Difference between revisions of "Gérard Thibault d'Anvers"

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

Revision as of 03:38, 4 June 2020

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.

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

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

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

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

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

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

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

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

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

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

Additional Resources

Howden, Matthew. "Comparison of Thibault’s Circle and the Leiden Circle". Sworded Contemplations. April, 2008. Retrieved 08 February 2015.
Majár, János and Zoltán Várhelyi. "Thibault and Science I. Measure, Distances and Proportions in the Circle". Acta Periodica Duellatorum 2(1): 67-104. 2014. doi:10.1515/apd-2015-0014.
Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer
- 1st edition. Highland Park, TX: Chivalry Bookshelf, 2006. ISBN 978-1891448409
- 2nd edition. London: Aeon Books, 2017. ISBN-978-1-190465-884-9

References

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

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

[Verwey.2C_Herman_Fontaine_1978_p.289-2] 2.0 ^2.1 ^2.2 ^2.3 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289

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

[Verwey.2C_Herman_Fontaine_1978_p.288-4] 4.0 ^4.1 ^4.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288

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

[Verwey.2C_Herman_Fontaine_1978_p.290-6] 6.0 ^6.1 ^6.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290

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

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

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

[Verwey.2C_Herman_Fontaine_1978_p.296-10] 10.0 ^10.1 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.296

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

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

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Difference between revisions of "Gérard Thibault d'Anvers"

Revision as of 03:38, 4 June 2020

Contents

Treatise

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

Book 1 - Tableau / Plates I - XI

Book 1 - Tableau / Plates XII - XXII

Copyright and License Summary

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@@ Line 75: / Line 75: @@
 Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.
-Plates IX & X introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.
+Plates IX & X introduces the idea of blade control and resistance using various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force. His recommendation to pursue a course of study, rather than master all the lessons from Plate IX to XIII before begining to practice the exercise in Plate XV, where he introduces attacking to the right hand side, but for practical training, to pair up the lessons of attacks to the outside line with those to the inside line. That is, do the exercises from Plate IX then Plate XV, Plate X with Plate XVI, and so on, practising each in turn. This way, the student learns to fight to both left and right hand side while acquiring increasing skills and ability.
 Plate XI continues the exploration of how to deal with different degrees of force against the blade.
@@ Line 83: / Line 83: @@
 Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
-The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [[http://www.geheugenvannederland.nl/ www.geheugenvannederland.nl]]. Search on Girard Thibault.
+The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [http://www.geheugenvannederland.nl/ www.geheugenvannederland.nl]. Search on Girard Thibault.
 {{master begin
   | title = Book 1 - Introduction. Arms of Patrons and supporters of Thibault
-  | width = 60em
+  | width = 90em
 }}
-{| class="wikitable"
+{| class="master"
 ! Images
 ! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 ! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 |- style="font-family: times, serif; vertical-align:top"
 |[[File:Academie de l'Espée Title.jpg|200px]]
@@ Line 124: / Line 124: @@
 |To the valliant heart, nothing is impossible.
-Arms and sundry titles of [[https://en.wikipedia.org/wiki/George_William,_Elector_of_Brandenburg|George William]] (1595 – 1640), Elector of Brandenburg (1619 – 1640).
+Arms and sundry titles of [https://en.wikipedia.org/wiki/George_William,_Elector_of_Brandenburg George William] (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.
 |Au coeur vaillant rien n'est impossible
@@ Line 137: / Line 137: @@
 | Work well without pause, and the hours pass quickly.
-Arms and sundry titles of [[https://en.wikipedia.org/wiki/John_Sigismund,_Elector_of_Brandenburg|Johan Sigismund]] (1572 – 1619), Elector of Brandenburg (1608 – 1619)
+Arms and sundry titles of [https://en.wikipedia.org/wiki/John_Sigismund,_Elector_of_Brandenburg Johan Sigismund] (1572 – 1619), Elector of Brandenburg (1608 – 1619) of the House of Hohenzollern, Elector of Brandenburg from 1608 and Duke of Prussia, through his wife Anna, from 1618.
 |Fais biens sans demeure, et peu de temps se passe l’heure
@@ Line 149: / Line 149: @@
 |Everything with God, Nothing without Reason.
-Arms and title of [[https://en.wikipedia.org/wiki/Christian,_Duke_of_Brunswick-Lüneburg|Christian (the Elder)]] (1566 - 1633), Duke of Brunswick and Lunenbourg.
+Arms and title of [https://en.wikipedia.org/wiki/Christian,_Duke_of_Brunswick-Lüneburg Christian (the Elder)] (1566 - 1633), Duke of Brunswick and Lunenbourg.
 |Tout Avec Dieu, Rien Sans Raison
@@ Line 162: / Line 162: @@
 I maintain
-Arms and titles of [[https://en.wikipedia.org/wiki/Maurice,_Prince_of_Orange|Maurice]] (1567 - 1625), Prince of Orange (1618 – 1625)
+Arms and titles of [https://en.wikipedia.org/wiki/Maurice,_Prince_of_Orange Maurice] of Nassau (1567 - 1625), who became Prince of Orange in 1618.
 |(Order of the Garter about the arms – Honi soit qui mal y pense)
@@ Line 177: / Line 177: @@
 |Of the homeland. With the homeland.
-Arms and titles of [[https://en.wikipedia.org/wiki/Frederick_Henry,_Prince_of_Orange|Frederick Henry]] (1584 - 1647), Prince of Orange (1625-1647)
+Arms and titles of [https://en.wikipedia.org/wiki/Frederick_Henry,_Prince_of_Orange Frederick Henry] (1584 - 1647), Prince of Orange (1625-1647)
 |Patriæ. Patrique
@@ Line 189: / Line 189: @@
 |Constant
-Arms & titles of [[https://en.wikipedia.org/wiki/Ernest_Casimir_I,_Count_of_Nassau-Dietz|Ernest Casimir]] (1573-1632), Count of Nassau-Dietz (1606-1632)
+Arms & titles of [https://en.wikipedia.org/wiki/Ernest_Casimir_I,_Count_of_Nassau-Dietz Ernest Casimir] (1573-1632), Count of Nassau-Dietz (1606-1632)
 |Constant
@@ Line 201: / Line 201: @@
 |God and all
-Dedication and Arms of [[https://en.wikipedia.org/wiki/Simon_VII,_Count_of_Lippe|Simon VII]] (1587-1627), Count of Lippe (1613-1627), and his brother [[https://en.wikipedia.org/wiki/Otto,_Count_of_Lippe-Brake|Otto]] (1589 – 1657), Count of Lippe-Brake (1621-1657)
+Dedication and Arms of [https://en.wikipedia.org/wiki/Simon_VII,_Count_of_Lippe Simon VII] (1587-1627), Count of Lippe (1613-1627), and his brother [https://en.wikipedia.org/wiki/Otto,_Count_of_Lippe-Brake Otto] (1589 – 1657), Count of Lippe-Brake (1621-1657)
 |Deo et Cunctis
@@ Line 213: / Line 213: @@
 |Nothing without God
-Arms of Stephan Gans, [[https://en.wikipedia.org/wiki/Gans_zu_Putlitz|Baron  Putlitz]]
+Arms of Stephan Gans, [https://en.wikipedia.org/wiki/Gans_zu_Putlitz Baron  Putlitz]
 |Rien sans Dieu
@@ Line 225: / Line 225: @@
 |Arms of Louis XIII
-[[https://en.wikipedia.org/wiki/Louis_XIII_of_France|Louis]] de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name.
+[https://en.wikipedia.org/wiki/Louis_XIII_of_France Louis] de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name.
@@ Line 341: / Line 341: @@
 |- style="font-family: times, serif; vertical-align:top"
+| class
-|Because the reader shall find it strange that many of the images are not placed upon the ground, but are above or below the horizon, we think it best they be conceived of as paintings upon the walls; this being because of the unequal circles above the horizon compared to the ground, and for more convenient representation  of the doctrine, & for easier intelligbility in a manner which does not extend perspectives. Thus in Plate 3, high on both sides, we see 4 men painted on the walls, & in Plate 5 there are four pieces in the form of paintings in the middle of the masonry wall each with its own appropriately-sized circle. In Plates 6, 16, 21, 22, 25, & 28 we find painted canvasses & murals on the sides, and on the lower parts of the walls. In Plates 7 & 27 we  understand they are made in the form of charts. In Plate 19, a tapestry hangs in the middle, in which the doctrines are embroidered. The Plates 5, 8, 14, 17, 18, 20, 22, 25, 26, 27, 28, & 29 likewise have painted walls, but the most important parts are shown alive on the ground or as painting on the wall base, because we have put there the means to see how the position of the swords relates to the lines of the Circle in the form of shadows on the lower line or base. We can see the positions of the blades, on the ground of the circle, by which means the capability to work out the movements of the swords the figures have in their hands becomes quite easy.
-|Pource que le ſpećtateur trouveroit eſtrange, que pluſieurs Images ne ſont fixement poſées ſur le fondement, taut au deſſus qu'au deſſoubs de l'Horiſon: nous avons touvé bon de l'advertir, qu'il les faut concevoir comme eſtant deſpeintes aux murailles; cela eſtant fait à cauſe des Cercles inegaux tant au deſſus de l'Horiſon que ſur le plan, pour la repreſentation plus commode de la doćtrine, & pour l'intelligence plus facile du commun qui n'entend les perſpećtives: ainſi au Tableau 3. au deſſus d'un & d'autre coſté ſont deſpeints 4. hommes aux parois, & en la Table 5. il y à quatre pieces en forme de peinture au millieu de la muraille ou maſſonerie, deſquels Cercles chaſcun ſuſſit pour ſoy, & es Tables 6. 16. 21. 22. 25. & 28. au millieu des toilles peinturées, & au coſtez ſont deſpeintes à la paroy, es Tables 7. & 27. faut entendre que cela eſt fait en forme de chartes, & en la Table 19. un tapi tendu ou pendu au millieu, dans leſquel les doćtrines ſont tiſſues, & es Tables 5. 8. 14. 17. 18. 20. 22. 25. 26. 27. 28. 29. de meſme deſpeint aux murailles, mais les premieres pieces ſe demonſtrent plus vivement ſur le fond ou baſe que les autres, car la ſe voit la façon des accords des eſpées & leur operation par les lignes du Cercle; pour ce que en forme d'Eſquierre de la ligne Inferieure ou baſe, on trouve un accord des lames, fait au fond ou Cercle, par lequel le jugement des operations mouvantes des eſpées que les figures tiennent en main, eſt rendu tres-facile.
-|}
-{{master end}}
-{{master begin
- | title = Book 1 - Tableau / Plate I - Philosophical Discussion; Construction and Mathematics of the Circle; Concerning the Sword: Proper Length and Introduction.
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|- style="font-family: times, serif; vertical-align:top"
-|Colspan="2"| [[file:Thibault L1 Tab 01.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
-|EXPLANATION OF THE FIRST PLATE
-|DECLARATION DV TABLEAV PREMIER
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps"
-|Contents<br>
-The proportions of the body, their relationship to the dimensions of our Circle, and the proper length of the sword.
-|Contenant<br>
-Les proportions du corps de l'homme, rapportées à la figure de noſtre Cercle; & à la iuſte longeur de l'Eſpée.
-|- style="font-family: times, serif; vertical-align:top"
-|A discourse on the superiority & perfection of man, declaring that his body is comprised of  an exact relationship of Divisions, Weights, & Measurements, having movements that relate to the Circle.
-|Diſcours de l'excellence & perfećtion de l'homme, dećlarant que ſon corps eſt exaćtement compaſſé par Nombres, Poids, & Meſures, ayant des mouvements qui ſe rapportent à la figure Circulaire
-|- style="font-family: times, serif; vertical-align:top"
-|Man is the most perfect and most superior of all the creatures in the world, in which is found, amongst the other marks of divine wisdom, such an exquisite representation of the entire universe, in his whole and in his principal parts, that he has been rightly called by the ancient philosophers “microcosm” which is to say, the small world. For beyond the dignity of the soul, which has so many advantanges above all thats is perishable, his body contains a an abridgement, not only of all that we see down here on Earth, but also that which is in Heaven itself. Representing the whole with a harmony so delicate, so beautiful, and complete, and with such concurrence of Divisions, Measures, and Weights, which relates so marvellously to the virtues of the Four Elements, and to the influences of the Planets, that there is no other like it to be found. That most-perfect number Ten continually appears before his eyes, and in its entirety on his digits; and again in two equal halves on his two hands, on each by the number of 5 digits; which are also unequally partitioned by the thumb and by the rest into One and Four, of which the One is composed of two phalanxes, and each the Four of Three: in such fashion this structure has always in view the first and most beautiful Numbers: 1, 2, 3, 4, 5, & 10, which so many illustrious philosophers, like Pythagoras, and Plato, & all those of their schools, held in such esteem, that they sought hide away and so deduce from them the greatest mysteries of their doctrines. As well, we see in the height, width, and thickness of the human body, which has been so precisely measured, that the greatest Architects, both Ancient and Modern, could concieve of no other thing in the world that would make a better basis for the architectural orders than this model, based on man. In this they saw a divine proportion that God Himself  put into the human body, from which they took their inspiration to build, from that time on, into the architecture of Temples, Theaters, Amphitheaters, Palaces, Towers, Vessels, and all other constructions, some of peace, some of war, not just in the whole, but also reflected in the parts: the columns, the peristyles, capitals, pedistals, and other such parts. Thus we read that the Temple of Salomon, this great adornment and miracle of the flourishing Republic of the Jews, was sized according to this same proportion: and what is more, God Himself commanded the Patriarch Noah, upon building of the Ark, to follow the same rule. So that in each one the length is six times the width, and ten times the depth. This is a proportion for which the numbers are always right in front of our eyes, and can be demonstrated clearly on our fingers, where we are accustomed to learning the earliest lessons in natural arithmetic. For this whole sum, which is 10, when multiplied by 3, makes 30 for the depth; and by 5, makes 50 for the width; and multiplied by 10, and by 3 again, makes 300 for the length. These measurements agree with what several noted Authors wrote concerning the same matter. Vitruvius, amongst others, reported the stature of man to be 6 feet measured geometrically. Divide each foot  into 10 degrees, and each degree into 5 minutes, gives 60 degrees and 300 minutes, echoing exactly the three hundred cubits of the Ark. As much as I do not wish to rest so precisely on Vitruvius' authority and accept his geometrical figure of six feet length; it is enough that we can divide the body into six equal measures. Pliny also notes in book 7, chapter 17, that this natural stature of a well-proportioned man accords exactly with the measure of his own arms from the tips of the fingers on one to the end of the other. In summary, all philosophers have made so much of these measurements, and of the proportions of the human body, and have researched so much in one fashion or another that Pythagoras dared declare man as the Measure of All Things. As to the proportion of weight, we cannot doubt that this was also observed with as much art as the numbers or the measurements. All of which is easy to recognize, because man alone, of all the animals, walks upright; in such fashion he holds himself always in counterweight and in balance in all actions, otherwise he would be constantly inconvenienced. For his structure is such, that as each part (except the arms) is higher from the ground, it also increases more and more in weight; so that the lighter and more fragile parts support the other heavier and more robust parts: which would be against Nature and would make it utterly impossible to continue long, in doing so many kinds of movements as we can see performed by the human body, were this not moderated with regard to weight in all the parts from the top of the head to the soles of the feet, in a singular and perfectly artful way. A more complete discussion of this material belongs to anatomists, whose profession is to discuss the particuliarities of this noble structure. We who seek only to explore that which concerns the use of weapons, shall be content to discuss some generalities, notably about the external proportions, so that it shall be much easier to judge the nature and reach of each movement, as we proceed. Since the movements are sometimes made with the whole body, sometimes and more usually with just the arms and hands, and other times with the legs and feet, we shall demonstrate presently that men are capable of performing these necessary and useful movements more easily and promptly than other animals do. What one must know that it is ordinarily, and properly, the job of the arms and hands to carry out the actions of our Will, as use or need requires. The legs and feet serve only to move and turn the body, so as to place the arms and hands so they can properly perform the task we wish to perform where we wish to perform it. Furthermore there is this difference, that the arms and legs are especially suited to perform large movements, whereas the feet and hands perform smaller ones; and as the arms are best used in moves that require strength, the hands are best used in work that requires dexterity. The feet, as pillars that support the body, are, almost immobile when the weight is on the heels, but when on the toes, move quite promptly. Because of this difference, the body can stand firmly by means of the one and yet move and turn swiftly and conveniently by means of the other. From heel to toe, the size of the foot gives him a solid and stable base when he stops, and when he moves, helps to push him forward and give him speed. All parts of the hands are quite agile, and contain, in their width, exactly half the width of the face, which is a quarter of the trunk; the length of the hand is two times the width, and if the hand is closed, the contour of the fist is one third the contour of the trunk: and the hand can naturally act as a small shield, held out in front, either open and extended, or firmly closed. This is why the Jewish author Philo is very right to say that, instead of the natural weapons and defenses of other animals, man was blessed with Reason as his Guide, and Hands as Tools to do as Reason wills; and in that Reason is the Hand of Understanding, the Hand of Reason is the Word, and our hands perform as the Word commands.
-Instruments which have within them all the abilities of the other creatures, and are, consequently, at least equal in greatness, if not superior. This is why man comes into the world deprived of all natural weapons either offensive or defensive, and has but this sole instrument of the hand, by which he may prevail over all. The other animals defend and attack their opponent, one with teeth, another with claws, with hooves, with horns; thus it is wth Elefants, Lions, Bears, Horses, Bulls, Tigers, & other beasts, to whom nature gave each one a single type of natural weapon for their own defence, but to Man, who appears deprived, was blessed with Understanding to know things, Wit to forge things, and Hands to use each and every thing that he can create. In the same way so that he could have even greater advantage, nature gave him, as a special privilege, the power to flex his arms behind and his feet in front at the same time, something impossible for other creatures: and also for the same, or possibly similar reason, the arms were placed in such a way as to be always in view and so help and assist more easily the other parts as they need. So just as the above-mentioned Artists, Architects, Perspectivists, & others have tried to prove the foundations of their rules via the proportions of the human body, so have we navigated the same course, but more adeptly, and have found, with the aid of this same compass, the actual and proportional measure of all Movements, of all the Tempos and Distances necessary to observe in our Training: as it shall be demonstrated in a moment in the description of our Circle; where the measurements and proportions of Man are applied to man himself, and to the movements he makes with his own limbs, from where we derive the aforesaid proportion, and without which it is impossible for him to perform the slightest action in the world. In the practice of swordplay, which I have done for several years, in different countries, and with great experts; of which some come from French schools, others from Italian, and, in sum, each in his own way, I have seen people all over accustom themselves to strange postures, body twisted, feet and hands disjointed out of all natural positions, and in postures inconsistent with the ordinary way in which we walk or stand: such that, instead of evoking through these contortions some sort of power, it impairs and minimizes one's own strength, rather than producing the intended effect. Thus, considering closely, and knowing that in other cases all Arts follow Nature, without ever contravening her, I have chosen to conduct our Training within the same school as this Sovereign Mistress of all good inventions. About which I said at first, that all the Distances and Instances (i.e. steps in the process of fighting) to be observed in training (which are the basic foundations and support for all the following parts) proceed from the proportions of Man, therefore without this same awareness, they cannot be duly comprehended, nor practiced with confidence.
-And the same goes for the Steps and Approaches, short and long, required by the variety of positions  in the performance of these Exercises. From which it is apparent that one must begin with a good knowledge of the proportion of limbs and body parts, that one may at least be able to make some reasonable judgement on the reach of each movement, proportionally to the limb, or limbs, on which the movement depends, and from which it must be continued, ended,  turned, returned, released, bound, or changed in a thousand different ways.
-|L'homme eſt la plus parfaite & la plus excellente de toutes les Creatures du Monde; auquel ſe trouve, parmy les autres marques de la ſageſſe divine, une ſi exquiſe repreſentation de tout l'Vnivers, en ſon entier & en ſes principales parties, qu'il en a eſté appellé à bon droit par les anciens Philoſophes Microcoſme, c'eſt à dire, le Petit Monde. Car outre la dignité de l'ame, qui a tant d'avantages par deſſus tout ce qui eſt periſſable, ſon corps contient un abbregé, non ſeulement de tout ce qu'on voit icy bas en terre, mais encores de ce qui eſt au Ciel meſme; repreſentent le tout avec une harmonie, ſi douce, belle, & entiere, & avec une ſi juſte convenance de Nombre, Meſures, & Poids, qui ſe rapportent ſi merveilleuſement aux vertus des Quatre Elements, & aux influences des Planetes, qu'il ne ſ'en trouve nulle autre ſemblable. Le tres-parfait nombre de Dix luy eſt continuellement repreſenté devant les yeux, en ſon entier ſur ſes propres doigts; & derechef en deux moitiez egales ſur ſes deux mains, à chaſcune par le nombre de Cinq doigts; qui ſont derechef partis inegalement par la poulce, & par le reſte en Vn & Quatre, dont l'Vn eſt compoſé de Deux articles, & les Quatre de Trois: de façon que ceſte ſtructure luy met touſiours en veuë les premiers & plus excellents Nombres 1. 2. 3. 4. 5. 10. dont tant d'Illuſtres Philoſophes, comme Pythagoras, & Platon, & tout ceux de leurs Eſcholes, on fait tant d'eſtime, qu'ils y ont voulu cacher, & en deduire les plus grands myſteres de leur doćtrine. En outre on voit auſi en la longeur, largeur, & eſpeſſeur de ce meſme corps, que les meſures y ſont ſi jusſtement obſervées, que les plus grands Architećts Anciens & Modernes n'ont ſcue choiſir aucune choſe au Monde plus propre pour leur ſervir de regle, ſelon laquelle ils deuſſent former les ordonnances de leurs ouvrages, que ce ſeul patron de l'homme; auquel ils ont remarqué une perpetuelle proportion gardée de Dieu meſme en la fabrique du corps; laquelle ils ont prinſe en exemple, pour façonner à l'advenant les Architećtures des Temples, Theatres, Amphitheatres, Palais, Tours, Vaiſſeaux, & autres Instruments, ſoit de paix, ſoit de guerre, non ſeulement en leur entier, mais auſi en chaſcune des principales parties, Colomnes, Poſteaux, Chapiteaux, Piedeſteaux, & autres membres ſemblables.
-Ainſi lit on, que le Temple de Salomon, ce grand ornement & miracle de la Republique floriſſante de Iuifs, a eſté compaſſé ſelon ceſt meſme proportion: Et qui plus eſt, que Dieu meſme auroit commandé au Patriarche Noë, en baſtiſſant l'Arche, d'enſuivre la meſme regle. Car tout ainſi que le corps de l'homme contient 300 minutes en longeur; 50 en largeur; & 30 en eſpeſſeur par le milieu de la poitrine: auſſi pareillement l'ordonnance de l'Arche a eſté faite à 300 coudées de longeur; 50 de largeur; & 30 de hauteur: de ſorte qu'en l'un & en l'autre la longeur eſt ſix fois autant que la largeur, & dix fois, que la profondeur. Qui eſt une proportion, donc nous avons touſjours devant nos yeux les nombres, & les pouvons nous demonſtrer clairement ſur nos doigts, où nous avons couſtume d'apprendre les premieres leçons de l'Arithmetique naturelle.
-Car la ſomme entiere, qui en eſt 10, eſtant multipliée par 3, fait 30 pour l'eſpeſſeur; & par 5, fait 50 pour la largeur; & multipliée par 10, avec le redouble de 3, fait 300 pour la longeur. Et à ces meſures s'accorde auſſi ce que pluſieurs graves Auteurs eſcrivent en touchant la meſme matiere: comme entre autres, que Vitruve a rapporté la ſtature de l'homme à 6 pieds de meſure Geometrique; le pied à 10 degrez; & chaſque degré en 5 minutes; qui font 60 degrez, & 300 minutes, retirants juſtement aux trois cents coudees de l'Arche.
-Combien que je ne veuille pas m'arreſter ſi preciſement ſur l'authorité de Vitruve, à luy donner ſix pieds Geometriques de longeur; ce m'eſt aſſez qu'on la puiſſe partir en ſix meſures égales. Pline remarque auſſi livre 7. chapitre 17. que ceſte ſtature naturelle de l'homme bien proportionné s'accorde exaćtement à measure de ſa propre braſſee, depuis le bout des doigts de l'une des mains juſques au bout de l'autre. En ſomme touts Philoſophes ont fait tant d'eſtime de ceſte meſure, & de la proportion de ce corps humain, & l'ont tant recerchée, les uns d'une façon, les autres de l'autre, que Pythagoras a oſé nomme l'homme La
 |}
@@ Line 4,611: / Line 348: @@
 {{master begin
-  | title = Book 1 - Tableau / Plate IX - Introduction to Degrees of Force
+  | title = Book 1 - Tableau / Plates I - XI
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 1-11}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 09.jpg|600px]]
-N.B., the coat of arms at the top belongs to Maurice of Nassau, Prince of Orange (1567 – 1625) who became Prince of Orange in 1618.
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;font-variant: small-caps"
-|A DISCUSSION ON THE VARIOUS DEGREES OF FORCE
-to serve as an introduction to the ninth plate.
-|DISCOVRS SVR LA DIVERSITE DES
-poids, servant d’introdvction av tableav nevfieme.
-|- style="font-family: times, serif; vertical-align:top;"
-|It is evident from the previous demonstrations that attacks made from long range are extremely dangerous, and if they succede at all,  it as much by chance as by skill. It follows that the advantage in our Art consists of the ability to close in with confidence. This cannot be done without having full knowledge of the importance of feel and sight. However, we are going to address only the former in this present Plate, not to separate the usage of one from the other, but we shall discuss the latter more fully in its proper place. In actuality, both are so tightly intertwined together that the use of one cannot even be started without the use of the other. These are the two, and only, pillars of our entire system of Training. We use sight to duly move into distance, we use feel to be more sure of it. We use sight to come to the point where we can reach out and make contact to use our sense of feeling, we use our sense of feel to execute the moves. In the way we use light to guide the eyes, we use our eyes to guide our sense of feel, and likewise our sense of feel to guide our movements. Sight is necessary at all different ranges, but Feeling can be used only when in contact, it cannot be used but at closer ranges. Nonetheless, Feeling has some excellent advantages, not only to enable us to respond against our opponent’s moves in time, but also with precision and control. This sense of feel alerts us, not only to the initial moves, but informs us of the amount of force being used, and the direction where it is going. These are things that are absolutely necessary to know, above all else, and about which sight alone can tell us so little as to be virtually useless.
-|Puis qu’il eſt evident par les Demonſtrations precedentes, que les coups qu’on tire de loing, ſont accompagnez d’un extreme danger, & s’ils reuſſiſſent aucunefois, que c’eſt pluſtoſt par hazard que par ſcience; il s’enſuit, que tout l’advantage de l’Art conſivte en l’aſſeurance de faire ſes approches. Ce qui ne peut eſtre pratiqué ſans avoir entiere cognoiſſance de l’importance du Sentiment & de la Veuë. Toutesfois nous ne traitterons en ce Tableau preſent que du premier tant ſeulement, non pour en ſeparer l’uſage d’avec l’autre, mais nous remettrons à parler plus amplement de la Veuë en ſon lieu propre. Car en effećt ils ſon liez touts deux ſi eſtroitement enſemble, que l’operation de l’un ne peut eſtre ne commencee ne pourſuivie ſans qu’elle ſoit à touts moments aſſiſtée de l’aſſeurance de l’autre. Car ce ſont les deux & uniques ſouſtiens de tout l’Exercice. On ſe ſert de la veuë pour venir deuëment en preſence; du ſentiment pour y eſtre plus ſeurement: par la veuë on vient au Sentiment, & par le Sentiment à l’Execution meſme; en ſorte que comme la lumiere eſt la guide aux yeux, ainſi les yeux le ſont pareillement au Sentiment & à la faculté motive. La veuë eſt neceſſaire en toutes ſortes de meſures; mais le Sentiment puis qu’il ne peut eſtre pratiqué ſinon par l’attouchement, il ne peut ſervir qu’en meſure plus eſtroite: toutesfois il ne laiſſe pas d’avoir auſſi en contreſchange des avantages fort nobles, par leſquels il nous aide & guide, non ſeulement à travailler ſur les mouvements contraires à temps, mais auſſi avec la juſteſſe & moderation requiſe. par ce que c’eſt luy qui en recognoiſt touſiours les premiers commencements, & la diverſité de l’effort, & la route de leur courſe; choſes autant neceſſaires, que nulle autre, & auſquelles la Veuë apporte ſi peu d’utilité, qu’elle n’y peut entrer en compte.
-|- style="font-family: times, serif; vertical-align:top;"
-|So now we come to the differences in Forces, which can be a considerably large number. We have, however, divided it into nine parts, or, more properly, degrees. To each of which, we have given a name to describe it, to avoid confusion, and make it more understandable. Here is the list:
-|Pour venir donc aux differences des Poids, encores qu’elles puiſſent eſtre en aſſez grand nombre. Nous en rapportons cependant toutes les principales à neuf eſpeces, ou à proprement parler, degrez; auxquels nous avons auſſi donné à chaſqun ſon nom propre, pour eviter confuſion, & pour les rendres plus intelligibles. Or en voicy donc la Table.
-|- style="font-family: times, serif; vertical-align:top;"
-|The First,.............Deadweight.
-|Le Premier,..................Mort.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Second,.............Sensation.
-|Le Second,..............Sentiment.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Third,...................Alive
-|Le Troiſieme,..................Vif.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Fourth,.................Lively.
-|Le Quatrieme,.............Gaillard.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Fifth,.................Livelier.
-|Le Cinquieme,.........Plus-Gaillard.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Sixth,..............Very-Lively.
-|Le Sixieme,...........Tres-Gaillard.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Seventh,.................Strong.
-|Le Septieme,...................Fort.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Eighth,................Stronger.
-|Le Huićtieme,.............Plus-Fort.
-|- style="font-family: times, serif; vertical-align:top;"
-|The Ninth,..............Very-Strong.
-|Le Neufieme,..............Tres-Fort.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, to understand the meaning and, at the same time, learn how this works in practice, observe the following.
-|Maintenant pour en entendre le ſens, & en apprendre auſſi par meſme moyen la pratique, vous ſeres comme il s’enſuit.
-|- style="font-family: times, serif; vertical-align:top;"
-|Firstly, attack the opponent’s blade, and subjugate it, stepping from the First Instance to the Second near the Diameter, so that you arrive at the position shown in Circle No 1, subjugating the opponent’s sword, so that it is perpendicular to yours, above the letter M, almost along the the Exterior Collateral line.
-|Premierement attaquez la lame contraire, & l’aſſujettiſſez de la Premiere Inſtance à la Seconde au deçà le Diametre, en ſorte que vous en reveniez  en la forme du Cercle 1. tenant l’eſpee contraire deuement aſſujettie, faiſant qu’elle reſponde perpendiculairement au deſſus de la lettre M, quaſi ſuivant le fil de la collaterale exterieure.
-|- style="font-family: times, serif; vertical-align:top;"
-|Being situated thusly I assure you that you can discern exactly from the feel of the blade all the nine degrees of force that this lower blade can exert on yours. And to explore them more fully, so as to leave no questions or doubts in your mind, in practice, disengage the blades as quickly as possible, pulling yours up, over, and across to the outside, so that his blade, although it springs upwards by itself, more or less, according to the degree of Force applied, cannot catch yours. As you do this, we shall show you now how to discern and name all the Forces, which are listed above.
-|Eſtant donc ainſi ſitué, je dis, que vous pourrez exaćtement diſcerner par le Sentiment touts les neuf degrez de Poids, que ceſt lame inferieure pourra pratiquer contre la voſtre. Et pour les examiner plus ſeurement ſans nulle reſerve de doubte, deſtachez en pratiquant les lames le plus viſtement qu’il ſoit poſſible, en oſtant la voſtre, & la jettant circulairement de deſſus la ſienne en dehors, en ſorte que la ſienne, qui ſautera d’elle meſme apres, plus ou moins à l’advenant du Poids, ne la puiſſe atteindre. Ce que faiſant, nous vous monſterons preſentement à diſcerner & à nommer touts le Poids, ainſi qu’il ſont ſpecifiez cy deſſus.
-|- style="font-family: times, serif; vertical-align:top;"
-|''The First Force, that is, Deadweight.''
-|''Le Premier Poids, aſſavoir Mort.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the default Force, when the opponent’s lifeless blade presents no force against yours. This is easy to feel  because in the lower blade there is no resistance, and yours would drop to the ground of the weight of its own force, if you were not holding it up. Disengaging, lifting your blade off it, the opponent’s blade will remain where it is, in the same place above the External Collateral line without moving, because there is no action in it.
-|C’eſt le default du Poids, quand la lame contraire ne ſe meut non plus contre la voſtre, qu’une choſe morte; ce qui vous ſera aiſé à cognoiſtre au rapport du Sentiment, par ce que la lame inferieure ne vous fait nulle reſiſtence, & meſme que la voſtre s’en va tresbucher vers le bas à faute d’appuy, ſi vous ne la ſouſtenez. En partant, en oſtant la voſtre de deſſus, elle demeurera comme morte en la meſme ſituation au deſſus de la collaterale exterieure ſans changer de place, à cauſe qu’elle n’eſtoit pas en aćtion.
-|- style="font-family: times, serif; vertical-align:top;"
-|''The Second Force, which I call Sensation.''
-|''Le Second Poids, que j’appelle Sentiment.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This one makes a certain amount of effort, but very small, trying to raise the upper blade up, with a light feeling of force. This must be dominated and held, using the same amount of strength against it. Then, suddenly, disengaging the blades, as described above, allowing his blade to move freely, it will move from the letter M to above the Interior Collateral line, crossing the Perpendicular Diameter at the letter L, coming to rest in the direct line position pointing at your body.
-|C’eſt celuy qui uſe de quelque effort, mais tres-petit, taſchant d’eſlever la lame ſuperieure en haut, avec quelque peu de ſentiment. Lequel il faut dompter & arreſter, en uſant d’un pareil ſentiment alencontre: puis tout à l’inſtant, en deſtachant les lames en la maniere auparavant deſcrite, laiſſer aller la ſienne tant qu’ell pourra ce qui ne ſera, que depuis la lettre M.juſqu’au deſſus de la collaterale interieure coupant le Diametre perpendiculaire au poinćt L; & reſpondant en droite ligne ſur voſtre corps.
-|- style="font-family: times, serif; vertical-align:top;"
-|''The Third Force, which I call Alive.''
-|''Le troiſieme Poids, que je nomme Vif.''
-|- style="font-family: times, serif; vertical-align:top;"
-|You will recognize this likewise through the sense of feel, because the lower blade will be working harder to raise yours. So you will need to cross it lower down his blade. Then, when you again disengage your blades, the lower one will spring from the letter M, where it was held, to just above the centre of the Circle.
-|Vous le cognoiſtrez pareillement au rapport du ſentiment, par ce que la lame de deſſoubs travaillera avec plus d’effort pour hauſſer la voſtre; en ſorte que vous aurez auſſi beſoing d’accroiſtre à l’advenant le voſtre d’avantage. Puis  en deſtachant derechef vos lames, celle de deſſous ſautera depuis le point M, où elle eſtoit aſſujettie juſtement deſſus le Centre du Cercle.
-|- style="font-family: times, serif; vertical-align:top;"
-|But it must be observed that these three proofs presume that you have both begun in the First Instance along the Diameter, with swords held parallel and in direct line, and that you subsequently moved the opposing blade out of the direct line, off to the left hand side, to the Second Instance, but without the opponent moving either his feet or his body to even the smallest degree. This is necessary to observe, to make this practice and the explanations easier, since these demonstrations depend on Natural reactions. When the opponent remains with his feet and body in this position, with the sword forced off line, he is naturally inclined to try and recover the arm and sword back to the Centre, along the Diameter. The degree to which he uses force against the upper blade will naturally result, when the blades are suddenly disengaged, in his blade springing back towards the Diametre, to a greater or lesser degree, according to the amount of force he used. Thus the Sensation Force will spring from the letter M to the letter L above the Interior Collateral line. When it feels Alive, it will spring from the same point M to above the principal Diameter. From whence it again appears that as well as with an infinite number of other considerations, that the lines drawn within our Circle are not only in accordance with Natural movements, which they also demonstrate, but also that they demonstrate the effects of Forces that result from those moves.
-|Or il faut obſerver, que ces trois dernieres preuves preſuppoſent que vous ayez preallablement eſté touts deux à la Premiere Inſtance ſur le Diametre avec les eſpees paralleles en ligne droite; & conſequemment que vous ayez emmené la lame contraire hors de la droite ligne à la Seconde à main gauche, ſans que le Contraire ſe ſoit pourtant en rien bougé de ladite droite ligne, ny de corps ny de pieds, pour peu que ce ſoit. Ce qui eſt du tout neceſſaire à obſerver, pour en rendre la Pratique plus facile, enſemble auſſi pour en declarer plus aiſement les raiſons, dont les demonſtrations dependent de la Nature meſme. Car quand il ſe tiendra avec les pieds & le corps en ceſte dite poſture, encores que la ſituation de l’eſpee en forligne, toutesfois elle ne laiſſe pas du s’encliner naturellement enſemble avec le bras devers le Diametre, qui en eſt comme le Centre. De maniere que ſi elle uſe de poids alencontre de la lame ſuperieure, il eſt neceſſaire, en deſtachant les eſpees, qu’elle ſaute & s’avance devers le Diametre plus ou moins à l’advenant du ſentiment qu’elle y employe. Dont le Poids de Sentiment s’en avencera depuis la lettre M, juſques à L au deſſus de la ligne Collaterale: & avec le Sentiment Vif elle ſautera depuis le meſme poinćt de la lettre M. juſques au deſſus du Diametre principal. D’où il appert derechef ainſi qu’en une infinité d’autre conſiderations, que les lignes menées dedans noſtre Cercle, ne ſont pas ſeulement accordantes avec les mouvements naturels, mais auſſi qu’elles les demonſtrent, voire auſſi qu’elles demonſtrenet les effećt des poids, dont ils ſont accompagnez.
-|- style="font-family: times, serif; vertical-align:top;"
-|But as for the rest of the Forces on the list, which include more or less extra effort than the natural tendencies, the spring which follows the disengagement of the swords will fly a further or shorter distance beyond the Diameter line. Moreover, all the jumps which pass beyond the Centre limit of the natural movements, must necessarily be unnnatural, and, at each increase of Force, each increase of the distance beyond the Diameter becomes smaller, unlike those up to the Diameter.
-|Mais quant au reſte des poids enſuyvants, qui ſont accompagnez d’un effort plus que naturel, le ſaut qui en procedera en deſtachant les eſpees, outrepaſſera la ligne du Diametre, plus ou moins. Or il faut que tout ce qui outrepaſſe le Centre des mouvements naturels, ſoit neceſſairement violent, & conſequemment qu’il aille touſiours en s’affoibliſſant de plus en plus, dont is s’enſuit que les ſauts qui procedent du poids de l’eſpee ſe raccourciſſent plus à l’advenant au dela du Diametre, qu’ils ne font en deça.
-|- style="font-family: times, serif; vertical-align:top;"
-|Therefore, to mark on the Perpendicular Diameter the six points where the sword will come to rest from each of the six remaining Forces, we must divide it into six unequal parts.
-|En ſorte que pour marquer ſur le Diametre perpendiculaire les ſix points, au deſſus d’eſquels l’eſpee contaire ſe viendra rendre à la fin de ſa courſe en chaſcun des ſix poids reſtants, il nous faudra partir inegalement en ſix parties.
-|- style="font-family: times, serif; vertical-align:top;"
-|Divide each of the two quarters of the Circumference on the far side of the Diameter into six equal parts, that is, six from C to N and likewise six more from X to N.
-|Partiſſez les deux quarts de la Circonference, qui ſont au delà du Diametre, chaſqun en ſix egalles parties: aſſavoir ſix depuis le C juſqu’à l’N. & pareillement ſix autres depuis l’X. juſques au bout du quadrangle, qui eſt à main droite.
-|- style="font-family: times, serif; vertical-align:top;"
-|Next run a line parallel to the Diameter from the first point marked along the Circumference, across the Perpendicular Diameter, to the first point opposite. Mark the first section point on the Perpendicular Diameter.
-|Puis mettez voſtre ligne parallele au Diametre principal, depuis le premier point qui ſera marqué en la Circonference, à travers le Diametre perpendiculaire, juſques au premier poinćt oppoſite: & au poinćt de la ſećtion du Diamette perpendiculaire mettez y une marque.
-|- style="font-family: times, serif; vertical-align:top;"
-|Do the same with the other points following along, connecting each point to the one opposite.
-|Faites en apres auſſi le ſemblable des autres points enſuyvants: en mettant touſiours la ligne d’un poinćt à l’autre, à chaſcun le ſien.
-|- style="font-family: times, serif; vertical-align:top;"
-|In this way you will mark five points along the Perpendicular Diameter, and the letter N will be the sixth.
-|Et par ce moyen vous trouverez cinq poinćts à marquer ſur le Diametre perpendiculaire: & la lettre N. y ſervira pour le ſixieme.
-|- style="font-family: times, serif; vertical-align:top;"
-|After this, we conventionally label each point with its own number. The first one, which is closest to the Centre, is 4. On the next one beyond that, 5. Then 6, 7, & 8 follow, so that the final point, which is on the N, will be number 9.
-|Apres il conviendra mettre à ceſdits poinćts à chaſcun ſon nombre: aſſavoir ſur le premier, qui eſt le plus proche du Centre 4. ſur le prochain enſuyvant 5. plus 6. 7. & 8. conſequement: en ſorte que le dernier poinćt, qui eſt marqué de l’N.ſera  tenu pour le 9.
-|- style="font-family: times, serif; vertical-align:top;"
-|So, to begin the numbering, and the practical ability to discern all the different Forces, if the opposing blade lacks any sensation, so that when you disengage your sword it remains above the Exterior Collateral, where it crosses the Perpendicular Diameter at M, it is the first Force, which we call, Deadweight.
-|Pour venir donc, au denombrement, & à la pratique pour diſcerner touts les Poids; ſi la lame contraire manque de tout ſentiment, de ſorte qu’en deſtachant les eſpees, elle demeure immobile au deſſus de la Collaterale exterieure marquée ſur le Diametre perpendiculaire de la lettre M. c’eſt le premier Poids que nous appellons, Mort.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the Second Force, which is Sensation, upon disengagement, the sword springs over to the Interior Collateral, above the letter L.
-|Avec le ſecond Poids, qui eſt le Sentiment, en deſtachant les eſpees, elle ſautera juſques à la Collaterale Interieure au deſſus de la lettre L.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the third, which is Alive, it springs to above the principal Diameter.
-|Avec le tiers, qui eſt le Vif, elle ſautera juſqu’au deſſus du Diametre principal.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the fourth, which is Lively, it springs to above the point marked number 4, as it is the place of the fourth level of force.
-|Avec le quatrieme, qui eſt Gaillard, elle ſautera juſqu’au deſſus du point marqué en ciffre 4. comme eſtant l’endroit du quatrieme poids.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the fifth, Livelier, it will go to the point marked number 5.
-|Avec le cinquieme, Plus-gaillard, elle arrivera juſqu’au poinćt marqué en ciffre 5.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the sixth, Very-Lively, it will spring to point number 6.
-|Le ſixieme, Tres-gaillard, ſautera juſqu’au poinćt 6.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the seventh, Strong, it will spring to point number 7.
-|Le ſeptieme, Fort, juſqu’au 7.
-|- style="font-family: times, serif; vertical-align:top;"
-|With the eighth, Stronger, it springs to point number 8.
-|Le huićtieme, Plus-fort, juſqu’au poinćt 8.
-|- style="font-family: times, serif; vertical-align:top;"
-|The ninth, called Very Strong, will spring over to the ninth point, which is at the letter N. And as this is the edge of the Circle, it is also the last and the strongest of all the Forces, that we will work with.
-|Le neufieme, Tresfort, ſautera juſqu’au neufieme poinćt, qui eſt l’endroit de la lettre N: & comme c’eſt la borne du Cercle, auſſi eſt ce lendroit du dernier & du plus fort de tous les Poids: hors mis les Extremes.
-|- style="font-family: times, serif; vertical-align:top;"
-|When you are at the Second Instance, and you are subjugating your opponent’s sword, in the way described, you will be able to judge by the feel, which of the nine degrees of Force your opponent’s blade is pressing up with against yours. Then, the instant you disengage swords, you will name that Force: Deadweight, Sensation, Alive, Lively, Livelier, and so on, whichever it is, and you will see how well your judgement accords with how far the sword springs. Continue this exercise until you are quite capable of judging correctly each time. The most expedient way to achieve this is to practise from the Second Instance, with the advantage of having the upper blade, and the convenience of not moving. Because if the body was moving, it would diminish the ability to feel the opponent’s blade. But being stopped, one’s senses are all freer, because all there is, is the force on the blade. I would like, then, for the Student to be well-versed in these exercises to develop his judgement, and to assist him, we present the best and most convenient opportunities to learn as possible. Because the lower blade cannot always be constrained to act against the upper blade with all the different Forces, as we specified. But I would, nontheless, that the Student be able to feel them, to be able to recognize them more easily.
-|Eſtant donc à la Seconde Inſtance, & y tenant l’eſpee contraire aſſujettie en la forme ſuſdite, Vous jugerez par le ſentiment avec lequel de ces neuf poids la lame cōtraire travaille par deſſous contre la voſtre: puis en deſtachant les eſpees, vous nommerez le poids au meſme inſtant ſelon  le jugement que vous y aurez fait, ſoit Mort, Sentiment, Vif, Gaillard, Plus-Gaillard, ou autre quel qu’il ſoit: & puis verrez ſi le jugement s’accorde au ſaut de l’eſpee. Auquel exercice il faudra continuer juſques à tant que vous en ſoyez rendu capable. Or le plus expedient pour y parvenir, c’eſt de le pratiquer du commencement à la Seconde Inſtance, avec l’avantage de la ſuperiorité, & la commodité d’avoir le corps arreſté. Car le corps eſtant en aćtion, il ne peut eſtre que le ſentiment n’en ſoit aucunement amoindri; mais eſtant arreſté, il a touts les ſens plus libres; par ce qu’il eſt tout en puiſſance. Ie veux donc que le Diſciple ſoit bonnement exercé à faire ceſdites jugements, & que pour l’y ſtyler, on luy preſente les meilleures & plus commodes occcaſions qu’il ſoit poſſible. Car la lame inferieure ne peut eſtre contrainte de travailler à la Seconde Inſtance avec tant de poids differens, comme nous venons de ſpecifier; mais je veux toutesfois qu’elles s’en ſerve en faveur du Diſciple, pour les luy apprendre à cognoiſtre plus aiſement.
-|- style="font-family: times, serif; vertical-align:top;"
-|In any case, one should not think this is never used. On the contrary, after you have subjugated your opponent’s sword at the Second Instance, if you raise your right foot and move forward so as to step and then thrust at him along the line of the Inside Square from the Third Instance, as shown in Circle No 5, then as you step forward you must duly increase your control by sliding the point of contact along the blades, so that you will have a greater advantage when you aim your hit at your opponent’s face. He will be forced, if he does not want to be hit, to increase the degree of force of his blade as you move in, even up to “Very Strong,” which is the highest degree of all, or be unable to resist your increased domination if he does not.
-|Toutesfois il ne faut penſer pourtant qu’ils ne viennent jamais en uſage. Car au contraire, apres que vous luy aurez tenu l’eſpee aſſujettie à la meſme Seconde Inſtance, ſi vous eſlevez conſequemment le pied droit avec avancemēt de corps pour cheminer & donner l’atteinte au long du Quarré Inſcrit à la Troiſieme Inſtance, ainſi qu’il eſt icy repreſenté au Cercle 5. Et qu’en cheminant ainſi en avant vous augmentiez deuement voſtre ſuperiorité par la graduation des eſpees, en ſorte que le coup en ſoit dreſſé avec autant d’avantage devers le viſage du Contraire; in en ſera forcé, s’il ne veut recevoir l’atteinte, d’augmenter ſon poids à l’advenant, ne pouvant reſiſter à voſtre ſuperiorité tant augmentée, s’il ne prend en aide tout le reſte des poids, meſmes juſqu’au Tres-fort, qui eſt le dernier de touts.
-|- style="font-family: times, serif; vertical-align:top;"
-|Once you are able to instantly judge and name, just from the feel, all the different degrees of Force, when standing still, free, and in a strong posture at the Second Instance, you must also practice the same, and in the same way, while you are moving, when your foot is raised to step from the Second Instance along the Inside Square towards the Third, always with the goal of performing the same strike to the head as above. At which point your adversary will be forced to defend by increasing his effort, augmenting the force. Thus you again disengage swords at the same time, in the same way as above, likewise naming the degree of force you believe it to be, to see if it still matches with your judgement. You must continue to practise until you have acquired a solid basic aptitude. Since each level of force requires a different response, as the following examples will make clear,  you can be assured that this skill is the foundation of self-confidence and precision in everything else.
-|Or apres que vous ſerez rendu capable de juger & nommer tout à l’inſtant touts les poids au rapport du ſentiment, le corps eſtant arreſté à la Seconde Inſtance, libre, & totallement en puiſſance; auſſi faudra il conſequemment que vous alliez pratiquant le meſme, & en la meſme ſorte, durant que le corps ſera en aćtion, & que le pied droit ſera deſia eſlevé pour cheminer de la Seconde Inſtance au long du Quarré Inſcrit devers la Troiſieſme, en intention d’y donner touſiours la meſme atteinte, que deſſus. A laquelle occaſion, le Contraire ſera forcé pour ſe defendre d’accoiſtre ſon effort, en augmentant le poids. Dont vous deſtacherez derechef au meſme inſtant les eſpees en la meſme ſorte que deſſus, nommant pareillement le nom du poids ſelon ce qu’il vous en ſemble, pour voir encores ſil le ſaut en accordera avec voſtre jugement. En quoy il faudra que vous continuiez ſemblablement, juſqu’à tant que vous y ayez acquis une mediocre habitude. Car puis qu’il eſt neceſſaire d’appliquer à chaſque difference de poids differentes operations, ainſi que les exemples ſuyvants feront paroiſtre, il faut croire que ceſte habitude eſt le fondement de l’aſſeurance, & de la juſteſſ de tout le reſte.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1.'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Showing how Alexander has subjugated his opponent’s sword to the inside, while moving from the First Instance, along the Inside Square, to the Second.''
-|''Repreſentant comme Alexandre a aſſujetti l’eſpee contraire en dedans, en allant de la Premiere Inſtance au long du Quarré Inſcrit à la Seconde.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Suppose the two adversaries have begun with their swords held in the Direct line posture at the First Instance. Here we see Alexander has Subjugated his opponent’s blade to the inside, at the Second Instance, stepping with his right foot along the line of the Inside Square, and following with his left foot in a circular movement, setting it down along the Outside Square, toes at the Oblique Diameter, heel at D. This procedure was explained fully in Table VII, Circle No 1. But now we must take a close look at how he must act, after he has reached this position, to take advantage of what he can discover about his opponent’s intentions from his sense of feel. Therefore, once at the Second Instance, and holding his opponent’s sword subjugated according to the proper amount of force required, he pays serious attention to the feel so as to know exactly which degree of Force his opponent is using against his blade. He may percieve that it lacks any sensation at all, as if deadweight. His immediate and subsequent actions that he uses to deal with this will be explained below, in Circle No 3. Take note that the Student must be very prudent before beginning to act, and so I must necessarily present a word of explantion about why he must be so.
-|Preſuppoſant que les deux Contraires ayent preallablement tenu les eſpees en droite ligne à la Premiere Inſtance; voicy conſequemment Alexandre qui à aſſujetti la contraire en dedans du bras à la Seconde Inſtance, cheminant avec le pied droit par la trace du Quarré Inſcrit, & pourſuivant circulairement avec le pied gauche, à planter ſur le Circonſcrit, les orteils ſur le Diametre oblique, & le talon ſur la lettre D. dont il n’eſt beſoing d’en expliquer maintenant la procedure, voyant qu’elle eſt amplement deſcrite au Tableau VII. Cercle 1. Mais preſentement il faut examiner comment il ſe doibt gouverner apres qu’il y ſera arrivé, pour ſe prevaloir de la cognoiſſance du Sentiment. Eſtant donc à ladite Seconde Inſtance, &  tenant l’eſpee contraire aſſujettie ſelon la juſteſſe requiſe, il prend ſerieuſement garde au ſentiment pour en conoiſtre le Poids, avec quoy, la lame inferieure travaille contre la ſeinne, que s’il s’apperçoit quelle manque de ſentiment, comme eſtant morte. L’operation & la pourſuite qu’il doibt faire là deſſus, ſera tantoſt ſpecifiée au Cercle 3. Car ainſi qu’il faut une grande circomſpećtion au Diſciple avant que de la commencer, ainſi il m’est neceſſairement avant que la declarer, de vous en expoſer en un petit mot la cauſe.
-|- style="font-family: times, serif; vertical-align:top;"
-|Up until now, we have exempted our Student the need to consider the different degrees of force pressing against his sword. Because at first he would not be able to, and he had enough to do to learn to control his body, learn the footwork, and learn the arm and sword movements without adding on these extra considerations, where he would find himself completely lost in a multitude of competing considerations which are of no use to know at the beginning of training. And we have, moreover, supposed, in all the previous lessons, that when subjugating the blade at the Second Instance, and in following on, that the Adversary would constantly present him with the best possible openings, so that he would have to think of nothing more than to easily follow the lessons as shown by the figures. In this way, having arrived at the Second Instance, he would follow his path, moving on directly towards the Third Instance without any other consideration. This he can no longer begin to do, without first carefully considering what is the best course of action to follow. Because different degrees of force shall, from no on, require different actions in response, which present a danger he could not safely avoid, if he wished to proceed otherwise. We shall demonstrate this principle in Circle No 2, where we can see Alexander will undoubtedly be wounded because he did not pay enough attention to, and work appropriately with, the amount of force with which he was presented.
-|Iuſqu’icy nous avons diſpenſe noſtre Diſciple de travailler avec obſervation de Poids: à cauſe que du commencement il n’en eſtoit pas capable, & qu’il avoit aſſés à faire à gouverner ſeulemēt bien le corps, les demarches des pieds, & les mouvements du bras & de l’eſpee, ſans ſe mettre de premiere abord en des preceptes, où il ſe trouveroit tout incontinent embrouillé par la multitude, & encores plus par la ſubtilité, qui ne luy eſt nullement neceſſaire à l’entree de l’Exercice. Et partant nous avons preſuppoſé en toutes les leçons precedentes, qu’en aſſujettiſſant l’eſpee contraire à la Seconde Inſtance, & depuis travaillant conſecutivement, que le Contraire luy baillera touſiours les occaſions auſſi belles qu’il ſera poſſible, afin qu’il n’aye à penſer a rien, ſinon à mettre commodement en execution les leçons qui luy ſont repreſentées par les figures. En ſorte qu’eſtant venu à la Seconde Inſtance, il pourſuivra ſa demarche, en cheminant conſecutivement ſans nulle autre conſideration devers la 3. Ce qu’il ne pourra toutesfois deſormais commencer, ſans aſſeior preallablement un bon jugement de ce qui luy ſera plus convenable. Car puis que la diverſité du Poids requiert auſſi à l’advenant diverſes operations, il ne pourroit eſchapper le danger, s’il y vouloit aller autrement. Pour laquelle choſe repreſenter, nous en mettons icy un example au Cercle 2. auquel eſt demonſtré qu’Alexandre ſera bleſſé indubitablement, s’il ne travaille ſelon l’exigence du Poids, qui luy eſt preſenté.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2.'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander, at the Second Instance, has not noticed that his opponent’s blade had no force; it was Deadweight. He attempted to give a thrust from the Third Instance, but instead found himself wounded.''
-|''Alexandre n’ayant obſervé à la Seconde Inſtance le Poids de la lame contraire, qui eſtoit Morte; entreprend de luy vouloir donner l’eſtocade à la Troiſieme Inſtance: dont il ſe trouve eſtre bleſſe luy meſme.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here we see Alexander, who will work against his opponent’s subjugated sword without having paid attention to how it feels. For, as he raised his foot from where it was at point G, to step over to the letter N, he has slid his sword along his opponent’s, moving the point of contact the same number of Spans up his sword, as he has along his opponent’s, from where it was subjugated, to where it is under the centre of his blade, and so move to wound his opponent in the face, as we see, for example, in Circle No 5. But because his opponent’s blade is Deadweight, that is, he feels nothing from it, at the instant he puts his foot down, Zachary can disengage the swords without Alexander noticing and hit him underneath his guard, without moving his firmly planted feet.
-|Voicy donc, <font style="font-variant:small-caps">Alexandre</font>, qui va travailler ſur l’eſpee aſſujettie ſans prendre garde du ſentiment. Car en levant la pied droit du lieu ou il eſoit planté au poinćt G. pour aller à la lettre N. il augmente la graduation de ſon eſpee, par les meſmes nombres de l’eſpee contraire, où elle eſtoit preallablement aſſujettie, pour y mettre deſſus le Centre de la ſienne, & ainſi le bleſſer au viſage, à l’exemple de ce qui ſe voit repreſenté au Cercle 5. Mais d’autant que la lame contraire eſt morte, en ſorte qu’il n’en avoit pas de ſentiment, ſur l’inſtant qu’il plante le pied à terre, <font style="font-variant:small-caps">Zacharie</font> deſtache les eſpees ſans qu’il s’en puiſſe à peine appercevoir, & luy en donne au meſme inſtant l’atteinte au deſſoubs de la garde, du lieu ou il eſtoit planté ferme a ferme.
-|- style="font-family: times, serif; vertical-align:top;"
-|Nonetheless, Alexander could give the same hit with less danger, if he, while sliding the contact along the blade, had opened up the angle and so be able to step inside it by moving his right foot forward.
-|Toutesfois il pourra donner le meſme coup avec moins de danger, ſi <font style="font-variant:small-caps">Ale</font>xandre en graduant ſon eſpee à fait quelque ouverture d’angle, & qu’il prenne bien l’occaſion de s’y fourer dedans, moyennant l’avancement du pied droit.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3.'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Sensing that the subjugated blade is just Deadweight, he works against it accordingly, by stepping directly forward along the Interior Collateral, towards his adversary in order to wound him.''
-|''S’appercevant par le Sentiment, que a lame aſſujettie eſt Morte; il travaille deſſus ſelon l’exigence, en bleſſant & marchant droitement ſur ſon Contraire au long de la meſme Collaterale, où il eſt eſtoit planté.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action shows the correct follow-on from Circle No 1, when Alexander subjugated his opponent’s sword at the Second Instance, where it remained a lifeless Deadweight. To follow on according to the needs of this situation, he moves his body by stepping forward along the Interior Collateral that runs near to Z, wounding his opponent with a straight arm thrust to the face as he does so, drawing his left foot up behind him, and thus stepping inside the angle of his opponent’s sword. Because it is held in a lifeless manner, Zachary cannot begin move it in time to make any sort of defense. It remains immobile, above the Exterior Collateral, where it was subjugated. This is what the figures are showing.
-|Ceſte operation demonſtre la vraye pourſuite du Cercle 1. où Alexandre tenoit l’eſpee contraire aſſujettie à la Seconde Inſtance, icelle demeurant Morte. Pour y proceder donc ſelon l’exigence de l’occaſion, il s’avance le corps en eſlevant le pied droit, du quel eſtant arrivé à la moitié du l’Inſtance, il deſtache les eſpees, plantant enſemblement le pied ſur la Collaterale interieure juſqu’aupres de Z, & bleſſant au meſme temps d’un bras roide ſon Contraire au viſage, avec proportionnelle pourſuite du pied gauche, ſe mettant ainſi dedans l’angle de l’eſpee inferieure: laquelle puis qu’elle eſtoit morte ne ſe peut mouvoir à temps pour faire aucune defenſe convenable; ains elle demeure immobile au deſſus de la Collaterale exterieure, où elle avoit eſté aſſujettie. Voilà le ſens des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4.'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He perceived that the subjugated sword resisted his to the degree called Sensation. To work against it, he stepped moving both feet over to the Diameter, and placed his sword-point precisely in front of his opponent's face.''
-|''Ayant apperceu, que la lame aſſujettie tient du Sentiment; il travaille deſſus en entrant avec les deux pieds un peu à coſté ſur le Diametre, & luy mettant ſa poinćte par courtoiſie devant le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Tbis action also begins by subjugating the sword, but in this case the sword resists with Sensation, the second degree of Force. Alexander feels through the contact of the swords that his opponent’s blade has Sensation. He moves his right foot forward and a little to the right side, with his body leaning slightly backwards. At the instant he overbalances, he disengages the swords, whereupon the lower sword springs according to the degree of Force, as far as the Interior Collateral, where Alexander was before, but by this time he set his foot down at the Centre of the Circle, out of his opponent’s danger zone, while again placing his sword tip exactly in his opponent’s face. He then brings his left foot up into place at H, and bends his arm to hold his tip exactly in place. This is shown by the figures.
-|Ceſte operation prend auſſi ſon origine de l’aſſujettiſſement de l’eſpee, en cas qu’elle tienne du Sentiment, qui eſt le ſecond Poids. <font style="font-variant:small-caps">Alexandre</font> donc s’appercevant par l’attouchement des eſpees, que la lame Contraire à du Sentiment; il s’avance du pied droit un peu à coſté à main droite avec le corps panché à l’envers; & à l’inſtant qu’il commence à tresbucher, il deſtache les eſpees, dont celle de deſſoubs en ſaute ſuyvant l’effort du Poids juſqu’au deſſus de la Collaterale Interieure, où <font style="font-variant:small-caps">Ale</font>xandre eſtoit planté premierement, mais à preſent au meſme temps il plante le pied droit avec le corps panché en arriere ſur le Centre du Cercle (en ſorte qu’il luy eſt ſorti hors de preſence) luy mettant enſemblement la poinćte de l’eſpee devant le viſage, avec proportionnelle pourſuite du pied gauche trainant juſques à l’H. & courbant cependant le bras pour arreſter ſa poinćte par courtoiſie; ainſi que les figures demonſtrent.
-|- style="font-family: times, serif; vertical-align:top;"
-|In the actions of both these last two Circles, take great care not to drop the connection with the opponent’s sword before the right foot has reached the mid-way point to the Instance, and that at the same time as you suddenly set your foot down, to strike. If, by chance, at the moment you raise your foot up, your opponent increases the force of his blade, then you must first stop or reduce his movement it with a small push back, always assuming that the force he uses can be safely controlled. But if, as you begin, he increases the degree of Force to Lively or Very Lively, then you must follow with other actions. That is, while you are taking a whole step towards your opponent, you can allow him to lift the swords up a little, so it seems to him that he is forcing them aside, but then, at the moment your foot comes down to the ground, you dominate his sword and subjugate it once again  and so be able to move inside the angle of his sword. From this position, you can work against him as opportunity presents, as will be shown in following Plates.
-|En toutes les deux operations de ces derniers Cercles, il faut observer de n’abandonner jamais l’eſpee contraire, avant que le pied droit ſoit arrivé à my-voye de l’Inſtance, & que lors en le plantant ſoudainement, on donne au meſme temps l’atteinte. Et s’il advient d’adventure au commencement en eſlevant le pied droit pour cheminer, que le cōtraire augmente quelque peu le poids de ſa lame, alors il la faudra premierement engourdir ou amortir avec un petit pouſſement, preſuppoſant que l’augmentation du poids de laquelle il ſe ſera ſervi puiſſe eſtre dompté avec aſſeurance. Mais s’il l’augmente du commencemēt juſques à en venir, au Gaillard ou plus Gaillard, il faudra pourſuivre l’operation autrement; aſſavoir en vous avançant avec le pied droit un pas entier devers le contraire, durant lequel vous luy laiſſerez monter un peu les eſpees, avec quelque apparence de les tranſporter, mais le redompterez, & aſſujettirez derechef à l’inſtant que mettrez le pied en terre, en vous logeant par meſme moyen au dedans de ſon angle. Et apres vous travaillerez de ce lieu là ſuyvant ce que les occaſions requerront, comme il en ſera demonſtré pluſieurs exemples à la ſuite des autres Tableaux.
-|- style="font-family: times, serif; vertical-align:top;"
-|Note again that when practicing these actions, to place the tip of the blade exactly in front of your adversary’s eyes with your body erect and your arm slightly extended, that to do this against the Deadweight degree of Force, you only need to take a short step forward with the right foot along the Interior Collateral,  that against the Sensation degree of  Force you move the same foot onto the Diameter at the letter H. But if opportunity presents a chance to make a forceful, direct attack, one must move from the Second Instance to the inside with a double-length step, bending the forward knee and leaning the body over it, in the usual way of other strikes, and as is shown in Circle 6.
-|Obſervez encor en faiſant l’exercice de ces meſmes operations, que pour mettre la poinćte de l’eſpee en courtoiſie devant les yeux du contraire avec le corps droit, & le bras mediocrement eſtendu, que ſur le Poids Mort il ne vous faut avancer qu’un pas arreſtant par le droit ſur la Collaterale Interieure; & ſur le Poids de Sentiment il faut mener le meſme pied ſur le Diametre à la lettre H. Mais s’il eſtoit queſtion de tirer à bon eſcient & d’en faire l’execution en rigueur; il faudroit s’avancer depuis la Seconde Inſtance en dedans d’un pas double, en pliant meſme le genouil anterieur, & panchant le corps deſſus, à la maniere ordinaire des autres executions, & comme il eſt repreſenté en ce preſent Tableau au Cercle 6.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5.'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''The opposing blade, while subjugated, pushes back with an Alive degree of Force. Alexander advances to the Third Instance, sliding the point of contact up the sword, and again puts his tip in his opponent’s face.''
-|'' La lame aſſujettie demeurant Viſve; Alexandre s’avance à la Troiſieme Inſtance, en faiſant la graduation, & luy mettant derechef la poinćte contre le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action begins the same way, in Circle No 1, where Alexander has subjugated his opponent’s blade aside at the Second Instance. However, this time the force against it is different, instead of being Deadweight, or just the Sensation degree of Force, it is pushing back with the third degree of Force, called Alive. Against this Alexander enters in against his opponent by moving along the Inside Square, and, when he is mid-way, above where the Exterior Collateral crosses the line of the Inscribed Square, keeping his body straight, he extends his arm, and slides the point of contact up the sword, so that, as he sets his foot down at point N and leans his body forward, he catches the blade with the inside branch of his crossguard, and the centre of his blade crosses the 4th or 5th Span of his opponent’s blade. As his contact slides up, he circles his tip towards the right to aim at the right side of his opponent’s head. He wounds him as he draws his left foot along the Outside Square to the letter K, while, at the same time, he turns his right foot so the heel rests along the Circumference of the Circle, as shown in the figure.
-|Ceſte operation prend pareillement ſon origine de celle du Cercle 1. ou Alexandre a tenu l’eſpee contraire aſſujettie à la Seconde Inſtance: toutesfois le poids en a eſté different: car au lieu qu’elle eſtoit paravant Morte, ou qu’elle n’avoit qu’un ſimple Sentiment, maintenant elle uſe de Poids Vif. Sur lequel voicy comment Alexandre travaille. Il entre ſur ſa partie adverſe enſuivant la trace du Quarré Inſcrit, & parvenant à my-voye de la Troiſieme Inſtance au deſſus de la ſećtion des lignes, il va graduer avec le corps droit & le bras eſtendu, en ſorte qu’en panchant du corps ſur le devant, & plantant le pied eſlevé au poinćt N. il ſurprend de la branche interieure de ſa garde, & par meme voye il aſſemble le Centre de ſa lame aux Nombres 4. ou 5. de la lame contraire; en dreſſant avec ladite graduation la pointe circulairement vers le coſté droit de la teſte de ſa partie; le bleſſant avec pourſuite du pied gauche à planter moitié au Quarré Circomſcrit ſur la lettre K. tournant enſemblement le talon du pied droit du Quarré Inſcrit ſur la Circonference du Cercle; ainſi qu’il eſt repreſenté en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, when performing this action, to adapt it perfectly to your opponent, great care must be taken while the right foot is making its way, before your body overbalances, and before you begin to work against his sword. If he does not change his counter, then continue on as shown by the figures.
-|Or en pratiquant ceſte operation, pour la bien adjuſter il faut exaćtement prendre garde, cependant que le pied droit chemine, & avant qu’il commence à tresbucher avec le corps, & devant que vous ayez commencé à travailler. Car s’il ne le change point, vous en pourſuivez la continuation en la forme que les figures repreſentent.
-|- style="font-family: times, serif; vertical-align:top;"
-|But if he increases his resistance to the Lively level of Force, with which he could move the swords enough to parry the thrust, one must apply the actions of Circle No 7.
-|Mais s’il alloit renforcer ſa lame juſqu’au Poids Gaillard; dont il pourroit parer l’eſtocade en tranſportant les eſpees, il y faudroit appliquer l’operation du Cercle 7.
-|- style="font-family: times, serif; vertical-align:top;"
-|If he reinforces his blade with a little less than a Lively level of Force, you only need, to keep your superiority over him, to slide the point of contact up to a stronger Span and add however much strength as required to dominate his, and then strike him the same way as before, having made his change of Force useless.
-|S’il la renforçoit un peu moins que Gaillard, il ne faudroit que temperer voſtre ſuperiorité alencontre, en graduant un peu vos nombres, & en renforçant l’effort de voſtre lame un petit à l’advenant pour maiſtriſer la ſienne, & luy donner encor la meſme atteinte que devant, conſideré que le changement qu’il y apporte luy eſt rendu inutile.
-|- style="font-family: times, serif; vertical-align:top;"
-|On the contrary, if it should happen, before your body begins to overbalance, that you feel him lessen the Force against your blade, it is certain the he is beginning to move his blade away, to disengage and strike you, perhaps on the right side of your blade by moving underneath the guard, then stepping forward, as he must, to enter in from your right side. Therefore, you must be careful not to continue the same steps, until you have made sure that the opponent’s sword cannot easily disengage from yours. Your right foot will be raised up, halfway through the step towards the Third Instance. By quickly turning it outwards, you can withdraw it a little to the left and adroitly turn your right side away, setting your foot down, and quickly drawing your left foot up, body leaning forwards, arm straight, tip pointing at his face, with the blade going downwards a little bit, proportionally, with the guard keeping his sword blocked, so he cannot reach underneath, and so he will be wounded in his face or the upper part of his chest.
-|Au contraire, s’il advient, avant que le corps vous commence à tresbucher avec le pied elevé, que le Sentiment vous die, que la lame de deſſoubs affoiblit ſon Poids, c’eſt choſe indubitable, qu’elle commence à travailler pour ſe delivrer de la voſtre, en intention de vous bleſſer, peut eſtre au coſté droit au long de voſtre lame au deſſoubs la garde, avec un pas quil doit faire en entrant ſur vous du pied droit. Pourtant en ce cas, vous vous garderez de cōtinuer la meſme demarche, ains avant que l’eſpee aſſujettie aye aucunement le loiſir de ſe deſacher de la voſtre, le pied droit eſtant preſentement eſlevé en l’air à my-voye de la Troiſieme Inſtance, en le tournant en dehors vous le retirerez un peu à gauche en eſquivant le coſté droit, & plantant ſoudainement le meſme pied à terre, avec une ſoudaine pourſuite du pied gauche, le corps panché ſur le devant, le bras roide & la pointe de l’eſpee aſſenée au viſage du Contraire, la lame deſcendant proportionnellement un peu avec la garde, en retenant touſiours la ſuperiorité, en ſorte qu’il ne puiſſe toucher par le bas, & qu’il en ſoit bleſſé luy meſme au viſage, ou en la partie ſuperieure de la poitrine.
-|- style="font-family: times, serif; vertical-align:top;"
-|But if he begins to lessen the force of his blade when you are already overbalanced and cannot avoid stepping forward, in this case set your foot down as far backwards as you can, even if you cannot avoid setting your foot down on the letter N at the Third Instance. At that point, carry on and proceed as before.
-|Mais s’il commençoit à vous faire ceſdits changements, au temps que le pied droit commence à tresbucher enſemble avec le corps; il vous faudroit obſerver en ce cas de le planter touſiours autant qu’il ſeroit poſſible en arriere, & quant au reſte y proceder encor en la meſme ſorte que devant: voire meſme combien que le pied fuſt venu ſi avant qu’il fuſt impoſſible de l’empeſcher de tomber à terre au poinćt N. à la Troiſieme Inſtance.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6.'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the follow-on and rigurous execution of the action begun previously, by which <font style="font-variant:small-caps">Alexandre</font> slides the contact of his sword up his opponent’s blade with a straight arm, driving the two guards together and back, then quickly, with the right foot, stepping up to the letter S, along the Diameter, and putting his weight on his knee, but without moving his left foot up. So his sword pierces his opponent’s head, as is portrayed by their figures.
-|C’est la pourſuite & execution en rigueur de l’operation dernierement precedente, faite par Alexandre en graduant d’un bras roide l’eſpee contraire, en ſorte que les deux guardes viennent à s’entredonner avec force, cheminant avec le pied droit juſqu’à l’S, qui eſt au deça le Diametre, & menant ſur le genouil d’iceluy la charge du corps, ſans nulle pourſuite du pied gauche; perçant ainſi la teſte à ſon Contraire; comme il eſt pourtrait en leurs figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7.'''
-|'''Cercle N.7'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has moved against the Alive degree of Force from the Second Instance towards the Third, to perform the same thrust as in Circle 5. He percieves, as his foot reaches N, that Zachary has, to defend himself, increased his resistance to the Lively degree. So he steps with his other foot to W, so his left side comes around in front, and, with his arm bent, places his sword-tip before his opponent’s face.''
-|''Alexandre s’eſtant acheminé ſur le poids Vif de la Seconde Inſtance vers la Troiſieme, pour y effectuer encor la meſme eſtocade, qu’au Cercle 5. il s’apperçoit, que Zacharie augmente le Sentiment du poids Gaillard, pour ſe defendre, dont il met le pied droit en terre à la lettre N. pourſuivant avec l’autre juſqu’à l’W. en avançant le coſté gauche, & luy preſentant ſa poinćte d’un bras courbé devant le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Having precisely countered the Alive degree of Force and subjugated his opponent’s sword, Alexander is in the act of making his way towards the Third Instance to again perform the same strike as in Circle No 5. At the same instant that he arrives at the mid-point towards the Instance, and as he begins to slide his sword along, he senses his opponent’s blade increase to a Lively degree of Force, so as to turn aside the thrust he is aiming at Zachary’s face. Therefore, as this change begins, Alexander, while setting his foot down at the Third Instance, prevents his opponent’s sword from rising up, by adjusting the force on his own blade to match and contol the lower one. At the same time, he continues on by lifting and advancing his left foot. As he does this, feeling that his opponent’s blade is keeping the same increased amount of Force, he bends his arm so that his sword rises upwards, and turns his body slightly to bring his left side forward. As his opponent continues to try and move the swords over and force his aside, he suddenly bends his arm to the inside (i.e. drawing the right elbow back), turning the outside branch of the crosspiece upwards, which alows his opponent’s sword to spring freely too far off line, so that it comes of its own accord back into contact with the weak part against either the strong part or the centre of his own sword. In this same way, he can aim his tip precisely, straight towards his opponent’s eyes, trapping the sword from beneath with the exterior branch of his crosspiece, while spinning so his raised left foot comes inside the angle of the sword to the letter S, with his knee bent and weight forward on it. Thus, he then has but to forcibly execute the thrust, as can be seen in the portraits of the figures.
-|Apres le juſte aſſujettiſſement de l’eſpee contraire tenant le Poids Vif, <font style="font-variant:small-caps">Alexandre</font> s’eſtant  à cheminé devers la Troiſieme Inſtance pour y donner encor la meſme atteinte, comme au Cercle 5. au meſme inſtant qu’il arrive avec le pied droit à my-voye de l’Inſtance, & qu’il commence à faire la graduation, il s’apperçoit par le ſentiment, que le Sentiment de la lame contraire s’augmente en Poids Gaillard, pour deſtourner le coup, qui luy eſt dreſſé vers le viſage. Au commencement doncques de ce changement, <font style="font-variant:small-caps">Alexandre</font> empeſche l’eſpee contraire de monter, en mettant le pied en terre à la Troiſieme Inſtance, & en domptant par la moderation de ſon propre poids à l’advenant de celuy de deſſoubs; pourſuivant quand & quand d’eſlever & avancer le pied gauche; durant laquelle aćtion, ſentant que le Contraire continue touſiours en a meſme augmentation de Poids qu’il avoit commencée, il s’aſſeure ſur le ſentiment de laiſſer un peu monter & tranſporter les eſpees, en ſe courbant le bras un peu en dedans vers le haut, & preſentant de meſme voye le coſté gauche peu à peu devant: & d’autant que la partie adverſe ne laiſſe pas de continuer encor à luy vouloir tranſporter & aſſujettir l’eſpee, il courbe ſoudainement le bras en dedans, avec la branche exterieure haute, en donnant à l’eſpee contraire courſe libre, en ſorte qu’elle retombe d’elle meſme avec le foible au fort & Centre de la ſienne; & que par meſme voye il luy dreſſe ſa pointe par courtoiſie droit à la veuë, en ſurprenant la lame contraire par embas avec la branche exterieure de la ſienne, ſe tournant cependant avec le pied eſlevé au dedans de l’angle, & le plantant à la lettre S. avec le genouil plié, & le corps panché deſſus: quoy qu’il n’aye tenu qu’à luy d’en faire l’execution par rigueur: ainſi qu’il eſt aiſé de recognoiſtre aux pourtraits des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Note that, while you are allowing the swords to raise up a little, if your opponent begins to weaken his force, instead of allowing him to carry the swords across, you must once again dominate and force his sword down and away, while moving the left side and raised left foot forward and inside the angle of the sword.
-|Notez en laiſſant de voſtre conſentement un peu monter les eſpees, ſi l’adverſaire commençoit d’affoiblir ſon poids, qu’au lieu de luy accorder de les tranſporter, il vous faudroit la redompter & reaſſujettir derechef une autrefois, en avançant le coſté gauche & vous logeant derechef avec le pied eſlevé au dedans de l’angle.
-|- style="font-family: times, serif; vertical-align:top;"
-|Inasmuch as we have described Alexander’s actions putting his left foot down on the letter S on the Inside Square, there are also occasions which present themselves where he should move his foot the same distance, but along the Outside Square. For example, when the Opposing Force weakens, changing where he puts his foot is no longer merely desireable, but also necessary, so that when stepping forward with the right foot, the cut which must follow will be much easier. In any case, one must not decide in advance one way or the other, but respond according to the situation as it presents itself.
-|Or ainſi que nous venons de deſcrir l’operation d’Alexandre pour mettre le pied gauche à la lettre S. ſur le coſté du Quarré Inſcrit, auſſi il ſe preſentera des occaſions de le planter en meſme diſtance ſur le Quarré Circonſcrit; aſſavoir en cas que le Poids du Contraire ſoit un bien peu plus foible. car alors il ne ſera pas ſeulement loiſible, mais auſſi neceſſaire: & le coup d’eſtramaçon qui s’en doit enſuivre avec l’avancement du pied droit, n’en ſera que d’autant plus facile. Toutesfois il ne faut affećter ne l’un ne l’autre, ains ſimpement travailler ſelon que les occasions convient.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8.'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''While Alexander moves towards the Third Instance, to again perform the same strike, Zachary parries him, by increasing the force of his blade to Livelier, and so moves the blades to the inside. At this instant, Alexander sets his right foot down at the letter N, weighting it so as to close up with his left foot, which he sets down beside the other, then moves his right foot again, over to the letter L on the Perpendicular Diameter, shifts his weight over it, while turning his left side forward, and bending his arm so as to point his sword-tip in his opponent’s face.''
-|''Cependant qu’Alexandre s’achemine devers la Troiſieme Inſtance, pour y effectuer encores le meſme coup; Zachary le pare, en augmentant le Sentiment des lames en poids Plus-Gaillard, dont il les tranſporte en dedans. Auquel inſtant Alexandre met le pied droit en terre à la lettre N. ſe baſtant comme pour le chaſſer avec le pied gauche, le quel il met en terre parallele à l’autre, il tranſporte derechef le pied droit ſur le Diametre perpendiculaire au poinćt L. avançant ſur iceluy le corps avec le coſté gauche, & preſentant eſemblement d’un bras courbé ſa poinćte au viſage de ſon Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action begins the same way as the one before, continues on the same way, to the moment Alexander begins to slide the point of contact up the blade and aim his sword-tip. To parry this, Zachary, who worked the previous Circle with the Lively degree of Force, now increases this by a degree. Against this, Alexander again begins to counter by maintaining control over his blade, pushing down and dominating so the swords cannot come upwards. Meanwhile, he sets his right foot down at the Third Instance at N, quickly following on with the left foot, which he places on the ground parallel to and beside the other, and instantly lifts his right foot, almost as if he is dancing a demi-fleurette (quick-step), stretching his body up and allowing his opponent’s sword to rise. Zachary continues to increase the force on his sword, Alexander allows the swords to be moved over bit by bit, which he avoids by moving his body to the right, with his left side slightly forward and his arm slightly bent inwards. At the instant the swords reach the point of passing over the top of his head Alexander suddenly extends his arm outwards, knowing that Zachary’s sword will spring over out of control, carried by the force behind it, as far as the Principal Diameter before he can stop it. Alexander turns the crosspiece so the exterior branch is diagonally upwards. The blades connect so that a low-numbered Span in the weak part of his opponent’s blade crosses near the guard of his own, extending beyond and so trapped behind the exterior branch of his crosspiece. He aims his tip at his opponents face, setting his right foot down at L along the Perpendicular Diameter, his weight on his bent knee, and follows this by drawing his left foot up to N. The whole is shown precisely in detail, without executing the thrust which is entirely within his ability. This can be clearly seen in the representation by the figures.
-|Ceſte operation à le meſme commencement que la precedente, continuant auſſi en la meſme ſorte, juſqu’à tant qu’<font style="font-variant:small-caps">Alexandre</font> ſe met à faire la graduation, & à dreſſer ſa pointe; pour laquelle parer <font style="font-variant:small-caps">Zacharie</font>, qui a travaillé au precedent Cercle avec le Poids Gaillard: l’augmente icy un degré plus avant. Sur lequel <font style="font-variant:small-caps">Alexandre</font> travaille derechef au commencement pour luy tenir la lame en devoir, en la contrepeſant & domptant en ſorte qu’elle ne puiſſe monter; & cependant il plante le pied à la Troiſieme Inſtance au poinćt N. avec pourſuite du pied gauche, lequel il met tout ſoudainement parallele  aupres de l’autre, & derechef il eſleve le droit au meſme inſtant, quaſi comme en faiſant une demi-fleurette, avec extenſion du corps. & donnant quelque permiſſion de monter à l’eſpee contraire: laquelle continuant en l’augmentation du poids, il luy conſent de tranſporter peu à peu les eſpees, leſquels il ſuit avec le corps en allant à l’advenant vers le coſté droit avec le coſté gauche un peu avancé & le bras courbe lentement en dedans: & à l’inſtant que les eſpees viennent ſur le point de paſſer l’endroit du ſommet de ſa teſte: <font style="font-variant:small-caps">Alexandre</font> s’allonge le bras courbé en dehors, ſur l’aſſeurance de la continuation du poids, juſqu’au deſſus du Diametre principal, eſtant la branche exterieure de la garde tournée diagonalement en haut; le tout pour donner à l’eſpee contraire courſe libre: laquelle vient à ſe rendre avec le foible Nombre contre la garde de la ſienne, au dehors de la branche exterieure: en ſorte qu’il luy en dreſſe la pointe devant le viſage, en plantant le pied droit ſur le Diametre perpendiculaire à la lettre L, & en chargeant le corps ſur le genouil d’iceluy plié avec avancement du coſté gauche, & pourſuite du meſme pied à l’advenant, trainant juſques à l’N. Le tout ſe demonſtre par courtoisie, ſans en faire l’execution qui eſt toutesfoit en ſa puiſſance; ainſi quil ſe voit clairement en la repreſentation des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9.'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander again proceeds in the same way as before from the Second Instance to the Third. Zachary turns the hit aside, moving the blades over with a Very-Lively degree of Force. Which makes Alexander place his right foot at the Centre, moving his body forward and over his knee, drawing his foot to M, and once more putting the tip of his sword before his opponent’s eyes.''
-|''Alexandre procedant encor en a meſme façon de la Seconde Inſtance vers la Troiſieme; Zacharie deſtourne le coup en tranſportant les lames avec Poids Tres-Gaillard: qui faićt Alexandre va planter le pied droit ſur le Centre, en avançant & panchant le corps deſſus, trainant le pied juſques à l’M. & mettant enſemblement (comme devant) ſa poinćte devant les yeux du Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|In this action, there is no other difference from the two ones preceeding, except that while Alexander is in the process of extending the thrust at the Third Instance, Zachary parries to the inside with a Very-Lively level of Force, even more than before. Thereupon, Alexander controls himself again according to the principles from the previous Circle, moving his right foot along the Perpendicular Diameter over to the Centre, and leaning his body over his bent knee, following along with his left foot up to the letter M. He rapidly extends his inwardly bent arm along the Perpendicular Diameter, until it is above the Collateral, which releases his opponent’s sword to spring over until the weak part of the blade connects to the strong of his own, by which he can, in the same moment, turn his tip towards his opponent’s eyes, as we see in the figure.
-|En ceſte operation il n’y a nulle autre difference d’avec les deux derniers precedēts, ſinon que pendant qu’Alexandre eſt en aćtion d’allonger l’eſtocade à la Troiſieme Inſtance; que Zacharie la pare en dedans avec Poids tres-Gaillard, où il y a autant plus d’effort qu’au precedent. Là deſſus donc Alexandre ſe gouverne encore ſuyvant les obſervations du Cercle precedent, en cheminant avec le pied droit au long du Diametre perpendiculaire juſqu’au Centre, & y panche le corps à coſté deſſus le genouil plié, avec pourſuite du pied gauche revenant à la lettre M. & extenſion du bras droit courbé en dedans au deſſus du Diametre perpendiculaire, juſqu’à l’endroit de la Collaterale, moyennant laquelle, l’eſpee contraire eſt portée de ſon propre mouvement avec le foible au fort de la ſienne, de laquelle il luy en met en meſme temps la pointe devant les yeux; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander is again mid-way to the Third Instance, and sliding the point of contact up the blade to thrust. His opponent increases the force against him and raises the blades to move them to the inside. In response, he again dominates and subjugates the blade and forces it to the side, sliding the point of contact up his blade, and as he sets his foot down at N at the Third Instance, he leans his body over it and promptly moves his left foot to just outside the Circle along the line K-N. This action can also be done against the three preceeding degrees of force, Lively, Livelier, and Very-Lively.''
-|''Alexandre eſtant derechef à my-chemin de la Troiſieme Inſtance, & y faiſant la graduation pour donner l’eſtocade; ſa partie augmente le poids & hauſſe les lames pour les tranſporter en dedans; dont au meſme temps il le redomte & raſſujettit, en luy deſgraduant la lame, & poſant le pied droit en terre à la Troiſieme Inſtance, lettre N. avec le corps panché deſſus& logé dedans l’angle des eſpees, & le pied gauche pourſuivant promptement & revenant un peu dehors le Cercle alendroit de la ligne K N. Qui eſt une operation qui ſe peut pratiquer ſur les trois precedents Poids, Gaillard, Plus-Gaillard, & Tres-Gaillard.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This present action also begins in Circle No 1, where Alexander held his opponent’s sword subjugated, where we presume that his opponent used, and continued to use, the Alive degree of Force. Thus Alexander begins to continue to make his way towards the Third Instance. After he has reached the mid-point on the way, he once again, as before, begins to slide the point of contact up the opponent’s blade, keeping his body from leaning forward, to again hit as he did in Circle No 5. But his sense of feel tells him that the Force of the opposing blade is increasing from the level of Alive to one of the three previous levels, that is, either Lively, Livelier, or  Very-Lively, as shown, and each different action described, in the 7th, 8th, and 9th Circles, respectively. However, these levels of Force can all be responded to with the same action which we show here. That is, according to the degree to which Zachary increases the force on his blade, Alexander also increases his own, carefully allowing the swords to rise a bit, and the point of contact to slide up his opponent’s sword and down his own, so as to give the appearance that they are being moved across, meanwhile setting his right foot down at the letter N at the Third Instance. Insofar as he does this, his body moves forward while leaning in, while at the same time, by means of a slide along the blade, he again returns the point of contact back to the same Spans as before, when he previously controlled his opponent’s blade. He closes the upper right arm against his body, to further reinforce his sword, and to guard against overbalancing, and to bring his opponent’s sword back downwards and properly subjugated. With a rapid circular move, he follows on with his left foot setting it, at the proper distance, down ouside the Circle along the line K-N while moving his left side around and, with a slight lean of the body forward onto the right foot, comes inside the open angle of his opponent’s sword, which he just created.
-|La preſente operation prend auſſi ſon commencement du Cercle 1. où <font style="font-variant:small-caps">Alexandre</font> a tenu l’eſpee contraire aſſujettie, preſupposant qu’elle uſe, & continue à uſer du Poids Vif. Dont il a commencé a cheminer conſecutivement devers la Troiſieme Inſtance; & en eſtant venu à la my-voye, il ſe met derechef ainſi que devant à graduer un peu la lame contraire avec le corps aucunement panché ſur le devant, pour donner encor l’atteinte du Cercle 5. Mais il cognoiſt par le ſentiment que le Poids de la lame contraire, ayant eſté ſeulement Vif, s’augmente juſqu’en l’un des trois dernierement precedents, aſſavoir Gaillard, Plus-Gaillard, ou Tres-Gaillard: Sur leſquels ont eſté faites és Cercles 7. 8. & 9. autant de differentes operations à chaſcun la ſienne: leſquelles peuvent cependant toutes eſtre prevenues par celle que nous mettrons icy preſentement. C’eſt aſſavoir à meſure que <font style="font-variant:small-caps">Zacharie</font> ira augmentant ſon Poids; qu’<font style="font-variant:small-caps">Alexandre</font> augmentera auſſi à l’adventant le ſien, avec moderation & diſcretion de laiſſer monter un petit les eſpees, avec graduation de la contraire & deſgraduation de la ſienne propre, donnant comme apparence de les laiſſer tranſporter, & mettant cependant le pied droit en terre à la Troiſieme Inſtance au poinćt N. Et d’autant qu’en ce faiſant ſon corps s’avance avec abaiſſement, au meſme temps il regaignera derechef moyennant la deſgraduation, les nombres où il tenoit preallablement l’eſpee contraire en ſubjećtion, s’affermiſſant le haut du bras au coſté droit, pour en renforcer l’eſpee d’autant d’avantage, & pour l’aſſeurer cōtre les tresbuchements, & enſemble en ramener l’eſpee contraire vers le bas ſuyvant la juſteſſe de l’aſſujettiſſement; avec ſoudaine pourſuite circulaire du pied gauche, iceluy plantant dehors le Cercle à proportion de l’autre & reſpondant ſur la ligne K N: & enſemble preſentant le coſté gauche devant, lequel il loge (par le moyen du panchemēt de la partie ſuperieure du corps, repoſé ſur le pied droit) au dedans de l’angle, qu’il s’eſt ouvert ſur l’eſpee contraire.
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-|The actions which can follow from this will be seen elsewhere.
-|Les executions qui ſe pourront faire en ſuite de ceſte operation ſe verront autrepart.
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-|It may appear that the position of Alexander’s left leg lagging behind at G is not in accord with the description we have given above. This was drawn like this deliberately to be able to clearly show the actions of the arm, hand, and sword-guard, which would not be possible, as they would be hidden, if his back were turned forward.
-|Or combien que la ſituation du pied gauche d’<font style="font-variant:small-caps">Ale</font>xandre, ſemble contrarier en la figure à la deſcription que nous en venons de faire; à raiſon qu’il y ſemble demeurer à la Seconde Inſtance au poinćt G. toutesfois il faut entendre, qu’il a eſté là pour mettre à deſcouvert les operations du bras, de la main & de la garde de l’eſpee, ce qui n’euſt eſté praticable, en cas que le dos de la figure fuſt tourné devant.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11.'''
-|'''Cercle N.11.'''
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-|''Alexander has once again come to the mid-way point to the Third Instance, sliding his sword and turning the tip of his blade towards his opponent’s face. Zachary defends himself by increasing the degree of Force up to Strong, carrying the swords to the inside, so that Alexander, at the same time he sets his foot down at N, disengages the swords by bringing his up high, and gives his opponent a cut across the face while stepping with his left foot swiftly forward to the letter W but making sure to keep his body erect.''
-|''Eſtant encores venu à my-chemin de la Troiſieme Inſtance, graduant & tournant la poinćte de ſa lame devers le viſage de Zacharie, iceluy s’en defend par l’accroiſſement du Sentiment en poids Fort, en tranſportant les eſpees en dedans, donc Alexandre mettant au meſme temps le pied en terre à la lettre N. il deſtache les eſpees en menant la ſienne en haut; & en donne à ſon Contraire un coup d’eſtramaçon au viſage, en marchant avec le pied gauche viſtement en avant juſqu’à W. avec le corps aucunement panché en devant.''
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-|Here we have yet another action which likewise follows from Circle No 1 where Alexander has subjugated his opponent’s sword and is moving from the Second Instance towards the Third. His right foot has reached the mid-way point and makes the briefest of pauses at the same time that he begins to slide the point of contact along the two swords, extends his body, and aims his sword-tip towards his adversary’s face. Who, in turn, to deflect the strike, increases the level of Force against the blade to Strong. In this way, he raises the blades up and carries them across, but with the sudden force, he cannot stop his blade from reading the centre line. This is why Alexander offers no resistance, allowing the blades to follow this path, then quickly enters in, placing his right foot down at the Third Instance, and, spinning on his right toes, swiftly follows, stepping with the left foot all the way to W along the Circumference, turning his left side forwards, along with the guard and part of his right arm. As he does this, using his wrist, he swings his blade around so the tip of his sword goes backwards under his opponent’s blade, then up, overhead and, as his left foot comes down, his blade also comes down and cuts across the right side of his opponent’s head, as it is shown in the figure.
-|Voicy encor une autre operation, qui procede pareillement du Cercle 1. où Alexandre a tenu l’eſpee contraire aſſujettie & comme il s’eſt acheminé de la Seconde Inſtance vers la Troiſieme, en eſtant venu avec le pied droit à my-chemin, il y a fait comme une petite pauſe, & quand & quand, il y a commencé à graduer toutes les deux eſpees, eſtendant le corps & dreſſant ſa poinćte devers le viſage de ſa partie adverſe. Lequel pour deſtourner le coup, augmente le ſentiment de ſa lame en Poids Fort; au moyen duquel il eſleve & tranſporte les lames avec une ſoudaine force, dont la ſienne ne peut s’engarder de tresbucher. C’eſt pourquoy Alexandre luy donne courſe libre ſans reſiſtence, en entrant viſtement avec le pied droit à la Troiſieme Inſtance, & ſoudainement pourſuivant avec le pied gauche, en l’avançant avec le coſté gauche, & auſſi un peu le bras droit avec la garde, en jettant au meſme temps à l’aide du ſeul poignet de la main, ſa poinćte en arriere de deſſoubs l’eſpee contraire en deſſus, & par la continuation du meſme mouvement, plantant le pied gauche ſur la Circonference au poinćt W, il donne à ſon Contraire un coup d’eſtramaçon, allant par deſſus la lame & le bras au coſté droit de la teſte, avec pourſuit du pied gauche, qui ſuit & traine apres l’autre ſur les orteils; comme il eſt pourtrait en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12.'''
-|'''Cercle N.12.'''
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-|''This circle again continues in the same way, up to the part when he moves his left foot. Instead of making the aforesaid cut to the face, because the force of the opponent’s sword has carried it further downwards, he raises his sword-tip upwards in a circular way, closing his hand and guard against the right side of his chest and wounds his opponent with the sword-tip above the arm, with his body leaning forwards.''
-|''Continuant derechef en la meſme ſorte, juſqu’à tant qu’il commence à avancer le pied gauche, au lieu, de donner le ſuſdite coup d’eſtramaçon ( à cauſe que l’eſpee contraire eſt en aćtion des tresbucher un peu plus bas) il conduit ſa poinćte circulairement en haut, s’affermiſſant la main & la garde contre la poitrine au coſté droit, & bleſſant ſa partie de poinćte au viſage par deſſus le bras avec le corps panché en avant.''
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-|This action accords with the preceeding one, not only in that they both begin from the same position when subjugating his opponent’s blade, but also in the Strong degree of Force with which his opponent resists against him. There is but this difference, in that, in the preceeding Cercle, Alexander set his right foot down and, while he moved his raised left foot around forwards, at the same time he disengaged his sword, bringing the sword-tip from underneath to above his opponent’s blade as it went past. But this time his adversary’s sword goes further down than in Circle No 11, giving Alexander time, in this present action, to turn his hand so the interior branch of the crossguard is upwards and hold it against his right side, slightly lower down than is shown here, as he moves his left side forward. He again sets his left foot down at W along the Outside Square, leaning slightly forwards over the bent knee, pointing the sword-tip over his opponent’s arm and sword at his adversary’s face. This action is performed with exactness, as it appears in the figure.
-|Ceſte operation n’eſt pas ſeulement accordante avec la precedente, en ce qu’elles prennent toutes deux leurs commencements de l’aſſujetiſſemēt des eſpees, mais auſſi meſmes en l’augmentation de poids, que revient en l’une & en l’autre juſqu’au fort. Il n’y a que ceſte difference, qu’en la precedente <font style="font-variant:small-caps">Alexandre</font> plantant le pied droit & eſleveant en avant le gauche, il a deſtaché au meſme temps les lames, en menant la pointe de la ſienne de deſſoubs en deſſus la lame contraire tresbuchante: laquelle deſcend preſentement d’avantage qu’au Cercle 11. dont <font style="font-variant:small-caps">Alexandre</font> ſe tourne en ceſte operation preſente la main avec la garde de l’eſpee la branche interieure en haut, & l’affermit (en menant le coſté gauche du corps devant) contre ſon coſté droit, un peu plus bas qu’il n’eſt icy repreſenté au pourtraićt, en preſentant enſemblement la pointe par deſſus l’eſpee & le bras contraire au coſté droit de la teſte de ſa partie adverſe, avec le pied gauche pour planter au poinćt W ſur le Quarré Circonſcrit, le corps panchant de meſme deſſus le geuouil d’iceluy plié. Le tout eſt pratiqué par courtoiſie; comme il appert aux figures.
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-|'''Circle No 13.'''
-|'''Cercle N.13.'''
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-|''While he advances his right foot towards the Third Instance, slides his sword up his blade, and aims his point at the face of his opponent, at the instant his foot comes down at the letter N, his adversary increases the level of Force against him to Very Strong, enough to carry both the swords backwards. So, at the same time as he guides the swords overhead, he sets his left foot down beside his right, and almost chases his right foot outside the Circle to W, and leans forward while cutting to the right side of the head.''
-|''Cependant qu’il s’avance avec le pied droit devers la Troiſieme Inſtance, graduant & dreſſant ſa poinćte avec le bras ferme devers le viſage de ſon Contraire; à l’inſtant que le pied s’abaiſſe à la lettre N. ſa partie augmente le Sentiment en poids Plus fort, & luy tranſporte l’eſpee; dont au meſme temps il la mene de bas en haut en entrant du pied gauche & le plantant parallele, comme en chaſſant l’autre un peu dehors le Cercle à l’W, & enſemble donnant un coup d’eſtramçon à ſon Contraire au coſté droit de la teſte, avec le corps panché en avant.''
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-|This action follows from the same beginning and continuation as the previous. That is, Alexander has first subjugated his opponent’s sword at the Second Instance. From there he began to make his way to the Third, and when his right foot had reached about half-way, he began to slide the point of contact of his sword along, arm straight, by the same number of Spans to keep his opponent’s sword subjugated. Thus Zachary began to increase the force of his resistance. To which Alexander likewise at first maintained his dominance by increasing his counter-force as needed, in such a way as to keep the swords from rising up. Thus continuing the slide up the sword, with a circular motion, he aims his point at the face of his adversary as he sets his foot down at N. By this, Zachary is constrained to parry and carry the swords across to the inside by increasing the level of Force to Stronger. Thereupon Alexander, by abruptly disengaging and allowing the sword to spring over, then brings his own up, with a sudden step with the left foot, he sets it down next to his right, which, at that same moment, he raises and moves forward, almost like the quick-step dance-move, and while he does this, as he sets his foot down just beyond the Circle near W, he cuts his adversary diagnonally across the right side of his head, while leaning his body forward, as is shown in the figure.
-|Ceſte cy procede encor d’un meſme commencemēt & d’une pareille continuation comme la precedente: aſſavoir qu’Alexandre à premierement tenu l’eſpee contraire aſſujettie à la Seconde Inſtance: d’où il s’eſt acheminé devers la Troiſieme, & eſtant venu avec le pied droit environ le milieu, il a commencé d’avancer la graduation de ſon eſpee d’un bras roide, par les meſmes Nombres où l’eſpee contraire eſtoit aſſujettie: dont Zacharie a commencé d’augmenter ſon poids. Le quel Alexandre à pareillement domté au cōmencement, par l’augmentation de ſon contre-poids à l’advenant, en ſorte qu’il a empeſché les eſpees de monter en haut; & ainſi continuant la graduation, il a dreſſé ſa pointe circulairement contre le viſage de ſa partie adverſe, en poſant le pied à terre à la Troiſieme Inſtance au poinćt N. De quoy Zacharie eſt contraint de parer & tranſporter les lames en dedans en augmentant le Sentiment en Poids Plus fort. Là deſſus Alexandre en la deſtachant tout à l’inſtant, & la laiſſant tresbucher, mene la ſienne de bas en haut, avec une ſoudaine pourſuite du pied gauche, le plantant tout joignant l’autre, lequel quand & quand il leve & avance, cōme en forme d’une demy-fleurette, & durant icelle, il donne à ſon Contraire un coup d’eſtramaçon diagonal au coſté droit de la teſte, avec le corps preſt à pancher ſur le devant, pour planter le pied droit un peu hors du Cercle, en deça le poinćt W. comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14.'''
-|'''Cercle N.14.'''
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-|''Alexander has passed though all the previous steps, to the moment he sets his foot down at N. Zachary parries his attack, carrying the swords over with a Very Strong degree of Force. Therefore, Alexander advances with his left foot under him, bringing his sword from underneath the other, over his head, and setting his foot down at W and leaning forward, delivers a reverse cut to the back of Zachary’s head.''
-|''S’eſtant passé encores tout le meſme juſqu’au temps que le pied droit d’Alexandre s’abaiſſe à la lettre N: Zacharie luy pare le coup, en tranſportant les eſpees avec poids Tres-fort: dont Alexandre s’avance avec le pied gauche deſſus luy, menant l’eſpee de deſſoubs l’autre au deſſus de ſa teſte, & en plantant le pied à l’W. avec le corps panché de meſme, il bleſſe le Contraire d’un coup de revers au derriere de la teſte.''
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-|This action likewise begins with the same steps as the preceeding ones, in the same order. Alexander is moving from the Second Instance to the Third, and at the same time gradually sliding the point of contact up the sword, when his Adversary increases the Force against him. This he overcomes by appropriately increasing his own force, and because of his superior position, prevents the swords from rising up. As he continues to slide the point of contact, keeping his arm straight and extended, he directs his sword-tip towards his opponent’s neck, while putting his foot down at N, and beginning to bring his left foot forward. As the attack comes in this way, Zachary has no option but to increase the Force of his resistance to Very Strong, so that he turns the blades aside, forcing them over to the inside. Alexander feels this, but unlike previously when he disengaged his sword and allowed his opponent’s to freely fly across, he now keeps contact as they pass overhead until they have lowered enough, before he releases Zachary’s sword to spring and overshoot down and out of the way, while bringing his own in a circular path around and over his head to strike diagonally down across the back of his opponent’s head, using his extended arm, as his left foot lands on the Outside Square at W, and his right foot spins on his toes to point forward, as is shown by the figures.
-|Ceſte operation a pareillement le meſme commencement, que les precedentes, & la meſme pourſuite. <font style="font-variant:small-caps">Alexandre</font> allant de la Deuxſieme Inſtance vers la Troiſieme, & au meſme temps qu’il ſe met à faire lentement la graduation, le Contraire luy augement le poids. Lequel il dompte par la juſteſſe du contrepois qu’il luy oppoſe, & par l’avantage de la ſuperiorité, dont il engarde les lames de monter plus haut, & continue la graduation encommencée avec le bras roide & eſtendu, dirigeant ſa pointe circulairement vers le col de ſon Contraire, en plantant à meſme temps le pied droit à la lettre N. & pourſuivant d’avancer le gauche. Le coup eſtant porté en ceſte ſorte, <font style="font-variant:small-caps">Zacharie</font>s n’a point d’autre rememde pour le parer, que d’augmenter le Sentiment juſqu’au Poids Tres-fort, dont il deſtourne & tranſporte les lames en dedans. Ce que ſentant <font style="font-variant:small-caps">Alexandre</font>, qui a par cy devant deſtaché les eſpees, en donnant à la contraire courſe libre, preſentement durant le tranſport, il les tient accoupleés juſqu’à tant qu’elles ſoyent aſſez deſcenduës, avant qu’il la laiſſe ſauter & tresbucher à val de route, en menant la ſienne circulairement de bas en haut par deſſus ſa teſte, & en donnant par la continuation du meſme mouvement à la teſte du Contraire par derriere un coup de revers diagonal avec le bras eſtendu, le pied gauche tombant ſur le Quarré Circonſcrit au poinćt W, & le droit ſe tournant proportionnellement à l’advenant; ainſi que repreſentent les figures.
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-|In all the actions described in this Plate from Circle 11 on, Alexander has made his way from the Second Instance to the Third, intending to thrust his opponent in the face. Zachary has forseen this and parried, by raising and carrying Alexander’s sword across to the inside, intending to subjugate it, of which there is no doubt that this is the most convenient defense. In any case, he can also defend himself in another manner, that is, by increasing the force of his resistance and bringing the swords directly upwards, without any intent to carry them aside. Against this action, Alexander again attempts to dominate at first, by increasing his counter-force, intending to pursue his thrust. But if his adversary continues to increase the force of his resistance ever more to counter the hit coming at his face, raising the swords by means of Strong, Stronger, or Very-Strong levels of Force, this becomes no longer possible to dominate, nor to keep his opponent’s sword under control. Alexander allows it to escape upwards, to fly uncontrolled overhead, to an obtuse angle, while bringing his own point underneath, moving his body forward, so that he is inside the angle beneath his opponent’s sword, either with a step with the left foot or the right, as opportunity presents, and at the same time he turns the interior branch of his crossguard upwards, secures his hand against his right side and drives the sword through the right side of his opponent’s torso, with as much force and power as he can with his body. But this shall not be shown in any Plate, even one of similar actions as this.
-|En toutes les operations de ce Tableau depuis le Cercle 11. en avant, ou <font style="font-variant:small-caps">Alexandre</font> c’eſt acheminé de la Seconde Inſtance vers la Troiſieme pour y donner à ſon Contraire l’atteinte au viſage: le coup à touſiours eſté prevenu & paré de <font style="font-variant:small-caps">Zacharie</font>, en hauſſant & tranſportant l’eſpee contraire en dedans, comme avec intention de l’aſſujettir, qui eſt ſans doubte le plus convenable à ſa defenſe. Toutesfois il ſe pourra auſſi defendre en autre ſorte, aſſavoir en augmentant le poids & menant les eſpees droitement en haut, ſans intention de les tranſporter. Laquelle aćtion il convient derechef qu’<font style="font-variant:small-caps">Ale</font>xandre dompte en ſon premier commencement par la moderation du contrepoids, afin de pourſuivre ſa pointe. Que ſi l’adverſaire continue alors d’augmenter ſon poids encor d’avantage pour parer le coup qui luy eſt dreſſé vers le viſage, en hauſſant les eſpees avec Sentiment fort, Plus-fort, ou Tres-fort, lequel il ne ſeroit deſormais plus poſſible de dompter, ne de tenir l’eſpee contraire en devoir: il la laiſſera eſchapper en haut au deſſus de ſa teſte en angle obtus, en menant la pointe de la ſienne deſſous, avec avancement du corps, qu’il logera durant ce meſme mouvement au dedans de l’angle deſſous l’eſpee Contraire, ſoit avec la demarche du pied droit, ou du pied gauche, à meſure que l’occaſion le permet; & qu’à meſme temps il s’affermiſſe le bras, & la garde au coſté droit du corps, avec la branche interieure tourner en haut; pouſſant l’eſpee au coſté droit a travers la poićtrine de ſon contraire, donnant au deſſous du bras avec pleine force & avancement du corps, ce qui ſera repreſenté cy apres an aucuns Tableaux de ſemblables operations.
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-|It may come to be that Zachary parries the thrust aimed at his face by simply raising the swords, but with less Force than we have specified, and that he contents himself to apply only a Lively, Livelier, or Very-Lively degree of Force, as in the examples shown by the 7th, 8th, and 9th Circles, where it happens that his blade will not fly up high enough. In this case, one must again slide along the blade and re-establish control, as shown in Circle No  10 against the same force.
-|Que s’il advenoit que Zacharie pare l’eſtocade qui luy eſt dreſſé devers le viſage en hauſſant ſimplement les eſpees, avec moins de Poids que nous ne venōs de ſepcifier, & qu’il ſe contentaſt d’y appliquer le Gaillard, Plus-gaillard, ou Tres-Gaillard, à l’exemple des Cercles 7. 8. & 9. dont il advendroit que ſa lame ne s’en fuyeroit pas aſſez viſtement; alors il la faudroit derechef deſgraduer & remettre en ſubjećtion; comme il a eſté fait & repreſenté au Cercle 10. ſur les meſmes Poids.
-|- style="font-family: times, serif; vertical-align:top;"
-||
-|- style="font-family: times, serif; vertical-align:top;"
-|All of these examples serve to demonstrate the great importance of the sense of Feel, which is so frequently held in such little esteem by Masters of this profession. But seeing how the truth is so self-evident, they are, despite their wishes, constrained to know something about how forces act on the blade. But as soon as one attacks their blade, they feel hindered, and try by all means to deliver themselves from these straits, either by withdrawing, or by circular disengagements, or by feints, or grosser actions which are slow and take up time that they might have used to better advantage. If only they were not so enamoured of nurturing their ignorance, rather than learning to do better. At the least, as they feel hindered by the coupling of swords, they ought to consider that if they are themselves inconvenienced, that their adversary is no more free of this hindrance than they, and while some hindrances are greater than others, all these can be made more effective by following the same basic principles. And each of these hindrances can be remedied with it’s own counter move. These Masters ought to be advised they can lessen their own sense of hindrance, and increase that of their adversaries, merely by means of the sense and feel of the blade in their hand, without immediately losing their courage to desperation, for which there is no remedy except to escape as quickly as possible. This is completely the reverse of how to respond. Because experience not only demonstrates to us the importance of a sense of feeling for assessing and knowing things, but, moreso, it is a common language we can all learn, that there is nothing more sure and certain than the touch of the hand. We see that the blind know with only their sense of touch the different values of coins, and how to find their way along the streets to their intended destination. And following their example, when we find ourselves in the obscurity of darkness, we do the same. And because, in the Exercise of Arms, it is necessary to be able to discern the power or weakness of your opponent as he moves. How else do they think one could possibly understand, if not by a sense of feel through the crossing of swords and the heaviness or lightness of that touch, which is the real goal and purpose of the use of this sense. As such, it is necessary to ignore these men or to listen to them while keeping this fact in mind. By what other means would they have us know when our opponent begins to act against us, so that we can counter him, if not by the sense of feel that comes from crossing swords, where we can detect when he is about to begin because the force of his blade  against our own becomes lighter? The sense of feel tells us in half the time it takes for us to see what is happening. Finally, how else would they have it, that we can work with confidence against someone, if we do not have a sense of feel by which we can know with how much force, and on which side, our opponent is attacking? Considering these points, it is easy to see that those who hold as detrimental such a useful ability are holding to false doctrines. For as soon as we have crossed swords, we can approach our opponent with confidence, because we are certain to know in good time, all the designs he would undertake against. Designs which he cannot even begin to execute, but we are already prepared against him. This is such a notable advantage, one which has been in use in the Exercise of Arms for so long, yet without these masters having been able to see it. This is a skill so obvious, so important, and so necessary, that those who have not completely learned it have no better ability than one who has never touched a weapon in his life. And through ignorance of this, they hold the belief that approaching an opponent is so dangerous that they must make use of main-gauche, or two swords, as if the sword was not entirely sufficient in and of itself for both the defence of the of  the holder and causing harm to an opponent.
-|Toutes ces exemples demonſtrent clairement le tres-grand uſage du Sentiment, qui eſt toutesfois en ſi petite eſtime envers les Maiſtres de ceſte Profeſſion. Mais veu que la verité en eſt ſi evidente, ils ſont contraints malgré qu’ils en ayent, d’en recognoiſtre le forces. Car tout auſſi toſt qu’on les attaque la lame, ils s’en ſentent incommodez, & taſchent à la delivrer par touts moyens, ſoit en reculant, ſoit an cavant ſoit en uſant de feintes, ou meſmes de plus lourdes aćtions durant leſquelles il eſt neceſſaire qu’ils perdent touſiours autant de temps, duquel ils ſe pourroyent prevaloir à leur advantage, s’ils n’aimoyent pas de careſſer pluſtoſt leur ignorance, que d’apprendre à mieux faire. A tout le moins, puis qu’ils ſe ſentent incommodez par l’accouplement des lames, ils devroyent penſer s’ils en reçoivent quelque incommodité de leur part, qu’auſſi l’adverſaire en eſt pas libre, & puis que les incommoditez ſont plus grandes les unes que les autres, auſſi qu’elles peuvent eſtre augmentées en pourſuivant les meſmes commencements, & que elles peuvent eſtre remediés par leurs contraires. Ils devroyent adviſer à diminuer leurs propres incommodites, & à augmenter celle de leurs adverſaires par la moderation du Sentiment meſme, ſans perdre incontinent courage comme en une choſe deſeſperée, à laquelle il n’y a point de remede ſinon d’en eſchapper à touts marchez. Ce qui eſt tout au contraire. car l’experience non ſeulement nous demonſtre, que l’attouchement eſt de tres-grand importance pour le jugement & la cognoiſſance des choſes, mais qui plus eſt le commun langage nous apprend, qu’il ne peut y avoir aſſeurance plus certaine que celle qu’on touche à la main. Nous voyons que les aveugles congnoiſſent au ſeul ſentiment les differences de la monnoye, qu’à l’aide d’iceluy ils trouvent les chemins pour arriver par tout où ils pretendent; & à l’exemple deſquels quand nous nous trouvons en obſcurité, nous faiſons de meſme: & puis qu’en ceſt Exercice des Armes il eſt queſtion de diſcerner le fort & le foible des mouvements du Contraire, par quel moyen veulent ils donc qu’on les puiſſe comprendre, ſinon par le ſentiment & par l’attouchement des eſpees, & puis que le fort & le foible, ſont le propre objećt du ſentiment: en ſorte que’il eſt neceſſaire de les ignorer ou de les entendre par ceſte voye ſeule. Par quel moyen veulent ils qu’on comprenne les commencements des meſmes mouvements du Contraire, pour travailler à temps alencontre, ſinon par l’attouchement, auquel les commencements ſe deſcouvrent par leur foibleſſe, touſiours un demy temps pluſtoſt qu’ils ne ſe peuvent appercevoir à la veuë. Et finalement comment veulent ils, qu’on travaille avec aſſeurance alencontre, ſi on n’a pas l’attouchement par lequel on cognoiſſe avec quelle force, & de quel coſté l’adverſaire travaille. Par leſquelles conſiderations, il ſe voit que ceſt à fauſſes enſeignes, qu’ils tiennent pour dommageable ce qui eſt en effećt ſi Vtile. Car dés que nous avons l’attouchement des lames, nous pouvons faire nos approches deſſus l’adverſaire avec aſſeurance, puis que nous ſommes certains de ſçavoir touſiours à temps les deſſeings qu’ils voudra faire, leſquels il ne pourra tant ſeulement commencer que nous ne ſoyons deſia preparez alencontre. Advantage ſi notable, & ſi digne, que c’eſt choſe admirable, comment l’Exercice des Armes a eſté ſi longuement en vogue, ſans que les Maiſtres s’en ſoyent apperceus, eſtant choſe ſi claire, ſi ample, & ſi neceſſaire, qu’au defaut de l’avoir pratiquée, ils ſe voyent à touts moments, comme reduits à l’eſgal de ceux qui jamais n’ont manié les armes. Et pour l’ignorance de laquelle, ils tiennent les approches ſi dangereuſes, qu’ils en ſont contraints de ſe ſervir inutilement de la main gauche, ou d’Armes doubles, comme ſi l’eſpee neſtoit auſſi bien ſuffiſante à defendre la perſonne qui en uſe, comme elle eſt capable à offencer le Contraire.
-|}
 {{master end}}
 {{master begin
-  | title = Book 1 - Tableau / Plate X - More on parries by force.
+  | title = Book 1 - Tableau / Plates XII - XXII
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 12-22}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 10.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE TENTH PLATE
-|DECLARATION DES OPERATIONS DV TABLEAV DIXIEME
-|- style="font-family: times, serif; vertical-align:top;"
-|If it was not terribly apparent in the previous Plate just how vitally important a sense of feel is, it will be come quickly apparent in those which follow, and there are an ample number of examples. This is because it extends to all occurences when one has occasion to cross blades, as much from afar as in close, as much for the attacker as for the defendant, whether your Opponent is passive, or active, whether he is approaching or retreating, or whether he is performing the strangest moves that he knows. As such, we shall set ourselves, henceforth, to research the infinity of good and subtle inventions that Man has devised and put into practice for his defence. Just as Necessity is Mistress of the Arts, even to the point of having parrots and magpies learn to mimic human speech so far from their own nature, one must not doubt that those who are blessed with far more refined abilties, as are men, would thus have developed infinitely superior methods of self-defense. Observe that all animals have an innate desire for self-preservation, and that these employ, in times of need, all their strengths, both spiritual and physical, in their own defense. But, as we shall not dive too deeply into this labyrinth, we shall begin with situations not very much different from the preceeding actions, that is, those which follow from the subjugation of the blade at the Second Instance, just at the Oblique Diameter. Circle No 1 demonstrates the entry into distance, and the form which follows.
-|S’il eſt apparu par le Tableau Precedent, que le Sentiment eſt de terrible conſequence; il apparoiſtra ſemblablement bien toſt par ceux qui s’enſuivent, qu’il eſt auſſi fort ample: à cauſe qu’il s’eſtend à toutes les occurrences, où l’on a moyen de venir à l’attouchement des lames, tant de loin que de pres, tant pour l’aſſaillant, que pour le defendant, ſoit que le Contraire ſe repoſe, ou qu’il travaille, qu’il s’approche, ou qu’il recule, ou meſme qu’il ſe prevaille des mouvements les plus eſtranges, qu’il ſçauroit faire. En ſorte que nous nous allons mettre d’oreſenavant à la recerche d’une infinité de belles & ſubtiles inventions, que l’homme pourroit mettre en pratique pour ſa defenſe. Car puis que Neceſſité eſt la principale Maiſtreſſe des Arts, meſmes juſques à monſtrer aux Perroquets & aus Pies la prononciation du language humain tant eſloigné de leur Nature; il ne faut pas douter, que ceux qui ſont douëz de ſi rares qualitez, comme les hommes, n’ayent trouvé des pratiques infiniement excellentes pour ſe defendre; voyant que touts animaux ont un extreme deſir de leur propre conſervation, & qu’à icelle en temps de Neceſſité ils employent toutes leurs forces, tant corporelles, que ſpirituelles. Mais pour ne nous foncer du commencement trop avant dedans ce labyrinthe, nous commencerons par les occaſions, qui ne s’eſloignent guere des operations precedentes; aſſavoir par ce qui procede en ſuite de l’aſſujettiſſement des lames à la Seconde Inſtance en deça le Diametre: dont le Cercle N.1. en demonſtre l’entree, en la forme ſuivante.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander holds his opponent’s blade subjugated at the Second Instance, on the Diamter at the letter G.''
-|''Alexandre tient l’eſpee Contraire aſſujettie à la Seconde Inſtance en deça le Diametre à la lettre G.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two opponents were previously at the First Instance, swords held parallel in the direct line posture, with Alexander’s sword beneath the other. He then began to work, raising his sword-tip,  and setting his blade at the 3rd Span against the 8th Span of his opponent, at the same time raising his right foot up off the ground. He then moves the swords along the side of the Inside Square to the Oblique Diameter halfway to the Second Instance, while sliding the point of contact of the blades back so that his 8th Span comes to contact the 4th or 5th Span of his opponent and then subjgates his opponent’s blade as he sets his right foot down at the point G, at the Second Instance, drawing his left foot along using a circular path, to set it down at the Outside Square, with the toes along the Oblique Diameter, as is amply described and explained in Table VII, Circle No 1, and as is shown here in this figure.
-|Les deux Contraires ayants preallablement eſté à la Premiere Inſtance avec les eſpees paralleles en droite ligne, l’une au deſſus de l’autre, aſſavoir celle d’<font style="font-variant:small-caps">Alexandre</font> deſſous; il a commencé à travailler, en hauſſant ſa pointe, & aſſemblant ſa lame à Nombre 3. contre le Nombre 8. de ſa partie adverſe, eſlevant au meſme inſtant le pied droit de terre; & le menant quand & quand le long du Quarré inſcrit au deça le Diametre juſquà my-chemin de la Seconde Inſtance, faiſant cependant la deſgraduation de l’eſpee contraire par la graduation de la ſienne propre, en ſorte que ſon Nombre 8. ſe vient aſſembler au 4. ou 5. des Nombres contraires, & conſequemment il en fait l’aſſujettiſſement en ces meſmes Nombres, avec plantement du pied droit eſlevé, le poſant au poinćt G. à la Seconde Inſtance, & pourſuivant circulairemēt avec le pied gauche, à planter ſur le Quarré circonſcrit, les orteils d’iceluy ſur le Diametre oblique; ainſi qu’il eſt plus amplement ſpecifié au Tabl. VII. Cercle N.1. & qu’il ſe voit icy repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He steps from the Second Instance to the Third, and puts the tip of his blade in front of his opponent’s face.''
-|''Il marche de la Seconde Inſtance à la Troiſieme, & y preſente la poinćte de ſa lame au viſage de ſon Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|As Zachary is waiting for the follow-on to the previous action, Alexander advances with the right foot following the side of the Inside Square and sliding the point of contact up his sword, by the smallest number of Spans. Then Zachary immediately begins to increase his force, to defend himself. But, by sliding the point of contact up his sword Alexander has already acquired a very powerful dominance over his opponent’s sword, and continues his thrust, stepping in with the right foot to the letter N at the Third Instance, and following with his left foot to the letter K and placing his sword-tip exactly in front of his opponent’s face, as shown by the figures.
-|Puis que <font style="font-variant:small-caps">Zacharie</font> attend la pourſuite de la precedente operation; <font style="font-variant:small-caps">Alexandre</font> s’avance avec le pied droit ſuivant la trace du Quarré inſcrit, & graduant ſa lame par les moindres Nombres de la lame contraire. Dont Zacharie commence incontinent à en augmenter le poids, pour ſe defendre. Mais comme ainſi <font style="font-variant:small-caps">Alexandre</font> ait acquis une tresgrande ſuperiorité par la graduation de ſa lame, il en dompte l’eſpee contraire, & pourſuit ſon eſtocade, en entrant avec le pied droit à la Troiſieme Inſtance au poinćt N. & pourſuivant avec le pied gauche à planter à la lettre K, & à mettre enſemblement ſa pointe en courtoiſie devant le viſage de l’Adverſaire; comme les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander, wishing to complete the attack and finish the preceeding action, enters swiftly into his opponent, with his right foot moving along the line of Inside Square and driving his point firmly, so that the two guards collide forcefully, as he sets his foot down at S, and put his weight on his bent knee, leaning forward as he sends his sword through his opponent’s head. As shown in the figures.
-|<font style="font-variant:small-caps">Alexandre</font> voulant achever l’atteinte & l’execution de l’operation precedente, il entre viſtement avec le pied droit deſſus ſon Adverſaire  par le trac du Quarré inſcrit, en graduant les lames, & aſſenant ſa pointe en rigueur, de ſorte que les deux gardes s’entredonnent avec force, en plantant le pied eſlevé au poinćt S, & menant ſur le genouil d’iceluy plié la charge du ſon corps à pancher ſur le devant, en pouſſant ſa lame à travers la teſte de ſon Contraire; ſelon les figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Again, he tries to perform the action from Circle No 2, while he steps towards the Third Instance. His adversary parries his strike, carrying the swords across to the inside with a Very-Strong force. So Alexander wounds him with a reverse strike to the back of his head.''
-|''Travaillant derechef pour effectuer l’operation du Cercle N.2. cependant qu’il marche devers la Troiſieme Inſtance; l’Adverſaire luy pare le coup, en tranſportant les eſpees en dedans avec poids Tres-fort: dont Alexandre le bleſſe d’un coup de revers au derriere de la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This actions follows from that shown in Circle No 1, where Alexander has subjugated his opponent’s blade at the Second Instance, again intending to perform action of Circle No 2. Thus, stepping with his right foot towards the Third Instance, he slides his blade with his arm straight and extended against the 5th Span of his opponent’s blade, which Span he previously held it at bay. And however much Zachary tries to parry the blow by increasing his force, nonetheless, Alexander has such superiority, that he dominates him, in such a way that the blades cannot rise up, while turning his sword-tip, with a circular motion, downwards towards the right side of his opponent’s neck, while he is moving his raised right foot towards the Third Instance at letter N, and then brings his left foot along in a circular path. By this, Zachary must employ a Very Strong degree of force to raise the blades and carry them to the inside. Which does not prevent Alexander, during this movement, from keeping the blades coupled together, and so restrain his opponent’s blade with his own beneath the other, until they have lowered enough. At that instant he disengages and allows it to fly out of control, while bringing his own out from under the other, up above his head, and ,as he sets his left foot down at W on the Outside Square, and leans his body forwards, putting his weight over his knee, he extends his arm and strikes diagonally downwards with reverse cut, to the back of his opponent’s head. This is shown in the figure.
-|Ceſte operation procede de celle qui eſt repreſentée au Cercle N.1. où <font style="font-variant:small-caps">Alexandre</font> à aſſujetti l’eſpee contraire à la Seconde Inſtance, en intention de venir derechef à l’operation du Cercle N.2. Dont marchant avec le pied droit vers la Troiſieme Inſtance, il va graduant ſa lame avec le bras roide & eſtendu par le Nombre 5. de la lame contraire, ſur lequel il la tenoit paravant aſſujettie. Et combien que <font style="font-variant:small-caps">Zacharie</font> taſche à parer le coup en augmentant le poids: Toutesfois <font style="font-variant:small-caps">Alexandre</font> qui a autant de ſuperiorité, le dompte, de ſorte que les lames ne peuvent monter, tournant ſa pointe un peu circulairement deſcēdante, devers le coſté droit du col de l’Adverſaire, durant que le pied droit à preſent eſlevé ſe va planter à la Troiſieme Inſtance au poinćt N. avec pourſuite circulaire du pied gauche. Et par ainſi <font style="font-variant:small-caps">Zacharie</font> eſt contraint de travailler avec un poids Tres-fort, pour hauſſer les lames & les tranſporter en dedans. Ce qui n’empeſche pas <font style="font-variant:small-caps">Alexandre</font> de tenir, durant ledit tranſport, les eſpees accouplées, en retenant la contraire avec la ſienne par deſſous, juſqu’à tant qu’elle ſoit veune aſſez baſſe; auquel inſtant il la laiſſe enfuir & tresbucher, en menant la ſienne de deſſous l’autre par deſſus ſa teſte en haut, & en aſſenant diagonalement un coup de revers avec le bras eſtendu au derriere de la teſte de ſon Contraire, plantant egalement le pied gauche eſlevé ſur le Quarré circōſcrit au poinćt W, & ſur le genouil d’iceluy menant la charge du corps, à pancher ſur le devant; comme il ſe voit en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|This reverse cut is shown being executed with full force, but when training with a friend, one stops the blow above the head of your opponent without touching him. As such, one cannot train with full speed. It also follows that the blow cannot be too difficult to parry, as we show here in the next Circle.
-|Ce coup de revers eſt icy repreſenté à executer en rigueur: mais quand on s’exercice en courtoiſie, on en arreſte la courſe un peu au deſſus de la teſte contraire ſans la toucher; en ſorte qu’on ne peut alors travailler avec tant de viſteſſe: dōt s’enſuit auſſi, que le coup ne ſeroit pas ſi difficile à parer, là voicy au Cercle prochain enſuivant.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary parries the preceeding reverse cut, by raising his arm and blade. At the same time, Alexander drops his point, and puts it in front of Zachary’s face.''
-|''Zacharie partant le precedent coup de revers, en hauſſant le bras & l’eſpee; au meſme temps Alexandre deſcend ſa poinćt, & la luy met devant le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary, sees the reverse cut coming to the back of his head, as in the preceeding action. He takes a large step backwards with his left foot, quickly raising his sword to the right above his head to parry the threatening strike. Meanwhile, Alexander turns his left side inwards, his right side outwards, and draws his right arm back, so this way he brings his sword-tip in a half-circle down, around, and underneath his opponent’s blade, then aims his tip exactly at his opponent’s face, arm bent and turning his feet slightly inwards, again keeping his body leaning forward. This is shown by the figure.
-|Zacharie donc voyant derechef venir le meſme coup de revers devers ſa teſte, ainſi qu’en l’operation precedente; il fait un grand pas en arriere avec le pied gauche, hauſſant tresviſtement le bras avec l’eſpee par deſſus le coſté droit de ſa teſte, pour la parer devāt le coup qui le menace. Cependant Alexandre ſe tourne le coſté gauche en dedans, & le droit en dehors, retirant le bras en arriere, & par ceſte voye menant ſa pointe à demy circulairement de haut en bas deſſous la lame contraire; & a luy dreſſant en courtoiſie devant le viſage avec le bras courbe, & avec une petite entrade des deux pieds, comme auſſi avec le corps panché un peu en devant; ainſi que la figure le repreſente.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary parries the last thrust, aimed at his face, by quickly dropping his arm and sword. At the same time, Alexander takes a step in forwards with both feet, throwing his sword-arm behind, bringing the sword from beneath to above his opponent’s blade.''
-|''Zacharie parant la derniere eſtocade, qui luy eſtoit dreſsé au viſage, en deſcendant viſtement le bras avec l’eſpee; Alexandre entre au meſme temps avec les deux pieds un pas en avant, jettant le bras avec l’eſpee en arriere, de deſſous l’eſpee contraire au deſſus.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary realizes the danger from the thrust, which had been held back, without touching his face, very quickly drops his sword down against his opponent’s blade to turn it aside. To avoid this, Alexander extends his arm, and turns his wrist, and moves his sword-tip backwards, under his opponent’s blade without touching it, while stepping forward with the left foot along the Circle, so that his toes come to be on the extreme end of the Quadrangle, his body leaning forward on his bent left knee. He then draws his right foot along, with his heel raised, on the Outside Square between the letter P and T and brings his sword from beneath to above the other, as is shown in the picture.
-|<font style="font-variant:small-caps">Zacharie</font> recognoiſſant le danger de l’eſtocade precedente, (quoy qu’elle ait eſté retenuë, ſans luy toucher le viſage) il abaiſſe fort viſtement le bras avec l’eſpee de haut en bas devers l’eſpee contraire pour la deſtourner. Et pour ce prevenir <font style="font-variant:small-caps">Alexandre</font> jette au meſme temps, en eſtendant le bras & tournant le poignet, la pointe de ſa lame à l’envers, au deſſous de la lame contraire ſans la toucher, faiſant enſemblement avec le pied gauche un pas en avant, en deça le Cercle, en ſorte que les orteils en viennent à reſpondre à l’endroit de l’extreme bout du Quadrangle, & le corps ſe panche deſſus le genouil gauche en avant, trainant conſequemment le pied droit apres avec le talon levé, ſur le Quarré circonſcrit entre les lettres P, & T, & enſemblement menant ſa lame de deſſous au deſſus de l’autre; comme il eſt montré en ſa figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander raises his right foot so as to lean over his left, while making a cut to the right side of his opponent’s head.''
-|''Alexandre en levant le pied droit ſe va pācher ſur le gauche, en donnāt un coup d’eſtramaçon à ſon Contraire au coſté droit de la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action is nothing more than a continuation of the previous, followed on without interruption, raising the right foot in the air, leaning the body over the left leg, left arm dropping, and hitting his opponent with a cut across the right side of the head, as is shown in the figure.
-|Ceſte operation n’eſt autre choſe, qu’une continuation de la precedente, à pourſuivre ſans nulle interruption, en levant le pied droit en l’air, & panchant le corps en devant ſur la jambe gauche, avec le bras egalement deſcendant, & donnant à ſon Contraire un coup d’eſtramaçon au coſté droit de la teſte; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Next, with his right foot, he takes a good step outside the circle beside his opponent, as we have shown in the figure. After this, he leans his body forward over his right knee, and puts his sword in front of him, tip down towards the ground at an acute angle, with his arm straight. This is not shown here due to space. Nontheless, it must be performed as a means to arrive at the following action.
-|Apres il marche encores plus outre avec le pied droit eſlevé un bon pas en avant à coſté du corps de ſa Partie, cōme nous l’avons repreſenté icy en la figure: En ſuite de quoy il ſe panche le corps en devant ſur le genouil droit, mettant egalement l’eſpee devant luy, la pointe deſcendante juſqu’à bien pres de la terre en angle aigu, avec le bras roide. Aćtion qui n’a pas eſté icy repreſentée à faute de place; toutesfois il faut qu’elle y ſoit pratiquée pour venir à l’operation ſuivante.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander was leaning forward, his sword pointed at the ground at an acute angle, he immediately turns the tip upwards, in front of the right side of his head, by turning his wrist, and pinning it to his hip. At the same time, he twists his left side towards his opponent. He raises his left foot and pivots around on his right foot, moving so his arm and sword are in front, his hand pressed against his side and the point of his sword aimed upwards. He bringss his left hand over and around the guard. At the same time that he puts his left foot down towards his opponent, with his left knee bent, his weight on it, he executes the attack, using his body weight, against his opponent’s back. This is as demonstrated by the figures.
-|Eſtant Alexandre ainſi panché ſur le devant avec l’eſpee eſtendue & deſcendante en angle aigu, il en tourne tout à l’inſtant la poinćte en haut par devant le coſté droit de ſa teſte, & ce à l’aide du poignet de la main, enſemblement ſe tournant & dreſſant le corps à gauche devers ſon Contraire; avec eſlevation du pied gauche, & preſentation du bras & de l’eſpee en avant, icelle affermiſſant à ſon coſté droit avec la pointe dreſſé contre mont, & en empoignant de la main gauche la garde par deſſous; & quand & quād poſant le pied à terre devers ſa Partie, avec le genou de devant plié & le corps repoſé deſſus, au meſme temps il donne l’atteinte & en fait l’execution, moyennant la charge du corps, par le dos de ſon Contraire; ainſi que les figures le demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''After Alexander subjugates the sword, as he does to begin the action of Circle No 2, Zachary draws his sword away to the outside, putting it above the line S-N. So Alexander, instead of following through with his thrust, simply changes his approach.''
-|''Apres l’aſſujettiſſement de l’eſpee, comme Alexandre ſe vent mettre en devoir de commencer l’operation du Cercle N.2. Zacharie eſcarte ſa lame en dehors, la mettant au deſſus de la ligne SN. dont Alexandre, au lieu de pourſuivre l’eſtocade, ſe content d’amender ſimplement ſon approche.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The action in this present Circle evolves from the 1st Circle, where Alexander has subjugated his opponent’s sword at the Second Instance. After this he has wounded his opponent with a thrust at the Third, as is represented in the 2nd Circle. Now, to prevent this thrust, at the instant his feet reach the Second Instance, Zachary opens his arm and sword outwards to the right side above the Inside Square, along the line S–N. By doing this he prevents his adversary from wounding him along the line of his blade while moving from the Second to the Third Instance. Nonetheless, Alexander, still wishing to pursue his thrust, seizes from this position a new advantage, moving his right foot along the Inside Square to mid-way to the Third Instance, and bringing his left foot up, parallel to his right, along the Outside Square, as is seen in the figure.
-|L’operation de ce Cercle preſent depend du Cercle N.1. où Alexandre a aſſujetti l’eſpee contraire à la Seconde Inſtance; & en ſuite il a bleſſé ſoudit Contraire d’un coup d’eſtocade à la Troiſieme; ainſi qu’il eſt repreſenté ſur le Cercle N.2. Maintenant donc pour prevenir ceſte eſtocade, à l’inſtant qu’il arrive avec les pieds à ladite Seconde Inſtance, Zacharie s’eſcarte le bras & l’eſpee en dehors à la main droite deſſus le Quarré inſcrit, lignes SN. Et en ce faiſant il prévient l’Adverſaire de ne le pouvoir bleſſer au long de ſa lame en allant de la Seconde Inſtance à la Troiſieme; Alexandre voulant neantmoins pourſuivre ſon eſtocade, prend là deſſus un nouvel advantage, en allant avec le pied droit le long du Quarré inſcrit juſqu’à my-voye de la Troiſieme Inſtance, & pourſuivre avec le gauche, à planter parallel à l’autre ſur le Quarré circonſcrit; ainſi qu’il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He pursues his thrust, taking a large step forward and a little outside the circle with his right foot, while, with his arm held straight, he slides the point of contact up the sword and aims the tip at his opponent’s neck. This attack is parried to the inside with a Very Strong degree of Force. He very quickly enters in against his opponent, jumping behind his back, with a reverse cut to the left side of his head.''
-|''Il pourſuit ſon eſtocade, en marchant avec le pied droit un grand pas en avant un peu en dehors le Cercle, enſemble graduant & dreſſant ſa poinćte devers le col de ſa Partie adverſe avec le bras roide. Lequel coup luy eſtant paré en dedans avec poids Violent; il entre tres-viſtement ſur ſon Contraire, en luy ſautant derriere le dos, avec un coup de revers au coſté gauche de ſa teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action follows on from the preceeding one, where Alexander has altered his position. Consequently, he has moved forward, while sliding the point of contact of his sword, stepping in with the right foot a good pace further on, a bit outside the Circle about the middle of the line O-Z, without lowering the swords at all, and, keeping his arm straight, moves the sword-tip around in a circle until it is aimed at the base of his adversary’s throat, who is then forced to use violent force to parry the blow, carrying the swords over to the inside. Alexander jumps in with a large step behind his opponent, turns his chest forward, while bringing his sword up passing above his head and then continuing to perform a reverse cut at the instant his left foot touches the ground and brings his right foot around to the outside. With his body leaning forward, he strikes hard to the left side of his opponent’s head, as shown.
-|Ceſte operation eſt la pourſuite de la precedente, où <font style="font-variant:small-caps">Alexandre</font> avoit amendé ſa ſituation; & conſequement il s’eſt avancé en graduant ſon eſpee, & entrant avec le pied droit un bon bas plus outre, un peu dehors le Cercle à l’endroit du mitan de la ligne OZ. abaiſſant aucunement les eſpees, & dreſſant d’un bras roide ſa poinćte circulairement vers le bas du col de ſon Adverſaire. Lequel eſtant contraint d’uſer de Violence pour parer cedit coup, en tranſportant les eſpees en dedans: <font style="font-variant:small-caps">Alexandre</font> entre un grand pas ſur luy en ſautant, & tournant la poitrine devant, & menant à meſme temps ſa lame de bas en haut par deſſus ſa teſte, & cōtinuant à en donner avec extenſion du bras un coup de revers, au meſme inſtant que le pied gauche ſe plante avec deſtournement du pied droit en dehors, pour venir derriere le Contraire, & executer ſur luy tant plus rudement, avec le corps panché, le coup aſſené au coſté gauche de ſa teſte; ſelon la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|To stop his momentum after his leap, he leans backwards on his right foot, bending his knee, and draws his sword-arm behind himself, tip pointing down and forward, as presented in the image.
-|Pour rompre la courſe & le mouvemēt du ſaut, il ſe panche à l’envers ſur le pied droit, pliant le genouil, & retirant le bras avec l’eſpee en arriere; la pointe un peu baſſe & avancée, tirant à main droite; ainſi qu’il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary stands motionless, stunned by the slash to the head he received. Alexander promptly raises his left foot, and steps towards his opponent, leans his body forward, and drives the sword through his back.
-|<font style="font-variant:small-caps">Zacharie</font> demeurāt eſtonné par la vive atteinte qu’il a receuë, ſans ſe mouvoir; <font style="font-variant:small-caps">Alexandre</font> leve incontinent le pied gauche, & en marche devers ſon Contraire, panchant le corps en avant, & luy pouſſant en rigueur l’eſpee à travers le dos.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the follow-on from the 11th and 12th Circles. Here Zachary, perceiving that, after the leap and strike, his opponent is now behind him, turns about to the right and withdraws slightly by bringing his left foot around and putting his toes down by the Diameter, close to the letter R, turning his chest forward, raising his arm and sword up to defend himself. Because the sword, thus brought up, passes above Alexander’s head, Alexander moves forward a step with the right foot, and by leaning forward, drives his sword through Zachary’s chest. This is demonstrated by the figure.
-|Voicy la ſuite des Cercles N. 11. & 12. Dont <font style="font-variant:small-caps">Zacharie</font> recognoiſſant que ſon Contraire luy eſt venu derriere le dos avec le ſaut & l’execution du coup precedent; il ſe retire en voltant le pied gauche à droite, & le plantant avec les orteils pres le Diametre aſſez pres de la lettre R, ſe tournant enſemblement la poitrine devant, avec le bras & l’eſpee montante, pour ſe defendre. Et puis que l’eſpee, eſtant ainſi menée, paſſe au deſſus de la teſte d’<font style="font-variant:small-caps">Alexandre</font>, iceluy s’avance d’un pas avec le pied droit, & en panchant le corps, luy pouſſe la ſienne à travers la poitrine; ainſi qu’il eſt demonſtré par la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 15'''
-|'''Cercle N.15.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This last action again derives from the 11th and 12th Circles. For as soon as Alexander’s reverse cut hit him on the right side of his head, Zachary realized that Alexander was already behind his back, so he turns keeping his feet in place, so his body, with his arm and sword up, faces toward his opponent. At that same time Alexander steps in on him with his left foot and grabs the sword-guard from above with his left hand, then turns it outward, bringing his own guard in tight against his side, aiming the sword-tip at his opponent’s chest, exactly as shown in the image.
-|Ceſte derniere operation depend encor ſemblablement des Cercles N.11. & 12. Car dés qu’<font style="font-variant:small-caps">Alexandre</font> luy a tiré le coup de revers au coſté droit de la teſte; <font style="font-variant:small-caps">Zacharie</font> recognoit qu’il eſt deſia derriere ſon dos; dont il ſe tourne ſur les deux pieds ainſi plantez, en preſentant le corps avec le bras & l’eſpee devers ſon Contraire. Au meſme temps <font style="font-variant:small-caps">Alexandre</font> luy entre deſſus avec le pied gauche, & luy empoigne par deſſus la garde de l’eſpee, avec la main gauche, & la tourne en dehors, s’affermiſſant le bras avec ſa garde au coſté, en aſſenant la pointe à la poitrine de ſon Contraire; le tout en conformité de la figure.
-|-
-|
-|
-|- style="font-family: times, serif; vertical-align:top;"
-|Those who my chance to contemplate the images without duly examining them, may feel they have some critique to make. They may not be easily persuaded that is practicable, when confronted with a live opponent, to use these means to get behind him, as shown. Also that this said opponent would take care not to permit this. But I would caution them, that they would but take some time to consider the opening Zachary created, the extremity of the position into which Zachary has been put, before they proudly present their case. The strike that Alexander makes can only be countered with an extremely powerful and violent parry. And such wild action cannot be conducted, nor controlled, as easily as one wishes, the opponent has benefitted from having already moved into close range, and while the swords were flying overhead, he has taken the opportunity and time to pass beyond and behind. Those who find this so very strange are those who have been trained in the traditional way, who are careful to only make a pass while they are still at long range, and upon seeing their opponent’s sword close in, withdraw out of range. What they do by chance, we perform with assurance. For we come from the sense of feel and the close range, and thereby force our opponent to counter our moves wildly, in such a way that opens to us the path for our position, from which he invariably receives a blow.
-|Ceux qui viendront par fortune à contempler les figures de ce Tableau, avant les avoir deuement examinées, y trouveront peut eſtre aſſez à redire. Car ils ne ſe pourront du commencement perſuader, qu’il ſoit practicable à l’homme vivant, de gaigner ainſi le derriere à ſon Adverſaire, comme elles demonſtrent; & que ledit Adverſaire devroit bien ſonger en d’autres affaires, avant que de le permettre. Mais je les adverti, qu’ils prennent premierement la patience de conſiderer l’occaſion que Zacharie en a baillée, & l’extremité en laquelle il a eſté reduit, avant que de la preſenter ſi belle. C’eſt que le coup d’Alexandre a eſté porté ſur luy avec un ſi grand avantage, qu’il luy a eſté impoſsible de le parer autrement, qu’avec violence. Et comme ainſi ſoit, que les aćtions violentes ne puiſſent eſtre conduites, ne gouvernées à ſouhait, le Contraire en a fait tellement ſon profit, qu’eſtant preallablement venu en meſure eſtroite, durant le mouvement violent, il a prins le temps de paſſer outre. Qu’ils ne trouvent celà ſi eſtrange, puis que ceux qui tirent à la mode ancienne, ſe hazardent bien de faire les paſſades, encores qu’ils ſoyent en meſure large, dé qu’ils voyent apparence que l’eſpee contraire ſortira de preſence: ce qu’ils font avec hazard, nous le monſtrons avec ſeureté; car nous venons ſur le ſentiment en meſure eſtroite, & y eſtants, nous forçons le Contraire à ſe defendre avec violence, de ſorte qu’il nous en ouvrira le chemin à noſtre poſte, ou il en recevra l’atteinte inevitable.
-|}
-{{master end}}
-{{master begin
- | title = Book 1 - Tableau / Plate XI - Refining the Sense of Feeling.
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 11.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE ELEVENTH PLATE.
-|DECLARATION DES OPERATIONS DV TABLEAV ONZIEME.
-|- style="font-family: times, serif; vertical-align:top;"
-|When doctors visit patients to diagnose illnesses, nothing gives them more trouble than the distinguishing between two similar, but different, ailments, which is why only the most learned and best experienced are not mistaken. But just as they take the feel of the pulse, which symptom is held as more significant than any other, so we do likewise in our Training. When an action occurs that is so difficult that sight alone is insufficient to properly follow what is happening, we rely then on our sense of feel to inform us and help us discover the true intent, to find in what ways his options to attack are limited, and, having found this out, we can prevent him from carrying out his desired attack. This is what, hereafter, shall be shown in this and the following Plates. If, as I say, the fabric of exercises in the 10th Plate were coarse, if they were of large movements, very easy for Alexander to perceive, the 11th shall present more subtle ones. As such, up until this point, Alexander has always subjugated his opponent’s blade at the Second Instance. Let us say that there are two means by which Zachary can interrupt this approach, the one by standing firm, which we have shown in the examples in the preceeding Plates, and the other is by retiring backwards. Here, then, Zachary will practice his withdrawals, but in all cases without disengaging swords. For we have already touched upon the topics of circular disengagements and feints, and this shall be discussed further, at another point. Now, we shall see how he tries to change the range, and how Alexander reacquires his dominance anew.
-|Quand les Medecins font leurs viſites pour aſſeoir un bon jugement, il n’y a choſe au Monde qui les trouble d’avantage, que la ſimilitude de l’une maladie à l’autre, qui eſt cauſe que, les plus doćtes meſmes & les mieux experimentez y ſont aucunefois trompez, en prenant l’une pour l’autre. Mais comme ils ſe tiennent en ceſte occaſion pluſtoſt au raport du poulx, qu’aux autres marques de moindre importance: ainſi en faiſons nous pareillement en noſtre Exercice; quand il s’y preſente quelque aćtion ſi difficile, que le jugement de la veüe y manque, nous nous adreſſons au Sentiment, qui nous deſcouvre le principe, d’où le mouvement eſt contraint de tirer toute ſon addreſſe, & l’intention eſtant cognue, on la peut touſiours empeſcher de ſortir l’effet qu’elle deſire. C’eſt ce qui paroiſtra doreſenavant de plus à la ſuite de nos Tables. Car ſi les occaſions de la dixieme ont eſté de groſſe eſtoffe, je di, ſi ce ont eſté de grands mouvements, & qui eſtoyent fort faciles à recognoiſtre pour Alexandre l’Onzieme vous en mettra devant les yeux des autres plus subtiles. Et comme ainſi ſoit, que juſques icy noſtre Alexandre ait touſiours taſché d’aſſujettir l’eſpee contraire à la Seconde Inſtance; diſons qu’il ya deux manieres principales pour luy rompre ceſte approche, l’une en demeurant ferme, dont nous avons propoſé les exemples aux Tableaux precedents, & l’autre en ſe retirant en arriere. Voicy donc Zacharie qui s’en va pratiquer les retirades, toutesfois ſans destaſcher les eſpees: car touchant les cavations & notamment les feintes il en a eſté parlé, & en ſera diſcouru encore autrepart. Maintenant voyons comment il taſche à luy rompre la meſure, & comme Alexandre reprend touſiours nouvel avantage.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander subjugates his opponent’s sword along the Diameter at the Second Instance. Zachary turns on his two feet, so his right side goes to the outside, and his sword arm and sword come to rest just above the side of Inside Square.''
-|''Alexandre aſſujettiſſant l’eſpee contraire au deçà le Diametre à la Seconde Inſtance; au meſme temps Zacharie ſe deſtourne ſur les deux pieds le coſté droit en dehors, en ſorte que le bras avec l’eſpee luy viennent reſpondre juſtement deſſus le coſté du Quarré Inſcrit.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two opponents begin standing on the Circle at the First Instance, in the direct line posture, swords parallel, Alexander’s below the other. He begins to work against his opponent, subjugating the sword at the Second Instance, right foot on the letter G, on the Oblique Diameter. But before he can set both feet safely on the ground, Zachary spins on his toes towards the Diameter, and with a slight withdrawal of his left foot, turns his right side to the outside, a little back, and allows his extended right arm to come to rest, by means of a small slide up the blade, above and along the the side X-N of the Inside Square, with an Alive degree of Force.
-|Les deux Contraires s’eſtants plantez preallablement ſur le Cercle à la Premiere Inſtance en droites lignes, ſuivant la forme requiſe; l’eſpee d’<font style="font-variant:small-caps">Alexandre</font> parallele au deſſous de l’autre; il commence à travailler en l’aſſujettiſſant à la Seconde Inſtance lettre G, par deça le Diametre; mais avant qu’il ait bonnement planté les pieds en terre, <font style="font-variant:small-caps">Zacharie</font> ſe tourne les orteils des deux pieds devers le Diametre, & cela avec une petite retirade du pied gauche, deſtournant par ainſi le coſté droit en dehors un peu en arriere, & laiſſant aller (moyennant quelque petite deſgraduation) le bras eſtendu avec l’eſpee en droite ligne, au deſſus le coſté du Quarré Inſcrit, marqué X N, avec Sentiment Vif.
-|- style="font-family: times, serif; vertical-align:top;"
-|All of this with the intention of awaiting Alexander to once again thrust from the letter N at the Third Instance along the side of the Inside Square. Because to do this he must attack with his tip, which means the weak of his blade will pass by the strong of  Zachary’s, and so Zachary would have the means to close the line and hit him instead of being hit.
-|Le tout en intention d’attendre en ceſte forme, qu’<font style="font-variant:small-caps">Ale</font>xandre luy vienne porter derechef l’eſtocade au long du Quarré Inſcrit à la Troiſieme Inſtance lettre N: car puis qu’il ſeroit contrainćt de ce faire en paſſant avec la pointe, qui eſt le foible de l’eſpee par le fort de la ſienme, il auroit moyen de luy fermer la ligne, & de donner atteinte au lieu d’en recevoir.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander follows on his action, advancing his right foot together with the left side of his body into the angle, putting his raised foot down on the Perpendicular Diameter at point L.''
-|''Alexandre pourſuivant l’operation encommencée, s’avance le pied droit enſemble avec le coſté gauche du corps au dedans de l’angle, mettant le pied eſlevé à terre au deça le Diametre au poinćt L.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary has almost achieved the preceeding action, and awaits his opponent to again come at him with a thrust from the Third Instance, which he reaches by stepping with his right foot along the side of the Inside Square, Alexander continues his attack, not as intended, but according to the situation, by advancing his right foot from where it was at the Second Instance, up to the letter L, along the Perpendicular Diameter, leaning forward slightly, and, notably, his left side, such that by this means he enters into the angle of his opponent’s sword, drawing his left foot behind, heel raised, up to the first section of the Exterior Collateral before the letter F, again subjugating his opponent’s sword, to then continue on with the actions shown in Circles No 8, 9, 10, 11, 12, and 13. which could nevertheless also proceed from Circle No 5, having but this sole difference of the one beginning with the right foot forward, and the other, the left. Meanwhile, be aware that here we see that Alexander has set his left foot down inside the Circle on the Interior Collateral between the letters G and I, which is done for clarity so we can see his guard. But in practice, it is best to follow the description, which is more correct.
-|Apres que <font style="font-variant:small-caps">Zacharie</font> à parachevé la precedente aćtion, & qu’il attend que ſon Contraire luy vienne derechef tirer une eſtocade à la Troiſieme Inſtance, en cheminant du pied droit par la trace du Quarré Inſcrit: <font style="font-variant:small-caps">Alexandre</font> pourſuit à travailler non pas ſelon ceſte intention, mais ſelon l’exigence, en avançant le pied droit du lieu où il eſtoit planté à la Seconde Inſtance, juſqu’à la lettre L au deçà le Diametre; avec le corps panché un peu en avant, & notamment le coſté gauche, en ſorte qu’il entre par ce moyen dedans l’angle de l’eſpee contraire, trainant le pied gauche ſur les orteils derriere juſqu’à la premiere ſećtion de la Collaterale exterieure devant la lettre F. ſujettant derechef l’eſpee contraire, pour en tirer la pourſuite des operations & executions repreſentées ſur les Cercles N.8.9.11.12.13. qui peuvent ce neantmoins proceder auſſi ſuite du Cercle N.5. n’y ayant que ceſte ſeule difference de commencer en l’un avec le pied droit devant, & en l’autre avec le pied gauche. Cependant ſoyez adverti que le pied gauche d’<font style="font-variant:small-caps">Alexandre</font> eſt icy planté en la figure au dedans du Cercle ſur la Collaterale interieure entre les deux lettres G & I. ce qui a eſté fait pour mettre ſa garde en veüe. Mais en la Pratique il ſera plus expedient d’enſuivre la deſcription, d’autant qu’elle eſt plus propre.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, whereas Alexander practices this manoeuvre of entering in with the foot in Circle No 2 after his opponent has finished moving, he must also practice it at the same time that his opponent is moving, and while he is yet unable to command the situation. Which he must do by having his foot ready to follow promptly.
-|Or comme ceſte operation d’entrer avec le pied droit a eſté pratiqué en ce Cercle 2. par <font style="font-variant:small-caps">Alexandre</font>, apres que le mouvement du Cōtraire a eſté deſia fini; auſsi la faut il pratiquer durant le meſme temps avant qu’il ſoit venu à bout de ſon intention, & durant qu’il eſt encor empeſché à former la ſituation: ce qu’il faut faire en ayant le pied prompt à le pourſuivre.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the same moment that Zachary is performing the aforsaid movement, Alexander very swiftly moves his right foot close to the Diameter, following it suddenly with his other foot, so that he very quickly spins it around (thus disengaging his sword) behind his right foot, such that it comes to rest across the diameter on the Circumference between W and X, and hitting his adversary with a straight-arm thrust to the head.''
-|''Durant le mouvement de l’aćtion de Zacharie dernierement dite; Alexandre s’avance au meſme temps aſſez viſtement le pied droit bien pres du Diametre, continuant à pourſuivre tout ſoudainement avec l’autre, à volter de grand viſteſſe (& ce en deſtachant les eſpees) par derriere le pied droit, de ſorte qu’il vient à tomber en terre par delà le Diametre ſur la Circonference entre W & X, en donnant l’eſtocade à ſa partie adverſe avec le bras roide à travers la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Before Zachary has finished this last movement, which is to turn his arm with his sword above the side of the Inside Square, and his sword comes to rest, in such as way that it looses almost all it’s sense of feeling, Alexander steps forward and enters in, keeping his sword on top, moving his right foot from where it was at the Second Instance to just near the letter R, that is on the Diameter, then, lifting his sword up from the other, spins about on his right foot, swinging his left around until it comes to rest on the Circumference between W and X. He leans backwards above his bent right knee and straightens his arm to drive a thrust through his opponent’s head, as is shown.
-|Avant que <font style="font-variant:small-caps">Zacharie</font> ait achevé cedit dernier mouvement, qui eſt d’avoir tourné le bras avec l’eſpee au deſſus le coſté du Quarré Inſcrit, & que ſon eſpee s’en affoiblit, en ſorte qu’il en pert quaſi tout le Sentiment; au meſme temps <font style="font-variant:small-caps">Alexandre</font> s’avance & entre deſſus luy, en portant le pied droit depuis la Seconde Inſtance, où il eſtoit planté, juſques bien pres du Diametre, lettre R, & oſtant ſa lame de deſſus l’autre, pourſuit tout d’un train à faire la volte à l’envers avec le pied gauche, qui tombe en terre entre W & X deſſus la Circonference avec le corps panché à l’envers deſſus le meſme genouil plié, en donnant le coup d’eſtocade avec le bras eſtendu à travers la teſte de ſon contraire, comme il eſt repreſenté en leurs figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This manoeuvre does not differ much from the preceeding, just that Zachary has merely turned his body and sword, without withdrawing his left foot backwards.''
-|''Ceſte operation ne differe guerres de la precedente, ſinon que Zacharie ſe contente icy de tourner le corps & l’eſpee tant ſeulement, ſans retirer le pied gauche en arriere.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Because Zachary has, in the 4th Circle, decided not to step backwards, but merely turned his feet towards the Diameter, it follows then that he has not withdrawn backwards, as it the previous Circle. Thereupon Alexander advances with his right foot a bit beyond the Center along the Oblique Diameter, yet continues to immediately spin about with his left foot. As soon as he finds himself inside the perpendicular line of his opponent’s sword, he leaves it there and, with an extension of his arm, delivers a thrust to the right side of his face. He turns his right foot, which is on the the Oblique Diameter, near the letter Q,  to the outside, spinning his left foot around behind him, so that he sets his toes down beyond the Oblique Diameter a little bit before where the line V-W crosses the line S-X. He puts his wieght on his bent knee, and in this way he executes the final motion of the thrust through his adversary’s head, as it appears in the portrait of the figures.
-|Puis que <font style="font-variant:small-caps">Zacharie</font> ſe contente en ce Cercle 4. de tourner ſimplement les orteils de ſes pieds en devant vers le Diametre, ſans retirer le pied gauche, il s’enſuit donc qu’il ne ſe recule pas tant en arriere, comme au Cercle precedent: là deſſus <font style="font-variant:small-caps">Alexandre</font> s’avance avec le pied droit un peu outre le Centre ſur le Diametre oblicq, en continuant tout de ſuite à volter  avec le pied gauche; & d’autant qu’il ſe retrouve par ceſt advancement au dedans des perpendiculaires de l’eſpee contraire, il la quitte, & luy porte avec extenſion du bras un coup d’eſtocade au coſté droit du viſage, en tournant le pied qui eſt planté ſur le Diametre oblicq en dehors bien pres de la lettre Q, & voltant le pied gauche à l’envers en ſorte, qu’il vient à deſcendre avec les orteils par delà le Diametre un peu plus avāt que l’entrecoupure de la ligne S X, ſe chargeant le corps deſſus avec le genouil plie, & en ceſte maniere il acheve la finale execution de l’eſtocade à travers la teſte de l’Adverſaire; comme il appert au pourtrait des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Take note that, when the opponent turns his body and sword to the outside, above the side of the Inside Square, it is usual that his blade lose all sense of feeling, or at the least, that it naturally becomes very weak. That is when one must put these last to actions into practice, but taking great care to observe that, when there remains any small amount of force in his blade, to never disengage from it, but when you have previously set your right foot down on the ground, and that the left is being already drawn up to follow. But if your opponent has skill and finesse, and when he keeps the blades in contact with a vigourous ively, Strong, or Very Strong degree of force, such that will allow him to sense your intentions, then it is not at all advisable to disengage, because he would have the means to close the line against you. One must then apply the actions which are shown in the 2nd and 5th Circle, of which the latter explanation follows, below.
-|Notez, quand l’adverſaire ſe deſtourne le corps avec l’eſpee en dehors, au deſſus le coſté du Quarré Inſcrit, que c’eſt alors le plus ordinaire, que ſa lame en perd le Sentiment, ou à tout le moins qu’elle s’en affoiblit fort, d’autant que la Nature meſme l’y convie. Et c’eſt alors qu’il faut mettre ces dcux dernieres operations en pratique, en obſervant fort ſerieuſement quand il y reſte quelque petit ſentiment, de ne la quitter jamais, que vous n’ayez preallablement avancé & planté le pied droit en terre, & que le gauche ſoit deſia en aćte d’en continuer la pourſuite. Mais ſi le contraire y va par fineſſe, & qu’il laiſſe les lames accouplées en bonne Vigneur Vif, fort, ou plus fort, ce que le Sentiment vous fera cognoiſtre, alors il ne vous ſera nullement loiſible d’abandonner ſon l’eſpee, par ce qu’il auroit moyen de vous fermer la ligne, mais il y faudra appliquer les operations qui vous ſont monſtrées és Cercles 2. & 5. du dernier deſquels ſuit l’explication.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander, having missed his chance to work while his opponent was moving, or if he could easily be hit himself, maintains a reasonable sense of contact, he raises his left foot from where it was placed at the Second Instance, moves it smartly forward, and places it where the Diameter crosses the Inside Square, at the letter S, and, while casting his opponent’s sword aside,  turns his left side forward and inside the perpendicular lines.''
-|''Alexandre s’ayant laiſsé eſchapper l’oportunité de travailler durant le mouvement de ſa partie adverſe, ou bien que l’attouchement luy raporte, qu’il retient un raiſonnable ſentiment, il eſleve le pied gauche du lieu ou il eſtoit planté à la Seconde Inſtance, l’avance tout bellement, le plante finalement en deça le Diametre ſur le quarré inſcrit devant la lettre S, & ſe met le coſté gauche du corps (en aſſujettiſſant l’eſpee contraire) un peu d’avantage au dedans les perpendiculaires''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary has completed this movement, we see that he has turned his body with his sword above the line of the Inside Square. His opponent has failed to make a move against him while he did so, or perhaps did not wish to because he felt himself constrained by a sufficient amount of force, or finally, because he wished to allow him to perform this move. Alexander then begins to work from where he was at the Second Instance, he raises and slowly moves his left foot forwards, before he sets his foot back on the ground by moving his left side forward, he pauses briefly, taking great care to note the force of his opponent’s sword, or if he intends to try something else. But as he feels nothing, he sets his foot down on the ground within the Inside Square, with his toes in front of the letter S. moving his left side forwards and into the angle between the two swords, his body extended, knees straight, and right foot following a bit behind beyond the letter G, as is shown in the figure.
-|Apres que <font style="font-variant:small-caps">Zacharie</font> à conduit ce mouvement à fin, aſſavoir qu’il s’eſt tourné le corps avec l’eſpee deſſus le coſté du Quarré Inſcrit; l’adverſaire ayant failli de travailler durant le meſme temps, ou ne l’ayant pas voulu faire pour ce que il ſentoit y eſtre conſervé un Poids raiſonnable, ou finalement qu’il luy ait voulu accorder de parfaire ſon intention: <font style="font-variant:small-caps">Alexandre</font> pourſuit donc à travailler de la Seconde Inſtance où il eſtoit planté, il eſleve, & avance lentement le pied gauche, & avant qu’il le laiſſe toucher la terre par l’avancement du coſté gauche, il en fait une petite pauſe, prenant ſoigneuſement garde au Poids de ſon adverſaire, s’il vouloit taſcher d’aventure à faire autre choſe; mais puis qu’il ne ſe meut point, il plante le pied en terre au dedans du Quarré Inſcrit, avec les orteils devant la lettre S. entrant du coſté gauche au dedans de l’angle des deux eſpees, le corps eſtēdu, les genoux roides, & le pied droit traināt un peu apres outre la lettre G; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the very moment when Alexander is entering into the angle with his left foot and side, at the point when he is just committed to moving forward, Zachary withdraws his left foot backwards, at the same time bending his arm and lifts the guard above his head, then moves his weight back onto his front foot, and gives his opponent an imbrocata thrust to the left side of his torso.''
-|''Cependant qu’Alexandre eſt en aćtion d’entrer avec le pied & coſté gauche au dedans de l’angle, à l’inſtant qu’il commence à tomber; Zacharie ſe recule en arriere, moyennant le pied gauche, ſe courbant au meſme temps le bras de l’eſpee avec la garde par deſſus la teſte, puis il recharge le corps ſur le pied de devant, & donne à ſon Contraire un coup d’imbrocade au coſté gauche de la poitrine.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action proceeds from the previous, in the time that Alexander takes to enter with his left foot, just as his body is about to fall forwards. Zacharie withdraws his rear foot backwards. While bending his arm and raising his guard above his head, he shifts his weight onto his front foot and bends his wrist to aim his tip at his opponent’s left side, as his shown in the figures.
-|Ceſte operation procede en ſuite de la precedente, au temps qu’<font style="font-variant:small-caps">Alexandre</font> fait l’intrade du pied gauche, iceluy eſtant en train de tomber enſemble avec le corps. <font style="font-variant:small-caps">Zacharie</font> donc retire le pied de derriere, en hauſſant & courbant cependāt le bras de l’eſpee par deſſus ſa teſte, & en ramenant la charge du corps ſur le pied de devant, il aſſene ſa pointe en ligne courbe au coſté gauche de ſon Adverſaire; ſuivant la repreſentation des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|If Alexander were to make his move inside without a pause before he sets his left foot down, his opponent could easily hit him with this imbrocata. Thus it is absolutely necessary to take good care of what was noted in the previous Circle. And, in fact, it is the only reason we have shown you this danger. And now here follows the counter to this.
-|S’il advient qu’<font style="font-variant:small-caps">Ale</font>xandre face l’intrade ſans pauſer avant qu’il plante le pied gauche, l’Adverſaire le pourra fort facilement toucher de ceſte imbrocade. Dont il eſt tres-neceſſaire de prendre bonne garde à ce qui eſt annoté ſur le Cercle precedent. Et de fait, c’eſt la ſeule cauſe pourquoy nous en avons voulu vous repreſenter le danger devant les yeux: duquel il s’eſuit maintenant le Contraire.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary tries to perform the same imbrocata. Alexander turns his left side away to the outside, inverting his sword-arm so the guard, and particularly the interior branch of the cross-guard is turned up above the height of his head and aiming the tip of his sword at his opponent’s face.''
-|''Zacharie voulant donner encores la meſme imbrocade; Alexandre ſe deſtourne au meſme temps le coſté gauche en dehors, renverſant le bras de l’eſpee avec la garde & notamment la branche interieure en haut par deſſus la meſure de la teſte; en mettant ſa pointe devant le viſage du Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here we see the same actions as in the previous circle, but in this case, as Alexander moves his left foot, before he sets it on the ground, he pauses briefly, as we cautioned before. Thus his opponent did no know when to begin to move to attack him in the same way as before, with a bent-arm because he could not instantly feel his move. To interrupt Zachary’s strike, he sets his foot down suddenly along the line M-S, while twisting to withdraw his left side, he leans back on his right leg. Keeping his arm straight, he turns the interior branch of his crossguard upwards above his head, so that he catches his opponent’s blade, and puts his sword-tip precisely in front of his face, needing only to execute the finish, as is shown by the figures.
-|C’eſt icy encores la meſme operation du Cercle precedent, toutesfois <font style="font-variant:small-caps">Alexandre</font> en avançant le pied gauche, avant qu’il le laiſſe toucher à terre, il en a fait une petite pauſe, ſelon l’advertiſſement, que nous venons d’en donner. Dont ſa partie adverſe n’a ſceu commencer pluſtoſt à ſe mouvoir pour le bleſſer derechef en la meſme ſorte en ligne courbe, qu’il ne s’en ſoit apperceu tout au premier Inſtant par le ſentimēt: & pour luy rompre le coup, il met tout ſondainement le pied à terre ſur la ſećtion de la ligne M S, retirant enſemble le coſté gauche, & ſe panchant à l’envers ſur le pied droit avec le bras roide, en tournant & hauſſant la branche interieure de ſa garde plus haut que ſa teſte, de ſorte qu’il en enſerre la lame Contraire, & luy met la pointe par courtoiſie devant le viſage, ne tenāt qu’à luy d’en faire l’execution; comme il eſt repreſenté par les figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Note how Zachary has bent his arm to thrust his imbrocata, so Alexander bent his own arm to be able to defend against it, while at the same time attacking with his sword-tip inverted.
-|Notez comme Zacharie ſe courbe le bras en dehors, pour tirer ſon Imbrocade, qu’Alexandre courbe le ſien au contraire pour faire ſa defenſe, luy oppoſant au meſme temps la pointe renverſéé.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This is a follow-on from Circle No 5. Alexander leans forward onto his front foot, leaving the other behind raising his heel so he rests on his toes. Then at the same time that he moves his left foot forward to the letter S, he seizes his opponent’s hilt. By disengaging the blades he moves his sword-tip against his opponent’s chest.''
-|''Ceſt icy une pourſuite du Cercle 5. Alexandre ſe va pancher ſur le pied de devant, en laiſſant trainer un bien peu l’autre apres ſur les orteils; ce qu’eſtant fait, il s’avance quand & quand le pied gauche avec le milieu ſur la lettre S, en faiſant prinſe de la garde contraire, moyennant le deſtachement des lames deſquelles il conduit la poinćte de la ſienne contre la poitrine de l’adverſaire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action follows on from Circle No 5 where <font style="font-variant:small-caps">Alexandre</font> has entered into the angle between the swords, with his foot very close to the letter S. He then leans the left side of his body forward onto this left foot, and draws the other foot along behind. At the same time, he raises his left hand between, and as high as, the two swords, the same way as <font style="font-variant:small-caps">Alexandre</font> does in Circle No 10. Having done this, he immediately skips his left foot over, so the middle is on the letter S, and and that the same time lifts his sword from the other so that he can grab the hilt from above, and pull it towards himself while turning the interior branch of the crossguard upwards. He draws his right foot up to where the line crosses the collateral G-M while at the same time holding the guard against his side with the crosspiece vertical and sets his sword-tip exactly against his opponents chest, as is shown in the figure.
-|Ceſte opearation procede en ſuite du Cercle 5. où <font style="font-variant:small-caps">Ale</font>xandre eſt entré dedans l’angle avec le pied gauche devant bien pres de la lettre S. Maintenant donc il ſe va pancher le coſté gauche du corps en avant ſur le meſme pied, en ſorte que l’autre traine un peu derriere, hauſſant au meſme temps le bras & la main gauche entre deux & à l’egal des eſpees, comme il eſt repreſenté par la figure d’Alexandre au Cercle N.10. Ce qu’ayant fait, tout à l’inſtant il s’avance le pied gauche comme en ſantelant avec le milieu ſur la lettre S, & à ce meſme temps il oſte ſon eſpee de deſſus l’autre, dont il fait prinſe de la garde par en haut, la tire à ſoy en tournant la branche interieure en haut, menant le pied droit en ſuite de l’autre juſqu’à l’entrecoupure de la collaterale G M. s’affermiſſant au meſme temps la garde contre les coſtes avec la branche interieure verticale, & la pointe preſantée par courtoiſie à la poitrine de l’adverſaire: comme les figures repreſentent.
-|- style="font-family: times, serif; vertical-align:top;"
-|During the time it takes for Alexander to perform this action, leaning over his left foot and raising his hand and arm ready to grasp the hilt, he must above all pay attention to the feel of the blades, so that he may immediately perceive if the force from his ennemy’s blade weakens, or if he begins to withdraw his blade, possibly moving his body backwards, as well. In which case, he could not effectively grab the hilt. On the contrary, he must instead move his right side forward with his arm and sword at the same time so as to hit his opponent’s face.
-|En ceſte operation au temp qu’Alexandre s’avance pour ſe pancher ſur le pied gauche, & qu’il hauſſe le bras & la main pour faire preparation de la prinſe, il faut qu’il obſerve ſur toutes choſes le Sentiment des lames, afin qu’il ſe puiſſe touſiours appercevoir à temps, ſi l’Ennemy n’affoiblit pas la ſienne, ou s’il ne la retire point en arriere, meſme avec reculement du corps. Car en ce cas là la prinſe de la garde ne pourra ſortir a effet. Au contraire il faut alors avancer le coſté droit, enſemble le bras & l’eſpee pour toucher au meſme temps au viſage.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This is another follow-on from Circle No 5, which happens as soon as Alexander has begun to move his upper body forward onto his left foot.  Zachary increases the force of his blade, to push Alexander’s aside as Alexander is bringing his right foot up behind. As soon as he realizes from the feel that his opponent’s blade will escape overhead out of his control, and thus will close off any approaches from the right side, he moves his left foot along the middle of the line of the Inside Square, where he puts his weight on his bent knee, and sets his sword-tip against his adversary’s right side.''
-|''C’eſt encor une autre pourſuite du Cercle 5. Dés qu’Alexandre commence à approcher la partie ſuperiure du corps en avant, pour ſe charger ſur le pied gauche; Zacharie augmente le ſentiment de ſa lame, en uſant de force pour tranſporter celle d’Alexandre, ſur quoy Alexandre approche durant le meſme temps le pied droit, & d’autant qu’il recognoiſt par le ſentiment, que la lame contraire s’en va luy eſchapper par deſſus, & icelle affermiſſant contre ſes coſtes au coſté droit, en marchant du pied gauche deſſus le milieu du Quarré Inſcrit, où il fait la charge du corps deſſus avec le genouil plié, en aſſenant ſa pointe au coſté droit de l’adverſaire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action also follows from Circle No 5. As soon as Alexander begins to move his left side and to lean over his left foot which is already set on the ground, his opponent increases the amount of force on his blade. Against this, Alexander at first resists, as he brings his right foot up behind him. But as his adversary continues to increase the force against his blade until it is enough to move them both to the side. Alexander recognizes from the feel that this force has become powerful enough, that if he suddenly lets them go, they will fly overhead and far off centre. So he quickly pulls his own blade off his opponent’s and presses his guard against his right side, while moving his left foot to the middle of the line N-X. He shifts his weight onto his left foot, then bends his knee while he moves his right foot in a circular motion to the letter M along the Perpendicular Diameter and at the same time wounds his opponent under the right armpit. This is shown by the figures.
-|Ceſte operation procede auſſi du Cercle 5. Des qu’Alexandre commēce à avancer le coſté gauche, pour ſe pancher ſur le meſme pied qui eſt deſia planté; en ce meſme temps ſon Contraire luy augmente le poids de ſa lame: à quoy Alexandre fait un peu de reſiſtence au commencement, en approchant le pied droit; mais puis que l’Averſaire continue à l’augmenter de plus en plus, juſqu’à uſer de force pour tranſporter les lames; & qu’Alexandre cognoiſt par le Sentiment, qu’ell s’en va forligner d’elle meſme par deſſus & outre ſa teſte, voire & qu’elle y fera un aſſez grand Angle; il la laiſſe enfuir, en oſtant & affermiſſant la ſienne a ſon coſté droit avec la garde, avançant enſemblement le pied gauche ſur le milieu de la ligne NX, où il ſe charge & pance le corps deſſus avec le genouil plié cependant, le pied droit pourſuit en forme circulaire, juſqu’au Diametre perpendiculaire, lettre M. & cependant il bleſſe ſa partie adverſe en l’aixelle droite; ſuivant la repreſentation des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This one also follows from Circle No 5. Here Zachary waits to see what happens. Alexander moves his left side forwards, at the same time that he lifts his right foot onto his toes, and draws it up behind him,  he raises his left arm and hand level with and between the two blades, as is shown by the figures.
-|Voicy qui procede encor du Cercle 5. quand <font style="font-variant:small-caps">Zacharie</font> en attend la pourſuite, <font style="font-variant:small-caps">Zacharie</font> s’avance le coſté gauche du corps, entrainant quand & quand le pied droit apres ſur les orteils, & hauſſant au meſme temps le bras & la main gauche à l’egal & entre les deux lames; comme il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|In this one, we continue on, where Alexander skips his left foot to the letter S, and, then he leans his body forward, in such a way that his right foot is raised up as it follows on. At the same time, he puts his hand over top of both blades and seizes his opponent’s hilt, as is shown by the figures.
-|Ceſt la continuation du precedent: où <font style="font-variant:small-caps">Alexandre</font> s’avance par un petit ſaut avec le pied gauche ſur la lettre S, panchant le corps ſur le devant, en ſorte que le pied droit s’eſleve quand & quand en haut en ſuite de l’autre, & au meſme temps en portant la main par deſſus le long des deux lames, il fait prinſe de la garde contraire, commes les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues the previous action, taking a large about-face step, swinging his already-raised right foot all the way around behind his adversary. He then leans back onto his right foot, raises his left fott, and pulls the guard that he is grasping in his hand upwards. Meanwhile, he presses his own guard gainst his right side, and the tip of his sword against the right side of his opponent, as can be seen by the figures in the image.
-|<font style="font-variant:small-caps">Alexandre</font> pourſuit à continuer la precedente operation, voltant un grand pas à l’envers, avec le pied droit qui eſtoit j’à eſlevé, en ſorte qu’il le plante meſme derriere le corps de l’adverſaire, puis il ſe va pancher à l’envers ſur le meſme, en eſlevant le pied gauche, & attirant à ſoy vers le haut la garde qu’il tient en prinſe, affermiſſant cependant la ſienne au coſté droit, & ſa pointe au coſté droit de la poitrine de ſon contraire, comme il ſe voit aux figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the final execution of the movement which follows from the preceeding actions. That is, Alexander steps forward, putting his left foot down in between his opponent’s feet, shifting his weight onto it, bending his knee, and leaning his body forward, while driving his thrust through his opponent’s body, as it is shown by the figures.
-|Ceſt la derniere continuation & execution en ſuite des precedēts: aſçavoir qu’Alexandre s’avāce, & entre avec le pied gauche vers le contraire, juſqu’à le planter entre les deux pieds d’iceluy, en faiſant la charge deſſus avec le genouil plié & le corps panché de meſme, & donnant par meſme voye le coup d’eſtocade à ſon homme à travers le corps; ainſi qu’il appert aux figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|
-|
-|- style="font-family: times, serif; vertical-align:top;"
-|What is most noteworthy and special in this Plate as compared to the others, is the maner of putting oneself in between the angles, on which the moves which follow depend. Inasmuch as there are an infinite number of possible opportunities and it is impossible to show each and every variation of sequences, in any case, it is quite certain that Zachary will not know of any way to counter against any move which is similar to the the ones shown here. As soon as he opens the angle, however much or little, as long as there is an angle, Alexander should be ready to enter in, not to throw himself recklessly in do-or-die desperation, but with prudence, and with such sensibility, that his adversary cannot make the least move, without his being fully aware of it, so that he can unrestrainedly hit with a mortal blow, as shown in Circles No 3 & 4. Even if he has created an opening by pushing with his blade, Alexander does not step in with either his right or left foot, unless the opening is large enough and he can see a sufficient opportunity. This he does nonetheless with the same adroitness and care as before, being very careful above all, not to throw away the advantageous position he worked to gain, with an ill-advised rush. And after he has stepped, in, before he puts his advantage to effect, either by seizing his opponent’s guard, or by executing a strike, he always takes the same care. In sum, he is never in haste, but waits until his preparations are complete and he is ready to put an end to this undertaking, as long as he keeps the true timing, so that the opportunity does not escape from him, nor does he act too soon and thus do all his work in vain. When he proceeds deliberately, he is better able to be on his guard, and his adversary can do nothing that cannot be easily interrupted, nor can his adversary do anything much to disrupt him, and he himself is always able to change his actions, according to the situation.
-|Ce qui eſt le plus notable & ſpecial en ce Tableau preſent par deſſus les autres, c’eſt la maniere de ſe mettre dedans les angles, avec les ſuites qui en dependent. Car encores que les occaſions ſoyent infinies, & qu’il ſoit impoſsible de repreſenter touts les changements qui pourroyent ſurvenir un à un, toutesfois il eſt certain que Zacharie ne ſçauroit rien pratiquer en telle occaſion avec eſpees touchantes, qui ne puiſſe aiſement ſe raporter à ces meſmes leçons que nous en avons propoſées. Car dés qu’il ouvre l’angle, ſoit grand, ſoit petit, moyennant que ce ſoit un angle, Alexandre ſe prepare pour y entrer, non pourtant qu’il ſe precipite là dedans à corps perdu, comme pour mourir ou vaincre à la deſeſperade. Mais c’eſt avec prudence, & avec telle obſervation du Sentiment, que l’adverſaire ne peut faire à la moindre faute à l’obſerver pareillement de ſa part, qu’il n’en ſoit incontinent touché d’une mortelle atteinte, comme il ſe voit és Cercles 3. & 4. Et meſme apres qu’il l’aura ouvert avec bon ſentiment, Alexandre ne laiſſe pourtant de s’y loger dedans avec le pied droit ou gauche devant, ſelon que l’ouverture eſt grande & l’opportunité qu’il en trouve. Ce qu’il fait cependant avec la meſme adreſſe & circonſpećtion qu’auparavant, ſe gardant ſur tout de prodigner ſes mouvements par une viſteſſe mal adviſée. Et apres qu’il eſt entré dedans, avant que de mettre l’advantage en œvre, ſoit à faire prinſe de la garde contraire, ou execution de pointe ou de taille, que ce ſoit touſiours avec la meſme prudence. Somme, que jamais il ne ſe haſte juſqu’à tant que toutes les preparations ſoyent faites, & qu’il ſoit venu ſur le point de mettre fin à l’entreprinſe. Si lors s’en eſt le vray temps, afin que l’occaſion ne luy eſchappe hors des mains, non point devant afin qu’il ne ſe travaille en vain. Car quand il y va lentement, il eſt mieux ſur ſes gardes, & n’y peut rien arriver de par l’Adverſaire qui le puiſſe grandement mettre en deſordre, par ce qu’il ne fait rien luy meſme qu’il ne puiſſe touſiours changer à temps, quand l’occaſion ſe change.
-|}
-{{master end}}
-{{master begin
- | title = Book 1 - Tableau / Plate XII - Stepping inside the Angle betweeen the Swords.
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 12.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE TWELFTH PLATE.
-|DECLARATION DES OPERATIONS DV TABLEAV DOUZIEME.
-|- style="font-family: times, serif; vertical-align:top;"
-|We follow here, in this twelfth plate, the example of those who are concerned with fortifications. After they have taught to their students the form of ideal designs, they then briefly show them how, in practice, these must be adapted to the particulars of each place. Moreover, it is impossible to have site exactly one would wish. Thus, we do the same for our System, because we have already explained the manner of entering into the sword-angles, which is one of the points of the greatest importance, we shall now show the versatility of this move and the multiplicity of circumstances in which the scholar can prevail. Such contemplation will be very useful and very easy for them, considering the small number of precepts to keep in mind on which we can build, and which dominate even against the most unusual moves. To do this, we propose to examine a few particular examples, where Zachary opens up the angle in diverse ways, of which none are particularly strange. And in fact he allows opportunities of all sorts. Some ones which consist of a simple defence, others which include attempts to attack. At some times he will completely open up the angle, at other times he will do no more than prepare to. But all with such moves as he hopes will will create confusion by their novelty. But why, then, do this? These situations are useless to learn, because they are so rare, you say? On the contrary, the strangest situations are those that are most necessary to learn. For your enemy will not fail to perform any strange action, if he thinks it will confuse and confound you. Furthermore, whether or not he performs these moves with the same intent and the same follow-on exactly as we show here, nevertheless, you will find yourself often enough in similar situations such as these by chance one way or another. Therefore, be prepared for everything. For in the practice of Arms, after a mistake is made, there is neither valid excuse nor available recovery.
-|Nous enſuivons en ce Tableau XII. l’exemple de ceux qui traitent les matieres des fortifications. Car apres qu’ils ont enſeigné les figures regulieres, ils ſe contentent de monſtrer briefvement à leurs diſciples, qu’en la Pratique il les faut accommoder ſelon les particularitez de chaſcune place; d’autant qu’il eſt impoſſible de les avoir touſiours à ſouhait. Ainſi donc pour faire le meſme en noſtre Exercice, puis que nous venons de declarer la maniere d’entrer dedans les angles, qui eſt un de points de plus grande importance; monſtrons maintenant combien l’uſage en eſt ample, & comme l’Eſcholier s’en pourra prevaloir en pluſieurs occurrences. Contemplation qui luy ſera tresutil, & tresaggreable, conſiderant que le petit Nombre de ſes preceptes eſt baſtant à tenir en devoir voire & à dompter meſme des mouvements ſi extraordinaires. Pour ce faire nous propoſerons icy quelques particularitez d’exemples, ou Zacharie luy fait l’ouverture de l’angle en diverſes manieres, & aucunes d’icelles bien eſtranges. Et de fait il luy en donne des occaſions de toutes ſortes; les unes qui conſiſtent en ſimple defenſe, les autres conjointes avec intention d’offenſer; tantoſt il ouvre l’angle tout à fait, tantoſt il n’en fait que la ſeule preparation; le tout avec de tels mouvements, qu’il eſpere luy en troubler le jugement par la nouveauté meſme. Mais quoy donc? Direz vous, ce ſont des occaſions inutiles, pour ce qu’elles ſont rares? Au contraire, le plus eſtranges ſe ſont les plus neceſſaires. Car l’Ennemy ne manquera pas à faire une aćtion eſtrange, s’il penſe qu’il vous en mettra en deſordre; & d’autrepart combien qu’il ne les face pas avec la meſme intention, & en la meſme ſuite qu’elles ſont icy repreſentées, toutesfois on ſe retrouve aſſez ſouvent en telles & ſemblables ſituations par les changements des occaſions de part & d’autre. Soyons donc preparez à tout. Car au fait des Armes, apres que la faute eſt commiſe, il n’y a ny remede ny excuſe valable.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander, has subjugated his opponent’s sword at the Second Instance, has stepped with his foot to the Third, in such a way that his left foot is in the process of following along, with the intent to wound his opponent with the length of his blade. At this very moment, Zachary turns his right side to the outside, raising his arm and sword to an obtuse angle above the Inscribed Square X-N, holding it with some force. Alexander sees this, he allows his own tip to rise up, lowering and closing his elbow against his side, and setting his left foot on the ground inside the Quadrangle at the letter O.''
-|''Alexandre ayant ſujetté l’eſpee contraire à la Seconde Inſtance, & puis marché avec le pied droit à la Troiſieme, en ſorte que le pied gauche eſt deſia en train à pourſuivre l’autre, avec intention de bleſſer le Contraire au long de ſa lame; en ce meſme temps Zacharie ſe deſtourne le coſté droit en dehors, hauſſant le bras & l’eſpee en angle obtus au deſſus le coſté du Quarré Inſcrit X N, retenant le poids en force. Dequoy s’appercevant Alexandre il laiſſe aller au meſme temps ſa pointe contremont, en abaiſſant & affermiſſant la coude à ſon coſté, & mettant le pied gauche à terre dedans le Quadrangle à la lettre O.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Alexander has subjugated his opponent’s blade moving from the First to the Second Instance along the Diameter at G, and taken a step with his right foot along the side of the Inside Square to the letter N, intending to slide the point of contact up his opponent’s blade to give him a thrust to the face, he draws his left foot along the path following the other. At this time, Zachary turns his toes forward towards the diameter, without leaving his Quadrangle, in such a way that his right side is withdrawn a quarter turn, bringing his extended arm with his sword up into an obtuse angle along the side of Inscribed Square, X-N, with some force, so that the thrust to the face which his adversary had thought to give him is diverted aside. At the same time, Alexander drops his arm and guard down, while his sword-tip comes up, and he closes his elbow against his right side to protect himself, and he sets his left foot down inside the Quadrangle at the letter O, while keeping his body erect. This is shown by the figures.
-|Apres qu’<font style="font-variant:small-caps">Alexandre</font> a ſujetté l’eſpee contraire, de la Premiere Inſtance à la Seconde au deça le Diametre lettre G. & ayant conſequemment cheminé avec le pied droit par la trace du Quarré Inſcrit juſqu’à la Troiſieme à la lettre N, pour en graduant l’eſpee contraire luy donner une eſtocade au viſage, dont le pied gauche eſt deſia en train de cheminer apres l’autre : à ce meſme temps <font style="font-variant:small-caps">Zacharie</font> ſe tourne les orteils en devant vers le Diametre ſans bouger de ſon Quadrangle, en ſorte que le coſté droit du corps s’en retire à quartier, menant le bras eſtendu avec l’eſpee en haut en angle obtus au deſſus le coſté du Quarré Inſcrit X N avec poids de force; de façon que l’eſtocade, que l’adverſaire luy penſoit donner au viſage, en eſt divertie : Au meſme temps <font style="font-variant:small-caps">Alexandre</font> s’abaiſſe le bras & la garde, & avec la pointe dreſſée contrement il ſe l’affermiſt coſté droit pour defenſe de la partie inferieure de ſa perſonne, mettant enſemblement le pied gauche à terre, dedans e Quadrangle à a lettre O, avec le corps eſtendu; comme les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander raises his right foot in the air, while forcing his opponent’s sword down a little, which (while setting his foot down on the ground before the letter S) he subjugates it, turning his left side forward, and leaning his body even further forward on the same foot inside the angle, while simultaneously drawing his left foot along up to the letter N.''
-|''Alexandre eſleveant le pied droit en l’air, abaiſſe enſemble quelque peu l’eſpee de ſon Contraire, laquelle (en plantant le meſme à terre devant la lettre S) il aſſujettit, avançant le coſté gauche, & panchant du corps ſur le devant encores ſur le meſme pied au dedans de l’angle, entrainant quand & quand le pied gauche derriere juſqu’à la lettre N.''
-|- style="font-family: times, serif; vertical-align:top;"
-|As soon as Alexander has completed the preceeding action, he pauses briefly, so as to see if his adversary will try to work against him, so he can counter it. But as soon as he sees him waiting, he follows on, moving forward and raising himself with his right foot while lowering the swords with his sense of contact and likewise turning his left side forward, in such a way that the instant his foot lands on the ground in front of the letter S, and his weight comes down on it, he subjugates his opponent’s blade, then leans his body onto the forward foot, drawing his left foot along behind up to the letter N. Thus he puts himself inside the angle of the swords, and inside the lines of his ennemy; As is evident in the portrait of the figures.
-|<font style="font-variant:small-caps">Alexandre</font> dés qu’il à parachevé l’aćtion precedente, fait une petite pauſe, afin que ſi l’adverſaire taſche d’avēture à travailler deſſus, il y puiſſe donner order. Mais quand il le voit attendre, il pourſuit, en avançant & hauſſant le corps avec le pied droit, & abaiſſant enſemble un peu les lames au rapport du Sentiment, avec pareil advancement du coſté gauche; en ſorte qu’à l’inſtant que le corps deſcend, & que le pied droit tombe à terre devant la lettre S, il aſſujettit l’eſpee de l’adverſaire, ſe panchant du corps ſur le devant, & entrainant le pied gauche derriere juſqu’au point N. Dont il ſe met par ainſi dedans l’angle, & au dedans des perpendiculaires de l’ennemy; comme il eſt evident au pourtrait des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues the movement by leaning further forward, while raising his left hand between them over the swords. Then, he simultaneously moves forward, shifts his weight entirely onto his right foot, raises his left foot, reaches his left hand above the blades to seize the whole of his opponent’s guard and moves his left side leaning still further forward, as we see portrayed in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> continuant l’operation encommencée, ſe panche un peu davantage, hauſſant tout d’un temps en avant ſa main gauche entre deux & à l’egal des lames, puis il s’avance quand & quand en ſautant du pied droit, eſlevant en ſuite le pied gauche, & prenant enſemble par deſſus le long des lames la garde du Contraire avec ſa main gauche, le coſté gauche du corps panché encor davantage; ainſi qu’on le voit pourtrait en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander follows on from the previous movements, stabbing his opponent’s right side with the sword-tip.''
-|''Alexandre pourſuit les operations precedentes, donnant à ſon contraire un coup de pointe au coſté droit par le fil de ſa lame.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here the movement carries on, where Alexander suddenly takes his already raised left foot and makes a sudden large circular step outside the Circle, off to the side of his opponent.  This he follows with a similar very quick circular move of his right foot, in a volte, taking a large step behind his left foot, he traps his opponent’s sword as he turns his opponent’s hand and pushes the guard away, which creates the opening to stab his opponent’s right side along the line of the blade, as his shown in the figure.
-|Ceſt encor la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> pourſuit ſoudainement à faire un grand pas circulaire avec le pied gauche, qui eſtoit deſia eſlevé, au dehors du Cercle à coſté de l’adverſaire; pourſuivant pareillement en cercle avec l’autre pied, aſſavoir le pied droit, qu’il avance & volte de pareille viſteſſe, faiſant un grand pas derriere le pied gauche, pouſſe & tourne cependant le bras & la garde contraire au loing, & luy donne par le fil de la lame un coup de pointe au coſté droit; comme il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander completes the final execution of the movement by pushing his thrust with full force through his opponent’s body.''
-|''Alexandre faiſant la finale execution pouſſe ſon eſtocade au travers le corps de ſon Contraire de pleine force.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the final follow up to the previous moves, done by Alexander immediately raising his left foot and stepping into his opponent, putting his weight down on it, and thereby pushing his thrust with full force through his opponent’s body.
-|C’eſt la derniere ſuite de la continuation precedente, fait par <font style="font-variant:small-caps">Alexandre</font> en eſlevant tout à l’inſtant & avançant le pied gauche devers ſon Contraire, en faiſant la charge du corps deſſus, & luy pouſſant par ainſi l’eſtocade à travers le corps de pleine force.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action stems from Circle No 1, in the case when his opponent puts more force behind his blade. Thus Alexander continues to work against his opponent, taking a large, deliberate step straight forward with his right foot, moving his body in closer to his sword, and being very attentive to the feel, so to be aware if perchance his opponent comes to change the force he is using and so change the resuting actions as well.
-|Ceſt aćtion prend ſon origine du Cercle 1. à condition, qu’il y ait plus de poids en la lame contraire. Dont <font style="font-variant:small-caps">Alexandre</font> pourſuit à travailler, en faiſant un grand pas tout droit en avant lentement avec le pied droit, s’approchant le corps plus pres de ſon eſpee, & prenant fort ſerieuſement garde au ſentiment, ſi daventure le Contraire venoit à changer le poids, pour changer auſſi l’operation.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This continues from the preceeding Circle, where Alexander takes a further large, deliberate step with his left foot, straight forwards, out beside his adversary. After which he raises his right foot and brings it up near to the left one. As he feels that his opponent’s sword still resists with the same degree of force, he turns on the ball of his left foot, to face him.
-|C’eſt la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> marche encor un autre grand pas tout droit en avant & lentement avec le pied gauche à coſté de l’adverſaire; pourſuivant apres à eſlever & avancer le pied droit, lequel il joint tout pres de l’autre; & comme il ſent que la lame contraire continue encor au meſme poids, il ſe tourne ſur le pied gauche qui eſt planté tout droit contre luy pour le regarder.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander carries on the preceeding actions and, entering in towards his opponent, he aims the tip of his blade into his right side, thrusting with full force.''
-|''Alexandre pourſuit les operations precedents, & entrant devers le Contraire luy aſſene ſa pointe au coſté droit, l’executant de pleine force.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Continuing to feel the same degree of force against his blade, Alexander carries on his actions, disengaging the swords (so the other passes over his head) and at the same instant he enters in towards his opponent with the right foot, which was raised and ready, while aiming his sword-tip at the right side, and then driving it in with full force and his body leaning behind it, in accordance with the figures.
-|Continuant le meſme Sentiment des lames, <font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation, en deſtachant les eſpees (dont l’eſpee contraire luy paſſe par deſſus la teſte) & au meſme inſtant il entre devers le Contraire avec le pied droit, qui eſtoit deſia preparé, luy aſſenant la pointe au coſté droit, & l’executant à pleine force avec le corps panché de meſme; le tout en conformité des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has finished the actions of Circle No 1, and sees his adversary increase the degree of force resisting his blade. After he releases the sword to fly overhead, he wounds his opponent in the right side  with his sword-tip.''
-|''Alexandre ayant achevé les operations du Cercle 1. voyant que l’adverſaire luy reſiſte en augmentant le poids, apres avoir laiſſé eſchapper l’eſpee contraire il le bleſſe d’un coup de pointe au coſté droit.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is an action which follows from Circles 1 & 2. Alexander has finished the movement in Circle 1. to the point where he has raised his right foot intending to force down and subjugate his opponent’s blade, as in Circle 2. His adversary resists by greatly increasing the degree of force against his blade, enough to move the swords back. To which Alexander lifts his sword from on top, allowing the other to fly freely overhead from the intensity of the force, and at the same time enters in to the angle, by advancing his right foot, which he sets down where the line crosses the segment S-X. He wounds his opponent’s right side by a strike with his sword-tip and finishes the move with his body leaning forward, and left leg drawn up appropriately behind him, as his shown in the figure.
-|C’eſt icy une operation qui procede en ſuite des Cercles 1. & 2. <font style="font-variant:small-caps">Alexandre</font> ayant achevé celle du Cercle 1. apres avoir eſlevé le pied droit pour abaiſſer, & conſequemment pour aſſujettir l’eſpee contraire à l’exemple du Cercle 2. l’Adverſaire luy fait reſiſtance, en augmentant le Poids, & uſant de force pour tranſporter les lames. Qui fait qu’<font style="font-variant:small-caps">Alexandre</font> en oſte ſon eſpee de deſſus, laiſſant enfuir l’autre, qui luy paſſe outre la teſte par la vehemence de la force, & entrant au meſme temps dedans l’angle par advancement du pied droit, qu’il plant à la ſećtion de la ligne S X, il le bleſſe d’un coup de pointe au coſté droit, & en fait la finale execution avec le corps panché en avant, le pied gauche trainant proportionnellement derriere; comme il eſt repreſenté au pourtrait de ſa figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary resists by increasing the force against his blade. Alexander slides the point of contact down the blade to prepare the next move.''
-|''Zacharie faiſant reſiſtance hauſſant le poids des lames, Alexandre deſgradue les lames & ſe prepare à l’execution ſuivante''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action likewise begins from Circle 2, in which Alexander is shown lowering and subjugating his opponent’s blade. Against which Zachary has tried to resist by raising and increasing the force against the blade, however, with a little less than in the previous Circle. So Alexander leans a bit further forward, while making a quick step with his right foot up to the letter S, and with his left hand seizes his opponent’s guard, then slides the point of contact down along the entire length of the blade in such a way that he pulls away as he keeps his grip on the guard, holding it out to the left. He turns his right side forward, raising his left foot, and raises his opponent’s guard up high, while turning the tip of his own blade away behind his back. Thus, he is prepared to perform the following moves, as we can see him making ready in the image.
-|Ceſte operation prend ſemblablement ſon origine du Cercle 2. auquel <font style="font-variant:small-caps">Alexandre</font> eſt repreſenté abaiſſant & aſſujettiſſant la lame cōtraire: à quoy <font style="font-variant:small-caps">Zacharie</font> à voulu faire reſiſtance, en hauſſant & accroiſſant le poids des lames, toutesfois avec un peu moindre effort, qu’au Cercle dernier precedent. Dont <font style="font-variant:small-caps">Alexandre</font> ſe panche un peu davantage, faiſant au meſme temps avec le pied droit un petit ſaut en avant à la lettre S, & avec la main gauche prend la garde contraire, enluy deſgraduant la lame entier, de ſorte qu’il ſe retire & s’affermit le bras de l’eſpee avec la garde au coſté gauche, en tournant le coſté droit devant avec le pied gauche eſlevé, pouſſant enſemblement ſon bras gauche, qui tient l’eſpee contraire en haut, & conduiſant la pointe de la ſienne contremont par derriere le dos. Voilà comme il s’eſt preparé le corps pour venir conſequemment à l’operation ſuivante; comme on l’y voit tout appreſté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This follows on from the last. Alexander, leaps with a large, circular, forward step with his left foot outside the Circle to a point almost behind his adversary, to whom he gives, by leaning forward with his body and bringing his right foot smoothly around through the air in circular motion, setting it down behind the other, a reverse cut to the thick part of his opponent’s left leg, while pressing his opponent’s arm and sword down and pinning them against his left side, as is portrayed in the figure.
-|C’eſt la ſuite du prēcedent. <font style="font-variant:small-caps">Alexandre</font> ſaute avec le pied gauche un grand pas circularement en avant au dehors du Cercle à peu pres derriere l’adverſaire; auquel il donne (en panchant du corps ſur le devant, & continuant à mener circulairement le pied droit en l’air derriere l’autre) un coup de revers au gras de la jambe gauche, pouſſant enſemblement vers le bas le bras & l’eſpee contraire, laquelle il s’affermiſt à ſon coſté gauche; ainſi qu’il eſt pourtraićt en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues with the same sequence. He suddenly moves backward and sets his foot down right behind himself, then rocks back onto it, leaning backward and lifing his left foot. As he does, he pulls his opponent’s hand and sword off to his left, and draws his own sword back to his right side, as we see represented in the figure.
-|C’eſt la continuation de la meſme ſuite, faite par <font style="font-variant:small-caps">Alexandre</font>, en retirant & plantant ſoudainemēt le pied droit en arriere, ſur lequel il ſe redreſſe & ſe panche à l’envers, en eſlevant le pied gauche, & retirant à ſoy le bras & l’eſpee contraire, meſme auſſi la ſienne, laquelle il conduit à coſté de ſa perſonne à main droite, la pointe tournée vers le bas; comme on le voit repreſenté à la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Here, Alexander executes his strike, and pierces his oppnent with a straight arm through the body.''
-|''Alexandre execute icy ſon coup, & perce ſa partie d’un bras roide au travers du corps.''
-|- style="font-family: times, serif; vertical-align:top;"
-|And here is the final move. Alexander steps with his left foot forward into his opponent, & leaning his body, he drives his sword, with a straight and extended arm, through his opponent’s body.
-|En voicy le finale execution. c’eſt qu’<font style="font-variant:small-caps">Alexandre</font> marche avec le pied gauche deſſus ſon homme, & en panchant le corps de meſme, il luy pouſſe d’un bras roide & eſtendu l’eſpee au travers du corps.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander subjugated his opponent’s sword. Zacharie tries to wound his opponent by disengaging his blade. Alexander perceives this move and swiftly follows, sliding his tip along and again subjugates it.''
-|''Alexandre ayant aſſujetti l’eſpee contraire, Zacharie taſche de bleſſer ſa partie en deſtachant ſa lame, Alexandre s’en apercevant le pourſuit vivement & graduant ſa pointe l’aſſujettiſt derechef.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander has previously subjugated his opponent’s sword at the Second Instance at the letter G, along the Diameter, according to our precepts and required form. Zachary tries to circularly disengage his blade, which is subjugated underneath the guard, and raise it over Alexander’s, to wound him from above his arm. Alexander feels it is about to disengage, follows it quickly before that can happen, turning it down and outside of the intended path. He does this with his wrist, turning and sliding the point of contact up to the centre of his opponent’s sword, so it cannot escape, at least until the two swords have been raised up at an obtuse angle. Then, with his body upright, he enters in with his left foot forward as he again slides the point of contact up the sword to dominate his opponent’s sword, setting his foot down on the Diameter at the letter Q, bearing  the weight of his body on it, over his bent knee, inside the perpendicular lines, as it appears in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> ayant preallablement aſſujetti l’eſpee contraire à la Seconde Inſtance lettre G, au deça du Diametre, ſelon les preceptes & en la forme requiſe. <font style="font-variant:small-caps">Zacharie</font> taſche à luy paſſer circulairement ſa lame, qui eſt aſſujettie par deſſous la garde, pour bleſſer par deſſus le bras. Dont <font style="font-variant:small-caps">Alexandre</font>, qui recognoiſt au Sentiment, qu’elle commence à ſe vouloir deſtacher de la ſienne, la pourſuit vivement avant qu’elle ſe ſoit delivrée, en tournoyant par le bas & en dehors la meſme chemin q’uelle s’en alloit prendre; ce qu’il fait avec le poignet de la main, tournant & graduant ſa pointe un peu devers le Centre de l’eſpee contraire, afin qu’elle ne luy puiſſe eſchapper, juſqu’à tant que les deux eſpees ſoyent conduites en haut en angle obtus; Lors il entre avec le corps eſtendu, le pied gauche devant, en faiſant derechef deſgraduation en aſſujettiſſant l’eſpee contraire, & plantant le meſme pied au deça le Diametre à la lettre Q, menant la charge du corps deſſus ayant le genoil plié, au dedans des perpendiculaires, ainſi qu’il paroit à la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|This same action can be done, even if Alexander has not yet done more than set his right foot down at the Second Instance, before his left foot has come into place, and the subjugation of his opponent’s blade is but half done. However, in this latter case, one will not have the leisure to set the left foot down at the Second Instance, before one must increase the size of his step, and move in one up motion to the letter Q, keeping in mind all the same particulars as above.
-|Ceſte meſme operation ſe pourra pratiquer, moyennant qu’<font style="font-variant:small-caps">Ale</font>xandre n’ait encor planté que le pied droit à la Seconde Inſtance, avant que le gauche y ſoit arrivé, & que l’aſſujettiſſement ne ſoit qu’à demi fait. Toutsfois en ce dernier cas on n’aura pas le loiſir d’aller planter le pied gauche en terre à la Seconde Inſtance, ains il faudra en aggrandir la demarche, & entrer tout d’un train juſqu’à la lettre Q, en obſervant touſiours le meſmes particularitez que deſſus.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 15'''
-|'''Cercle N.15.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the follow-on from the preceeding action. Alexander momentarily raises his left foot, making little or no forward motion. He leans on it, moves his left side forward, at the same time disengaging his sword, and seizing hold of his opponent’s guard with his left hand, which he pulls towards himself. He puts the tip of his sword on his adversary’s right side, as the figures demonstrate.
-|Voicy une ſuite de l’operation precedente. aſſavoir qu’<font style="font-variant:small-caps">Alexandre</font> eſleve tout à l’inſtant un peu le pied gauche avec peu ou point d’avancement, ſe panchant deſſus, le coſté gauche du corps avancé, en deſtachant au meſme tēps les eſpees, & faiſant prinſe de la garde contraire avec ſa main gauche, laquelle il retire à ſoy, en aſſenant ſa pointe au coſté droit de l’edverſaire; comme les figures demonſtrent.
-|- style="font-family: times, serif; vertical-align:top;"
-|In this action, which proceeds from Circle No 14, where Alexander held his opponent’s blade subjugated with his left foot forward, he follows in Circle No 15 by disengaging the swords while at the same time seizing his opponent’s guard. Note that he could also do the step in with his right foot, and performing the consequent seizure and follow-on without disengaging the blades, as shown in Circles No 2, 3, 4, and 5.
-|En ceſte opration precedente du Cercle 14, où Alexandre tient l’eſpee contraire aſſujettie avec le pied gauche devant; laquelle il a pourſuivie au Cercle 15. en deſtachant les eſpees, & faiſant au meſme temps prinſe de la garde contraire. Notez qu’il peut auſſi pratiquer la meſme intrade avec le pied droit, en faiſant conſequemment la prinſe avec le ſuite annexées ſans quitter les lames en conformié de ce qui eſt repreſenté es Cercles 2. 3. 4. 5.
-|- style="font-family: times, serif; vertical-align:top;"
-|This is similar to Circle No 2, when Alexander had his right foot forward, but in any case, nothing impedes him from following on as from Circle No 14 disengaging his sword, seizing his opponent’s guard, and giving his a thrust in the stomach, as is shown in Circle No 15.
-|Semblable eſt du Cercle N.2. combien qu’Alexandre y ait le pied droit devant, toutesfois rien n’empſche qu’il n’en puiſſe auſſi tirer la ſuite du 14. en deſtachant les eſpees, à faire prinſe, & luy preſenter l’eſtocade à la poitrine; comme il eſt monſtré au Cercle N.15.
-|-
-||
-|- style="font-family: times, serif; vertical-align:top;"
-|The usefulness of seizing the space inside the angle is so obvious, it should require no further proof. Anyone who has entered inside will always have twice the advantage, with regard to timing and distance. For he cannot be hit in a single beat, because he has passed the tip of his opponent’s sword, yet he has not given up the ability to attack however he wishes to. And if his enemy begins to draw back his sword to thrust, he can feel it and wound his enemy before he can pull it far enough, because he is in position, and outside his enemy’s line, and thus has the advantage. Also, note that those who fence in the old style, because they know no better, try to open up the angle, to beat the opposing sword aside. What we do with our sword, they want to do with their left hand. But this is their fault, because, since they always remain face to face against their opponents in a straight line, how is it possible for them to safely open up the angle, when we consider how this is the opposite of the direct line, and cannot happen except when one line crosses the other. This is why they do not know how to engage their enemy’s swords without uncovering their own side at the same time. That is why Alexander always approaches by moving to the side. Because he knows his enemy does not know how to parry the slightest strike without creating an angle. But if he does not create a large enough opening for them, there is nothing that stops him from executing his strike. And if not, he only needs to step inside the angle.
-|L’uſage de ſaiſir les angles eſt ſi manifeſte, qu’il n’en faut pas demander des preuves. Car celuy qui eſt entré dedans, a touſiours double avantage au regard du temps & de la meſure. Dont il ne peut eſtre touché au Premier Inſtant, par ce qu’il a paſſé la pointe contraire, & pourtant il ne laiſſe pas d’avoir la commodité luy meſme de travailler à touts moments, ſi bon luy ſemble. & ſi l’Ennemy commence à vouloir ramener ſa pointe, il a le ſentiment qui l’advertit de le bleſſer au meſme temps avant qu’il en ſoit venu à bout de ſorte qu’il a l’ennemi en preſence, eſtant luy meſme dehors, tant il a d’avantage. Auſſi voit on que ceux qui tirent à la veille mode, à faute de ne ſçavoir mieux, ils taſchent d’ouvrir les angles pour battre l’eſpee contraire. Ce que nous faiſons avec l’eſpee meſme, ils le veulent faire avec la main gauche. mais c’eſt leur faute. car puis qu’ils demeurent touſiours viz à viz de leurs contraires en ce droite ligne, comment leur ſeroit il poſſible de bien ouvrir les angles, conſideré que l’angle ceſt tout le contraire de la ligne droite, & qu’il n’y en a peut avoir, ſinon que l’une des lignes ſoit miſe en travers de l’autre. Et c’eſt la cauſe pourquoy ils ne ſçauroyent engager les eſpees des Ennemis, qu’ils ne ſe deſcouvrent auſſi de leur coſté pareillement. Voilà donc pourquoy Alexandre a fait touſiours ſes approches en allant de travers. Pour ce qu’il ſçait que l’Ennemi ne ſçauroit parer le moindre coup ſans faire angle. Car s’il ne fait point aſſez d’ouverture, il n’y a rien qui l’empeſche de faire l’execution; & ſi au contraire, il ne tient qu’à luy d’entrer dedans l’angle.
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