate it, of which there is no doubt that this is the most convenient defense. In any case, he can also defend himself in another manner, that is, by increasing the force of his resistance and bringing the swords directly upwards, without any intent to carry them aside. Against this action, Alexander again attempts to dominate at first, by increasing his counter-force, intending to pursue his thrust. But if his adversary continues to increase the force of his resistance ever more to counter the hit coming at his face, raising the swords by means of Strong, Stronger, or Very-Strong levels of Force, this becomes no longer possible to dominate, nor to keep his opponent’s sword under control. Alexander allows it to escape upwards, to fly uncontrolled overhead, to an obtuse angle, while bringing his own point underneath, moving his body forward, so that he is inside the angle beneath his opponent’s sword, either with a step with the left foot or the right, as opportunity presents, and at the same time he turns the interior branch of his crossguard upwards, secures his hand against his right side and drives the sword through the right side of his opponent’s torso, with as much force and power as he can with his body. But this shall not be shown in any Plate, even one of similar actions as this.
-|En toutes les operations de ce Tableau depuis le Cercle 11. en avant, ou <font style="font-variant:small-caps">Alexandre</font> c’eſt acheminé de la Seconde Inſtance vers la Troiſieme pour y donner à ſon Contraire l’atteinte au viſage: le coup à touſiours eſté prevenu & paré de <font style="font-variant:small-caps">Zacharie</font>, en hauſſant & tranſportant l’eſpee contraire en dedans, comme avec intention de l’aſſujettir, qui eſt ſans doubte le plus convenable à ſa defenſe. Toutesfois il ſe pourra auſſi defendre en autre ſorte, aſſavoir en augmentant le poids & menant les eſpees droitement en haut, ſans intention de les tranſporter. Laquelle aćtion il convient derechef qu’<font style="font-variant:small-caps">Ale</font>xandre dompte en ſon premier commencement par la moderation du contrepoids, afin de pourſuivre ſa pointe. Que ſi l’adverſaire continue alors d’augmenter ſon poids encor d’avantage pour parer le coup qui luy eſt dreſſé vers le viſage, en hauſſant les eſpees avec Sentiment fort, Plus-fort, ou Tres-fort, lequel il ne ſeroit deſormais plus poſſible de dompter, ne de tenir l’eſpee contraire en devoir: il la laiſſera eſchapper en haut au deſſus de ſa teſte en angle obtus, en menant la pointe de la ſienne deſſous, avec avancement du corps, qu’il logera durant ce meſme mouvement au dedans de l’angle deſſous l’eſpee Contraire, ſoit avec la demarche du pied droit, ou du pied gauche, à meſure que l’occaſion le permet; & qu’à meſme temps il s’affermiſſe le bras, & la garde au coſté droit du corps, avec la branche interieure tourner en haut; pouſſant l’eſpee au coſté droit a travers la poićtrine de ſon contraire, donnant au deſſous du bras avec pleine force & avancement du corps, ce qui ſera repreſenté cy apres an aucuns Tableaux de ſemblables operations.
-|- style="font-family: times, serif; vertical-align:top;"
-|It may come to be that Zachary parries the thrust aimed at his face by simply raising the swords, but with less Force than we have specified, and that he contents himself to apply only a Lively, Livelier, or Very-Lively degree of Force, as in the examples shown by the 7th, 8th, and 9th Circles, where it happens that his blade will not fly up high enough. In this case, one must again slide along the blade and re-establish control, as shown in Circle No  10 against the same force.
-|Que s’il advenoit que Zacharie pare l’eſtocade qui luy eſt dreſſé devers le viſage en hauſſant ſimplement les eſpees, avec moins de Poids que nous ne venōs de ſepcifier, & qu’il ſe contentaſt d’y appliquer le Gaillard, Plus-gaillard, ou Tres-Gaillard, à l’exemple des Cercles 7. 8. & 9. dont il advendroit que ſa lame ne s’en fuyeroit pas aſſez viſtement; alors il la faudroit derechef deſgraduer & remettre en ſubjećtion; comme il a eſté fait & repreſenté au Cercle 10. ſur les meſmes Poids.
-|- style="font-family: times, serif; vertical-align:top;"
-||
-|- style="font-family: times, serif; vertical-align:top;"
-|All of these examples serve to demonstrate the great importance of the sense of Feel, which is so frequently held in such little esteem by Masters of this profession. But seeing how the truth is so self-evident, they are, despite their wishes, constrained to know something about how forces act on the blade. But as soon as one attacks their blade, they feel hindered, and try by all means to deliver themselves from these straits, either by withdrawing, or by circular disengagements, or by feints, or grosser actions which are slow and take up time that they might have used to better advantage. If only they were not so enamoured of nurturing their ignorance, rather than learning to do better. At the least, as they feel hindered by the coupling of swords, they ought to consider that if they are themselves inconvenienced, that their adversary is no more free of this hindrance than they, and while some hindrances are greater than others, all these can be made more effective by following the same basic principles. And each of these hindrances can be remedied with it’s own counter move. These Masters ought to be advised they can lessen their own sense of hindrance, and increase that of their adversaries, merely by means of the sense and feel of the blade in their hand, without immediately losing their courage to desperation, for which there is no remedy except to escape as quickly as possible. This is completely the reverse of how to respond. Because experience not only demonstrates to us the importance of a sense of feeling for assessing and knowing things, but, moreso, it is a common language we can all learn, that there is nothing more sure and certain than the touch of the hand. We see that the blind know with only their sense of touch the different values of coins, and how to find their way along the streets to their intended destination. And following their example, when we find ourselves in the obscurity of darkness, we do the same. And because, in the Exercise of Arms, it is necessary to be able to discern the power or weakness of your opponent as he moves. How else do they think one could possibly understand, if not by a sense of feel through the crossing of swords and the heaviness or lightness of that touch, which is the real goal and purpose of the use of this sense. As such, it is necessary to ignore these men or to listen to them while keeping this fact in mind. By what other means would they have us know when our opponent begins to act against us, so that we can counter him, if not by the sense of feel that comes from crossing swords, where we can detect when he is about to begin because the force of his blade  against our own becomes lighter? The sense of feel tells us in half the time it takes for us to see what is happening. Finally, how else would they have it, that we can work with confidence against someone, if we do not have a sense of feel by which we can know with how much force, and on which side, our opponent is attacking? Considering these points, it is easy to see that those who hold as detrimental such a useful ability are holding to false doctrines. For as soon as we have crossed swords, we can approach our opponent with confidence, because we are certain to know in good time, all the designs he would undertake against. Designs which he cannot even begin to execute, but we are already prepared against him. This is such a notable advantage, one which has been in use in the Exercise of Arms for so long, yet without these masters having been able to see it. This is a skill so obvious, so important, and so necessary, that those who have not completely learned it have no better ability than one who has never touched a weapon in his life. And through ignorance of this, they hold the belief that approaching an opponent is so dangerous that they must make use of main-gauche, or two swords, as if the sword was not entirely sufficient in and of itself for both the defence of the of  the holder and causing harm to an opponent.
-|Toutes ces exemples demonſtrent clairement le tres-grand uſage du Sentiment, qui eſt toutesfois en ſi petite eſtime envers les Maiſtres de ceſte Profeſſion. Mais veu que la verité en eſt ſi evidente, ils ſont contraints malgré qu’ils en ayent, d’en recognoiſtre le forces. Car tout auſſi toſt qu’on les attaque la lame, ils s’en ſentent incommodez, & taſchent à la delivrer par touts moyens, ſoit en reculant, ſoit an cavant ſoit en uſant de feintes, ou meſmes de plus lourdes aćtions durant leſquelles il eſt neceſſaire qu’ils perdent touſiours autant de temps, duquel ils ſe pourroyent prevaloir à leur advantage, s’ils n’aimoyent pas de careſſer pluſtoſt leur ignorance, que d’apprendre à mieux faire. A tout le moins, puis qu’ils ſe ſentent incommodez par l’accouplement des lames, ils devroyent penſer s’ils en reçoivent quelque incommodité de leur part, qu’auſſi l’adverſaire en eſt pas libre, & puis que les incommoditez ſont plus grandes les unes que les autres, auſſi qu’elles peuvent eſtre augmentées en pourſuivant les meſmes commencements, & que elles peuvent eſtre remediés par leurs contraires. Ils devroyent adviſer à diminuer leurs propres incommodites, & à augmenter celle de leurs adverſaires par la moderation du Sentiment meſme, ſans perdre incontinent courage comme en une choſe deſeſperée, à laquelle il n’y a point de remede ſinon d’en eſchapper à touts marchez. Ce qui eſt tout au contraire. car l’experience non ſeulement nous demonſtre, que l’attouchement eſt de tres-grand importance pour le jugement & la cognoiſſance des choſes, mais qui plus eſt le commun langage nous apprend, qu’il ne peut y avoir aſſeurance plus certaine que celle qu’on touche à la main. Nous voyons que les aveugles congnoiſſent au ſeul ſentiment les differences de la monnoye, qu’à l’aide d’iceluy ils trouvent les chemins pour arriver par tout où ils pretendent; & à l’exemple deſquels quand nous nous trouvons en obſcurité, nous faiſons de meſme: & puis qu’en ceſt Exercice des Armes il eſt queſtion de diſcerner le fort & le foible des mouvements du Contraire, par quel moyen veulent ils donc qu’on les puiſſe comprendre, ſinon par le ſentiment & par l’attouchement des eſpees, & puis que le fort & le foible, ſont le propre objećt du ſentiment: en ſorte que’il eſt neceſſaire de les ignorer ou de les entendre par ceſte voye ſeule. Par quel moyen veulent ils qu’on comprenne les commencements des meſmes mouvements du Contraire, pour travailler à temps alencontre, ſinon par l’attouchement, auquel les commencements ſe deſcouvrent par leur foibleſſe, touſiours un demy temps pluſtoſt qu’ils ne ſe peuvent appercevoir à la veuë. Et finalement comment veulent ils, qu’on travaille avec aſſeurance alencontre, ſi on n’a pas l’attouchement par lequel on cognoiſſe avec quelle force, & de quel coſté l’adverſaire travaille. Par leſquelles conſiderations, il ſe voit que ceſt à fauſſes enſeignes, qu’ils tiennent pour dommageable ce qui eſt en effećt ſi Vtile. Car dés que nous avons l’attouchement des lames, nous pouvons faire nos approches deſſus l’adverſaire avec aſſeurance, puis que nous ſommes certains de ſçavoir touſiours à temps les deſſeings qu’ils voudra faire, leſquels il ne pourra tant ſeulement commencer que nous ne ſoyons deſia preparez alencontre. Advantage ſi notable, & ſi digne, que c’eſt choſe admirable, comment l’Exercice des Armes a eſté ſi longuement en vogue, ſans que les Maiſtres s’en ſoyent apperceus, eſtant choſe ſi claire, ſi ample, & ſi neceſſaire, qu’au defaut de l’avoir pratiquée, ils ſe voyent à touts moments, comme reduits à l’eſgal de ceux qui jamais n’ont manié les armes. Et pour l’ignorance de laquelle, ils tiennent les approches ſi dangereuſes, qu’ils en ſont contraints de ſe ſervir inutilement de la main gauche, ou d’Armes doubles, comme ſi l’eſpee neſtoit auſſi bien ſuffiſante à defendre la perſonne qui en uſe, comme elle eſt capable à offencer le Contraire.
-|}
 {{master end}}
 {{master begin
-  | title = Book 1 - Tableau / Plate X - More on parries by force.
+  | title = Book 1 - Tableaux / Plates XII - XXII
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 23-33}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 10.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE TENTH PLATE
-|DECLARATION DES OPERATIONS DV TABLEAV DIXIEME
-|- style="font-family: times, serif; vertical-align:top;"
-|If it was not terribly apparent in the previous Plate just how vitally important a sense of feel is, it will be come quickly apparent in those which follow, and there are an ample number of examples. This is because it extends to all occurences when one has occasion to cross blades, as much from afar as in close, as much for the attacker as for the defendant, whether your Opponent is passive, or active, whether he is approaching or retreating, or whether he is performing the strangest moves that he knows. As such, we shall set ourselves, henceforth, to research the infinity of good and subtle inventions that Man has devised and put into practice for his defence. Just as Necessity is Mistress of the Arts, even to the point of having parrots and magpies learn to mimic human speech so far from their own nature, one must not doubt that those who are blessed with far more refined abilties, as are men, would thus have developed infinitely superior methods of self-defense. Observe that all animals have an innate desire for self-preservation, and that these employ, in times of need, all their strengths, both spiritual and physical, in their own defense. But, as we shall not dive too deeply into this labyrinth, we shall begin with situations not very much different from the preceeding actions, that is, those which follow from the subjugation of the blade at the Second Instance, just at the Oblique Diameter. Circle No 1 demonstrates the entry into distance, and the form which follows.
-|S’il eſt apparu par le Tableau Precedent, que le Sentiment eſt de terrible conſequence; il apparoiſtra ſemblablement bien toſt par ceux qui s’enſuivent, qu’il eſt auſſi fort ample: à cauſe qu’il s’eſtend à toutes les occurrences, où l’on a moyen de venir à l’attouchement des lames, tant de loin que de pres, tant pour l’aſſaillant, que pour le defendant, ſoit que le Contraire ſe repoſe, ou qu’il travaille, qu’il s’approche, ou qu’il recule, ou meſme qu’il ſe prevaille des mouvements les plus eſtranges, qu’il ſçauroit faire. En ſorte que nous nous allons mettre d’oreſenavant à la recerche d’une infinité de belles & ſubtiles inventions, que l’homme pourroit mettre en pratique pour ſa defenſe. Car puis que Neceſſité eſt la principale Maiſtreſſe des Arts, meſmes juſques à monſtrer aux Perroquets & aus Pies la prononciation du language humain tant eſloigné de leur Nature; il ne faut pas douter, que ceux qui ſont douëz de ſi rares qualitez, comme les hommes, n’ayent trouvé des pratiques infiniement excellentes pour ſe defendre; voyant que touts animaux ont un extreme deſir de leur propre conſervation, & qu’à icelle en temps de Neceſſité ils employent toutes leurs forces, tant corporelles, que ſpirituelles. Mais pour ne nous foncer du commencement trop avant dedans ce labyrinthe, nous commencerons par les occaſions, qui ne s’eſloignent guere des operations precedentes; aſſavoir par ce qui procede en ſuite de l’aſſujettiſſement des lames à la Seconde Inſtance en deça le Diametre: dont le Cercle N.1. en demonſtre l’entree, en la forme ſuivante.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander holds his opponent’s blade subjugated at the Second Instance, on the Diamter at the letter G.''
-|''Alexandre tient l’eſpee Contraire aſſujettie à la Seconde Inſtance en deça le Diametre à la lettre G.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two opponents were previously at the First Instance, swords held parallel in the direct line posture, with Alexander’s sword beneath the other. He then began to work, raising his sword-tip,  and setting his blade at the 3rd Span against the 8th Span of his opponent, at the same time raising his right foot up off the ground. He then moves the swords along the side of the Inside Square to the Oblique Diameter halfway to the Second Instance, while sliding the point of contact of the blades back so that his 8th Span comes to contact the 4th or 5th Span of his opponent and then subjgates his opponent’s blade as he sets his right foot down at the point G, at the Second Instance, drawing his left foot along using a circular path, to set it down at the Outside Square, with the toes along the Oblique Diameter, as is amply described and explained in Table VII, Circle No 1, and as is shown here in this figure.
-|Les deux Contraires ayants preallablement eſté à la Premiere Inſtance avec les eſpees paralleles en droite ligne, l’une au deſſus de l’autre, aſſavoir celle d’<font style="font-variant:small-caps">Alexandre</font> deſſous; il a commencé à travailler, en hauſſant ſa pointe, & aſſemblant ſa lame à Nombre 3. contre le Nombre 8. de ſa partie adverſe, eſlevant au meſme inſtant le pied droit de terre; & le menant quand & quand le long du Quarré inſcrit au deça le Diametre juſquà my-chemin de la Seconde Inſtance, faiſant cependant la deſgraduation de l’eſpee contraire par la graduation de la ſienne propre, en ſorte que ſon Nombre 8. ſe vient aſſembler au 4. ou 5. des Nombres contraires, & conſequemment il en fait l’aſſujettiſſement en ces meſmes Nombres, avec plantement du pied droit eſlevé, le poſant au poinćt G. à la Seconde Inſtance, & pourſuivant circulairemēt avec le pied gauche, à planter ſur le Quarré circonſcrit, les orteils d’iceluy ſur le Diametre oblique; ainſi qu’il eſt plus amplement ſpecifié au Tabl. VII. Cercle N.1. & qu’il ſe voit icy repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He steps from the Second Instance to the Third, and puts the tip of his blade in front of his opponent’s face.''
-|''Il marche de la Seconde Inſtance à la Troiſieme, & y preſente la poinćte de ſa lame au viſage de ſon Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|As Zachary is waiting for the follow-on to the previous action, Alexander advances with the right foot following the side of the Inside Square and sliding the point of contact up his sword, by the smallest number of Spans. Then Zachary immediately begins to increase his force, to defend himself. But, by sliding the point of contact up his sword Alexander has already acquired a very powerful dominance over his opponent’s sword, and continues his thrust, stepping in with the right foot to the letter N at the Third Instance, and following with his left foot to the letter K and placing his sword-tip exactly in front of his opponent’s face, as shown by the figures.
-|Puis que <font style="font-variant:small-caps">Zacharie</font> attend la pourſuite de la precedente operation; <font style="font-variant:small-caps">Alexandre</font> s’avance avec le pied droit ſuivant la trace du Quarré inſcrit, & graduant ſa lame par les moindres Nombres de la lame contraire. Dont Zacharie commence incontinent à en augmenter le poids, pour ſe defendre. Mais comme ainſi <font style="font-variant:small-caps">Alexandre</font> ait acquis une tresgrande ſuperiorité par la graduation de ſa lame, il en dompte l’eſpee contraire, & pourſuit ſon eſtocade, en entrant avec le pied droit à la Troiſieme Inſtance au poinćt N. & pourſuivant avec le pied gauche à planter à la lettre K, & à mettre enſemblement ſa pointe en courtoiſie devant le viſage de l’Adverſaire; comme les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander, wishing to complete the attack and finish the preceeding action, enters swiftly into his opponent, with his right foot moving along the line of Inside Square and driving his point firmly, so that the two guards collide forcefully, as he sets his foot down at S, and put his weight on his bent knee, leaning forward as he sends his sword through his opponent’s head. As shown in the figures.
-|<font style="font-variant:small-caps">Alexandre</font> voulant achever l’atteinte & l’execution de l’operation precedente, il entre viſtement avec le pied droit deſſus ſon Adverſaire  par le trac du Quarré inſcrit, en graduant les lames, & aſſenant ſa pointe en rigueur, de ſorte que les deux gardes s’entredonnent avec force, en plantant le pied eſlevé au poinćt S, & menant ſur le genouil d’iceluy plié la charge du ſon corps à pancher ſur le devant, en pouſſant ſa lame à travers la teſte de ſon Contraire; ſelon les figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Again, he tries to perform the action from Circle No 2, while he steps towards the Third Instance. His adversary parries his strike, carrying the swords across to the inside with a Very-Strong force. So Alexander wounds him with a reverse strike to the back of his head.''
-|''Travaillant derechef pour effectuer l’operation du Cercle N.2. cependant qu’il marche devers la Troiſieme Inſtance; l’Adverſaire luy pare le coup, en tranſportant les eſpees en dedans avec poids Tres-fort: dont Alexandre le bleſſe d’un coup de revers au derriere de la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This actions follows from that shown in Circle No 1, where Alexander has subjugated his opponent’s blade at the Second Instance, again intending to perform action of Circle No 2. Thus, stepping with his right foot towards the Third Instance, he slides his blade with his arm straight and extended against the 5th Span of his opponent’s blade, which Span he previously held it at bay. And however much Zachary tries to parry the blow by increasing his force, nonetheless, Alexander has such superiority, that he dominates him, in such a way that the blades cannot rise up, while turning his sword-tip, with a circular motion, downwards towards the right side of his opponent’s neck, while he is moving his raised right foot towards the Third Instance at letter N, and then brings his left foot along in a circular path. By this, Zachary must employ a Very Strong degree of force to raise the blades and carry them to the inside. Which does not prevent Alexander, during this movement, from keeping the blades coupled together, and so restrain his opponent’s blade with his own beneath the other, until they have lowered enough. At that instant he disengages and allows it to fly out of control, while bringing his own out from under the other, up above his head, and ,as he sets his left foot down at W on the Outside Square, and leans his body forwards, putting his weight over his knee, he extends his arm and strikes diagonally downwards with reverse cut, to the back of his opponent’s head. This is shown in the figure.
-|Ceſte operation procede de celle qui eſt repreſentée au Cercle N.1. où <font style="font-variant:small-caps">Alexandre</font> à aſſujetti l’eſpee contraire à la Seconde Inſtance, en intention de venir derechef à l’operation du Cercle N.2. Dont marchant avec le pied droit vers la Troiſieme Inſtance, il va graduant ſa lame avec le bras roide & eſtendu par le Nombre 5. de la lame contraire, ſur lequel il la tenoit paravant aſſujettie. Et combien que <font style="font-variant:small-caps">Zacharie</font> taſche à parer le coup en augmentant le poids: Toutesfois <font style="font-variant:small-caps">Alexandre</font> qui a autant de ſuperiorité, le dompte, de ſorte que les lames ne peuvent monter, tournant ſa pointe un peu circulairement deſcēdante, devers le coſté droit du col de l’Adverſaire, durant que le pied droit à preſent eſlevé ſe va planter à la Troiſieme Inſtance au poinćt N. avec pourſuite circulaire du pied gauche. Et par ainſi <font style="font-variant:small-caps">Zacharie</font> eſt contraint de travailler avec un poids Tres-fort, pour hauſſer les lames & les tranſporter en dedans. Ce qui n’empeſche pas <font style="font-variant:small-caps">Alexandre</font> de tenir, durant ledit tranſport, les eſpees accouplées, en retenant la contraire avec la ſienne par deſſous, juſqu’à tant qu’elle ſoit veune aſſez baſſe; auquel inſtant il la laiſſe enfuir & tresbucher, en menant la ſienne de deſſous l’autre par deſſus ſa teſte en haut, & en aſſenant diagonalement un coup de revers avec le bras eſtendu au derriere de la teſte de ſon Contraire, plantant egalement le pied gauche eſlevé ſur le Quarré circōſcrit au poinćt W, & ſur le genouil d’iceluy menant la charge du corps, à pancher ſur le devant; comme il ſe voit en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|This reverse cut is shown being executed with full force, but when training with a friend, one stops the blow above the head of your opponent without touching him. As such, one cannot train with full speed. It also follows that the blow cannot be too difficult to parry, as we show here in the next Circle.
-|Ce coup de revers eſt icy repreſenté à executer en rigueur: mais quand on s’exercice en courtoiſie, on en arreſte la courſe un peu au deſſus de la teſte contraire ſans la toucher; en ſorte qu’on ne peut alors travailler avec tant de viſteſſe: dōt s’enſuit auſſi, que le coup ne ſeroit pas ſi difficile à parer, là voicy au Cercle prochain enſuivant.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary parries the preceeding reverse cut, by raising his arm and blade. At the same time, Alexander drops his point, and puts it in front of Zachary’s face.''
-|''Zacharie partant le precedent coup de revers, en hauſſant le bras & l’eſpee; au meſme temps Alexandre deſcend ſa poinćt, & la luy met devant le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary, sees the reverse cut coming to the back of his head, as in the preceeding action. He takes a large step backwards with his left foot, quickly raising his sword to the right above his head to parry the threatening strike. Meanwhile, Alexander turns his left side inwards, his right side outwards, and draws his right arm back, so this way he brings his sword-tip in a half-circle down, around, and underneath his opponent’s blade, then aims his tip exactly at his opponent’s face, arm bent and turning his feet slightly inwards, again keeping his body leaning forward. This is shown by the figure.
-|Zacharie donc voyant derechef venir le meſme coup de revers devers ſa teſte, ainſi qu’en l’operation precedente; il fait un grand pas en arriere avec le pied gauche, hauſſant tresviſtement le bras avec l’eſpee par deſſus le coſté droit de ſa teſte, pour la parer devāt le coup qui le menace. Cependant Alexandre ſe tourne le coſté gauche en dedans, & le droit en dehors, retirant le bras en arriere, & par ceſte voye menant ſa pointe à demy circulairement de haut en bas deſſous la lame contraire; & a luy dreſſant en courtoiſie devant le viſage avec le bras courbe, & avec une petite entrade des deux pieds, comme auſſi avec le corps panché un peu en devant; ainſi que la figure le repreſente.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary parries the last thrust, aimed at his face, by quickly dropping his arm and sword. At the same time, Alexander takes a step in forwards with both feet, throwing his sword-arm behind, bringing the sword from beneath to above his opponent’s blade.''
-|''Zacharie parant la derniere eſtocade, qui luy eſtoit dreſsé au viſage, en deſcendant viſtement le bras avec l’eſpee; Alexandre entre au meſme temps avec les deux pieds un pas en avant, jettant le bras avec l’eſpee en arriere, de deſſous l’eſpee contraire au deſſus.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary realizes the danger from the thrust, which had been held back, without touching his face, very quickly drops his sword down against his opponent’s blade to turn it aside. To avoid this, Alexander extends his arm, and turns his wrist, and moves his sword-tip backwards, under his opponent’s blade without touching it, while stepping forward with the left foot along the Circle, so that his toes come to be on the extreme end of the Quadrangle, his body leaning forward on his bent left knee. He then draws his right foot along, with his heel raised, on the Outside Square between the letter P and T and brings his sword from beneath to above the other, as is shown in the picture.
-|<font style="font-variant:small-caps">Zacharie</font> recognoiſſant le danger de l’eſtocade precedente, (quoy qu’elle ait eſté retenuë, ſans luy toucher le viſage) il abaiſſe fort viſtement le bras avec l’eſpee de haut en bas devers l’eſpee contraire pour la deſtourner. Et pour ce prevenir <font style="font-variant:small-caps">Alexandre</font> jette au meſme temps, en eſtendant le bras & tournant le poignet, la pointe de ſa lame à l’envers, au deſſous de la lame contraire ſans la toucher, faiſant enſemblement avec le pied gauche un pas en avant, en deça le Cercle, en ſorte que les orteils en viennent à reſpondre à l’endroit de l’extreme bout du Quadrangle, & le corps ſe panche deſſus le genouil gauche en avant, trainant conſequemment le pied droit apres avec le talon levé, ſur le Quarré circonſcrit entre les lettres P, & T, & enſemblement menant ſa lame de deſſous au deſſus de l’autre; comme il eſt montré en ſa figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander raises his right foot so as to lean over his left, while making a cut to the right side of his opponent’s head.''
-|''Alexandre en levant le pied droit ſe va pācher ſur le gauche, en donnāt un coup d’eſtramaçon à ſon Contraire au coſté droit de la teſte.''
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-|This action is nothing more than a continuation of the previous, followed on without interruption, raising the right foot in the air, leaning the body over the left leg, left arm dropping, and hitting his opponent with a cut across the right side of the head, as is shown in the figure.
-|Ceſte operation n’eſt autre choſe, qu’une continuation de la precedente, à pourſuivre ſans nulle interruption, en levant le pied droit en l’air, & panchant le corps en devant ſur la jambe gauche, avec le bras egalement deſcendant, & donnant à ſon Contraire un coup d’eſtramaçon au coſté droit de la teſte; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Next, with his right foot, he takes a good step outside the circle beside his opponent, as we have shown in the figure. After this, he leans his body forward over his right knee, and puts his sword in front of him, tip down towards the ground at an acute angle, with his arm straight. This is not shown here due to space. Nontheless, it must be performed as a means to arrive at the following action.
-|Apres il marche encores plus outre avec le pied droit eſlevé un bon pas en avant à coſté du corps de ſa Partie, cōme nous l’avons repreſenté icy en la figure: En ſuite de quoy il ſe panche le corps en devant ſur le genouil droit, mettant egalement l’eſpee devant luy, la pointe deſcendante juſqu’à bien pres de la terre en angle aigu, avec le bras roide. Aćtion qui n’a pas eſté icy repreſentée à faute de place; toutesfois il faut qu’elle y ſoit pratiquée pour venir à l’operation ſuivante.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander was leaning forward, his sword pointed at the ground at an acute angle, he immediately turns the tip upwards, in front of the right side of his head, by turning his wrist, and pinning it to his hip. At the same time, he twists his left side towards his opponent. He raises his left foot and pivots around on his right foot, moving so his arm and sword are in front, his hand pressed against his side and the point of his sword aimed upwards. He bringss his left hand over and around the guard. At the same time that he puts his left foot down towards his opponent, with his left knee bent, his weight on it, he executes the attack, using his body weight, against his opponent’s back. This is as demonstrated by the figures.
-|Eſtant Alexandre ainſi panché ſur le devant avec l’eſpee eſtendue & deſcendante en angle aigu, il en tourne tout à l’inſtant la poinćte en haut par devant le coſté droit de ſa teſte, & ce à l’aide du poignet de la main, enſemblement ſe tournant & dreſſant le corps à gauche devers ſon Contraire; avec eſlevation du pied gauche, & preſentation du bras & de l’eſpee en avant, icelle affermiſſant à ſon coſté droit avec la pointe dreſſé contre mont, & en empoignant de la main gauche la garde par deſſous; & quand & quād poſant le pied à terre devers ſa Partie, avec le genou de devant plié & le corps repoſé deſſus, au meſme temps il donne l’atteinte & en fait l’execution, moyennant la charge du corps, par le dos de ſon Contraire; ainſi que les figures le demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''After Alexander subjugates the sword, as he does to begin the action of Circle No 2, Zachary draws his sword away to the outside, putting it above the line S-N. So Alexander, instead of following through with his thrust, simply changes his approach.''
-|''Apres l’aſſujettiſſement de l’eſpee, comme Alexandre ſe vent mettre en devoir de commencer l’operation du Cercle N.2. Zacharie eſcarte ſa lame en dehors, la mettant au deſſus de la ligne SN. dont Alexandre, au lieu de pourſuivre l’eſtocade, ſe content d’amender ſimplement ſon approche.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The action in this present Circle evolves from the 1st Circle, where Alexander has subjugated his opponent’s sword at the Second Instance. After this he has wounded his opponent with a thrust at the Third, as is represented in the 2nd Circle. Now, to prevent this thrust, at the instant his feet reach the Second Instance, Zachary opens his arm and sword outwards to the right side above the Inside Square, along the line S–N. By doing this he prevents his adversary from wounding him along the line of his blade while moving from the Second to the Third Instance. Nonetheless, Alexander, still wishing to pursue his thrust, seizes from this position a new advantage, moving his right foot along the Inside Square to mid-way to the Third Instance, and bringing his left foot up, parallel to his right, along the Outside Square, as is seen in the figure.
-|L’operation de ce Cercle preſent depend du Cercle N.1. où Alexandre a aſſujetti l’eſpee contraire à la Seconde Inſtance; & en ſuite il a bleſſé ſoudit Contraire d’un coup d’eſtocade à la Troiſieme; ainſi qu’il eſt repreſenté ſur le Cercle N.2. Maintenant donc pour prevenir ceſte eſtocade, à l’inſtant qu’il arrive avec les pieds à ladite Seconde Inſtance, Zacharie s’eſcarte le bras & l’eſpee en dehors à la main droite deſſus le Quarré inſcrit, lignes SN. Et en ce faiſant il prévient l’Adverſaire de ne le pouvoir bleſſer au long de ſa lame en allant de la Seconde Inſtance à la Troiſieme; Alexandre voulant neantmoins pourſuivre ſon eſtocade, prend là deſſus un nouvel advantage, en allant avec le pied droit le long du Quarré inſcrit juſqu’à my-voye de la Troiſieme Inſtance, & pourſuivre avec le gauche, à planter parallel à l’autre ſur le Quarré circonſcrit; ainſi qu’il ſe voit en la figure.
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-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He pursues his thrust, taking a large step forward and a little outside the circle with his right foot, while, with his arm held straight, he slides the point of contact up the sword and aims the tip at his opponent’s neck. This attack is parried to the inside with a Very Strong degree of Force. He very quickly enters in against his opponent, jumping behind his back, with a reverse cut to the left side of his head.''
-|''Il pourſuit ſon eſtocade, en marchant avec le pied droit un grand pas en avant un peu en dehors le Cercle, enſemble graduant & dreſſant ſa poinćte devers le col de ſa Partie adverſe avec le bras roide. Lequel coup luy eſtant paré en dedans avec poids Violent; il entre tres-viſtement ſur ſon Contraire, en luy ſautant derriere le dos, avec un coup de revers au coſté gauche de ſa teſte.''
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-|This action follows on from the preceeding one, where Alexander has altered his position. Consequently, he has moved forward, while sliding the point of contact of his sword, stepping in with the right foot a good pace further on, a bit outside the Circle about the middle of the line O-Z, without lowering the swords at all, and, keeping his arm straight, moves the sword-tip around in a circle until it is aimed at the base of his adversary’s throat, who is then forced to use violent force to parry the blow, carrying the swords over to the inside. Alexander jumps in with a large step behind his opponent, turns his chest forward, while bringing his sword up passing above his head and then continuing to perform a reverse cut at the instant his left foot touches the ground and brings his right foot around to the outside. With his body leaning forward, he strikes hard to the left side of his opponent’s head, as shown.
-|Ceſte operation eſt la pourſuite de la precedente, où <font style="font-variant:small-caps">Alexandre</font> avoit amendé ſa ſituation; & conſequement il s’eſt avancé en graduant ſon eſpee, & entrant avec le pied droit un bon bas plus outre, un peu dehors le Cercle à l’endroit du mitan de la ligne OZ. abaiſſant aucunement les eſpees, & dreſſant d’un bras roide ſa poinćte circulairement vers le bas du col de ſon Adverſaire. Lequel eſtant contraint d’uſer de Violence pour parer cedit coup, en tranſportant les eſpees en dedans: <font style="font-variant:small-caps">Alexandre</font> entre un grand pas ſur luy en ſautant, & tournant la poitrine devant, & menant à meſme temps ſa lame de bas en haut par deſſus ſa teſte, & cōtinuant à en donner avec extenſion du bras un coup de revers, au meſme inſtant que le pied gauche ſe plante avec deſtournement du pied droit en dehors, pour venir derriere le Contraire, & executer ſur luy tant plus rudement, avec le corps panché, le coup aſſené au coſté gauche de ſa teſte; ſelon la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|To stop his momentum after his leap, he leans backwards on his right foot, bending his knee, and draws his sword-arm behind himself, tip pointing down and forward, as presented in the image.
-|Pour rompre la courſe & le mouvemēt du ſaut, il ſe panche à l’envers ſur le pied droit, pliant le genouil, & retirant le bras avec l’eſpee en arriere; la pointe un peu baſſe & avancée, tirant à main droite; ainſi qu’il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary stands motionless, stunned by the slash to the head he received. Alexander promptly raises his left foot, and steps towards his opponent, leans his body forward, and drives the sword through his back.
-|<font style="font-variant:small-caps">Zacharie</font> demeurāt eſtonné par la vive atteinte qu’il a receuë, ſans ſe mouvoir; <font style="font-variant:small-caps">Alexandre</font> leve incontinent le pied gauche, & en marche devers ſon Contraire, panchant le corps en avant, & luy pouſſant en rigueur l’eſpee à travers le dos.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the follow-on from the 11th and 12th Circles. Here Zachary, perceiving that, after the leap and strike, his opponent is now behind him, turns about to the right and withdraws slightly by bringing his left foot around and putting his toes down by the Diameter, close to the letter R, turning his chest forward, raising his arm and sword up to defend himself. Because the sword, thus brought up, passes above Alexander’s head, Alexander moves forward a step with the right foot, and by leaning forward, drives his sword through Zachary’s chest. This is demonstrated by the figure.
-|Voicy la ſuite des Cercles N. 11. & 12. Dont <font style="font-variant:small-caps">Zacharie</font> recognoiſſant que ſon Contraire luy eſt venu derriere le dos avec le ſaut & l’execution du coup precedent; il ſe retire en voltant le pied gauche à droite, & le plantant avec les orteils pres le Diametre aſſez pres de la lettre R, ſe tournant enſemblement la poitrine devant, avec le bras & l’eſpee montante, pour ſe defendre. Et puis que l’eſpee, eſtant ainſi menée, paſſe au deſſus de la teſte d’<font style="font-variant:small-caps">Alexandre</font>, iceluy s’avance d’un pas avec le pied droit, & en panchant le corps, luy pouſſe la ſienne à travers la poitrine; ainſi qu’il eſt demonſtré par la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 15'''
-|'''Cercle N.15.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This last action again derives from the 11th and 12th Circles. For as soon as Alexander’s reverse cut hit him on the right side of his head, Zachary realized that Alexander was already behind his back, so he turns keeping his feet in place, so his body, with his arm and sword up, faces toward his opponent. At that same time Alexander steps in on him with his left foot and grabs the sword-guard from above with his left hand, then turns it outward, bringing his own guard in tight against his side, aiming the sword-tip at his opponent’s chest, exactly as shown in the image.
-|Ceſte derniere operation depend encor ſemblablement des Cercles N.11. & 12. Car dés qu’<font style="font-variant:small-caps">Alexandre</font> luy a tiré le coup de revers au coſté droit de la teſte; <font style="font-variant:small-caps">Zacharie</font> recognoit qu’il eſt deſia derriere ſon dos; dont il ſe tourne ſur les deux pieds ainſi plantez, en preſentant le corps avec le bras & l’eſpee devers ſon Contraire. Au meſme temps <font style="font-variant:small-caps">Alexandre</font> luy entre deſſus avec le pied gauche, & luy empoigne par deſſus la garde de l’eſpee, avec la main gauche, & la tourne en dehors, s’affermiſſant le bras avec ſa garde au coſté, en aſſenant la pointe à la poitrine de ſon Contraire; le tout en conformité de la figure.
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-|- style="font-family: times, serif; vertical-align:top;"
-|Those who my chance to contemplate the images without duly examining them, may feel they have some critique to make. They may not be easily persuaded that is practicable, when confronted with a live opponent, to use these means to get behind him, as shown. Also that this said opponent would take care not to permit this. But I would caution them, that they would but take some time to consider the opening Zachary created, the extremity of the position into which Zachary has been put, before they proudly present their case. The strike that Alexander makes can only be countered with an extremely powerful and violent parry. And such wild action cannot be conducted, nor controlled, as easily as one wishes, the opponent has benefitted from having already moved into close range, and while the swords were flying overhead, he has taken the opportunity and time to pass beyond and behind. Those who find this so very strange are those who have been trained in the traditional way, who are careful to only make a pass while they are still at long range, and upon seeing their opponent’s sword close in, withdraw out of range. What they do by chance, we perform with assurance. For we come from the sense of feel and the close range, and thereby force our opponent to counter our moves wildly, in such a way that opens to us the path for our position, from which he invariably receives a blow.
-|Ceux qui viendront par fortune à contempler les figures de ce Tableau, avant les avoir deuement examinées, y trouveront peut eſtre aſſez à redire. Car ils ne ſe pourront du commencement perſuader, qu’il ſoit practicable à l’homme vivant, de gaigner ainſi le derriere à ſon Adverſaire, comme elles demonſtrent; & que ledit Adverſaire devroit bien ſonger en d’autres affaires, avant que de le permettre. Mais je les adverti, qu’ils prennent premierement la patience de conſiderer l’occaſion que Zacharie en a baillée, & l’extremité en laquelle il a eſté reduit, avant que de la preſenter ſi belle. C’eſt que le coup d’Alexandre a eſté porté ſur luy avec un ſi grand avantage, qu’il luy a eſté impoſsible de le parer autrement, qu’avec violence. Et comme ainſi ſoit, que les aćtions violentes ne puiſſent eſtre conduites, ne gouvernées à ſouhait, le Contraire en a fait tellement ſon profit, qu’eſtant preallablement venu en meſure eſtroite, durant le mouvement violent, il a prins le temps de paſſer outre. Qu’ils ne trouvent celà ſi eſtrange, puis que ceux qui tirent à la mode ancienne, ſe hazardent bien de faire les paſſades, encores qu’ils ſoyent en meſure large, dé qu’ils voyent apparence que l’eſpee contraire ſortira de preſence: ce qu’ils font avec hazard, nous le monſtrons avec ſeureté; car nous venons ſur le ſentiment en meſure eſtroite, & y eſtants, nous forçons le Contraire à ſe defendre avec violence, de ſorte qu’il nous en ouvrira le chemin à noſtre poſte, ou il en recevra l’atteinte inevitable.
-|}
-{{master end}}
-{{master begin
- | title = Book 1 - Tableau / Plate XI - Refining the Sense of Feeling.
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 11.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE ELEVENTH PLATE.
-|DECLARATION DES OPERATIONS DV TABLEAV ONZIEME.
-|- style="font-family: times, serif; vertical-align:top;"
-|When doctors visit patients to diagnose illnesses, nothing gives them more trouble than the distinguishing between two similar, but different, ailments, which is why only the most learned and best experienced are not mistaken. But just as they take the feel of the pulse, which symptom is held as more significant than any other, so we do likewise in our Training. When an action occurs that is so difficult that sight alone is insufficient to properly follow what is happening, we rely then on our sense of feel to inform us and help us discover the true intent, to find in what ways his options to attack are limited, and, having found this out, we can prevent him from carrying out his desired attack. This is what, hereafter, shall be shown in this and the following Plates. If, as I say, the fabric of exercises in the 10th Plate were coarse, if they were of large movements, very easy for Alexander to perceive, the 11th shall present more subtle ones. As such, up until this point, Alexander has always subjugated his opponent’s blade at the Second Instance. Let us say that there are two means by which Zachary can interrupt this approach, the one by standing firm, which we have shown in the examples in the preceeding Plates, and the other is by retiring backwards. Here, then, Zachary will practice his withdrawals, but in all cases without disengaging swords. For we have already touched upon the topics of circular disengagements and feints, and this shall be discussed further, at another point. Now, we shall see how he tries to change the range, and how Alexander reacquires his dominance anew.
-|Quand les Medecins font leurs viſites pour aſſeoir un bon jugement, il n’y a choſe au Monde qui les trouble d’avantage, que la ſimilitude de l’une maladie à l’autre, qui eſt cauſe que, les plus doćtes meſmes & les mieux experimentez y ſont aucunefois trompez, en prenant l’une pour l’autre. Mais comme ils ſe tiennent en ceſte occaſion pluſtoſt au raport du poulx, qu’aux autres marques de moindre importance: ainſi en faiſons nous pareillement en noſtre Exercice; quand il s’y preſente quelque aćtion ſi difficile, que le jugement de la veüe y manque, nous nous adreſſons au Sentiment, qui nous deſcouvre le principe, d’où le mouvement eſt contraint de tirer toute ſon addreſſe, & l’intention eſtant cognue, on la peut touſiours empeſcher de ſortir l’effet qu’elle deſire. C’eſt ce qui paroiſtra doreſenavant de plus à la ſuite de nos Tables. Car ſi les occaſions de la dixieme ont eſté de groſſe eſtoffe, je di, ſi ce ont eſté de grands mouvements, & qui eſtoyent fort faciles à recognoiſtre pour Alexandre l’Onzieme vous en mettra devant les yeux des autres plus subtiles. Et comme ainſi ſoit, que juſques icy noſtre Alexandre ait touſiours taſché d’aſſujettir l’eſpee contraire à la Seconde Inſtance; diſons qu’il ya deux manieres principales pour luy rompre ceſte approche, l’une en demeurant ferme, dont nous avons propoſé les exemples aux Tableaux precedents, & l’autre en ſe retirant en arriere. Voicy donc Zacharie qui s’en va pratiquer les retirades, toutesfois ſans destaſcher les eſpees: car touchant les cavations & notamment les feintes il en a eſté parlé, & en ſera diſcouru encore autrepart. Maintenant voyons comment il taſche à luy rompre la meſure, & comme Alexandre reprend touſiours nouvel avantage.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander subjugates his opponent’s sword along the Diameter at the Second Instance. Zachary turns on his two feet, so his right side goes to the outside, and his sword arm and sword come to rest just above the side of Inside Square.''
-|''Alexandre aſſujettiſſant l’eſpee contraire au deçà le Diametre à la Seconde Inſtance; au meſme temps Zacharie ſe deſtourne ſur les deux pieds le coſté droit en dehors, en ſorte que le bras avec l’eſpee luy viennent reſpondre juſtement deſſus le coſté du Quarré Inſcrit.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two opponents begin standing on the Circle at the First Instance, in the direct line posture, swords parallel, Alexander’s below the other. He begins to work against his opponent, subjugating the sword at the Second Instance, right foot on the letter G, on the Oblique Diameter. But before he can set both feet safely on the ground, Zachary spins on his toes towards the Diameter, and with a slight withdrawal of his left foot, turns his right side to the outside, a little back, and allows his extended right arm to come to rest, by means of a small slide up the blade, above and along the the side X-N of the Inside Square, with an Alive degree of Force.
-|Les deux Contraires s’eſtants plantez preallablement ſur le Cercle à la Premiere Inſtance en droites lignes, ſuivant la forme requiſe; l’eſpee d’<font style="font-variant:small-caps">Alexandre</font> parallele au deſſous de l’autre; il commence à travailler en l’aſſujettiſſant à la Seconde Inſtance lettre G, par deça le Diametre; mais avant qu’il ait bonnement planté les pieds en terre, <font style="font-variant:small-caps">Zacharie</font> ſe tourne les orteils des deux pieds devers le Diametre, & cela avec une petite retirade du pied gauche, deſtournant par ainſi le coſté droit en dehors un peu en arriere, & laiſſant aller (moyennant quelque petite deſgraduation) le bras eſtendu avec l’eſpee en droite ligne, au deſſus le coſté du Quarré Inſcrit, marqué X N, avec Sentiment Vif.
-|- style="font-family: times, serif; vertical-align:top;"
-|All of this with the intention of awaiting Alexander to once again thrust from the letter N at the Third Instance along the side of the Inside Square. Because to do this he must attack with his tip, which means the weak of his blade will pass by the strong of  Zachary’s, and so Zachary would have the means to close the line and hit him instead of being hit.
-|Le tout en intention d’attendre en ceſte forme, qu’<font style="font-variant:small-caps">Ale</font>xandre luy vienne porter derechef l’eſtocade au long du Quarré Inſcrit à la Troiſieme Inſtance lettre N: car puis qu’il ſeroit contrainćt de ce faire en paſſant avec la pointe, qui eſt le foible de l’eſpee par le fort de la ſienme, il auroit moyen de luy fermer la ligne, & de donner atteinte au lieu d’en recevoir.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander follows on his action, advancing his right foot together with the left side of his body into the angle, putting his raised foot down on the Perpendicular Diameter at point L.''
-|''Alexandre pourſuivant l’operation encommencée, s’avance le pied droit enſemble avec le coſté gauche du corps au dedans de l’angle, mettant le pied eſlevé à terre au deça le Diametre au poinćt L.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary has almost achieved the preceeding action, and awaits his opponent to again come at him with a thrust from the Third Instance, which he reaches by stepping with his right foot along the side of the Inside Square, Alexander continues his attack, not as intended, but according to the situation, by advancing his right foot from where it was at the Second Instance, up to the letter L, along the Perpendicular Diameter, leaning forward slightly, and, notably, his left side, such that by this means he enters into the angle of his opponent’s sword, drawing his left foot behind, heel raised, up to the first section of the Exterior Collateral before the letter F, again subjugating his opponent’s sword, to then continue on with the actions shown in Circles No 8, 9, 10, 11, 12, and 13. which could nevertheless also proceed from Circle No 5, having but this sole difference of the one beginning with the right foot forward, and the other, the left. Meanwhile, be aware that here we see that Alexander has set his left foot down inside the Circle on the Interior Collateral between the letters G and I, which is done for clarity so we can see his guard. But in practice, it is best to follow the description, which is more correct.
-|Apres que <font style="font-variant:small-caps">Zacharie</font> à parachevé la precedente aćtion, & qu’il attend que ſon Contraire luy vienne derechef tirer une eſtocade à la Troiſieme Inſtance, en cheminant du pied droit par la trace du Quarré Inſcrit: <font style="font-variant:small-caps">Alexandre</font> pourſuit à travailler non pas ſelon ceſte intention, mais ſelon l’exigence, en avançant le pied droit du lieu où il eſtoit planté à la Seconde Inſtance, juſqu’à la lettre L au deçà le Diametre; avec le corps panché un peu en avant, & notamment le coſté gauche, en ſorte qu’il entre par ce moyen dedans l’angle de l’eſpee contraire, trainant le pied gauche ſur les orteils derriere juſqu’à la premiere ſećtion de la Collaterale exterieure devant la lettre F. ſujettant derechef l’eſpee contraire, pour en tirer la pourſuite des operations & executions repreſentées ſur les Cercles N.8.9.11.12.13. qui peuvent ce neantmoins proceder auſſi ſuite du Cercle N.5. n’y ayant que ceſte ſeule difference de commencer en l’un avec le pied droit devant, & en l’autre avec le pied gauche. Cependant ſoyez adverti que le pied gauche d’<font style="font-variant:small-caps">Alexandre</font> eſt icy planté en la figure au dedans du Cercle ſur la Collaterale interieure entre les deux lettres G & I. ce qui a eſté fait pour mettre ſa garde en veüe. Mais en la Pratique il ſera plus expedient d’enſuivre la deſcription, d’autant qu’elle eſt plus propre.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, whereas Alexander practices this manoeuvre of entering in with the foot in Circle No 2 after his opponent has finished moving, he must also practice it at the same time that his opponent is moving, and while he is yet unable to command the situation. Which he must do by having his foot ready to follow promptly.
-|Or comme ceſte operation d’entrer avec le pied droit a eſté pratiqué en ce Cercle 2. par <font style="font-variant:small-caps">Alexandre</font>, apres que le mouvement du Cōtraire a eſté deſia fini; auſsi la faut il pratiquer durant le meſme temps avant qu’il ſoit venu à bout de ſon intention, & durant qu’il eſt encor empeſché à former la ſituation: ce qu’il faut faire en ayant le pied prompt à le pourſuivre.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the same moment that Zachary is performing the aforsaid movement, Alexander very swiftly moves his right foot close to the Diameter, following it suddenly with his other foot, so that he very quickly spins it around (thus disengaging his sword) behind his right foot, such that it comes to rest across the diameter on the Circumference between W and X, and hitting his adversary with a straight-arm thrust to the head.''
-|''Durant le mouvement de l’aćtion de Zacharie dernierement dite; Alexandre s’avance au meſme temps aſſez viſtement le pied droit bien pres du Diametre, continuant à pourſuivre tout ſoudainement avec l’autre, à volter de grand viſteſſe (& ce en deſtachant les eſpees) par derriere le pied droit, de ſorte qu’il vient à tomber en terre par delà le Diametre ſur la Circonference entre W & X, en donnant l’eſtocade à ſa partie adverſe avec le bras roide à travers la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Before Zachary has finished this last movement, which is to turn his arm with his sword above the side of the Inside Square, and his sword comes to rest, in such as way that it looses almost all it’s sense of feeling, Alexander steps forward and enters in, keeping his sword on top, moving his right foot from where it was at the Second Instance to just near the letter R, that is on the Diameter, then, lifting his sword up from the other, spins about on his right foot, swinging his left around until it comes to rest on the Circumference between W and X. He leans backwards above his bent right knee and straightens his arm to drive a thrust through his opponent’s head, as is shown.
-|Avant que <font style="font-variant:small-caps">Zacharie</font> ait achevé cedit dernier mouvement, qui eſt d’avoir tourné le bras avec l’eſpee au deſſus le coſté du Quarré Inſcrit, & que ſon eſpee s’en affoiblit, en ſorte qu’il en pert quaſi tout le Sentiment; au meſme temps <font style="font-variant:small-caps">Alexandre</font> s’avance & entre deſſus luy, en portant le pied droit depuis la Seconde Inſtance, où il eſtoit planté, juſques bien pres du Diametre, lettre R, & oſtant ſa lame de deſſus l’autre, pourſuit tout d’un train à faire la volte à l’envers avec le pied gauche, qui tombe en terre entre W & X deſſus la Circonference avec le corps panché à l’envers deſſus le meſme genouil plié, en donnant le coup d’eſtocade avec le bras eſtendu à travers la teſte de ſon contraire, comme il eſt repreſenté en leurs figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This manoeuvre does not differ much from the preceeding, just that Zachary has merely turned his body and sword, without withdrawing his left foot backwards.''
-|''Ceſte operation ne differe guerres de la precedente, ſinon que Zacharie ſe contente icy de tourner le corps & l’eſpee tant ſeulement, ſans retirer le pied gauche en arriere.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Because Zachary has, in the 4th Circle, decided not to step backwards, but merely turned his feet towards the Diameter, it follows then that he has not withdrawn backwards, as it the previous Circle. Thereupon Alexander advances with his right foot a bit beyond the Center along the Oblique Diameter, yet continues to immediately spin about with his left foot. As soon as he finds himself inside the perpendicular line of his opponent’s sword, he leaves it there and, with an extension of his arm, delivers a thrust to the right side of his face. He turns his right foot, which is on the the Oblique Diameter, near the letter Q,  to the outside, spinning his left foot around behind him, so that he sets his toes down beyond the Oblique Diameter a little bit before where the line V-W crosses the line S-X. He puts his wieght on his bent knee, and in this way he executes the final motion of the thrust through his adversary’s head, as it appears in the portrait of the figures.
-|Puis que <font style="font-variant:small-caps">Zacharie</font> ſe contente en ce Cercle 4. de tourner ſimplement les orteils de ſes pieds en devant vers le Diametre, ſans retirer le pied gauche, il s’enſuit donc qu’il ne ſe recule pas tant en arriere, comme au Cercle precedent: là deſſus <font style="font-variant:small-caps">Alexandre</font> s’avance avec le pied droit un peu outre le Centre ſur le Diametre oblicq, en continuant tout de ſuite à volter  avec le pied gauche; & d’autant qu’il ſe retrouve par ceſt advancement au dedans des perpendiculaires de l’eſpee contraire, il la quitte, & luy porte avec extenſion du bras un coup d’eſtocade au coſté droit du viſage, en tournant le pied qui eſt planté ſur le Diametre oblicq en dehors bien pres de la lettre Q, & voltant le pied gauche à l’envers en ſorte, qu’il vient à deſcendre avec les orteils par delà le Diametre un peu plus avāt que l’entrecoupure de la ligne S X, ſe chargeant le corps deſſus avec le genouil plie, & en ceſte maniere il acheve la finale execution de l’eſtocade à travers la teſte de l’Adverſaire; comme il appert au pourtrait des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Take note that, when the opponent turns his body and sword to the outside, above the side of the Inside Square, it is usual that his blade lose all sense of feeling, or at the least, that it naturally becomes very weak. That is when one must put these last to actions into practice, but taking great care to observe that, when there remains any small amount of force in his blade, to never disengage from it, but when you have previously set your right foot down on the ground, and that the left is being already drawn up to follow. But if your opponent has skill and finesse, and when he keeps the blades in contact with a vigourous ively, Strong, or Very Strong degree of force, such that will allow him to sense your intentions, then it is not at all advisable to disengage, because he would have the means to close the line against you. One must then apply the actions which are shown in the 2nd and 5th Circle, of which the latter explanation follows, below.
-|Notez, quand l’adverſaire ſe deſtourne le corps avec l’eſpee en dehors, au deſſus le coſté du Quarré Inſcrit, que c’eſt alors le plus ordinaire, que ſa lame en perd le Sentiment, ou à tout le moins qu’elle s’en affoiblit fort, d’autant que la Nature meſme l’y convie. Et c’eſt alors qu’il faut mettre ces dcux dernieres operations en pratique, en obſervant fort ſerieuſement quand il y reſte quelque petit ſentiment, de ne la quitter jamais, que vous n’ayez preallablement avancé & planté le pied droit en terre, & que le gauche ſoit deſia en aćte d’en continuer la pourſuite. Mais ſi le contraire y va par fineſſe, & qu’il laiſſe les lames accouplées en bonne Vigneur Vif, fort, ou plus fort, ce que le Sentiment vous fera cognoiſtre, alors il ne vous ſera nullement loiſible d’abandonner ſon l’eſpee, par ce qu’il auroit moyen de vous fermer la ligne, mais il y faudra appliquer les operations qui vous ſont monſtrées és Cercles 2. & 5. du dernier deſquels ſuit l’explication.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander, having missed his chance to work while his opponent was moving, or if he could easily be hit himself, maintains a reasonable sense of contact, he raises his left foot from where it was placed at the Second Instance, moves it smartly forward, and places it where the Diameter crosses the Inside Square, at the letter S, and, while casting his opponent’s sword aside,  turns his left side forward and inside the perpendicular lines.''
-|''Alexandre s’ayant laiſsé eſchapper l’oportunité de travailler durant le mouvement de ſa partie adverſe, ou bien que l’attouchement luy raporte, qu’il retient un raiſonnable ſentiment, il eſleve le pied gauche du lieu ou il eſtoit planté à la Seconde Inſtance, l’avance tout bellement, le plante finalement en deça le Diametre ſur le quarré inſcrit devant la lettre S, & ſe met le coſté gauche du corps (en aſſujettiſſant l’eſpee contraire) un peu d’avantage au dedans les perpendiculaires''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary has completed this movement, we see that he has turned his body with his sword above the line of the Inside Square. His opponent has failed to make a move against him while he did so, or perhaps did not wish to because he felt himself constrained by a sufficient amount of force, or finally, because he wished to allow him to perform this move. Alexander then begins to work from where he was at the Second Instance, he raises and slowly moves his left foot forwards, before he sets his foot back on the ground by moving his left side forward, he pauses briefly, taking great care to note the force of his opponent’s sword, or if he intends to try something else. But as he feels nothing, he sets his foot down on the ground within the Inside Square, with his toes in front of the letter S. moving his left side forwards and into the angle between the two swords, his body extended, knees straight, and right foot following a bit behind beyond the letter G, as is shown in the figure.
-|Apres que <font style="font-variant:small-caps">Zacharie</font> à conduit ce mouvement à fin, aſſavoir qu’il s’eſt tourné le corps avec l’eſpee deſſus le coſté du Quarré Inſcrit; l’adverſaire ayant failli de travailler durant le meſme temps, ou ne l’ayant pas voulu faire pour ce que il ſentoit y eſtre conſervé un Poids raiſonnable, ou finalement qu’il luy ait voulu accorder de parfaire ſon intention: <font style="font-variant:small-caps">Alexandre</font> pourſuit donc à travailler de la Seconde Inſtance où il eſtoit planté, il eſleve, & avance lentement le pied gauche, & avant qu’il le laiſſe toucher la terre par l’avancement du coſté gauche, il en fait une petite pauſe, prenant ſoigneuſement garde au Poids de ſon adverſaire, s’il vouloit taſcher d’aventure à faire autre choſe; mais puis qu’il ne ſe meut point, il plante le pied en terre au dedans du Quarré Inſcrit, avec les orteils devant la lettre S. entrant du coſté gauche au dedans de l’angle des deux eſpees, le corps eſtēdu, les genoux roides, & le pied droit traināt un peu apres outre la lettre G; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the very moment when Alexander is entering into the angle with his left foot and side, at the point when he is just committed to moving forward, Zachary withdraws his left foot backwards, at the same time bending his arm and lifts the guard above his head, then moves his weight back onto his front foot, and gives his opponent an imbrocata thrust to the left side of his torso.''
-|''Cependant qu’Alexandre eſt en aćtion d’entrer avec le pied & coſté gauche au dedans de l’angle, à l’inſtant qu’il commence à tomber; Zacharie ſe recule en arriere, moyennant le pied gauche, ſe courbant au meſme temps le bras de l’eſpee avec la garde par deſſus la teſte, puis il recharge le corps ſur le pied de devant, & donne à ſon Contraire un coup d’imbrocade au coſté gauche de la poitrine.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action proceeds from the previous, in the time that Alexander takes to enter with his left foot, just as his body is about to fall forwards. Zacharie withdraws his rear foot backwards. While bending his arm and raising his guard above his head, he shifts his weight onto his front foot and bends his wrist to aim his tip at his opponent’s left side, as his shown in the figures.
-|Ceſte operation procede en ſuite de la precedente, au temps qu’<font style="font-variant:small-caps">Alexandre</font> fait l’intrade du pied gauche, iceluy eſtant en train de tomber enſemble avec le corps. <font style="font-variant:small-caps">Zacharie</font> donc retire le pied de derriere, en hauſſant & courbant cependāt le bras de l’eſpee par deſſus ſa teſte, & en ramenant la charge du corps ſur le pied de devant, il aſſene ſa pointe en ligne courbe au coſté gauche de ſon Adverſaire; ſuivant la repreſentation des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|If Alexander were to make his move inside without a pause before he sets his left foot down, his opponent could easily hit him with this imbrocata. Thus it is absolutely necessary to take good care of what was noted in the previous Circle. And, in fact, it is the only reason we have shown you this danger. And now here follows the counter to this.
-|S’il advient qu’<font style="font-variant:small-caps">Ale</font>xandre face l’intrade ſans pauſer avant qu’il plante le pied gauche, l’Adverſaire le pourra fort facilement toucher de ceſte imbrocade. Dont il eſt tres-neceſſaire de prendre bonne garde à ce qui eſt annoté ſur le Cercle precedent. Et de fait, c’eſt la ſeule cauſe pourquoy nous en avons voulu vous repreſenter le danger devant les yeux: duquel il s’eſuit maintenant le Contraire.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary tries to perform the same imbrocata. Alexander turns his left side away to the outside, inverting his sword-arm so the guard, and particularly the interior branch of the cross-guard is turned up above the height of his head and aiming the tip of his sword at his opponent’s face.''
-|''Zacharie voulant donner encores la meſme imbrocade; Alexandre ſe deſtourne au meſme temps le coſté gauche en dehors, renverſant le bras de l’eſpee avec la garde & notamment la branche interieure en haut par deſſus la meſure de la teſte; en mettant ſa pointe devant le viſage du Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here we see the same actions as in the previous circle, but in this case, as Alexander moves his left foot, before he sets it on the ground, he pauses briefly, as we cautioned before. Thus his opponent did no know when to begin to move to attack him in the same way as before, with a bent-arm because he could not instantly feel his move. To interrupt Zachary’s strike, he sets his foot down suddenly along the line M-S, while twisting to withdraw his left side, he leans back on his right leg. Keeping his arm straight, he turns the interior branch of his crossguard upwards above his head, so that he catches his opponent’s blade, and puts his sword-tip precisely in front of his face, needing only to execute the finish, as is shown by the figures.
-|C’eſt icy encores la meſme operation du Cercle precedent, toutesfois <font style="font-variant:small-caps">Alexandre</font> en avançant le pied gauche, avant qu’il le laiſſe toucher à terre, il en a fait une petite pauſe, ſelon l’advertiſſement, que nous venons d’en donner. Dont ſa partie adverſe n’a ſceu commencer pluſtoſt à ſe mouvoir pour le bleſſer derechef en la meſme ſorte en ligne courbe, qu’il ne s’en ſoit apperceu tout au premier Inſtant par le ſentimēt: & pour luy rompre le coup, il met tout ſondainement le pied à terre ſur la ſećtion de la ligne M S, retirant enſemble le coſté gauche, & ſe panchant à l’envers ſur le pied droit avec le bras roide, en tournant & hauſſant la branche interieure de ſa garde plus haut que ſa teſte, de ſorte qu’il en enſerre la lame Contraire, & luy met la pointe par courtoiſie devant le viſage, ne tenāt qu’à luy d’en faire l’execution; comme il eſt repreſenté par les figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Note how Zachary has bent his arm to thrust his imbrocata, so Alexander bent his own arm to be able to defend against it, while at the same time attacking with his sword-tip inverted.
-|Notez comme Zacharie ſe courbe le bras en dehors, pour tirer ſon Imbrocade, qu’Alexandre courbe le ſien au contraire pour faire ſa defenſe, luy oppoſant au meſme temps la pointe renverſéé.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This is a follow-on from Circle No 5. Alexander leans forward onto his front foot, leaving the other behind raising his heel so he rests on his toes. Then at the same time that he moves his left foot forward to the letter S, he seizes his opponent’s hilt. By disengaging the blades he moves his sword-tip against his opponent’s chest.''
-|''Ceſt icy une pourſuite du Cercle 5. Alexandre ſe va pancher ſur le pied de devant, en laiſſant trainer un bien peu l’autre apres ſur les orteils; ce qu’eſtant fait, il s’avance quand & quand le pied gauche avec le milieu ſur la lettre S, en faiſant prinſe de la garde contraire, moyennant le deſtachement des lames deſquelles il conduit la poinćte de la ſienne contre la poitrine de l’adverſaire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action follows on from Circle No 5 where <font style="font-variant:small-caps">Alexandre</font> has entered into the angle between the swords, with his foot very close to the letter S. He then leans the left side of his body forward onto this left foot, and draws the other foot along behind. At the same time, he raises his left hand between, and as high as, the two swords, the same way as <font style="font-variant:small-caps">Alexandre</font> does in Circle No 10. Having done this, he immediately skips his left foot over, so the middle is on the letter S, and and that the same time lifts his sword from the other so that he can grab the hilt from above, and pull it towards himself while turning the interior branch of the crossguard upwards. He draws his right foot up to where the line crosses the collateral G-M while at the same time holding the guard against his side with the crosspiece vertical and sets his sword-tip exactly against his opponents chest, as is shown in the figure.
-|Ceſte opearation procede en ſuite du Cercle 5. où <font style="font-variant:small-caps">Ale</font>xandre eſt entré dedans l’angle avec le pied gauche devant bien pres de la lettre S. Maintenant donc il ſe va pancher le coſté gauche du corps en avant ſur le meſme pied, en ſorte que l’autre traine un peu derriere, hauſſant au meſme temps le bras & la main gauche entre deux & à l’egal des eſpees, comme il eſt repreſenté par la figure d’Alexandre au Cercle N.10. Ce qu’ayant fait, tout à l’inſtant il s’avance le pied gauche comme en ſantelant avec le milieu ſur la lettre S, & à ce meſme temps il oſte ſon eſpee de deſſus l’autre, dont il fait prinſe de la garde par en haut, la tire à ſoy en tournant la branche interieure en haut, menant le pied droit en ſuite de l’autre juſqu’à l’entrecoupure de la collaterale G M. s’affermiſſant au meſme temps la garde contre les coſtes avec la branche interieure verticale, & la pointe preſantée par courtoiſie à la poitrine de l’adverſaire: comme les figures repreſentent.
-|- style="font-family: times, serif; vertical-align:top;"
-|During the time it takes for Alexander to perform this action, leaning over his left foot and raising his hand and arm ready to grasp the hilt, he must above all pay attention to the feel of the blades, so that he may immediately perceive if the force from his ennemy’s blade weakens, or if he begins to withdraw his blade, possibly moving his body backwards, as well. In which case, he could not effectively grab the hilt. On the contrary, he must instead move his right side forward with his arm and sword at the same time so as to hit his opponent’s face.
-|En ceſte operation au temp qu’Alexandre s’avance pour ſe pancher ſur le pied gauche, & qu’il hauſſe le bras & la main pour faire preparation de la prinſe, il faut qu’il obſerve ſur toutes choſes le Sentiment des lames, afin qu’il ſe puiſſe touſiours appercevoir à temps, ſi l’Ennemy n’affoiblit pas la ſienne, ou s’il ne la retire point en arriere, meſme avec reculement du corps. Car en ce cas là la prinſe de la garde ne pourra ſortir a effet. Au contraire il faut alors avancer le coſté droit, enſemble le bras & l’eſpee pour toucher au meſme temps au viſage.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This is another follow-on from Circle No 5, which happens as soon as Alexander has begun to move his upper body forward onto his left foot.  Zachary increases the force of his blade, to push Alexander’s aside as Alexander is bringing his right foot up behind. As soon as he realizes from the feel that his opponent’s blade will escape overhead out of his control, and thus will close off any approaches from the right side, he moves his left foot along the middle of the line of the Inside Square, where he puts his weight on his bent knee, and sets his sword-tip against his adversary’s right side.''
-|''C’eſt encor une autre pourſuite du Cercle 5. Dés qu’Alexandre commence à approcher la partie ſuperiure du corps en avant, pour ſe charger ſur le pied gauche; Zacharie augmente le ſentiment de ſa lame, en uſant de force pour tranſporter celle d’Alexandre, ſur quoy Alexandre approche durant le meſme temps le pied droit, & d’autant qu’il recognoiſt par le ſentiment, que la lame contraire s’en va luy eſchapper par deſſus, & icelle affermiſſant contre ſes coſtes au coſté droit, en marchant du pied gauche deſſus le milieu du Quarré Inſcrit, où il fait la charge du corps deſſus avec le genouil plié, en aſſenant ſa pointe au coſté droit de l’adverſaire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action also follows from Circle No 5. As soon as Alexander begins to move his left side and to lean over his left foot which is already set on the ground, his opponent increases the amount of force on his blade. Against this, Alexander at first resists, as he brings his right foot up behind him. But as his adversary continues to increase the force against his blade until it is enough to move them both to the side. Alexander recognizes from the feel that this force has become powerful enough, that if he suddenly lets them go, they will fly overhead and far off centre. So he quickly pulls his own blade off his opponent’s and presses his guard against his right side, while moving his left foot to the middle of the line N-X. He shifts his weight onto his left foot, then bends his knee while he moves his right foot in a circular motion to the letter M along the Perpendicular Diameter and at the same time wounds his opponent under the right armpit. This is shown by the figures.
-|Ceſte operation procede auſſi du Cercle 5. Des qu’Alexandre commēce à avancer le coſté gauche, pour ſe pancher ſur le meſme pied qui eſt deſia planté; en ce meſme temps ſon Contraire luy augmente le poids de ſa lame: à quoy Alexandre fait un peu de reſiſtence au commencement, en approchant le pied droit; mais puis que l’Averſaire continue à l’augmenter de plus en plus, juſqu’à uſer de force pour tranſporter les lames; & qu’Alexandre cognoiſt par le Sentiment, qu’ell s’en va forligner d’elle meſme par deſſus & outre ſa teſte, voire & qu’elle y fera un aſſez grand Angle; il la laiſſe enfuir, en oſtant & affermiſſant la ſienne a ſon coſté droit avec la garde, avançant enſemblement le pied gauche ſur le milieu de la ligne NX, où il ſe charge & pance le corps deſſus avec le genouil plié cependant, le pied droit pourſuit en forme circulaire, juſqu’au Diametre perpendiculaire, lettre M. & cependant il bleſſe ſa partie adverſe en l’aixelle droite; ſuivant la repreſentation des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This one also follows from Circle No 5. Here Zachary waits to see what happens. Alexander moves his left side forwards, at the same time that he lifts his right foot onto his toes, and draws it up behind him,  he raises his left arm and hand level with and between the two blades, as is shown by the figures.
-|Voicy qui procede encor du Cercle 5. quand <font style="font-variant:small-caps">Zacharie</font> en attend la pourſuite, <font style="font-variant:small-caps">Zacharie</font> s’avance le coſté gauche du corps, entrainant quand & quand le pied droit apres ſur les orteils, & hauſſant au meſme temps le bras & la main gauche à l’egal & entre les deux lames; comme il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|In this one, we continue on, where Alexander skips his left foot to the letter S, and, then he leans his body forward, in such a way that his right foot is raised up as it follows on. At the same time, he puts his hand over top of both blades and seizes his opponent’s hilt, as is shown by the figures.
-|Ceſt la continuation du precedent: où <font style="font-variant:small-caps">Alexandre</font> s’avance par un petit ſaut avec le pied gauche ſur la lettre S, panchant le corps ſur le devant, en ſorte que le pied droit s’eſleve quand & quand en haut en ſuite de l’autre, & au meſme temps en portant la main par deſſus le long des deux lames, il fait prinſe de la garde contraire, commes les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues the previous action, taking a large about-face step, swinging his already-raised right foot all the way around behind his adversary. He then leans back onto his right foot, raises his left fott, and pulls the guard that he is grasping in his hand upwards. Meanwhile, he presses his own guard gainst his right side, and the tip of his sword against the right side of his opponent, as can be seen by the figures in the image.
-|<font style="font-variant:small-caps">Alexandre</font> pourſuit à continuer la precedente operation, voltant un grand pas à l’envers, avec le pied droit qui eſtoit j’à eſlevé, en ſorte qu’il le plante meſme derriere le corps de l’adverſaire, puis il ſe va pancher à l’envers ſur le meſme, en eſlevant le pied gauche, & attirant à ſoy vers le haut la garde qu’il tient en prinſe, affermiſſant cependant la ſienne au coſté droit, & ſa pointe au coſté droit de la poitrine de ſon contraire, comme il ſe voit aux figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the final execution of the movement which follows from the preceeding actions. That is, Alexander steps forward, putting his left foot down in between his opponent’s feet, shifting his weight onto it, bending his knee, and leaning his body forward, while driving his thrust through his opponent’s body, as it is shown by the figures.
-|Ceſt la derniere continuation & execution en ſuite des precedēts: aſçavoir qu’Alexandre s’avāce, & entre avec le pied gauche vers le contraire, juſqu’à le planter entre les deux pieds d’iceluy, en faiſant la charge deſſus avec le genouil plié & le corps panché de meſme, & donnant par meſme voye le coup d’eſtocade à ſon homme à travers le corps; ainſi qu’il appert aux figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|
-|
-|- style="font-family: times, serif; vertical-align:top;"
-|What is most noteworthy and special in this Plate as compared to the others, is the maner of putting oneself in between the angles, on which the moves which follow depend. Inasmuch as there are an infinite number of possible opportunities and it is impossible to show each and every variation of sequences, in any case, it is quite certain that Zachary will not know of any way to counter against any move which is similar to the the ones shown here. As soon as he opens the angle, however much or little, as long as there is an angle, Alexander should be ready to enter in, not to throw himself recklessly in do-or-die desperation, but with prudence, and with such sensibility, that his adversary cannot make the least move, without his being fully aware of it, so that he can unrestrainedly hit with a mortal blow, as shown in Circles No 3 & 4. Even if he has created an opening by pushing with his blade, Alexander does not step in with either his right or left foot, unless the opening is large enough and he can see a sufficient opportunity. This he does nonetheless with the same adroitness and care as before, being very careful above all, not to throw away the advantageous position he worked to gain, with an ill-advised rush. And after he has stepped, in, before he puts his advantage to effect, either by seizing his opponent’s guard, or by executing a strike, he always takes the same care. In sum, he is never in haste, but waits until his preparations are complete and he is ready to put an end to this undertaking, as long as he keeps the true timing, so that the opportunity does not escape from him, nor does he act too soon and thus do all his work in vain. When he proceeds deliberately, he is better able to be on his guard, and his adversary can do nothing that cannot be easily interrupted, nor can his adversary do anything much to disrupt him, and he himself is always able to change his actions, according to the situation.
-|Ce qui eſt le plus notable & ſpecial en ce Tableau preſent par deſſus les autres, c’eſt la maniere de ſe mettre dedans les angles, avec les ſuites qui en dependent. Car encores que les occaſions ſoyent infinies, & qu’il ſoit impoſsible de repreſenter touts les changements qui pourroyent ſurvenir un à un, toutesfois il eſt certain que Zacharie ne ſçauroit rien pratiquer en telle occaſion avec eſpees touchantes, qui ne puiſſe aiſement ſe raporter à ces meſmes leçons que nous en avons propoſées. Car dés qu’il ouvre l’angle, ſoit grand, ſoit petit, moyennant que ce ſoit un angle, Alexandre ſe prepare pour y entrer, non pourtant qu’il ſe precipite là dedans à corps perdu, comme pour mourir ou vaincre à la deſeſperade. Mais c’eſt avec prudence, & avec telle obſervation du Sentiment, que l’adverſaire ne peut faire à la moindre faute à l’obſerver pareillement de ſa part, qu’il n’en ſoit incontinent touché d’une mortelle atteinte, comme il ſe voit és Cercles 3. & 4. Et meſme apres qu’il l’aura ouvert avec bon ſentiment, Alexandre ne laiſſe pourtant de s’y loger dedans avec le pied droit ou gauche devant, ſelon que l’ouverture eſt grande & l’opportunité qu’il en trouve. Ce qu’il fait cependant avec la meſme adreſſe & circonſpećtion qu’auparavant, ſe gardant ſur tout de prodigner ſes mouvements par une viſteſſe mal adviſée. Et apres qu’il eſt entré dedans, avant que de mettre l’advantage en œvre, ſoit à faire prinſe de la garde contraire, ou execution de pointe ou de taille, que ce ſoit touſiours avec la meſme prudence. Somme, que jamais il ne ſe haſte juſqu’à tant que toutes les preparations ſoyent faites, & qu’il ſoit venu ſur le point de mettre fin à l’entreprinſe. Si lors s’en eſt le vray temps, afin que l’occaſion ne luy eſchappe hors des mains, non point devant afin qu’il ne ſe travaille en vain. Car quand il y va lentement, il eſt mieux ſur ſes gardes, & n’y peut rien arriver de par l’Adverſaire qui le puiſſe grandement mettre en deſordre, par ce qu’il ne fait rien luy meſme qu’il ne puiſſe touſiours changer à temps, quand l’occaſion ſe change.
-|}
 {{master end}}
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 {{sourcebox
   | work        = Translation
-  | authors     = [[User:Bruce Hearns| Bruce G. Hearns]]
+  | authors     = [[translator::Bruce G. Hearns]]
   | source link =
   | source title= Wiktenauer
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 {{sourcebox
   | work        = Transcription
-  | authors     = [[User:Bruce Hearns| Bruce G. Hearns]]
+  | authors     = [[User:Bruce Hearns|Bruce G. Hearns]]
   | source link =
   | source title= Wiktenauer
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 * Howden, Matthew. "[http://matthewhowden.wordpress.com/comparison-of-thibaults-circle-and-the-leiden-circle/ Comparison of Thibault’s Circle and the Leiden Circle]". ''Sworded Contemplations''. April, 2008. Retrieved 08 February 2015.
-* Majár, János and Zoltán Várhelyi. "Thibault and Science I. Measure, Distances and Proportions in the Circle". ''[[Acta Periodica Duellatorum]]'' '''2'''(1): 67-104. 2014. {{doi|10.1515/apd-2015-0014}}.
+{{bibliography}}
-* [[Gérard Thibault d'Anvers|Thibault, Gérard]]. ''Academy of the Sword''. Trans. John Michael Greer
-** 1st edition. Highland Park, TX: [[Chivalry Bookshelf]], 2006. ISBN 978-1891448409
-** 2nd edition. London: Aeon Books, 2017. ISBN-978-1-190465-884-9
 == References ==
-{{reflist|2}}
+{{reflist}}
 {{DEFAULTSORT:Thibault d'Anvers, Gérard}}
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 [[Category:Rapier]]
+[[category:old format]]