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Difference between revisions of "Gérard Thibault d'Anvers"

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(→‎Treatise: Added Plate X, plus description in the intro. Added chapter contents to the titles for ease of reference.)
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{{master begin
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  | title = Book 1 - Tableau / Plate I - Philosophy; construction of the Circle; notes on the proper Sword.
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  | title = Book 1 - Tableau / Plate I - Philosophical Discussion; Construction and Mathematics of the Circle; Concerning the Sword: Proper Length and Introduction.
 
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|- style="font-family: times, serif; vertical-align:top;"
 
|- 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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|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.
 
|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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|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.
 
|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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|}
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{{master end}}
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{{master begin
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| title = Book 1 - Tableau / Plate XI - Refining the Sense of Feeling.
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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 11.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 ELEVENTH PLATE.
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|DECLARATION DES OPERATIONS DV TABLEAV ONZIEME.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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 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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|''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.''
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|''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''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 7'''
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|'''Cercle N.7.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''Zachary 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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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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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|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.
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|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.
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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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|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.
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|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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 12'''
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|'''Cercle N.12.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|Alexander 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.
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|<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.
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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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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|
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|
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
  
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|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.
 
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Revision as of 01:37, 14 February 2019

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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