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Difference between revisions of "Gérard Thibault d'Anvers"

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(→‎Treatise: Added Plate IX, some changes to the text, added synopsis of chapters to the description of the text)
(→‎Treatise: Added Plate X, plus description in the intro. Added chapter contents to the titles for ease of reference.)
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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.
 
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.
  
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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 <i>Mysterious Circle</i>. 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.
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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 <i>Mysterious Circle</i>. 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.
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Plate II compares his ideal body measurements against a figure by Albrecht Durer, then discusses his ideal sword scabbard and how to construct and wear it.
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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.
  
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The rest of the plates explore the exercises to teach his fighting system.  
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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.
 
Plates III & IV deal with how to properly draw a sword and how to approach an adversary.
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Plate V introduces his fighting system. How to deal with feints (typical of the schools of the time) and defend against typical thrusts.
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Plate VI introduces several basic concepts of maintaining contact between swords, and basic exercises to attack.
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Plate V introduces his fighting system. First, how to deal with feints (typical of the schools of the time) and defend against typical thrusts.
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Plate VII introduces various counters to the initial moves based on circular disengages, and how to counter them.
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Plate VIII introduces exercises to counter the imbroccata.
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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.
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Plate IX introduces the idea of blade control and how to work against an opponent who applies pressure against the blade.
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 +
Plate VII introduces an opponent using circular disengagements and counterthrusts to disrupt an attack, and how to counter them.
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 +
Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.
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 +
Plate IX introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.
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 +
Plate X continues the exploration of how to deal with parries by force.
  
 
Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
 
Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
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{{master begin
 
{{master begin
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  | title = Book 1 - Tableau / Plate I
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  | title = Book 1 - Tableau / Plate I - Philosophy; construction of the Circle; notes on the proper Sword.
 
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{{master begin
 
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  | title = Book 1 - Tableau / Plate II
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  | title = Book 1 - Tableau / Plate II - Comparing the ideal figure to a real figure; Sword scabbards
 
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{{master begin
 
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  | title = Book 1 - Tableau / Plate III
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  | title = Book 1 - Tableau / Plate III - Drawing the sword; approaching an opponent (part 1)
 
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{{master begin
 
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  | title = Book 1 - Tableau / Plate IIII
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  | title = Book 1 - Tableau / Plate IIII - Approaching an opponent (part 2); Direct Line Posture
 
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{{master begin
 
{{master begin
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  | title = Book 1 - Tableau / Plate V
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  | title = Book 1 - Tableau / Plate V - Counters to Feints and thrusts
 
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{{master begin
 
{{master begin
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  | title = Book 1 - Tableau / Plate VI
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  | title = Book 1 - Tableau / Plate VI - Basic Attack; initial parries and counters.
 
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{{master begin
 
{{master begin
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  | title = Book 1 - Tableau / Plate VII
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  | title = Book 1 - Tableau / Plate VII - Counters to circular disengagements.
 
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{{master begin
 
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  | title = Book 1 - Tableau / Plate VIII
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  | title = Book 1 - Tableau / Plate VIII - Counters to Imbroccata attacks.
 
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|EXPLANATION OF THE ACTIONS IN THE EIGHTH PLATE
 
|EXPLANATION OF THE ACTIONS IN THE EIGHTH PLATE
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|DECLARATION DES OPERATIONS DV TABLEAV HUICTIEME
 
|DECLARATION DES OPERATIONS DV TABLEAV HUICTIEME
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{{master begin
 
{{master begin
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  | title = Book 1 - Tableau / Plate IX
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  | title = Book 1 - Tableau / Plate IX - Introduction to Degrees of Force
 
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|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.
 
|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.
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|}
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{{master end}}
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{{master begin
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| title = Book 1 - Tableau / Plate X - More on parries by force.
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| width = 60em
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}}
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{| class="floated master"
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! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
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! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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|-
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|Colspan="2"|[[file:Thibault L1 Tab 10.jpg|600px]]
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|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|EXPLANATION OF THE ACTIONS IN THE TENTH PLATE
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|DECLARATION DES OPERATIONS DV TABLEAV DIXIEME
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|- style="font-family: times, serif; vertical-align:top;"
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|If it was not terribly apparent in the previous Plate just how 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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 1'''
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|'''Cercle N.1.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Alexander holds his opponent’s blade subjugated at the Second Instance, on the Diamter at the letter G.''
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|''Alexandre tient l’eſpee Contraire aſſujettie à la Seconde Inſtance en deça le Diametre à la lettre G.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 2'''
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|'''Cercle N.2.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''He steps from the Second Instance to the Third, and puts the tip of his blade in front of his opponent’s face.''
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|''Il marche de la Seconde Inſtance à la Troiſieme, & y preſente la poinćte de ſa lame au viſage de ſon Contraire.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 3'''
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|'''Cercle N.3.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander, 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.
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|<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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 4'''
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|'''Cercle N.4.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 5'''
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|'''Cercle N.5.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 6'''
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|'''Cercle N.6.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary 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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|<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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 7'''
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|'''Cercle N.7.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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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|- style="font-family: times, serif; vertical-align:top;"
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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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 8'''
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|'''Cercle N.8.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 9'''
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|'''Cercle N.9.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 10'''
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|'''Cercle N.10.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 11'''
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|'''Cercle N.11.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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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|- style="font-family: times, serif; vertical-align:top;"
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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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 12'''
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|'''Cercle N.12.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 13'''
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|'''Cercle N.13.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|Zachary 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.
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|<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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 14'''
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|'''Cercle N.14.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 15'''
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|'''Cercle N.15.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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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|-
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||
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
  
 
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Revision as of 00:45, 23 December 2018

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

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

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

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

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

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

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

Treatise

The Academie de l'Espée (1630) is presented in 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.

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.

Plate X continues the exploration of how to deal with parries by force.

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

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


Additional Resources

References

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


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