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Difference between revisions of "Henry de Sainct Didier"

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| Regarding the first point, which is to know how many steps there are, I answer that there are no more than two because we have no more than two feet.
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| Regarding the first point, which is to know how many steps there are, I answer that there are not more than two because we have not more than two feet.
 
   
 
   
 
| Quand au premier poinct, c’est à sçavoir combien il y a de desmarches, je respond qu’il n’y en a<ref>Insertion du « a ».</ref>que deux, par ce que nous n’avons que deux pieds.
 
| Quand au premier poinct, c’est à sçavoir combien il y a de desmarches, je respond qu’il n’y en a<ref>Insertion du « a ».</ref>que deux, par ce que nous n’avons que deux pieds.
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| Some stand on the right foot, others on the left foot, however none give good reasons for one step or the other. But rest assured when he must take the sword in hand, knowing which of the two steps is better, more certain, and more effective is necessary to keep to execute the art.
+
| Some stand on the right foot, others on the left foot, however none gives much reason for standing with one step or the other. But rest assured when he must take the sword in hand, knowing which of the two steps is better, more certain, and superior, and in that one as said is necessary to execute the art.
  
 
| Les aucuns se tiennent sur le pied droict, les autres sur le pied gauche, toutefois en donnent bien peu de raisons, soy tenant sur l’une ou sur l’autre desmarche. Mais pour estre bien asseuré quand il est besoing de mettre l’espée au poing, faut sçavoir laquelle desdites deux desmarches est la meilleure & la plus certaine & superlative & en icelle comme dit est se faut tenir pour executer ledit art.
 
| Les aucuns se tiennent sur le pied droict, les autres sur le pied gauche, toutefois en donnent bien peu de raisons, soy tenant sur l’une ou sur l’autre desmarche. Mais pour estre bien asseuré quand il est besoing de mettre l’espée au poing, faut sçavoir laquelle desdites deux desmarches est la meilleure & la plus certaine & superlative & en icelle comme dit est se faut tenir pour executer ledit art.
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| As for me I favor with experience and proof that the step which is done by standing on the left foot initially in putting sword in hand is better and more effective, both for attacking and for defending. How little that our previous demonstrators keep to either on one or the other, give very little reason. Because of this I will conclude that there are no more than two steps in the entire art to start this off.
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| As for me I favor with experience and proof that the step which is done by standing on the left foot initially in putting sword in hand is more certain and better, both for attacking and for defending. How little that our previous demonstrators keep to either on one or the other, give very little reason. Because of this I will conclude that there are no more than two steps in the entire art to start this off.
 
   
 
   
 
| Quant à moy je soustiens avec l’esperience & preuve la desmarche qui se faict, soy tenant sur le pied gauche, pour la premiere foys, en mettant l’espée au poing, est la plus certaine & meilleure, tant pour l’assaillant que pour le deffendant. Combien que peu de noz encestres demonstrateurs s’y tiennent, & soy y tenant, tant sur l’un que sur l’autre, en donnent bien peu de raison. À ceste cause je concluray qu’il n’y a que deux desmarches en tout l’art, pour bien commencer iceluy.
 
| Quant à moy je soustiens avec l’esperience & preuve la desmarche qui se faict, soy tenant sur le pied gauche, pour la premiere foys, en mettant l’espée au poing, est la plus certaine & meilleure, tant pour l’assaillant que pour le deffendant. Combien que peu de noz encestres demonstrateurs s’y tiennent, & soy y tenant, tant sur l’un que sur l’autre, en donnent bien peu de raison. À ceste cause je concluray qu’il n’y a que deux desmarches en tout l’art, pour bien commencer iceluy.
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| ''The guard to execute the first step and the first and second drawings for the Lieutenant and Prevost.''
 
| ''The guard to execute the first step and the first and second drawings for the Lieutenant and Prevost.''
  
And to do the first step for the Lieutenant, he must have the feet together as shown above at the first portraiture marked number 1, and being there he must pull the right foot back on the footprint marked number 3 below, which is the first step. And at the same time, put the sword in hand, for the first drawing carry the sword hilt higher than the right shoulder, placing the sword point straight at the left breast, content 1, keeping the left hand right of the face, as shown above at the portraiture of the Lieutenant marked number 3 behind the collar.
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And to do the first drawing for the Lieutenant, he must have the feet together as shown above at the first portraiture marked number 1, and from there he must pull the right foot back on the footprint marked number 3 below, which is the first step. And at the same time, put the sword in hand, for the first drawing carry the sword hilt as high as the right shoulder, placing the sword point straight at the left breast, content 1, keeping the left hand in front of the face, as shown above at the portraiture of the Lieutenant marked number 3 behind the collar.
  
 
''This is the end of the first drawing for the Lieutenant.''
 
''This is the end of the first drawing for the Lieutenant.''
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''The following is the second drawing for the Lieutenant.''
 
''The following is the second drawing for the Lieutenant.''
  
For the second drawing for the Lieutenant, he must have the feet together like so as shown above at the first portraiture marked number 1. And to execute this second drawing, he must move the right foot a little apart in the air, remove it from the footprint marked 2, carrying the sword hilt, drawing it higher than the shoulder, and the placement of this as above content 1. And in an instant pass the sword above the head, extending strongly the arms, keeping the sword hilt higher than the right shoulder, and placing the sword point at the Provost's left breast, as shown in the portraiture at number 3.
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For the second drawing for the Lieutenant, he must have the feet together like so as shown above at the first portraiture marked number 1. And to execute this second drawing, he must move the right foot a little apart in the air, remove it from the footprint marked 2, carrying the sword hilt, also drawing it as high as the shoulder, and the placement of this as above [in] content 1. And in an instant pass the sword above the head, extending strongly the arm, going to pause the sword hilt as high as the right shoulder, and placing the sword point at the Provost's left breast, as shown in the portraiture at number 3.
  
 
''The end of the second drawing for the Lieutenant.''
 
''The end of the second drawing for the Lieutenant.''
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''The end of the first and second drawings for the Provost.''
 
''The end of the first and second drawings for the Provost.''
  
After having shown this first plan above, being to make the first and second drawings for the Lieutenant and the Provost, stay for the demonstration of the third drawing, after which one will be able to see the guard and position to and to be able to execute and do it.''
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After having shown this above, being on the first plan, to make the first and second drawings for the Lieutenant and the Provost, stay to demonstrate the third drawing, after which one will be able to see the guard and position to execute and do it.''
  
 
| ''Garde pour faire, & executer ladite premiere desmarche, premier & second desgainement, pour le Lieutenent & Prevost.''
 
| ''Garde pour faire, & executer ladite premiere desmarche, premier & second desgainement, pour le Lieutenent & Prevost.''
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| ''Postion and guard of the first strike of the sword alone, for the Lieutenant, which is a low right-hand at the leg of the Provost, thrown by the Lieutenant, and defended by the Provost, as will be seen after the first strike.''
 
| ''Postion and guard of the first strike of the sword alone, for the Lieutenant, which is a low right-hand at the leg of the Provost, thrown by the Lieutenant, and defended by the Provost, as will be seen after the first strike.''
  
And to do this the Lieutenant is to have the feet together as shown above in the portraiture of the Lieutenant marked number 9, pull the right foot back a little apart, and in drawing his sword will take the sword hilt higher than his shoulder, placing the point straight at the Provost's left breast, keeping the left hand below the arm, as shown above at the portraiture marked number 11 behind the bonnet.
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And to do this the Lieutenant is to have the feet together as shown above in the portraiture of the Lieutenant marked number 9, pull the right foot back a little apart, and in drawing his sword will take the sword hilt as high as his shoulder, placing the point straight at the Provost's left breast, keeping the left hand below the arm, as shown above at the portraiture marked number 11 behind the bonnet.
  
 
''Written for the first guard and position for the Provost, in order to begin the section on the sword alone.''
 
''Written for the first guard and position for the Provost, in order to begin the section on the sword alone.''
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| ''This guard is almost similar to the one before, hardly different yet it will serve as another one to make and execute the first strike of the sword alone for the Lieutenant and Provost.''
 
| ''This guard is almost similar to the one before, hardly different yet it will serve as another one to make and execute the first strike of the sword alone for the Lieutenant and Provost.''
  
In order to declare this guard for the Lieutenant, he must have his feet together to pull the right foot<ref>Dupuis states the original says left but is incompatible with the rest of the text and the engraving.</ref> back a little apart, carrying the sword hilt higher than the right shoulder, placing the sword point straight at the throat; the guard of the Lieutenant above marked in number 11 is the same, but the placement isn't because he places the point at the left breast, whereas this one states it is at the throat, keeping the left hand under the sword arm, as shown below at the portraiture marked on number 13.
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In order to declare this guard for the Lieutenant, he must have his feet together to pull the right foot<ref>Dupuis states the original says left but is incompatible with the rest of the text and the engraving.</ref> back a little apart, carrying the sword hilt as high as the right shoulder, placing the sword point straight at the throat; the guard of the Lieutenant above marked in number 11 is the same, but the placement isn't because he places the point at the left breast, whereas this one states it is at the throat, keeping the left hand under the sword arm, as shown below at the portraiture marked on number 13.
  
 
''This is the purpose of this guard for the Lieutenant.''
 
''This is the purpose of this guard for the Lieutenant.''
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''This is the end of the position and guard for the attacking Lieutenant, which is to begin to throw the fourth strike.''
 
''This is the end of the position and guard for the attacking Lieutenant, which is to begin to throw the fourth strike.''
  
The following is also the reason of the portraiture and the position for the defending Provost, who after having made one of the three drawings the Provost has also remained on the step of the right foot in middle guard, keeping the sword hilt straight and higher than the right shoulder, placing the sword point at the Lieutenant's left breast, and keeping the left hand right of his stomach, as shown above at the portraiture marked in number 38.
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The following is also the reason of the portraiture and the position for the defending Provost, who after having made one of the three drawings the Provost has also remained on the step of the right foot in middle guard, keeping the sword hilt straight and as high as the right shoulder, placing the sword point at the Lieutenant's left breast, and keeping the left hand right of his stomach, as shown above at the portraiture marked in number 38.
  
 
''This is the end of the guard for the Lieutenant for throwing the fourth strike against the Provost.''
 
''This is the end of the guard for the Lieutenant for throwing the fourth strike against the Provost.''

Revision as of 18:00, 18 December 2024

Henry de Sainct Didier
Born 1530s (?)
Pertuis, Provence
Died after 1584
Paris, France (?)
Occupation Fencing master
Patron Charles IX of France
Influences
Influenced Salvator Fabris (Extremely dubious)
Genres Fencing manual
Language Middle French
Notable work(s) Les secrets du premier livre sur l'espée seule (1573)
Translations Traducción castellano
Signature Henry de Sainct Didier sig.png

Henry de Sainct Didier, Esq. was a 16th century French fencing master. He was born to a noble family in Pertuis in the Provence region of France, son of Luc de Sainct Didier. Sainct Didier made his career in the French army, ultimately serving 25 years and seeing action in Piedmont, Italy from 1554 - 1555. He wrote of himself that he "lived his whole life learning to fight with the single sword" and eventually "reached a point of perfection" in his art. Apparently he became a fencing master of some renown, for in ca. 1573 he secured a royal privilege for a period of ten years for treatises on a number of weapons, including the dagger, single sword, double swords, sword and buckler, sword and cloak, sword and dagger, sword and shield (both rotella and targe), and greatsword. Unfortunately, only his treatise on the single sword, titled Les secrets du premier livre sur l'espée seule ("Secrets of the Premier Book on the Single Sword") and printed on 4 June 1573, is known to survive; it seems likely that the others were never published at all.

Treatise

Additional Resources

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

References

  1. Pristin : ancien, antérieur
  2. Insertion du « a ».
  3. The "es" is a wooden board placed in the back wall of the tennis court which, if hit by a volley, is scored immediately. In modern tennis, this board is replaced by a grid.
  4. « L'es », habituellement orthographiée « ais », désigne une planche de bois placée dans le mur du fond de la salle de jeu de paume qui, si elle est touchée par un coup de volée, donne le point immédiatement. Dans le jeu de paume moderne, cette planche est remplacée par une grille. Il est possible que cet « ais » ait donné le terme anglais d'« ace » que les étymologies modernes confondent avec l'« as » du jeu de carte. Voir la définition d' « ais » de l'Encyclopédie de Diderot et d'Alembert.
  5. L’esteuf : ancien nom pour la balle.
  6. précéder. « Préaller » subsiste en français sous la forme « préalable ».
  7. Il s’agit très probablement du maître d'arme italien Fabris Salvator de Padoue (1544-1617). Voir la note sur Fabris Salvator de Vigeant p. 162 et aussi les références à ses publications (Vigeant p. 55-56)
  8. Version alimentaire de l’adage « blanc bonnet et bonnet blanc ».
  9. Transcription la plus sûre du texte : « gran d erre »
  10. Serviteur du grand prêtre venu arrêter Jésus au Mont des Olivier et dont l’oreille coupée a été immédiatement guérie. Selon la lecture du passage, il est parfois pris pour celui qui soufflète Jésus.
  11. Un des anciens nom de l’abeille.
  12. Sens incertain ; peut-être s'agit-il d'une mauvaise graphie de « filial ».
  13. drillant : étincellant, brillant (dictionnaire de Nicot).
  14. Correction du texte d’origine donnant « peid ».
  15. Cette correction sur les images d'Henri de Saint-Didier indique que celles-ci ont été réalisées avant la version finale du texte.
  16. Le « o » de troisiesme est curieusement placé en exposant.
  17. Suppression du doublement de l'esperluette.
  18. Dupuis states the original says left but is incompatible with the rest of the text and the engraving.
  19. Proposition de correction de l’édition originale qui donne « gauche », en incohérence avec la gravure et le texte plus bas qui confirme que la posture du Lieutenent est identique à celle de la section précédente où c’était bien le pied droit qui était reculé.
  20. Deuxième remarque de l'auteur sur les gravures montrant que le texte a été retouché après réception des gravures. À comparer avec une remarque similaire faite dans le i.33.
  21. Correction du texte d’origine donnant « Leiutenent ».
  22. In modern fencing, dérobement is a fencing term for disengage. In French it means to shirk or to avoid.
  23. Correction de l'édition originale qui omet lors d'un changement de page le début du mot « haute »
  24. The position of the hand illustrates the fingers down, in opposition to the text.
  25. La position de la main illustrée a les doigts au-dessus, en opposition avec le texte.
  26. Proposition de correction pour « bessoin »
  27. Proposition de correction pour « avan-main »
  28. Proposition de correction pour « couté »
  29. Proposition de correction pour « Vola ».
  30. Proposition de correction pour « ongle »
  31. Sens inconnu.
  32. La tuition est un synonyme de « garde », « défense », très souvent employé à cette époque pour appuyer le mot « défense ».
  33. Proposition de correction pour « Provost »
  34. Proposition de correction de « du–sixiesme »
  35. Proposition de correction pour « persent ».
  36. The triangle represented here is not correct. The one marked 65 seems to better reflect the proposed movement.
  37. Proposition de correction pour « le ongles ».
  38. Le triangle représenté ici n'est pas correct, celui cotté 65 paraît rendre mieux compte du déplacement proposé.
  39. Dupuis thinks 75 represents this correct and that 73 is incorrect.
  40. Proposition de correction pour « Lieutent ». La marque indiquant une contraction a probablement été omise.
  41. On pourrait compléter : « ...et le mettre en 4 ». L'illustration 73 est incorrecte puisque le pied gauche est resté sur la semelle 1 et n'est pas placé sur la semelle 3 (à gauche) comme demandé ; la position des pieds de l'illustration 75 correspond à ce qui aurait dû être représenté.
  42. The Provost shown at the portraiture does not correspond to the text since he is on the right foot
  43. Proposition de correction pour « dh’aut »
  44. Sic.
  45. Le prévôt représenté ici ne correspond pas au texte puisqu'il se tient sur le pied droit.
  46. The Provost of 80 isn't on the left foot as written but is coherent with 78.
  47. Le prévôt de la figure 80 n’est pas sur le pied gauche comme écrit et mais reste cohérent avec la figure 78.
  48. It is meant to read as Provost here.
  49. Il faut évidemment lire ici « Prevost ».
  50. Proposition de correction pour « suprint »
  51. Sic.
  52. Suppression du doublement de l'esperluette dans « sa cuisse gauche, & & tous ».
  53. Sic. Au XVIe siècle, le genre des mots était encore indécis.
  54. The author is announcing here another edition to augment his book which has never has been written.
  55. L’auteur annonce ici une prochaine édition augmentée de son oeuvre qui n’a a priori jamais eu lieu.
  56. Proposition de correction pour « ou ».
  57. Proposition de correction pour « mostré »
  58. Du latin médiéval « inquinatum » signifiant « pour combien »
  59. lit. bark or shell, outer layer. Idiom similar to "Don't judge a book by its cover.
  60. A vidimus is a certified copy of an earlier act
  61. of King Charles IX
  62. It must be either Pierre or Jean Brûlart who both served on Parliament
  63. If the seal is appended to the document with a strip of parchment, it is called a "queue". If there is a double strip, it is then called a "double queue".
  64. Dilection : attachement, amour pur.
  65. Un vidimus est la copie certifiée d'un acte antérieur.
  66. Il doit s'agit de Pierre ou Jean Brûlart (tout deux avait une charge au Parlement) qui signe pour le roi.