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== Treatise ==
 
== Treatise ==
  
The ''[[Academie de l'Espée (Gérard Thibault d'Anvers)|Academie de l'Espée]]'' (1630) is presented in three parts, 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, Book 1, which deals with training in the use of his system of swordplay, and Book 2 which shows how to use his system against other systems and weapons, including shields, longsword, and firearms.
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The ''[[Academie de l'Espée (Gérard Thibault d'Anvers)|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, as he explains in 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''.
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Thibault, although he does not explain until Plate 8, uses the term ''estocade'' to describe a thrust to the near, right side, and the term ''imbrocade'' to describe a thrust to the far, left side, from the Italian terms ''stoccata'' and ''imbroccata''. English has a single term ''thrust'' to mean either, but did borrow the Italian term ''imbroccata'' to specifically refer to the latter type of thrust.
  
The plates uploaded to WikTenauer are sufficient, but if anyone wishes to see very high definition images, they can be found on [[http://http://www.geheugenvannederland.nl/ | www.geheugenvannederland.nl]]
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Plate I begins with a long philosophical discussion of his worldview. It is a good insight into the late Renaissance worldview relating mathematics and Christian religious beliefs to an idealized human figure. It then explains how to construct his <i>Mysterious Circle</i>. This includes a lengthy discussion of how the circle relates geometrically to the ideal body size, based on Vitruvius, and notes about how the lines and crossing points of the circle will be used. This is the basic reference diagram for the entire system.
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It also includes explanations of how to measure for the correct sword size for any given person, and some explanation of why this is so, and some introductory explanation of appropriate ranges for swordplay.
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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.
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Plates III & IV deal with how to properly draw a sword and how to approach an adversary.
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Plate V introduces his fighting system. First, how to deal with feints (typical of the schools of the time) and defend against typical thrusts.
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Plate VI introduces several basic concepts. The importance of maintaining contact between swords, not typical of schools of the time, and the basic steps to close with and thrust into an opponent. The first steps show the attack as if he were to make no defense. Then he assumes the opponent will try to disrupt the attack, and discusses how to deal with interruptions if they occur at various points during the movement.
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Plate VII introduces an opponent using circular disengagements and counterthrusts to disrupt an attack, and how to counter them.
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Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.
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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.
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Plate XI continues the exploration of how to deal with different degrees of force against the blade.
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Plate XII shows how to create an angle between blades to move in against the opponent
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Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
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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
 
{{master begin
 
  | title = Book 1 - Introduction. Arms of Patrons and supporters of Thibault
 
  | title = Book 1 - Introduction. Arms of Patrons and supporters of Thibault
  | width = 75em
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  | width = 90em
 
}}
 
}}
{| class="wikitable"
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{| class="master"
 
! Images
 
! Images
 
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
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|- style="font-family: times, serif; vertical-align:top"
 
|- style="font-family: times, serif; vertical-align:top"
 
|[[File:Academie de l'Espée Title.jpg|200px]]
 
|[[File:Academie de l'Espée Title.jpg|200px]]
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|To the valliant heart, nothing is impossible.
 
|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).
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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
 
|Au coeur vaillant rien n'est impossible
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| Work well without pause, and the hours pass quickly.
 
| 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)
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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
 
|Fais biens sans demeure, et peu de temps se passe l’heure
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|Everything with God, Nothing without Reason.
 
|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.
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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
 
|Tout Avec Dieu, Rien Sans Raison
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I maintain
 
I maintain
  
Arms and titles of [[https://en.wikipedia.org/wiki/Maurice,_Prince_of_Orange|Maurice]] (1567 - 1625), Prince of Orange (1618 – 1625)
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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)
 
|(Order of the Garter about the arms – Honi soit qui mal y pense)
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|Of the homeland. With the homeland.
 
|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)
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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
 
|Patriæ. Patrique
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|Constant
 
|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)
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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
 
|Constant
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|God and all
 
|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)
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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
 
|Deo et Cunctis
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|Nothing without God
 
|Nothing without God
  
Arms of Stephan Gans, [[https://en.wikipedia.org/wiki/Gans_zu_Putlitz|Baron  Putlitz]]
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Arms of Stephan Gans, [https://en.wikipedia.org/wiki/Gans_zu_Putlitz Baron  Putlitz]
  
 
|Rien sans Dieu
 
|Rien sans Dieu
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|Arms of Louis XIII
 
|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.
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[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.
 
1628
 
1628
  
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|- style="font-family: times, serif; vertical-align:top"
 
|- style="font-family: times, serif; vertical-align:top"
 
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| class="noline" | 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.
|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.
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| class="noline" | 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.
 
 
|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.
 
  
 
|}
 
|}
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{{master begin
 
{{master begin
  | title = Book 1 - Tableau / Plate I
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  | title = Book 1 - Tableau / Plates I - XI
 
  | width = 60em
 
  | width = 60em
 
}}
 
}}
{| class="floated master"
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{{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]]
 
 
 
|- 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 Meſure de tout. Quant à la proportion des Poids, il ne faut pas douter, qu'elle n'y ſoit auſſi obſervée avec tout autant d'artifice, que les Nombres, ou les meſures. Ce qui eſt aiſé à cognoiſtre, par ce qu c'eſt l'homme ſeul de touts les animaux qui marche droit; de façon qu'il ſe tient touſiours en contrepoids & en balance en toutes aćtions, autrement il en ſeroit à touts moments incommodé.
 
Car ſa ſtrućture eſt telle, que touts ſes membres (exceptez le bras) à meſure qu'ils ſont plus relevez de la terre, auſſi ſont ils plus peſants de plus en plus; ſi que les parties plus legeres & plus foibles ſoutiennent les autres plus peſantes & plus robuſtes: qui ſeroit choſe contre Nature & du tout inſupportable pour continuer longuement, en tant & en ſi diverſes ſortes de mouvements, comme on voit que ce corps humain pratique, s'il n'eſtoit moderé au regard du Poids en toutes ſes parties depuis le ſommet de la teſte juſqu'aux plantes des pieds, d'un ſingulier & parfait artifice. La declaration plus ample de ceſte matiere appartient aux Anatomiſtes, qui font profeſſion de declarer les partiularitez de ceſte noble ſtrućture: nous qui ne pretendons que d'en expoſer ſeulement ce qui touche l'exercise des Armes, ſerons contents d'en declarer quelques choſes en gros, notamment touchant les proportions exterieures; afin q'il ſoit par cy apres d'autant plus facile à juger de la nature & portee de chaſcun des mouvemēts, qui en procedent. Puis donc que les mouvements ſe font quelques fois avec le tronc entier du corps, quelquesfois & plus ſouvent avec les bras & les mains, & autres fois avec les jambes & les pieds, nous demonſtrerons preſentement, que les hommes ſont capables d'exploiter leurs movemēts neceſſaires & utils en plus grand nombre & plus aiſeement & plus promptement, que ne font les autres animaux. Dont il faut ſçavoir, que c'eſt ordinaire & proprement l'office des bras & des mains d'executer le commandement de la volonté, en faiſant les aćtions que l'utilité ou la neceſſité demande; & que les jambes & les pieds ne ſervent communement à autre choſe, au'à tranſporter et à tourner le corps, & à mettre le bras & mains en places, où la Volonté pretend quel execution ſoit fait: & d'avantage qu'il y a ceſte difference, que les bras & les jambes ſont ſpecialement propres à faire les grands mouvements, ainſi que les pieds & les mains ſont propres aux moindres: & comme les bras ſont particulierement capables à executer ce où il faut de la force, ainſi les main le ſont d'autrepart pour travailler avec dexterité. Les Pieds, comme pilliers qui ſouſiennent le corps, ſont devers les talons quaſi immobiles, mais devers les orteils ils ſe mouvent aſſez promptement: de ſorte quepar l'inegalité de ceſte ſtrućture le corps ſe peut affermir deſſus, au moyen de l'un, comme il ſe peut d'autrepart remuer & tourner viſtement & commodement de touts coſtez, au moyen de l'autre. En l'un & en l'autre derechef il reçoit un grand ſoulas par la juſte longueur, qui luy fournit un fondement ſtable & ſolide quand il s'arreſte; & quand it marche, elle aide à le pouſſer & luy donner ſa courſe. Les Mains ſe meuvent fort agilement en toutes leurs parties, & contiennent en leur plus large la juſte moitié de la largeur du viſage, qui eſt le quart au regard de la poitrine: la longueur en eſt deuz fois autant: & eſtant la main fermée, le contour du poing ſera le tiers du contour de la poitrine: en ſorte qu'elle luy peut naturellement ſervir d'eſcuſſon pour la defendre, en la tenant devant, ſoit ouverte et eſtendue, ou bien ſoit fermée.
 
Ceſt pour quoy Philo, autheur Iuif, a tres-bien rencontré à dire, qu'au lieu de touts les ornements & defenſes naturelles des autres animaux, l'homme a eſté doué de la Raiſon, comme Direćtrice, & de Mains, comme Inſtruments pour executer ce qu'elle veut: & que la Raiſon eſt la Main de l'Entendement; la main de la Raiſon c'eſt la Parole; & les Mains corporelles celles qui font l'execution de ce que la Parole commande. Inſtruments, qui contiennent en eux toute la ſuffiſance des autres, & qui par conſequent les egalent en dignité, voire les ſurmontent. Pour laquelle cauſe il vient au Monde deſpourveu de toutes armes, tant offenſives que defenſives, & n'a que ce ſeul inſtrument de la main, au moyen duque il ſe puiſſe prevaloir de toutes. Les autres animaux ſe defendent & offenſent leurs contraires, l'un avec les dents, l'autre avec les ongles, les pieds, les cornes; ainſi quil ſe voit és Elefans, Lions, Ours, Chevaux, Taureaux, Tigres, & autres beſtes, à qui la Nature a departiaſſez chichement une ſeule eſpece d'Armes a chaſcune, pour la neceſſité de leur defenſe; mais à l'homme, qui en ſemble eſtre du tout privé, en recompenſe elle l'a doüé d'Entendement pour les cognoiſtre, d'Eſprit pour les forger, & de Mains pour s'en aider de toutes & telles qu'il en puiſſe eſtre. meſme afin qu'il s'en peuſt aider avec plus d'avantage, elle luy a donné par ſpecial privilege de pouvoir à meſme inſtant fleſhir les bras en arriere & les pieds en avant, choſe impoſible aux autres creatures: comme auſsi pour la meſme, ou pour ſemblable cauſe, la ſituation naturelle des bras a eſté placée en tel endroit, que les operations des mains fuſſent touſiours ſous le gouvernement de la veuë, pour en ſecourir & aſsiſter tand plus aiſement le reſte des membres en leurs neceſsitez. Tout ainſi donc que le ſuſdits Artiſtes, Architećtes, Perſpećtiviſtes, & autres on taſché de prouver les fondements de leurs regles par les proportions du corps de l'homme, ainſi avons nous pareillement tenu la meſme courſe, mais avec meilleure adreſſe, & avons trouvé à l'aide de ceſte meſme buxole la vraye & proportionelle meſure de touts les Mouvements, de touts les Temps, & Diſtances, neceſſaires à obſerver en noſtre Pratique: comme il vous ſera demonſtré tout à l'inſtant en la declaration de noſtre Cercle; où les meſures & proportions de l'homme ſont appliquées à l'homme meſme, & aux movements qu'il fait avec ſes propres membres, où ladite proportion ſe trouve, & ſans laquelle il luy eſt impoſſible de faire la moindre aćtion du Monde. En pratiquant donc ceſt Exercice, comme i'ay fait par pluſieurs annees, en divers pays, & avec de grands amateurs; dont les uns tiroyent à la Françoiſe, les autres à l'Italienne, & en ſomme chaſcun à ſa mode; j'ay veu qu'on s'accouſtume par tout à des poſtures eſtranges, le corps plié en pluſiurs courbures à pieds & jambes diſioinćtes hors de proportion naturelle, & en ſituations du tout repugnantes à la mode ordinaire qu'on tient en cheminant ou en demeurant ferme: de ſorte qu'au lieu de faire paroiſtre par ces mines quelque grand courage, on s'incommode & amoindrit on ſes propres forces, pluſtoſt que d'en obtenir l'effećt de l'intention pretendue. Ce que conſiderant de pres, & ſachant d'autrepart, que touts les Arts enſuivent la Nature, sans jamais y contrevenir, j'en ay prins occaſion de vouloir conduire auſsi noſtre Exercise à la meſme Eſchole de ceſte Souveraine Maiſtreſſe des bonnes inventions.  En quoy j'ay remarqué premierement, que toutes les Meſures & Inſtances à obſerver en ceſt Pratique (qui ſont les premiers fondements & l'appuy de toutes le parties ſuivantes) procedent de la proportion du corps de l'homme, comme auſsi ſans la meſme cognoiſſance elles ne ſçauroyent eſtre deuemēt comprinſes, non plus que d'eſtre pratiquées avec aſſeurance. & qu'auſsi le ſemblabe en eſt il de Pas & Demarches ordinaires ou extraordinaires, que l'uſage de l'Exercise & la varieté des occaſions requierent. Par où il appert, qu'il faut entrer ſi avant en ceſte cognoiſſance de la proportion des membres & parties du corps humain, qu'on puiſſe à tout le moins faire quelque raiſonnable jugement de la portée de chaſcun mouvement, à proportion du membre ou des membres, d'où il depend, & desquels il doit eſtre continué, fini, tourné, retourné, laſché, bandé, ou changé en mille & mille manieres.
 
 
 
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|The first thing to know is that the philosophers attibuted to the microcosm of the human body various figures, of which we will later discuss the triangle, the quadrangle, and the pentagon. For the moment, we shall say the figures made by the body are also round or circular, in accordance with Hippocrates, Prince of Doctors, who said that the body is a circle. Which can be understood as much in regard to the actions and operations of its interal parts, and their attendent functions, so reciprocal and each following one on the other, so we can find no beginning and no end,  as if following the circumference, as it can be also to movements of his limbs which always go around, from the strength of the centre to the weakness of the extreme circumference. Thus, as it is now time to turn to the question of, and to discuss, Range, which is appropriately proportional to stature, position, approaches, and generally all external movements of this same body, I now introduce our Circle, which, as I say, contains all the above-mentioned qualities, and is taken from the correct measurements and proportions of a man. All mathematicians know that the circle or round figure is the simplest, primary, and moreover most perfect, superior, and most useful of all for defense; a figure which has only one point of contact on its surface at only one point at a time: thus such a noble thing as our body cannot help but make use of such a useful figure: to which also can be demonstrated in many ways and principally on the long extension; which is, when standing straight upright, feet joined, and the arms extended directly above, so that the elbows are by the top of the head. For when he holds himself thusly, either upright beside a wall, or extended in the same  way on the ground, and we place one branch of a compass on his navel, and the other on his fingernails or at the soles of his feet, and we draw about him a circumference, we create a circle of which the centre will be on the person's navel, the Diameter will be the person's extended height, and the circomference will touch, on one side, the soles of the feet, on the opposite, the tips of the fingers. If one finds it does not fit, the body has not been exactly positioned following the rules of composition. Thus the Circle, which we intend to use throughout this book to perform our exercises, which is proportional to all the movements we shall make, with arms, and legs, and the body as a whole. One could draw still other Circles from man's proportions in many ways (such as putting the Centre on the shameful parts and draw the Circumference at the top of the head and the soles of the feet) but these cannot suffice, nor have the convenient measure we are looking for, because they have no relation to the proportions of the extended arms, which is the principal aspect required for this Training, which is why, together with certain other considerations with respect to the question of using the Circle, we must use the extended length as an exact measure for the Diameter, and not any other.
 
 
 
|Il faut donc ſçavoir pour le premier, que les Philoſophes attribuent à ce Microcoſme du corps humain diverſes figures, dont it ſera parlé autrement de la triangulaire, quadrangulaire, & pentagone. Preſentement nous diſons, qu'il eſt auſſi rond ou circulaire en la figure de ſes mouvements, à quoy s'accorde le dire d'Hippocras Prince de Medecins, que le corps eſt un Cercle. Ce qui ſe peut entendre tant au regard des aćtions & operations naturelles de ſes parties interieures, & de leurs alterations ſubalternes, tellement reciproques & ſuccedantes les unes aux autres, qu'il ne s'y trouve non plus de commencement ne de fin, qu'en la rondeur d'une circonference, auſſi ſe peut il rapporter à la figure de touts ſes mouvements locaux, qui va touſiours en rond, s'eſtendant depuis le centre de ſa force juſqu'à l'extreme circonference de ſa foibleſſe.
 
Or puis qu'il eſt donc preſentement queſtion, de vous faire voir la Meſure, qui ſoit convenable & proportionée à la ſtature, ſituations, demarches, & generalement à touts les mouvements exterieurs de ce meſme corps, voicy la figure de noſtre Cercle, que nous diſons contenire toutes les ſuſdites qualitez, & eſtre tiré de la propre meſure & proportions du corps de l'homme. Touts les Mathematiciens ſçavent, que la figure circulaire ou ronde eſt la plus ſimple, la permiere, voire auſſi la plus parfaite, la plus excellente, & la plus capable de toutes pour la defenſe; comme celle qui ne ſe laiſſe toucher en la ſurface, qu'en un ſeul point à la fois: dont une figure ſi accomplie ne devoit pas manquer à un corps ſi noble: auquel auſsi elle peut eſtre demonſtrée in diverſes manieres; & principalement ſur la longeur eſtenue; ceſt à dir quant il ſe tient droit ſur ſes jambes, à pieds joinćts, & les bras éſtendus droitement en haut, tellement que les coudes luy egalent le ſommet de la teſte. Car lors qu'il ſe tient en telle ſituation, ſoit debout contre un mur, ſoit eſtendu en la meſme ſorte par terre, & qu'on luy mette l'une des branches d'un grand compas ſur le nombril, & l'autre ſur les orteils ou contre la plante des pieds, & qu'on en tire en rond une circonference, il en ſourdra un Cercle; dont le Centre ſera ſur le nombril de la perſonne, le Diametre en ſera comme la hauteru eſtendue, & la Circonference en touchera d'un coſté la plante des pieds, & à l'oppoſite les bouts des ſes doights. Si on y trouve de la faute, le corps n'a pas eſté exaćtement proportionné ſuivant les regles de ſa compoſition. Or voilà maintenant le Cercle, duquel nous pretendons uſer en tout ce Livre pour l'adreſſe de noſtre Exercice: lequel, d'autant qu'il eſt proportionné à touts le mouuements qu'il ſçauroit faire, avec bras & jambes, & avec tout le corps entier, ou avec chaſcune de ſes parties. On pourroit tirer encor d'autres Cercles de ceſte proportion de l'homme en diverſes manieres (comme en mettant le Centre ſur les parties honteuſes, & la Circonference au  ſommet de la teſte & à la plante des pieds.) mais iceux ne peuvent avoir la meſme ſuffiſance, ne la convenance des meſures que nous cherchons preſentment; à raiſon qu'ils n'ont pas de proportions avec les bras eſtendus, auxquels il appartient en ceſt Exercice d'executer la principale partie de la beſoigne: pour laquelle cauſe, enſemble auſsi pour quelques autres conſiderations, s'il eſt question de ſe ſervir icy de Cercle, il n'y faut advouer autre meſure de Diametre, que celle qui s'accorde exaćtement avec ceſte longeur eſtendue.
 
 
 
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|HERE FOLLOWS THE METHOD
 
 
 
of drawing upon the floor, the Circle and all its components
 
 
 
|S’ENSVIT LA MANIERE DE
 
 
 
covcher le cercle svr le plan, avec tovtes ses appartenances
 
 
 
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|Having shown the dimensions of the Diameter, Centre, and Circumference, it now follows that we describe the rest; to find the proportions on which the circle depends: and to this end, must, of necessity, enscribe the entire Circle on a smooth floor, in its appropriate size, using as the measure of the diameter, the extended length of the person who shall do the moves. This is how to proceed.
 
 
 
|Ayant monſtré la dimenſion du Diametre, le Centre, & la Circonference, il s'enſuit maintenant que nous declarions auſſi le reſte; pour venir apres aux proportions qui en dependent: & à ceſte fin, faut neceſſairement deſcrire le Cercle entier ſur un plan bien uni en ſa juſte & convenable grandeur, en prenant la meſure du diametre ſur la longeur eſtendue d'une perſonne, au corps de laquelle on voudra faire les preuves. Or voicy comme il y faudra proceder.
 
 
 
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|Choose an appropriate place, with a flat, solid floor, on which you shall first mark the ''Centre'' point with chalk, in the location most suitable for training.
 
 
 
|Choiſiſſiz un lieu propre, ou il y ait un plancher bien uni, ſur lequel vous marquerez pour le premier avec de la croye le poinćt du ''Centre'', en tel endroit qui vous ſemblera plus commode.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|This done, take a sword of one half-diameter length, so that when the tip is placed upon the ground between the person's two feet, the crosspiece of the hilt will come just to the height of the navel, and place one of the ends of the crosspiece on the centre point; and use the tip to draw the circle by holding a piece of chalk in your fingers, thus describing the ''Circumference''.
 
 
 
|Cela fait, prenez une eſpee de la longeur du demi-diametre, telle que la poinćt eſtant miſe en terre entre les deux pieds de la perſonne, les branches de la garde luy viennent juſtement à la hauteur du nombril: & en mettez l'une des branches ſur le poinćt du centre; & laiſſez mener la poinćte à un ſecond avec un morceau de croye entre les doigts en rond, deſrivant ainſi la ''Circonference''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|This being drawn, take a chalked carpenter's cord, and snap the ''Diameter'' according to the most suitable use of the space, extending both ends two feet (60 cm) beyond the circumference: and label these two crossing-points of the Circumference; the one below the centre with a C, and the other, opposite, with an X.
 
 
 
|Laquelle eſtant tracée, prenez une cordelle à la mode des charpentiers, que vous frotterez avec de la croye, & en couchez le ''Diametre'' ſelon la commodité de la place, le prologneant à toutes ſes deux extremitez de la longeur de deux pieds outre la circonference: & marquerez les deux coupures de la Circonference; celle qui eſt par decà le Centre, d'un C, & L'autre, à l'oppoſite, d'un X.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Next, through the Centre, draw a perpendicular line across, which shall be the ''Perpendicular Diameter'', each of the two ends likewise passing two feet beyond the circumference: and also label both of these crossing-points of the Circumference with an N.
 
 
 
|Menez apres en la meſme ſorte par le Centre une ligne coiſiere & perpenduculaire, qui ſera le ''Diametre perpendiculaire'', outrepaſſant pareillement de ſes deux bouts la Circonference à deux pieds de longeur: & marquez encor ſemblablement les deux coupures de la Circonference, chaſcune d'un N.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|To find this Perpendicular Diameter, first put the tip of the sword on the letter C and one of the arms of the crosspiece along the circumference.
 
 
 
|Pour trouver ce Diametre perpendiculaire, mettez premierement la poinćte de l'eſpee ſur la lettre C. & l'une des branches de la croiſee ſur la Circonference,
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Using the crosspiece as a pivot, move the tip 180 degrees away from C and, again using the tip, draw an arc outside the circle.
 
 
 
|menant derechef la poinćte circulairement en avant, & en deſcrivant ſur le ſeuil au dehors de la circonference un arc, reſpondant en droite ligne à la lettre C par le poinćte de l'attouchement de la branche.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Do the same, starting from the letter X, so the two arcs cross each other.
 
 
 
|Ce qu'il faudra faire auſſi pareillement en commenent par la lettre X, dont le ſuſdit arc ſera coupé en croiſade d'un autre ſemblable.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|This cross will act as a guide for drawing the perpendicular diameter, by taking the cord from there and through the centre beyond the circumference to the opposite side.
 
 
 
|Ceſte croix vous ſervira de guide à tirer le Diametre perpendiculaire, en menant la cordelled par icelle & par le centre outre la circonference do coſté oppoſite.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Once again, place one end of the crosspiece on each of the four letters C, N, X, & N in turn, and, with the tip, draw arcs just outside the circumference between the four letters, thus marking four crossing-points, which will be the guide-points for the two ''Oblique Diameters''.
 
 
 
|Mettez apres derechef la croix de l'eſpee avec l'une des branches ſur chaſcune de ces quatre lettres C.N.X.N. & en faites tirer avec la poinćte dehors le Cercle à chaſcune deux arcs, reſpondants l'un à l'autre en droite ligne par leſdits lettres: dont il fourdra quatre croiſades, qui donneront l'adreſſe pour couche les deux ''Diametres obliques''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Again, in the same way, place the crosspieces on the ends of the Oblique Diameters, mark outside the circle where the tip crosses the extensions both the Principal and Perpendicular Diameters. These marks define the terminals of the lines beyond the circle, the ends of which are labelled with letters; the one below C with A; the one opposite with Z; the two others with O.
 
 
 
|Tirez lors derechef en la meſme ſorte des arc dehors le Cercle ſur les quatre bouts de ces deux Diametres obliques, deux & deux pour chaſcun poinćt, allants par les ''Diametres prolongez'' principal & perpendiculaire. Ces arcs ſeront les bornes des parties adjoinćtes, dont les extremitez ſeront marquées de lettres; celle qui eſt deſſous le C, d'un A; & à l'oppoſite d'un Z; les deux aures chaſcune d'un O.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|From these four points, we draw the ''Outside Square'', drawing lines from A to O on the right & left sides and likewise from Z to O.
 
 
 
|Sur ces quatre poinćts ſera tiré le ''Quarré circonſrit'', en menant une ligne de l'A juſques à l'O à droite, & une autre pareillement à gauche; puis ſemblablement deux autres, l'une à droite, & l'autre à gauche depuis le Z juſqu'au deux O.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Using the points C, N, X, & N, you will draw the ''Inside Square'', as well as the four ''Quadrangles''; draw the line on the right hand side through C and N from one edge of the Outside Square to the other and another to the left side. Label the mid-points, where these lines cross the Oblique Diameters with a G. Next draw two more similar lines through the points X & N on the left & right sides and label the mid-point of each of these lines with an S.
 
 
 
|Ce fait par les quatre poinćts C. N. X. N. vous deſcrirez le ''Quarre Inſcrit'', enſemble avec les quatre ''Quadrangles''; en menant une ligne à main droite par le C & par l'N, ſur les coſtez oppoſites du Quarré circonſcrit; puis encor une autre pareille à main gauche; & puis deux autres par les lettres X & N, l'une à droite, & l'autre à gauche, leſquelles lignes faudra marquer ſur les poinćts du mitan, qui ſont coupez par les Diametres obliques, entre les deux lettres C. & N. à chaſcun des coſtez deſſous le Centre d'un G; & deſſus au mitan des lettres N. & X. à chaſcun des coſtez d'un S.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Then draw two ''Interior Collaterals'' through C & S to the left and right.
 
 
 
|Apres tirez par les lettres C. & S. deux ''Collaterales Interieures'', l'une à droite, & l'autre à gauche.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Likewise draw two more through the letters X & G.
 
 
 
|Semblablement tirez en deux autres par les lettres X & G.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Then draw two ''Interior Transverses'' on the right hand side above the Centre from the letter N across the Diameter line through S and below the centre across the Diameter through G.
 
 
 
|Apres deux ''Traverſantes Interieures'' par la lettre N. à main droite; l'une par deſſus le Centre par l'S; & l'autre au deſſous par le G oppoſite.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Likewise draw two more in the same way through the same letters from the opposite side.
 
 
 
|Semblablement encor deux autres, à tirer en la meſme ſorte & par les meſmes lettres du coſté oppoſite.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|This done, label the four sides of the Outside Square in the following manner. First the side A-O on the right hand side. From A, label the first angle of the quadrangle with B; label the end of the Interior Collateral that passes through G below the oblique diameter, with D; label the end of Interior Traverse that passes through the same point G, with F; label the angle of the quadrangle at O-N, with K.
 
 
 
|Ce qu'eſtant fait, il faudra marquer de lettres les quatre coſtez du quarré circonſcrit, en la maniere suivante. Premierement le coſté A O à main droite de la figure. Sur l'angle du Quadrangle ſoit eſcrit un B: ſur la fin de la collaterale interieure qui vient par le G en deçà le Diametre oblique, un D: ſur le bout de la traversante interieure, qui passe à travers le mesme poinćte, un F: & sur l'angle du prochain quadrangle, un K.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|After that, on the two other sides O-Z, begin again on the right side; label the angle of the quadrangle O-N with P; label the end of the Interior Transverse through S that ends before the Oblique Diameter, with T; label the end of the Interior Collateral through S that ends just beyond that, with W; label the angle of the Quadrangle Z-X, with a Y. Then do likewise on the left hand side.
 
 
 
|Les meſmes lettres ſeront auſſi marquées A O, à main gauche.
 
Label the same letters along the line A-O on the left hand side.
 
En apres ſur les deux autres coſtez O Z, commencez derechef à droite; & mettez ſur l'angle du Quadrangle O N, un P: sur le bout de la traverſante, qui ſe finit en deçà le Diametre oblique, un T: sur la collaterale, qui finit au delà, W: sur l'angle du dernier Quadrangle, un Y. Et en ſoit fait paraillement le meſme à l'autre coſté, qui est à main gauche.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|After this, trace two ''Exterior Transverse'' lines, one on the right hand side, the other on the left, from D, across the Principal Diameter, through G opposite.
 
 
 
|Apres il faudra tracer deux ''Traverſantes exterieures'', l'une à main droite, & l'autre à gauche, allants depuis les D, par le Diametre principal, & par les G opposites.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Likewise draw two more in the upper half of the circle from W, across the centre, through S opposite.
 
 
 
|En ſemblable encor deux autres en la partie ſuperieure du Cercle, depuis les W. par le Diametre, & par les S oppoſites.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Similarly on the right side of the Circle, draw two ''Exterior Collaterals'' one from the side A-O, through G, to T;  & the other from F through S, out to the side O-Z.
 
 
 
|Pareillement auſſi en la partie droite du Cercle deux ''Collaterales exterieures'', à mener, l'une du coſté droit A O, par le G, juſques au T: & l'autre à tirer de l'F, & à continuer par l'S, juſques au coſté droit de la partie ſuperieure du Quarré circonſcrit.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Likewise also, draw two others on the left side of the figure in the same way.
 
 
 
|Semblablement encor deux autres en la partie gauche de la figure, à tracer en la meſme ſorte.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Thus we have drawn all the lines within the Circumferance. Label each double-cut (except the Centre), with the following letters. Along the Principal Diameter label the first cross-cut line above C with E; label the second with H; label the third, beyond the centre, with R; label the fourth with V. There are, likewise, four sections along the Perpendicular Diameter; the two closest to the centre labelled L, & the two others each labelled M. Where the Interior Collateral lines cross the oblique diagonals and the Interior Transverse line, label the lower ones (near H) with I and the upper ones (near R) with Q.
 
 
 
|Et par ainſi voilà achevées toutes les lignes, qui entrent dans le pourpris de la Circonference, ſur leſquelles il faudra mettre à chaſque double entrecoupure de lignes (excepté le Centre) les lettres ſuivantes. Premierement ſur le Diametre principal, à la permiere entrecoupure apres le C, il faut un E: à la seconde, un H: à la troisieme, qui est par delà le Centre, un R: & finalement à la quatrieme, un V. Sur le Diametre perpendiculaire y a pareillement quatre sećtions; dont les deux plus proches du Centre porteront, chaſcune un L: & les deux autres, chaſcune un M. Aux doubles entrecoupures de chaſcune des collaterales interieures par deça le Centre, mettez à chaſune un I. & aux autres qui sont par delà, un Q. à chaſcune.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|As to the lines outside the Circumference, first draw in each of the Quadrangles its ''Diagonal'', across the Extended Diameters, from B to B, from Y to Y, and from K to P.
 
 
 
|Quant aux lignes qui demeurent hors de la Circonference, tirez premierement à chaſcun des Quadrangles ſa ''Diagonale'', à travers les Diametres prolongez, de B à B: de Y à Y: & de K à P, dans les deux Quadrangles opposites de main droite & gauche.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Second, draw a Foot-Line or ''Pedal Line'' across these same Quadrangles between the end-points of the Collateral lines and between the end-points of the Transverse lines.
 
 
 
|Secondement tirez dans ces meſmes Quadrangles, du bout de l'une des lignes collaterales au bout de l'autre, à chaſcun une ligne de pied, ou ligne ''Pedale''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|And finally, add the lines we shall call the length & width of the Square Extension.
 
 
 
|Et finalement adjouſtez y celles que nous apellerons les ''longeur & largeur des Eſquierres''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|First, to fit the lengths, pass the cord through the centres of two nearest Quadrangles; trace a line from the end of the Foot-Line to where the cord crosses the circumference; likewise trace a line opposite from the circumference to the end of the other Pedal Line. Do this all around the Circumference.
 
 
 
|Pour adjuster permierement les longeurs; compassez voſtre cordelle par les centres de deux prochains Quadrangles; & tracez en ceſte ſorte une ligne de longueur depuis le bout de la ligne de Pied juſques à la circonference du Cercle; & en ſemblable tracez en encore une autre à depuis la circonference juſques au bout de l'autre ligne Pedale. & voilà comme il en faudra faire tout alentour de la Circonference.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|To fit the widths of the Square Extensions (these lines stay outside the edges of the Quadrangles) pass your cord on the ends of one Exterior Collateral Line and one Exterior Transverse Line on the ends which are not labelled with letters, & trace two lines of width, one below the other beyond the Circle, again going all around the Circumference.
 
 
 
 
 
|Pour adjuſter les Largeurs des Eſquierres, (ce ſont les lignes qui demeurent au dehors aux coſtez des Quadrangles) compaſſez voſtre cordelle ſur les bouts d'une Collaterale & d'une Traverſante exterieure, aſſavoir ſur les bouts qui ne ſont point marquez de lettres, & tracez en ceſte ſorte deux lignes de largeur, l'une deçà & l'autre delà, en la meſme façon que vous venez de faire le Longueurs, en allant derechef tout à l'entour de la Circonference.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|This, in sum, is the way to lay out this plan for our Training, simple & easy, but in any case most useful if it is drawn very carefully. Meanwhile I would advise, if you do not have a sword of the correct length of a radius with which to draw the circumference, and subsequently the arcs for the cross-points to position the Diameters and the Outside Square, that in that case you can use the cord, pinning it to the Centre, to draw the Circonference & the rest. However, nothing is as sure as the sword itself, with its solid blade that will not stretch and will remain the same length. Otherwise faults could be introduced.
 
 
 
|Voilà en ſomme la mode d'accommoder le Plan de ceſtuy noſtre Exercice, ſimple & facile, mais par adventure plus utile que ſi elle ſuſt dreſſée fort curieuſement. Cependent je vous aviſe, ſi c'eſt que vous n'ayaez point d'eſpee de ceſte juſte longeur du demi-Diametre pour en tirer la Circonference, & conſequemment les croiſades des arcs pour l’adreſſe des Diametres, & du Quarré circonſcrit; qu'en ce cas vous vous ſerviez de la cordelle, l'attachant en poinçon fiché sur le poinćt du Centre, pour en tirer en rond ladite Circonference,  & le reſte à l'advenenant: toutesfois il n'eſt rien plus ſeur que l'eſpee meſme, qui demeure jouſiours immobile en une meſme longueur, par la ſolidité de la lame: de ſorte que malaiſement y peut il avenir de la faute.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Now, to clarify this material, here follows a catalogue of the names of the lines, so that the reader may have a reference to the Plate of all the lines and figures of this Circle which are needed for practical use.
 
 
 
|Maintenant afin que ceſte Matiere ſoit un peu eſclaircie, & que le Lećteur puiſſe avoir devant ſes yeux une Table de toutes les lignes & figures de ce Cercle, qui sont neceſſaires à observer en l’uſage de la Pratique, nos en metrons icy le Catalogue.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps"
 
 
 
|LIST AND NAMES
 
 
 
of all the lines and figures of the circle, needed for practical use
 
 
 
|DENOMBREMENT ET APPELATIONS
 
 
 
de tovtes les lignes et figvres dv cercle, necessaires a observer en la pratique
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The whole figure is called the Circle : because the circle forms the base on which all the other parts depend and remains the principal subject, the foundation of all the rest with regard to the Training, as they appear hereafter, as to the proportions and measures of Man.
 
 
 
|La figure entiere ſera appellée ''Cercle'': pource que c'eſt du Cercle qu'elle depend en ſon entier & en toutes ſes parties; iceluy Cercle en demeurant le ſujet principal, voire le fondement de tout le reſte, tant au regard de l'Exercice, comme il paroiſtra cy apres, qu'au regard des proportions & des meſures du corps de l'homme.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|''Centre'' is the point in the middle of the Circle.
 
 
 
|''Centre'' c'eſt le point du milieu du Cercle.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|''Circumference'' is the round line that forms the Circle.
 
 
 
|''Circonference'' c'eſt la ligne rond qui fait le Cercle.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C-X is the ''Diameter''. In truth, there are four Diameters found in this figure; However to avoid confusion, it is necessary to distinguish between them. This is why I have left the general term Diameter to this which is the principal one in the Training: such that I even refer to the parts beyond the circumference as the Diameter, from the letter A to Z.
 
 
 
|C X. Eſt le ''Diametre''. Il eſt vray, qu'il ſe trouve quatre Diametres en ceſt figure; toutes fois pour eviter confuſion, il eſt neceſſaire qu'ils ſoyent diſtinguez. C'eſt pourquoy nous avons laiſſé le nom general de Diametre, à ceſtuy-cy qui eſt le principal en l'Exerciſe: de ſorte que nous l'appellons meſme Diametre en ſes parties adjouſtées au dehors de la circonference, depuis la lettre A, juſques au Z.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|O-O or N-N is the ''Perpendicular Diameter''.
 
 
 
|OO ou NN. Eſt le ''Diametre perpendiculaire''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|G-S. ''Oblique Diameter'', which goes obliquely across the circle.
 
 
 
|GS. ''Diametre oblique'', comme allant par le Cercle obliquement.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C-W or X-D. Interior Collateral.
 
 
 
|CW ou XD. ''Collaterale interieure''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|G-T or S-F. ''Exterior Collateral''. These last two lines go two by two from one side to the other, without actually being parallel, but which I found best to call Collaterals.
 
 
 
|GT ou SF. ''Collaterale exterieure''. Ces deux dernieres lignes vont deux & deux l'une à coſté l'autre, ſans toutefous qu'elles ſoyent paralleles, dont nous avons trouvé bon de les nommer Collaterales.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|N-T or N-F. ''Interior Transverses''.
 
 
 
|NT ou NF. ''Traverſante interieure''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|W-S or D-G. ''Exterior Transverses''. These last line also go two by two from one side to the other, in the same way as the preceeding ones, called Collaterals. However because they are different and cross the Principal Diameter (the others remain on each side)  I wished to distinguish from the Collateral lines by calling them Transverses.
 
 
 
|WS ou DG. ''Traverſante exterieure''. Ces derniers lignes vont auſſi deux & deux l'une à coſté l'autre, en la meſme ſorte que les precedentes, appellées collaterales: toutesfois pource qu'elles en different, en ce qu'elles vont à travers le Diametre principal (les autres demeurants à coſté) nous les avons voulu diſcerner d'avec leſdites Collaterales, par le Nom de Traverſantes.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|A-O-Z-O is the ''Outside Square''.
 
 
 
|AOZO. Eſt le ''Quarré circonſcrit''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|A-O. ''Side of the Outside Square''.
 
 
 
|AO. ''Coſté du Quarré circonſcrit''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C-D-F-N, with the Centre, is one ''Quadrant du Cercle''.
 
 
 
|CDFN avec le Centre, font un ''Quadrant du Cercle''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C-N-X-N. The ''Inside Square''.
 
 
 
|CNXN. Le ''Quarré inſcrit''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C-N. ''Side of the Inside Square''.
 
 
 
|CN. ''Coſté du Quarré inſcrit''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|A-B-C-B. ''Quadrangle''. So that the name ‘Square’ is not overused and would consequently lead to confusion by the reader, we have found it best to refer to these small Squares as Quadrangles.
 
 
 
|ABCB. ''Quadrangle''. Afin que ce nom de Quarré ne ſuiſt trop frequent, & conſequemment, ſujet à troubler la conſideration du Lećteur, nous avons trouvé bon, de nommer ces petits Quarrez, Quadrangles.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C-A. ''Extended Diameter''.
 
 
 
|CA. ''Diametre prolongé''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|B-B. the ''Diagonal'' of the Quadrangle.
 
 
 
|BB. La ''Diagonale'' du Quadrangle.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The little line that goes between the aforesaid Diagonal & the exterior angle across the Extended Diameter, shall be called the ''Foot-Line'' or ''Pedal Line'', because it is exactly the length of the foot.
 
 
 
|Ceſt petite ligne qui va entre ladite Diagonale & l'angle exterieur, croiſant le Diametre prolongé, ſera nommée ''ligne du Pied'', ou ''ligne Pedale'', pour ce qu'elle egale juſtement la longueur de la plante.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The figures which take up three-quarters of the Quadrangles and which extend in a parallelgram along the each of the edges of outside square to the meet the circumference are called the ''Square Extension'', and consequently the line, drawn from the end of the Foot-Line through the centre of the Quadrangle to the edge of the Circumference is called the ''Length of the Square Extension'': the other running from the circumference to the edge of the Outside Square is called the ''Width of the Square Extension''.
 
 
 
|La figure qui comprend au dedans de chaſcun des Quadrangles les trois quarts, avec deux egaux parallelogrammes au dehors, l'un à l'un des coſtez, & l'autre à l'autre, allants juſques à la circonference, ſera nommée ''l'Eſquierre'', & conſequemment la ligne, tirée depuis le bout de la ligne Pedale par le centre & le coſté du Quadrangle juſques à la circonference du Cercle, ſera dite la ''longeur de l'Eſquierre'': l'autre allant depuis le coſté du Quarré circonſcrit juſques à la meſme circonference la ''largeur de l'Eſquierre''.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|These are the names of all the lines which we will use in practice: of course those lines not expressly specified in this list by their letters will have the same names as the opposite and similar lines or figures. Also note that the names are for the entire line, from one end to the other, we have referred to letters not for measurement, but only to show where they go.
 
 
 
|Voilà les noms de toutes les lignes, qui ont de l'uſage en la Pratique: bien entendu que celles qui ſe ſont pas expreſſement ſpecifiées en ce denombrement par leurs lettres, auront les meſmes appellations que les lignes ou figures oppoſites, & ſemblables. Et faut ſçavoir, que leſdites appellations leur ſont attribuées en leur entier, depuis l'un bout juſqu'à l'autre; car nous ne mettons pas les lettres pour meſurer, mais ſeulement pour montrer les lignes.
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
 
 
 
|'''Circle No 1'''
 
 
 
|'''Cercle N.1.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top; font-style: italic"
 
 
 
|Representation and relation of the proportions of the body & limbs of Man to the figure of our circle.
 
 
 
|Repreſentant & rapportant les proportions du Corps & des Membres exterieurs de l’Homme à la figure de noſtre cercle.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
 
 
|We begin now to measure the proportions of Man, and relate them to this circle where they will be perchance be perceived with far more appreciation than we had above, when the proportions were found by chance. The reason for such admiration is that lines drawn between angles opposite to each other, themselves derived from no other reference than just the length of the Radius, accord so exactly with so many proportions of the body, as presented in this Circle No 1. It is  not merely observation and practice that demonstrates this truth is as amazing as it is useful. It shall be made manifest to all those, who would take pains to examine the demonstrations which shall be proposed following this same explanation. Into which we shall enter through the description of Circle No 1, which represents all the proportions of Man, from the front, and therein is the significance which follows.
 
 
 
|Nous commencerons maintenant à meſurer les proportions de l’Homme, en les rapportant à la figure de ce Cercle, où elles ſeront recogneuës paradventure avec plus d’admiration qu’elles ont eſté trouvées deſſus avec hazard. Car quelle raiſon, que les lignes d’une figure tirées des angles oppoſites les uns aux autres (ſans nulle adreſſe, que de la ſeule longeur de demi-Diametre) ſe puiſſent accorder ſi juſtement avec tant de proportions, comme il eſt repreſenté ſur ce Cercle N.1. ſinon la ſeule obſervation & l’experience, qui en demonſtre la verité auſſi admirable, que l’utilité en eſt grande; comme il ſera manifeſte à touts ceux, qui voudront prendre la peine d’en examiner les demonſtrations, qui ſeront propoſées à la ſuite de ceſte meſme explication. A laquelle nous ferons l’entrée par la declaration du Cercle N.1. repreſentent les proportions de l’homme, à le regarder de front; & en eſt la ſignification telle qu’il s’enſuit
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C-X: The entire Diameter is equal the the extended height of the hand raised directly overhead.
 
 
 
|CX. Le Diametre entier eſt egal à ſa hauteur eſtendue, en eſlevant les bras droitement en haut.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|V: From C to V, is exactly the length of a person, from the soles of the feet to the top of the head.
 
 
 
|V. Depuis le C. juſques à l’V, c’eſt juſtement la longeur de la personne, depuis les plantes des pieds juſqu’au plus haut de la teſte.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|A: This first dotted line, labelled with a small-A, shows the height of the forehead.
 
 
 
|A. Ceſte permiere ligne poinćtée, qui eſt marqée à coſté d’un petit A, demonſtre la hauteur du front.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|B: The line B, taken across the Principal Diameter from one S to the other, is exactly at the tip of the nose.
 
 
 
|B. La ligne B, menée à travers le Diametre principal, de l’un S, à l’autre, reſpond juſtement ſur le bout du nez.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C: This line shows the chin
 
 
 
|C. Ceſte-cy demonſtre le menton.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|D: The larynx.
 
 
 
|D. Le noeud de la gorge.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|E: The height of the shoulders.
 
 
 
|E. Le haut des eſpaules.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|R: This is the top of the chest.
 
 
 
|R. Ceſt le plus haut de la poitrine.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|F: The exact height of the armpits.
 
 
 
|F. Reſpond ſur la juſte hauteur des aixelles.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|G: On the breast (pectorals).
 
 
 
|G. Sur les mammelles.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|H: On the middle of the chest.
 
 
 
|H. Sur le mitan de la poitrine.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|I: On the tip of the breastbone.
 
 
 
|I. Sur le brechet.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|K: On the floating ribs & the diaphragm.
 
 
 
|K. Sure les fauſſe coſtes, & ſur le Diaphragme.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The centre is on the navel.
 
 
 
|Le Centre vient ſur le nombril.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|L: On the head of the thigh-bone.
 
 
 
|L. Sur la teſte de l’os de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|M: On the peritoneum.
 
 
 
|M. Sur le perinee.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|N: On the virile member.
 
 
 
|N. Sur le membre viril.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|O: On the thumb.
 
 
 
|O. Sur le podex.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|P: On the top of the thigh.
 
 
 
|P. Sur le haut de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|H: The thickest part of the thigh.
 
 
 
|H: Reſpond au plus gros de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Q: shows the concavity of the same.
 
 
 
|Q. Demonſre le concave de la meſme.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|R: The bottom of the thigh
 
 
 
|R. Le bas de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|S: The top of the kneecap.
 
 
 
|S. Le ſur-genouil.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|T. The bottom of the kneecap.
 
 
 
|T. Le ſous-genoil.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|E: This is the highest point on the shin.
 
 
 
|E. C’eſt le plus haut de la greve.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|V: The inside top of the calf.
 
 
 
|V. Le haut de gras de la jambe en dedans.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|W: The same on the outside.
 
 
 
* He has V & W backwards
 
 
 
|W. Le meſme en dehors.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|X: The lowest part of the calf on the inside.
 
 
 
|X. Le plus bas du meſme en dedans.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Y: The bottom of the shin.
 
 
 
|Y. Le bas de la greve.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Z: The ankle.
 
 
 
|Z. La cheville du pied.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|C: the soles.
 
 
 
|C. Les Plantes.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Anyone interested in reducing these same proportions to some particular measure, to better understand the rationale, could divide the Diameter into 24 Spans, & subdivide each of these into 10 parts, & each part into 10 minutes. Thus it will be the same with stick or with cord, with which one would measure a person. And thus he will find, by the comparison with this figure, the lengths and widths of each of his limbs, which any could easily check. What is more, these measures always match, each one to its own line, parts of lines, which we see in this same Circle.
 
 
 
|Qui ſera cuirieux de reduire ces meſmes proportions à quelque certaine meſure, pour en ſçavoir rendre la raiſon plus exaćtemēt, il pourra pour ceſt effect partir le Diametre entier en 24. Nombres, & à chaſcun d’iceux il y pourra imaginer 10. parcelles; & à chaſcune parcelle 10. minutes: dont il fera pareillement le ſemblable du baſton ou de la cordelle, dequoy il prendra les meſures au corps de la perſonne. Et par ainſi il trouvera par la confrontation de ceſte figure, raportée à l’experience meſme, à combien montront les longeurs & largeurs de chaſcun des membres, deſquels il voudra faire preuve. Et qui plus eſt, il les trouvera touſiours accordantes en leurdite meſure, à l’une ou à l’autre ligne, ou à certaines parties de lignes, qu’on voit en ce meſme Cercle.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|As the size of the head from the from the top to the chin matches the length of the Foot-Line, or to the half-diagonal of the Quadrangle, therefore it equals the length of the sole of the foot.
 
 
 
|Car la longeur de la teſte depuis le ſommet jusſques au menton, s’accord juſtement à la meſure de la ligne Pedale, ou à la demie Diagonale de Quadrangle, eſtant par conſequent egale à la meſure de la plante des Pieds.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Its width is equal to the half-side of the Quadrangle, which is also equal to the length of the hand, from the wrist to the fingertips.
 
 
 
|Sa largeur eſt egal au demi-coſté du meſme, qui eſt auſſi egale à la longeur de la main, depuis le poignet jusſques aux bouts des doights.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The length of the arm, with the hand, is equal to one third the Diameter, that is, from the letter R to the letter H, or from H to C, as the lengths are equal, and contain precisely the extension of 8 Spans, since there are 12 on the radius, or on the blade of our sword, as shall be discussed later.
 
 
 
|La longeur du bras enſemble avec la main, eſt egale à la troiſieme partie du Diametre entier, aſſavoire depuis la lettre R, juſques à l’H. ou depuis ledit H, juſques au C. car ces longeurs ſont egales; & contiennet juſtement l’eſtendue de 8. Nombres, tels qu’il y en 12 ſur le demi-Diametre, ou ſur la lame de noſtre eſpee, commeil ſera diſcouru cy apres.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|All these proportions that are found so amazingly well on these lines, which cut across this figure from one angle to the other, are here shown, in this No 1 Circle on the front of the figure, on the fleshed side as on the skeletal side, because these are the principle basis of the lengths, widths, and all dimensions of Man which is necessary to show on both sides, on the right hand side and the left hand side. The same proportions are shown as well on the profile of the skeleton in Circle No 3. And in No 4, on the backside, showing the person from behind. Again, it is shown in Circle No 5 by the inverted figure, that these same proportions remain invariable whether one begins at one end of the Diameter or the other.
 
 
 
|Toutes ces proportions ſe rencontrants ſi merveilleuſement ſur ces lignes, qui procedent des entrecoupures de ceſte figure, de l’un des angles oppoſites à l’autre, ſont icy repreſentées en ce Cercle N. 1. ſur le devant de la perſonne, tand ſur la chair, que ſur les oſſements nuds, à raiſon qu’iceux ſont le principal fondement des longeurs, des largeurs,  de toutes les dimenſions de l’homme: dont it nous a ſemblé neceſſaire de le repreſenter en toutes les deux manieres, l’une à main droite, & l’autre à gauche. Les meſmes proportions ſont demonſrées areillement ſur le poufil des oſſements au Cercle N.3. Et au N.4. ſur le derriere, en regardant la perſonne de dos. Comme il eſt derechef repreſenté au Cercel N.5. par la figure renverſée, que ces meſmes proportions demeurent invariables tant à commencer de l’un bout du Diametre, que de l’autre.
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
 
 
 
|'''Circle No 2'''
 
|'''Cercle N. 2.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|This circle contains only the names of the lines of this figure, as detailed above.
 
 
 
|Ce Cercle ne contient autre choſe, que les noms des lignes de ceſte figure, en la meſme ſorte qu’ils on eſté declarez cy deſſus.
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
 
 
 
|'''Circle No 3'''
 
|'''Cercle N.3.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|''In which one sees how the natural pace which men ordinarily use as they walk, reliably matches with the measurements of this same Circle.''
 
 
 
|''Auquel on voit, comment les pas naturels, dont les Hommes uſent en leur demarche ordinaire, s’accordent fort raiſuement avec de meſures de ce meſme Cercle.''
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Thus as we have shown how this Circle comes from the proportions of Man, we also do the same with regard to the steps and paces he shall use in our Training. Insofar as the proportions are again represented in Circle No 3 on the skeleton profile, there is no point to say anything other than to refer the reader to what has already been explained about Circle No 1.
 
 
 
Note: The text of the square in the centre reads:
 
 
 
"Gerardus Thibault Inventor"
 
 
 
|Ainſi que nous venons de representer la convenance de ceſt figure du Cercle avec les proportions de l’Homme faiſons en auſſi le ſemblable au regard de la demarche & des pas, deſquels il qu’il uſe en ceſtuy noſtre Exercice. Car touchant ce que les proportions de l’homme font derechef repreſentées en ce Cercle N.3. ſur le pourfil des oſſements, il n’en eſchet point de propoſer icy autre choſe, que d’en renvoiyer ſimplement le Lećteur à ce qui a eſté ſpecifié au Cercle N.1.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The footprints, which go in and about Circle No 3, marked with different numbers, demonstrate the concordance between the ordinary walking pace of a man and the Circle. Their significance is as follows.
 
 
 
|Les traces donc les pieds, qui vont dedans & alentour de ce Cercle N.3. cottés en chifre de differents nombres, demonſtrent la convenance de la demarche ordinaire de l’homme avec ceſte meſme figure du Cercle, & en eſt la ſignification telle, que s’enſuit.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Those which go along the Perpendicular Diameter, marked number 1, demonstrate that the length of this Extended Diameter equals four ordinary paces, in doing three or four paces before coming into the circle, for balance, begin stepping with the right foot on the Foot-Line and end likewise on the opposite Foot-Line with the left foot. Which one can also observe similarly in the other paces which follow.
 
 
 
|Celles qui vont le long du Diametre perpendiculaire, cottées en chifre 1, demonſtrent que la longeur de cedit Diametre perpendiculaire prolongé, revient à quatre pas ordinaire, en faiſant deux ou trois pas avant que de venir au Cercle, afin que le corps ſoit en train, pour commencer la demarche à main droite ſur la ligne Pedale, & a finir pareillement ſur la ligne Pedale à main gauche. Ce qui doit auſſi eſtre obſervé ſemblablement és autres  demarches ſuivantes.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Those which go along the same Diameter within the circumference, marked number 2, demonstrate that three normal paces is the length of this Diameter from circumference to circumference.
 
 
 
|Celles qui vont le long du meſme Diametre au dedans de la circonference, marquées en chifre 2, demonſtrent qu la longeur de ce Diametre eſt de trois pas de la demarche ordinaire, en allant de circonference à circonference.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The same proportion is shown on the two Oblique Diameters by the footprints numbered 3 & 4 as well as those which are marked number 5 on the four sides of the Outside Square, which are equal to those along the Oblique Diameters, which go from one edge to the other.
 
 
 
|La meſme proportion eſt repreſenté ſur les deux Diametres obliques par les ſemelles, qui portent le Nombre 3. & 4. & pareillment par celles qui portent le Nombre 5. ſur les quatre coſtez du Quarré circonſcrit, comme eſtants egaux à iceux Diametres obliques, en allant touſiours de l’un bout juſqu’a l’autre.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Those marked with number 6 demonstrate how the circumference, along with the Inside Square, matches eight steps at an ordinary pace, which can be done by putting the left foot along the circumference line at C, then moving the other forward and place it at G, in the middle of the line. Then drawing the left circularly along circumference from C to N. Then again advancing the right along the same side of the Inside Square close to the left & then continuing to follow along the next side of the Inside Square to S, and so on, so the right foot always follows the four lines of the Inside Square, and the left is carried around always following the circumference. The right foot reaches two half-sides of the Inside Square with each step, and the left moves a Quadrant of the circumference each time.
 
 
 
|Celles qui ſont marquées du Nombre 6. demonſtrent la convenance de la Circonference, enſemble avec le Quarré Inscrit, à la demarche de huićt pas ordinaires: leſquels on y pourra pratiquer en mettant premierement le pied gauche ſur la lettre C. & cheminant de l’autre en avant juſques à le planter à plein, ſur le G. au milieu de la ligne; menant apres le gauche circulairement le long de la circonference depuis C juſques à N: puis avançant derechef le droit le long du meſme coſté du Quarré inscrit jusſques à bien pres de l’autre, & continuant à le porter par la trace d l’autre prochain coſté du Quarré inſcrit juſques à l’S. & ainſi conſequemment du reſte, en ſorte que le pied droit aille touſiours ſuivant les quatres lignes du Quarré Inſcrit, & le gauche ſoit porté en rond coſtoyant touſiours la circonference; le pied droit achevant à chaſque demarche deux moitiez de deux coſtez du Quarré inſcrit, & la gauche achevant à chaſque fois un Quadrant du circonference.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|One should always be very aware of this concordance, in as much as this, the length of a man’s ordinary walking pace, is our exemplar. So our imitation of which always informs the style of our School. This shall be shown throughout the rest of this book and by which means we avoid awkward and inconvenient poses, which we shall see when and where an example requires a more precise explanation.
 
 
 
|L’obſervation de ceſte convenance doit eſtre tenue en grande eſtime, d’autant que ce ſont là les pas ordinaires de la demarche de l’homme, à l’exemple & imitation de laquelle nous devons touſiours former le ſtile de noſtre Pratique, ainſi qu’il paroiſtra par la ſuite de tout le livre, & que ſans iceux il ne ſeroit poſſible d’eviter des grandes incommoditez, qui ſeront données à cognoiſtre, où il ſera queſtion d’en rendre la raiſon plus exaćte.
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
 
 
 
|'''Circle No 4'''
 
|'''Cercle N.4.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|''Which Contains the explanation of the Range of the three Approaches, or Instances, & how they are represented on our Circle, both along the Diameter, and on the sides of the Inside Square, to close with the Enemy from the side.''
 
 
 
|''Contenant la declaration de la Meſure des trois Approches, ou Inſtances, & comment elles ſont repreſentées ſur noſtre Cercle, tant ſur le Diametre, que ſur les coſtez du Quarrée Inſcrit, pour aborder l’Ennemi de travers.''
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|First, is shown here the proportions of Man as seen from the back.
 
 
 
|Pour le premier on vous repreſente icy les proportions de l’Homme, à le regarder de dos.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Second, from the footprints, to the right and left of the figure, demonstrate the concordance of paces which was observed in the previous Circle.
 
 
 
|Secondement par les traces des ſemelles, à droite & à gauche de lafigure, on y pourroit demonſtrer la meſme convenance des pas, qui a eſté remarquée au Cercle precedent.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|To understand this, one must know that the two adversaries will first close with each other at the First Instance, that is, when one, in the Z-X Quadrangle, places his right foot on the extended side and the left foot on the Foot-line, the other does the same in the A-C Quadrangle, opposite, as is clearly shown by the footprints marked on them. While they are at this range, we say they are at the First Instance, for if they were further away, they would be out of range, because they would be unable to hit each other even in the slowest time because they would be almost completely beyond their reach.
 
 
 
|Pour l’intelligence deſquelles il faut ſçavoir, que les deux Contraires ſe viennent premierement aborder à la Premiere Inſtance. c’eſt à dire, quand l’un ſe vient placer ſur le Quadrangle ZX, le pied droit ſur le coſté exterieur, & pied gauche ſur la ligne Pedale; que l’autre ſe vient pareillement placer alencontre ſur le Quadrangle oppoſite AC; comme il eſt clairement repreſenté par les traces des pieds, qui ſont marquez deſſus. Tandis qu’ils ſont en ceſte meſure nous diſons qu’ils ſont à la Premiere Inſtance; car s’ils ſe tiennent plus loing, ils ſont comme hors de meſure, à cauſe qu’ils ne ſe peuvent toucher l’un l’autre en temps mediocre, par ce qu’ils ſont quaſi hors de leur portée.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The Second Instance is that which comes so close to the adversary, either directly by the path of the Diameter, or in approaching from the side by the Quadrants, that one can put the point of the sword on the elbow, and, consequently, hit him in half-time with a simple bow of the body with the feet firmly planted. Which one can do by moving along the diameter to the letter E, and on the G by the sides of the Inside Square. This range is called the Second Instance, because one cannot approach that close as the point of first contact without first having previously secured one’s line of approach. And once there, one works from a superior postion, because it merely requires a simple extension of the arm, assisted by a simple bow of the body, which has no effect on one’s balance, to hit the enemy.
 
 
 
|La Seconde Inſtance eſt celle qui vient ſi pres de la partie adverſe, ſoit en allant droićtement ſur luy par la voye du Diametre, ou en l’approchant de travers par les Quadrants, qu’on luy puiſſe mettre la pointe de l’eſpee ſur le coude, & par conſequent on le peut toucher en un demi-temps avec un ſimple panchement du corps & à pied ferme. Ce qu’on pourra faire en arrivant par le Diametre à la lettre E. & ſur le G, par les coſtez du Quarré Inſcrit. Ceſte meſure ſe nomme Seconde Inſtance, pource qu’on n’y peut venir de permier abordee, ſans avoir aſſeuré preallablement ſes approches: & y eſtant, on travaille avec plus d’avantage, car il ne faut qu’une ſimple extenſion du bras, aſſiſté d’un panchement de corps, qui n’empeſche pas de le retenir en balance, pour toucher l’Ennemy.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|From the Second Instance, we come to the Third, which is at the letter H on the Diameter, or along the sides of the Inside Square at the letter N. It is a range at which one can hit the foe while keeping the body straight and upright, without moving the feet, by doing nothing more than extending the arm.
 
 
 
|De la Seconde Inſtance on vient à la Troiſieme, qui eſt à la lettre H, ſur le Diametre, ou ſur les coſtez du Quarré Inscrit, à la lettre N. ceſt une meſure en laquelle on peut donner l’atteinte au Contraire, en tenant le corps droit & eſtēdu ſans aucun avancement pieds, ne faiſant rien autre que d’allonger le bras.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Those are our Three Instances, along the Diameter, as along the sides of the Inside Square, to the right and the left, where they are clearly marked by the footprints, which show the situation as stationary paces, one foot distinguished from the other by a single foot (distance) between the arches of each footprint, as we are used to when standing upright.
 
 
 
|Et voilà nos Trois Inſtances, tant ſur le Diametre, que ſur les coſtez du Quarré Inſcrit, à droite & à gauche, où elles ſont repreſentées aſſez clairement par les semelles, qui en demonſtrent la ſituation en forme de pas arreſté, l’un pied eſtant diſioinćt de l’autre de l’intervalle d’un pied tant ſeulement, entre le creux de l’un & de l’autre, ainſi qu’on eſt accouſtumé de ſe tenir debout à pieds arreſtez.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Also, as much as it is a very important point in the practice of arms, to know these three Approches distinctly, as they are represented on the Circle. It is also an important point in Theory to consider how these ranges are taken solely from the proportions of Man. As such it is more and more apparent, that we always take Nature as our guide, and from these proportions, we align our steps, our approaches, and our distances, either when we stay or when we move. Because if you look only at the figure of the man, here shown from the back, you will see that,in the First Instance, the interval from circumference to circumference is equal to the extended height of a person, so that when the two Parties are in this First Instance, there is always this same gap equal to the extended height of a person between them. And if they are at the Second, either straight across the Diameter or to one side along the edges of the Square, the distance between them is equal to the natural height of that same person, from the soles of the feet to the top of the head. And finally, the interval of the Third is equal to the height of the stomach.
 
 
 
|Or comme c’eſt un poinćt de treſgrande importance en la Pratique des armes, de cognoiſtre ces trois Approches diſtinćtement, comme elles ſont repreſentées par le Cercle: auſſi eſt ce choſe tres digne de conſideration en la Theorie de contempler, comment les meſures en ſont tirées de la ſeule Proportion de l’Homme; afin qu’il apparoiſſe de plus en plus, que nous prenons touſiours la Nature pour guide; & que ſelon les proportions d’icelle, nous dreſſons touts nos pas, nos approches, & nos diſtances, ſoit à demeurer, ſoit à bouger de la place. Car ſi vous regardez tant ſeulement la figure de l’Homme, qui eſt icy representé de dos, vous verrez, que l’intervalle de la Premiere Inſtance de Cironference à Circonference, eſt egale à la hauteur eſtendue de la perſonne, de ſorte que quand les deux Parties ſont en ceſte Premiere Inſtance, il y a touſiours entre deux la meſure de ceſte hauteur eſtendue d’une perſonne. Et s’ils ſont à la Seconde, ſoit de droit ſur le Diametre, ou de travers ſur les coſtez du Quarré ; la diſtance qui eſt entre deux eſt egale à la hauteur & ſtature naturelle du corps de la meſme perſonne, depuis la plante des pieds juſqu’au ſommet de la teſte. Et finalement, l’intervalle de la Troiſieme, eſt egale à la hauteur de la poitrine.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|If I am asked what is the meaning of these fourth pair of footprints at the centre, and if they represent a Fourth Instance on the Diameter, I answer, no, and add that they were added to show how four static paces accord with half the distance of the extended diameter, which is equal to four ordinary steps, which was explained in Circle No 3 & marked number 1. As such, there are but the three pairs of footprints which show the Diametrical Instances, as well as the three others, which go off to the the sides and show the lateral ones.
 
 
 
|Si on me demande, qu’eſt ce que ſignifie ceſte quatrieme paire de ſemelles, qui attouche le Centre, & ſi elle ne repreſente pas la Quatrieme Inſtance Diametrale, je reſpons, que non; & qu’elle y eſt adjouſtée, pour repreſenter ſimplement la convenance du demi-Diametre prolongé avec quatre pas à pieds arreſtez, comme l’entier eſt egal à quatre pas ordinaires de demarche: ainſi qu’il eſt expliqué au Cercle N. 3. & marqué en ciffre 1. De ſorte qu’il n’y a que les trois premieres paires de semelles, qui demonſtrent les Inſtances Diametrales; ainſi que les trois autres, qui vont aux coſtez, demonſtrent les Laterales.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Now, everything I have said about these Instances, starting from Quadrangle A-C when the adversary is on Quadrangle Z-X must also be understood to apply conversely, when beginning the approach from the Quadrangle opposite, which is easy to understand from the footprints along the Diameter as well as along the edges of the Inside Square.
 
 
 
|Or tout ce que nos avons dit de ces Instances, en commenceant par le Quadrangle AC. quand l’Adverſaire ſe tient deſſus le Quadrangle ZX. celà meſme ſe doit auſſi entendre à l’oppoſite, en occaſion, qu’il nous touche de commencer les Approches par le Quadrangle oppoſite ainſi qu’il eſt aiſé à comprendre par les traces des pieds, qui en font la declaration tant ſur le Diametre, que ſur l‘un & l’autre coſté du Quarré Inſcrit.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|To know the exact ranges of each of these three Instances, as well as the basis of several observations, which we shall explore later, one must know that the blades of our swords are differentiated by twelve numbers into equal parts, as shown along the bottom left of the table. The reason for this will be explained following this section. Eight of these parts are the exact length of the arm, which is evident from the figure in Circle No 1, where it clearly shows that length of the arm is equal to one third the Diameter, from R to H: and since the Diameter is two times longer than the blade, that is, twenty-four Spans, it clearly follows that one third equals eight. Also this proof can demonstrate the truth, if one places the tip of the blade at the armpit and extends the arm along the blade, the finger tips only reach as far as the number eight. And therefore, when gripping the sword in hand, the sword has a length of 12, and that of the arm of 8, from which one must subtract about 1 for the shortening of the fingers when one grips, it appears then that holding the sword in hand, one can reach straight ahead a length of 19 Spans. Disregarding other considerations, let us suppose, for a moment, that the two swords are both equal to the radius; there will be more about this later. In this way we can calculate the measurements of these Instances from part 47, book 1 of Euclid in this way.
 
 
 
|Pour coignoiſtre exaćtement les meſures de chaſcune de ces trois Inſtances, enſemble auſſi le fondement de pluſieurs obſervations, dont il ſera parlé cy apres, il faut ſçavoir, que les lames de nos eſpees ſont diſtinguées par chifres en douze parties egales, comme il eſt repreſenté au bas du Tableau à main gauche, & en ſera la raiſon declarée à la ſuite de ce meſme diſcours. Huićt de ces parties font la juſte longeur du bras, ainſi qu’il eſt evident par la figure du Cercle N.1. où il ſe voit clairement que la longeur du bras eſt egale à un tiers du Diametre, depuis l’R juſques à l’H: & d’autant que le Diametre entier a deux fois autant de longeur que la lame, ce qui monte à vingt & quatre Nombres, s’enſuit neceſſairement que le tiers en ſera comme huićt. Auſſi la preuve en peut demonſtrer la verité; par ce qu’en mettant la poinćt de la lame contre l’aixelle, & eſtendent le bras deſſus, on ne peut atteindre du bout des doigts plus avant que juſqu’au Nombre huićt. Et comme ainſi ſoit, qu’en tenant l’eſpee au poing, on aye la longeur de la lame, comme 12,  & celle du bras comme 8: deſquels il en faut ſoubſtraire quaſi 1 pour le raccourciſſement des doigts, qui font le poing, il paroiſt donc qu’en tenant l’eſpee au poing, on peut atteindre en droite ligne ſi avant que la longeur de 19 de ces meſmes Nombres. Faut d’avantage preſuppoſer pour le ſecōd, que les eſpees ſont egales au demi-Diametre; comme vous entendrez plus particulierement cy apres. Et voilà par où lon pourra calculer les meſures de ceſdites Inſtances par la 47. Liv.1. Eucl. en ceſte maniere.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The radius from X to the Centre is  <font style="text-align: right"> 12</font>
 
 
 
|Le demi-Diametre depuis X juſqu’au Centre, eſt <font style="text-align: right"> 12</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Likewise the perpedicular radius,  <font style="text-align: right"> 12</font>
 
 
 
|Pareillement le demi-Diametre perpendiculaire,  <font style="text-align: right"> 12</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The Centre is a right-angle.
 
 
 
|L’angle de Centre eſt droit.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Therefore the line subtended from X to N is approx.  <font style="text-align: right">16.97</font>
 
 
 
|Doncques la ligne X N, qui le ſouſtient, <font style="text-align: right">16,97@</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|That is the line which measures the Third Instance, going by the quadrants of the Circle.
 
 
 
|Voilà la ligne qui meſure la Troiſieme Inſtance, en allant par les quadrants de Cercle.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The range of the Second is found in the same way. To do this, first imagine a line perpendicular to the Diametre from G to G. This will cut the radius at a right angle, in the exact middle between C and the Centre. Let’s say, then:
 
 
 
|La meſure de la Seconde ſe trouve en la meſme ſorte. Et pour ce faire imaginez permierement une ligne allant perpendiculairement par le Diametre, de G à G. Icelle coupera le demi-Diametre en angle droit, au juſte mitan entre le C et le Centre. Dites donc
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The radius is 12, and half of the other radius 6, added together, so the line that goes from X to the right angle is  <font style="text-align: right">18</font>
 
 
 
|Le demi-Diametre 12 & la moitié  de l’autre demi-Diametre 6, ſont enſemble, pour la ligne qui va depuis l’X juſques à l’angle droit  <font style="text-align: right">18</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The imaginary line being equal to the radius, half of that from the right angle to G must necessarily be  <font style="text-align: right">6</font>
 
 
 
|La ligne imaginée eſtant egale au demi-Diametre, faut neceſſairement, que la moitié, depuis l’angle droit juſques au G, en ſoit  <font style="text-align: right">6</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The angle at the Diameter is a right angle.
 
 
 
|L’angle qui touche le Diametre eſt droit.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Therefore the line subtended from X to G, is about <font style="text-align: right">18.97</font>
 
 
 
|Doncques la ligne X G, qui le ſoutient, <font style="text-align: right">18,97@</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The range of the First Instance appears by itself, being two times the radius, which makes <font style="text-align: right">24</font>
 
 
 
|La meſure de la Permier Inſtance paroiſt d’elle meſme, eſtant deux fois le demi-Diametre: qui font par enſemble <font style="text-align: right">24</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Next, then, the arm, extended straight with the sword, makes a length of 19 Spans. The distance of the First Instance is only 24 so one might conclude that from there, one can hit the adversary from the First Instance, by moving only 5 Spans forward, but this is false, which we can physically demonstrate. When two adversaries stand in the opposite Quadrangles, with swords and arms extended in a straight line the tips of the blades will only reach to just before the other’s hilts, as is shown in Circle No 1 of Plate IV: as such that they cannot reach the other’s body without advancing at least as far as the length of their adversary’s arm, that is 7 or 8 Spans.
 
 
 
|Puis donc que le bras avec l’eſpee font enſemble en droite ligne la longeur de 19 Nombres; & que l’eſpace de la Premiere Inſtance n’en contient que 24, paradventure quelqu’un voudra conclurre de là, qu’on puiſſe toucher ſa partie adverſe depuis la Permiere Inſtance, in avançant ſeluement la meſure de 5 Nombres; ce qui eſt faux, comme on le peut demonſtrer par experience. car quand les deux parties adverſes ſe tiennent ſur les Quadrangles oppoſites en la forme requiſe, avec les bras & eſpees eſtendus en droite ligne les poinćtes des lames n’arriveront chaſqu une, que juſques au devant de la garde contraire: ainſi qu’il eſt repreſenté ſur le Cercle N.1. du Tableau IV: de ſorte qu’ils ne peuvent arriver au corps contraire ſi ce n’eſt qu’ils s’avancent pour le moins, autant que tout le bras entier de leur partie adverſe, qui eſt de 7. à 8. Nombres.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The reason for this is when the body is held erect on both feet, with one foot on the edge of the Quadrangle and the other on the Foot-Line, one does not balance over the ball of the right foot at the Circumference, but rather between the two feet over the centre of the Quadrangle. Having considered and looked at the placement of the feet, which are separated by about a foot, on can conclude with assurance that each of the adversaries is half-foot back. And from this comes the increase in distance of the First Instance.
 
 
 
|La cauſe en eſt, que le corps, ſe tenant ainſi debout ſur ſes pieds, placez l’un ſur l’un des coſtez du Quadrangle, & l’autre ſur la ligne Pedale, ne repoſe pas ſur la poinćte du pied droićt qui aboutit à la Circonference; mais il revient entre les deux pieds par deſſus le Centre du Quadrangle. Ce qu’eſtant bien conſideré, & confronté à la ſituation deſdits pieds, qui ſont ſeparez entre eux d’un pied entier d’intervalle; on pourra conclurre aſſurement, que chaſcun des Contraires ſe recule d’un demi-pied en arriere. Et voilà d’où procede l’aggrandiſſement de la Permiere Inſtance.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|As to the range of the Second, it must be expanded likewise, adding the slight withdrawal of the two bodies, following the placement of the feet, which together comes to one extra foot length between the two. Therefore it follows that, as much as the Collateral X-G only goes to about 18.97 Spans, we must always count the distance as about 21, 45, which is just about 21 ½.  As such one cannot hit the adversary without advancing by one foot distance, which can be reached by simply leaning forwards with the torso.
 
 
 
|Quant à la meſure de la Seconde, il la faut aggrandir pareillement, en y adjouſtant le reculement des deux corps, procedant de la ſituation de leurs pieds, qui revient auſſi à un pied de longeur pour touts les deux ensemble. Suivant quoy, combien que la ligne Collaterale X G ne monte qu’à 18,97@ Nombres; toutesfois il en faut conter pour la diſtance 21,45@ qui eſt à bien peu pres 21½. En ſorte qu’on n’y peut toucher la partie adverſe, ſinon qu’on s’avance environ la meſure d’un pied, laquelle on peut atteindre en panchent ſeulement du corps ſur le devant.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The line of the Third Instance X-N was calculated at about 16.97 Spans, to which we again add the distance of one foot to adjust for the stance, which comes to a about 19.45 Spans, just a little less than 19 ½. So, as the extension of the arm with the sword comes to 19 Spans, that leaves about ½ Span to hit. Thus it is easy to understand how, in this Third Instance, one can hit an adversary while standing erect, with only the slightest bow.
 
 
 
|La ligne de la Troiſieme Inſtance X N a eſté calculée 16,97@. à laquelle adjouſtant derechef la meſure d’un pied en recompenſe de la ſituation; il en vient Nombres 19,45@ qui font un peu moins que 19½ . De ſorte que, l’extenſion du bras avec l’eſpee faiſant enſemble 19, il en reſte environ ½ Nombre de meſure pour atteindre. Dont il eſt aiſé à comprendre, qu’à ceſte Troiſieme Inſtance on peut toucher ſa partie adverſe, en ſe tenant droit, avec le moindre panchement du monde.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Then, because we have explained the ranges of the Lateral Instances, it makes sense to to the same with the others. And this, furthermore, because of the differences which are found between the two, could perhaps give reason to someone to suspect some fault, as if the Instances on the Diameter were not properly aligned.
 
 
 
|Or puis que nous avons declaré les meſures des Inſtances Laterales, il eſt raiſon de faire auſſi le ſemblable des autres. Et ce d’autant plus, parce que la difference, qui ſe trouve entre deux, pourra donner paraventure occaſion à quelqu’un d’y ſoupçonner quelque faute, comme ſi les Inſtances Diametrales n’eſtoyent pas bien aſſignées.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|In fact the line X-H, which represents the Third Instance interval, is shorter than the line X-N. Because that one was calculated to be about 16.97 Spans & this one is no more than 16.  This is easy to show by the rule of Proportion: imagine again the triangle, which was described above for the calculation of the line X-G. Let’s say the length from X to the middle of the cross radius is 18, for the base, which gives 6 for the height to G. Therefore the base from X to the centre being 12, the height from this Centre to the letter L will be 4. So it is that the lines from the Centre to L & to H are equal by proposition 4 of Euclid’s 1st  book. These 4, added to the radius 12, for the line X-H comes to 16. Thus this line of the Third Instance on the Diameter comes to only 16 Spans, and the other about 16.97. In any case the difference is made up in another way as we shall soon see. Similarly there is a difference between the lines X-G & X-E for the Second Instance: as the first is about 18.97 Spans, and the other about 19.69, calculation of which we shall leave for the present as this would involve too many sums, you may, meanwhile find this by means of the two triangles G-C w.
 
 
 
|Et de fait la ligne X H, qui y repreſente l’intervalle de la Troiſieme Inſtance, eſt plus courte que n’a eſté la ligne X N. Car ceſte-là a eſté calculée à Nombres 16,97@: & celle-cy n’en contient que 16. ſans plus. Ce qui eſt aiſé à demonſtrer par le regle de Proportion: imaginant derechef le triangle, qui a eſté declaré cy deſſus pour la calculation de la ligne X G. Diſons, la longeur depuis X juſques au milieu de l’autre demi-Diametre 18, pour la baſe; donnent 6, pour la hauteur juſques à G. Doncques la baſe depuis X juſques au Centre eſtant 12; la hauterur depuis ledit Centre juſques à la lettre L, fera 4. Or eſt il que les lignes depuis le Centre juſqu’à L, & juſqu’à H, ſont egales par la prop.4. liv.1. d’Euclid. Iceux 4. adjouſtez au demi-Diametre 12; il en vient pour la ligne X H, 16. Ainſi donc ceſte ligne de la Troiſieme Inſtance Diametrale ne fait que 16 Nombres; & l’autre, 16,97@. Toutesfois la difference en eſt recompenſée par une autre voye, comme il ſera declaré tantoſt. Semblablement il y a de la difference entre les lignes X G & X E. pour la Seconde Inſtance: car la permiere eſt de 18,97@ Nombres, & l’autre de 19,69@ ce que nous laiſſerons pour le preſent de calculer, à cauſe que le choſe requerroit trop de ſommes; vous advertiſſant cependent, qu’on en trouvera l’iſſue par les deux triangles G C w.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|In order to reconcile the reason for this difference, you must understand that the usual means of approaching an adversary in our Training is to always move a bit to the side, that will be described elsewhere, to avoid motion directly along the Diameter, which is very hazardous. Thus it is more necessary to understand the distances of these Instances, which approach from the side, than those which go directly towards the Enemy along the Diameter. In any case, the fact of these differences, which appear in the relative distances between the Second and Third Instances, are, practically, of little import, because the inequality between the two lines in the Second Instance is compensated for in the different positions of the body. For one who approaches, coming to the Lateral Second Instance, turns on the heels, in such a way as to move the body backwards about a half-foot; and in the Diametrical Second Instance, will have his heels further forward and his body in profile, so that the slight interval between these two Instances is equalized by the position of the body. As to the difference between the two Third Instance lines X-N & X-H, this is equalized because when one strikes from the Lateral Third Instance, one leans forward. Thus the range is shortened by as much as the line appears to be longer.
 
 
 
|Pour accorder le different, ſachez que c’eſt l’ordinaire de noſtre Exerice d’aborder le Contraire, en allant touſiours un peu à coſté, pour eviter la trace du Diametre, qui eſt plen de hazard, pour les conſiderations, qui ſeront delcarées autrepart. Dont nous eſtimons, qu’il eſt plus neceſſaire de cognoiſtre les meſures des Inſtances, qui vont en traverſe, que celles qui vont tout droitement ſur l’Ennemi par la voye du Diametre. Toutesfois qu’à la verité la difference, qui ſemble eſtre entre ces meſures des Inſtances Secondes & Troiſiemes, ne donne point de difference en la Pratique, puis que l’inegalité, qui eſt entre les deux lignes des Inſtances Secondes, ſe recompenſe par la diverſe ſituation du corps. Car celuy qui fait les approches, venant à la Seconde Inſtance Laterale, ſe deſtourne avec les talons, en ſorte qu’il ſe recule le corps d’un demi pied de longeur en arriere: & eſtant à la Seconde Inſtance Diametrale, il tient les talons plus avancez, & le corps tout en pourfil: de ſorte que l’intervalle de ces deux Inſtances en eſt egalée par la diverſe ſituation de ſon corps. Et quant à la difference, qui eſt entre les deux lignes des Inſtances Troiſiemes, aſſafoir X N, & X H: elles ſont egalées par ce que quand on donne  l’atteinte à la Troiſieme Inſtance Laterale, cela ſe fait avec le corps panché en avant. Dont la meſure eſt racourcie, autant, que la ligne ſemble eſtre plus longue.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|In sum, these considerations do not diminish the worth of this Circle, as much as they improve it. Because these same difficulties, which are proposed against it, clarify the concurrence with Nature itself, to which our ideas must always refer.
 
 
 
|En fin, ces conſiderations ne diminuent pas l’eſtime de noſtre Cercle, ains elles l’augmentent; puis que les difficultez meſmes, qui ſont propoſées alencontre, en eſclarciſſent davantage la convenance avec la Nature meſme, à laquelle il faut que toutes nos inventions ſe raportent.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|So, to make it easier to remember, here is a Table of measurements of all these Instances and their differences. To begin, for the Lateral Instances, there are
 
 
 
|Or pour vous en confirmer d’autant plus la memoire, voicy un Tableau de la meſure de toutes ces Inſtances aved leurs aggrandiſſements. Et premierement pour les Inſtances Laterales, il y a
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|First Instance<font style="text-align: right">About 26.48 Spans </font>
 
 
 
|Pour la Premiere <font style="text-align: right">Nombres 26,48@ </font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Second Instance <font style="text-align: right">About 22.45 Spans</font>
 
 
 
|Pour la Seconde <font style="text-align: right">Nombres 22,45@</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Third Instance <font style="text-align: right">About 19.45 Spans</font>
 
 
 
|Pour la Troiſieme <font style="text-align: right">Nombres 19,45@</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|For the Instances on the Diameter:
 
 
 
|Touchant les Inſtance Diametrales:
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|First Instance <font style="text-align: right">About 26.48 Spans</font>
 
 
 
|Pour la Premiere <font style="text-align: right">Nombres 26,48@</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Second Instance <font style="text-align: right">About 22.17 Spans</font>
 
 
 
|Pour la Seconde <font style="text-align: right">Nombres 22,17@</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Third Instance <font style="text-align: right">About 18.48 Spans</font>
 
 
 
|Pour la Troiſieme <font style="text-align: right">Nombres 18,48@</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|As for the tip of the sword, how far it must travel to hit the adversary’s body:
 
 
 
|Et touchant la pointe de l’eſpee, combien qu’il faut qu’elle chemine, pour toucher le corps contraire:
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|From the First Instance <font style="text-align: right">One Arms Length</font>
 
 
 
|A la Premiere <font style="text-align: right">La longeur de bras.</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|From the Second Instance <font style="text-align: right">One Forearm</font>
 
 
 
|A la Seconde <font style="text-align: right">Vne coudee.</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|From the Third Instance <font style="text-align: right">A half-palm</font>
 
 
 
|A la Troiſieme <font style="text-align: right">Vne demi paulme.</font>
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Those who are curious and wish to check these calculations, will find them mathematically accurate, and for those who are only interested simply for practical use can measure the ground. Use a stick as long as the Diameter divided into 24 Spans, each Span divided into 10 Parts, and each Part divided into 10 Minutes. Checking the aforesaid lines against this stick, they will find the correct measurements for our Instances, and by this can be assured of the accuracy of several observations that shall be set out, below.
 
 
 
|Ceux qui ſeront curieux d’examiner ces calculations de plus pres, les trouveront aſſez accordantes aux regles de la Mathematique, & pour ceux qui n’en quierent que la ſimple Pratique, ils en pourront prendre la meſure ſur le terroir avec un baſton de la longeur du Diametre parti en 24.Nombres, & chaſqun d’icieux nombres en 10.parties, & les parties on 10.minutes. En appliquant lequel ſur leſdites lignes, ils recognoiſtront les juſtes meſures de nos Inſtances, & par icelles ſe pourront aſſeurer de la certitude de pluſieurs obſervations, qui ſeront propoſées cy apres.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|As for the rest, be advised that, for all practical use, the lines will be enough to provide proper alignments and ranges, even without calculations.
 
 
 
|Au reſte on vous advertit, qu’on ſe peut contenter en la Pratique de la ſeule meſure des lignes, qui donneront aſſez d’adreſſe d’elles meſmes, encores qu’elles ne ſoyent pas calculées.
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
 
 
 
|'''Circle No 5'''
 
|'''Cercle N.5.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|''Showing the concordance of the Circle, & of the Instances, with Man’s Movements, and so understand accurately timing & reach.''
 
 
 
|''Repreſentent la convenance de Cercle, & des Inſtances, avec les Mouvements de l’Homme, pour en cognoiſtre la juſteſſe du Temps, & de leur portee.''
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|In the plane of Circle No 5 we first show the proportions of Man, the same as in Circle No 1, even though the figure is inverted, head downwards & feet upwards, to demonstrate that the aforesaid proportions remain the same, whether starting from one end of the Diameter or the other.
 
 
 
|Au plan de ce Cercle N.5, ſont repreſentées en premier lieu les proportions de l’Homme, toutes les meſmes qu’au Cercle N.1, y eſtant toutesfois la figure de la perſonne renverſée, la teſte embas, & les pieds en haut, pour demonſtrer, que leſdites proportions demeurent jouſiours immobiles, tant à commencer de l’un bout du Diametre, que de l’autre.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The same figure demonstrates that the distance for the First Instance is equal to the extended height of the person. As well, the distance of the Second Instance is equal the natural stature from sole of the feet to the top of the head. And the distance of the Third to the height of the chest, which is also shown in the preceeding Circle.
 
 
 
|Il eſt auſſi demonſtré par la meſme figure, que l’intervalle de la Premiere Inſtance, eſt egale à la hauteur eſtendue de la perſonne: Pareillement, que l’intervale de la Seconde Inſtance eſt egale à la ſtature naturelle du corps depuis la plante des pieds juſqu’au ſommet de la teſte: Et l’intervalle de la Troiſieſme à la hauteur de la poitrine, comme auſſi il a eſté demonſtré au Cercle precedent.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|Furthermore, there are three inscriptions running around the circle. The first, running along the entire Circumference, says that one must move the entire arm when striking from the First Instance. The second, which is the middle one, says one need only move from the elbow to do the same from the Second. And the third, which likewise corresponds to the Third Instance, that from here one need only use the wrist. For as much as it requires effort to raise the sword and arm up high, when the body stays withdrawn, as it is in the First Instance. When the sword descends it moves forward and gets closer but this is with the advantage of natural motion, which is dropping to break and counter all the adversary’s initiatives. But in the Second and Third Instances, the body is so close that if he were to move his entire arm, he would be entrely uncovered and completely give the initiative to his adversary, which would be wholly inevitable danger, were he to try it. And so, in the one only the movment of the elbow can be allowed and in the other no more than the wrist.
 
 
 
|Il y a davantage en ceſty cy trois eſcriteaux, qui vont en rond. Le premier, coſtoyant toute la Circonference, & ſignifiant qu’il eſt loiſible de mouvoir le bras entier, pour mener ſur l’Ennemi un coup de taille depuis la Premiere Inſtance. Le ſeconde, qui eſt celuy du milieu, contient en ſubſtance, qu’on ne doit mouvoir que le coude tant ſeulement, pour faire le meſme à la Seconde. Et le troiſieſme, qui reſpond pareillement ſur la Troiſieſme Inſtance, qu’en icelle on ne le peut faire, ſinon ſeulement du poignet de la main. Car encore que l’eſpee & le bras montent en haut avec un movemēt violent, ſi eſt ce que le corps demeure eſloigné tandis qu’il eſt en ſa Premiere Inſtance, & quand l’eſpee vient à deſcendre, il s’avance & approche, mais c’eſt avec l’avantage du mouvement naturel, qui eſt baſtant à rompre & dompter toutes les entreprinſes contraires. Mais à la Seconde & Troiſieſme Inſtance le corps eſt ſi pres, que tout autant qu’il ſe deſcouvre, & autant de temps qu’il accorde à ſon Contraire de faire quelque entrepinſe, ce ſont tout autant de dangers inevitables, où il ſe hazarde. Et partant, en l’une il n’eſt permis de mouvoir que le coude, & en l’autre non plus que le poignet.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|The variety of situations comes from the inequality of the spaces between the two Opponents, which means one has more or fewer options to change or modify one’s movements. Which is a general warning to students never to attempt to do anything that he can only succeed in doing by chance. And at all the Distances, where he finds himself, that he holds himself always on guard against beginning something which cannot do confidently. This is worth exploring in more detail.
 
 
 
|La diverſité procede de l’inegalité de l’eſpace qui demeure entre les deux Contraires, ſuivant laquelle on a plus ou moins de loiſir pour changer où moderer ſes mouvements. Qui eſt un advertiſſement general au diſciple, afin qu’il n’entreprenne jamais de faire, ce qui ne peut reuſſir à bien, que par hazard; & en toutes les Diſtances, où il ſe trouve, qu’il ſe tienne touſiours ſur ſes gardes, pour ne commencer choſe qui ne ſoit conjoinćte avec aſſurance. Or il vaut la peine de declarer ceſte matiere un peu diſtinćtement.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|As I have said, that anyone who would strike from the First Instance must move his tip an entire arm’s length: which is a distance so long that one has ample time to turn the entire arm aside, and even to bring the hand above the head, and to change position in time to interrupt any of the Opponent’s actions before he can move his tip such a long distance.
 
 
 
|Nous avons dit, que celuy qui nous veut atteindre depuis la Permiere Inſtance, qu’il luy convient avancer ſa poinćte de la longeur entiere de noſtre bras: qui eſt une eſpace ſi grande qu’on y a loiſir de tourner & virer le bras entier, & mener meſme la main par deſſus la teſte, & de changer touſiours à temps pour empeſcher l’effet de l’entreprinſe du Contraire, avant que ſa pointe puiſſe achever une ſi longue courſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|In the Second Instance, to hit the opponents body, requires no more than a foot distance and it is inadvisable in such dangerous circumstances to move the hand off the centre-line, as happens when using the entire arm to carry the movement.  Which is why, to guard against surprises one must not make any movements larger than those that come from the elbow, which shall be explored more exactly in the Practical discussion.
 
 
 
|A la Seconde Inſtance pour toucher le corps contraire, il ne faut qu’environ un pied de longeur, de façon qu’il n’eſt pas loiſible en un danger ſi evident d’eſcarter la main hors de preſence, comme il en advient quant on le transporte avec le movement du bras entier. Parquoy pour s’aſſurer contre les ſurprinſes, il n’y faut point faire de plus grands mouvements, que ne ſont ceux qui procedent du coude, en y apportant meſmes la circonſpećtion requiſe, de quoy ſera parlé plus exaćtement en la Practique.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|In the Third Instance, one can be hit with the smallest move. It is clear that at so close a distance no movement of the sword other than with the wrist can be permitted; for if one opens oneself up, for no matter how small a time, one cannot avoid being hit, if the Opponent takes full advantage of the opening  he is given.
 
 
 
|A la Troiſieme Inſtance on eſt atteint avec le moindre avancement du monde. Dont il appert clairement, qu’en une ſi petite diſtance il n’eſt aucunement permis de faire autre mouvement avec l’eſpee, que du poignet tant ſeulement: car ſi on ſe forligne, pour peu que ce ſoit, on ne pourra eviter de recevoir l’atteinte, ſi le Contraire prend bonne garde à l’occaſion, qui luy en eſt donnée.
 
 
 
|- style="font-family: times, serif; vertical-align:top"
 
 
 
|All that has been said about close hits applies to long, hard strikes. This observation gives us the skill to adjust our timing according to the distance as we approach.
 
 
 
|Ce que nout diſons de coups de taille, ſoit auſsi entendu à l’advenant des eſtocades. Car c’eſt l’obſervation, qui nous donne l’adreſſe de modere touts les movements à l’advenant du temps.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps"
 
 
 
|ON THE SUPERIORITY AND ELEGANCE
 
 
 
of this present circle in this training
 
 
 
|DE L'EXCELLENCE ET DIGNITE
 
 
 
de ce present cercle en cest exercice
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In conclusion, the Circle is the foundation of the science of Arms; it is this that allows us to perceive all the dangers which might present themselves during a fight, guides our movements, focuses our intentions, gives assurance to our steps, and from which proceeds all the rest of the demonstrations that follow, and that we shall use to serve us, during the perilous voyage of our Training, as sailors use a compass and map to avoid the shoals and sandbanks of the sea, and so, in the end, arrive safely in the intended port. All good and secure offence and defence derives from this point of origin and for this good reason it can be called the Key to Training. For just as a key has three jobs: to open, close, and guard, so does this figure, which opens for us the means to attack, and to defend by closing the door to attacks by the Adversary, & furnishes us with protection, like a solid rampart, against all disruptive moves, a job which it accomplishes and effectively guards us, as Practical Training shall prove.
 
 
 
|Pour concluſion, le Cercle c’eſt le fondement de la Science des Armes; c’eſt celuy qui nous deſcouvre touts les dangers, qui ſe peuvent preſenter par tout le diſcours d’une bataille; guide de nos mouvements, adreſſe des intentions, aſſeurance des pas, duquel auſſi tout le reſte des demonſtrations ſuivantes procede, & duquel on ſe ſervira parmy les perilleuſes vagues de ceſt Exercise, comme les Matelots de la buſſole, & d’une bonne carte Marine, pour eviter les eſceuils & bancs de mer, & en fin parvenir au repos au port qu’ils ſe propoſent. Toute bonne & ſeure offenſion & defenſe prend d’icy ſon origine, en ſorte qu’à bon droit peut il eſtre appellé la Clef de l’Exercice. Car ainſi qu’une clef a trois offices, ſçavoir Ouvrir, Fermer, & Garder, auſſi eſt ce ceſte figure, dont l’uſage nous ouvre la maniere d’aſſaillir & de defendre, ferme la porte aux intentions & entrepinſes du Contraire, & nous munit, comme d’un ſolide rempart, contre touts ſes mouvements deſordonnez, en quoy elle accompit l’office & l’effećt de nous contregarder; ainſi que la Pratique en fera l’eſpreuve.
 
 
 
|- style="font-family: times, serif;font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|ON THE CORRECT LENGTH OF THE SWORD,
 
 
 
which everyone should carry for defence, based on one’s own limbs.
 
 
 
|DE LA IVSTE LONGVEVR DE
 
 
 
l’espee, qve chascvn doit porter pour sa defense, accordant avec les membres de son corps.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Enough has been said describing the Circle. Now let us turn our attention to the Sword and it’s correct length, which is proportional and fits with all movements of the human body, and is consequently the best size of all.
 
 
 
|A tant ſoit aſſez dit de la declaration du Cercle. Parlons maintenant de l’Eſpee, & de ſa juste longeur, qui ſoit proportionée & convenable à touts les mouvements du corps humain, & par conſequent auſsi la meilleure de toutes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|It is amazing how, among those who make a living in the profession of Martial Arts, and who have published writings to the world, so few concern themselves with this matter, principally because this comes up in the constant discussions on the advantages of longer or shorter swords against each other, and because all confidence concerning timing and range, the two most important aspects of Training, depends absolutely on this knowledge, and because we use the sword to execute almost every move, in attack as in defence, it must follow that if the range and size are not well known, all moves become uncertain and hazardous.
 
 
 
|C’eſt merveille, qu’entre ceux, qui ont fait tout le temps de leur vie profeſsion des Armes, & en ont publié des eſcrits parmy le Monde, il s’en trouve ſi peu qui touchent à ceſte matiere: & principalement puis qu’il ſe preſente journellemēt à diſcourir touchant l’avantage des eſpees longues ou courtes les unes contre les autres; & que de ceſte ſeule cognoiſſance depend toute laſſeurance des temps & des meſures, deux parties principales de l’Exercice: & puis que c’eſt l’eſpee, qui fait quaſi ſeule toutes les executions, tant en aſſaut qu’en defenſe, il s’enſuit neceſſairemēt, que la meſure & la portee en eſtant incognue, toutes les operations en deviennent incertaines & hazardeuſes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Nontheless, there are a few who discuss this and who determine proper sword-length, but for the the most part, as cowards, who use very long blades to stay at a distance, than to show any real science of arms. And such is the opinion of those who swear that the length of the blade should be two arms length, so that if the point were put into the ground beside a man, the crosspiece would come to the armpit; which is, in effect, more like the length of the Espadon [great-sword], than a sword: other than this would necessarily be as annoying and inconvenient to wear at the side, as it would be to draw from the scabbard, as it would be dangerous and clumsy to use.
 
 
 
|Toutesfois il s’en eſt trouvé quelques uns, qui en ont voulu parler, & ont meſmes determiné la meſure de l’eſpee; mais pluſtoſt à l’appetit de quelques couards, qui ſe plaiſent à des armes fort longues, pour demeurer touſiours en diſtance, que par aucune vraye demōſtration de Science. Et telle eſt l’opinion de ceux qui veulent, que les lames doivent eſtre egales à deux bras entiers, de ſorte que la pointe eſtant miſe à coſté de l’homme en terre, le pommeau de la guarde luy vienne à toucher l’aixelle; qui eſt en effet pluſtoſt la longeur d’un Eſpadon, que d’une Eſpee : outre ce qu’elle ſera neceſſairement auſsi malfeant et incommode, tant à porter au coſté, que pour tirer hors du fourreau, comme dangereuſe & peu manniable en l’uſage.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Leaving aside for the moment all other considerations which we could bring up on the subject of the correct size of the Sword, besides those of the most convenient and advantageous use and handling, I will say that there are times when a longer or shorter sword is better. And yet, to answer the question as to determine a length, it should be between these two extremes, in the middle; not too short against long swords, nor likewise too long against short swords, and such that it is always easy to handle however one wishes. And because of this, as it means that the length should be proportional to the person, we have taken the size from his own body. Everyone should have his weapons sized proportionally to their own person. Thus the size of the Sword should be such that the length of the blade from the tip to the crosspiece is equal to half the Diameter, that is to say, if the tip is placed on the ground between the feet, the crosspiece of the handguard will come up to the navel, just as explained in Circle No 1, and the more exactly one can achieve this, the better, for many reasons. So there are ten small figures, labelled with letters A to K along the edges of the Plate, which will serve, for now, as a practice guide; the meaning of these follows.
 
 
 
|Laiſſant donc preſentement à coſté toutes autres conſiderations, qu’on pourroit mettre en avant touchant la vraye Meſure de l’Eſpee, horsmis celle de l’uſage & du maniement le plus commode & le plus avantageux, je di, qu’il y a des occaſions plus favorables pour les eſpees longues, & des autres qui le ſont plus pour les courtes. Et par tant s’il eſt queſtion de luy aſsigner une meſure, qu’il la faut mettre entre les deux extremes, ſi bien qu’elle ſoit mediocre; non trop courte contre les eſpees longues, ne pareillemēt trop longue contre les eſpees courtes, & qu’elle ſoit en toutes occaſions maniable à ſouhait. Et puis qu’il faut neceſſairement qu’une telle longueur ſoit proportionnée à la perſonne meſme, nous l’avons tirée & demonſtrée hors de la meſure de ſon corps; & voulons que chaſcun ait ſes armes proportionnée à l’advenant de ſa propre perſonne. Dont la meſure de l’Eſpee ſera telle, que la longueur de ſa lame depuis la pointe juſques à la croiſee, ſoit egale au demi Diametre; c’eſt aſſavoir, que la pointe eſtant miſe en terre entre le creux de ſes deux pieds, les branches de la garde luy viennent à reſpondre juſtement ſur la haueur de nombril; cōme il ſe voit exprimé au Cercle N. 1. Et le plus exaćtement qu’on le pourra pratiquer, ce ſera le meilleur, pour diverſes raiſons; dont nous avons mis icy par proviſion des dix petites figures, marquées de lettres ſuivant l’ordre alphabetique depuis l’A juſques au K au long des bords du Tableau, qui en ſerviront pour le preſent de preuve: & en eſt la ſignification telle que s’enſuit.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In any case, before the explanation, you should know that the proportions of the images of these people represented by the said figures, are drawn from and adjusted to the measure of the two small Circles I & K set on the plane of the pavement at the bottom of the Table. About this, if there arise any doubts, and to be entirely certain, one may measure the figures with a compass, and find the natural body height of each of these persons will be the same as the line C-V; the size of their swords, like the half Diametre; and the length of their arms, like C-H.
 
 
 
|Toutesfois avāt l’explication je vous adverti, que le proportions des images de ces perſōnes repreſentées par leſdites figures, ſont tirées & adjuſtées ſur la meſure de ces deux petits Cercles I & K, couchez ſur le plan du pavé au bas de la Table. Touchant quoy, pour en avoir pleine intelligence, & pour l’explictation des doutes, qui en pourrouyent ſourdre, il ſera expedient de les meſurer au compas. Car la hauteur naturelle des corps de caſcune de ce dites perſonnes ſera comme la ligne CV; la meſure de leurs Eſpees, comme le demi Dimametre; & la longeur du bras, comme CH.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE A
 
|FIGVRE A
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To begin with Figure A, here we see that the length that we have determined for the sword does not bother anyone, whether in casual conversations, or in a crowd, or moving through narrow passages, or similar situations where one would ordinarily be encumbered by a sidearm. On the contrary, with a blade of this length, and in a belt and hanger, of a design which we shall show in the following Plate, drawing the handle towards oneself with the right hand,  the point by itself falls perpendicularly to the ground beside the person, the hilt a little forward, together with the handle falls in its proper place, on the hip, at the height of the navel, when one moves the left foot a half-pace forward, one can comfortably rest the elbow and in fact the left side on it; as such it serves as a rest, rather than an encumbrance like all other swords not proportionally sized.
 
 
 
|Pour le premier il eſt repreſenté par ceſt figure A, que la longueur, que nous mettons pour l’Eſpee, ne donne point de faſcherie à la perſonne, quād on eſt en converſation avec des gens, ou qu’on ſe trouve en la foule, ou cheminant par des eſtroits paſſages, ou en ſemblable occaſions, eſquelles on eſt ordinairement embaraſſé par les armes qu’on porte. Au contraire eſtant la lame de ceſte longueur, que nous luy avons aſsignée, & la portant à coſté avec un tel ceinturon & pēdant d’eſpee, qu’il ſera domonſtré en la Table ſuivante, moyennant qu’on tire la garde devers ſoy avec la main droite, la pointe viendra à tomber d’elle meſme perpendiculairement en terre à coſté de la perſonne, un peu devant, enſemble auſſi la garde en viendra à ſe mettre en ſa juſte place, ſi bien à point, & à l’egal de la hauteur du nombril, qu’en avançant le pied gauche environ d’un demi pas, on aura la commodité de repoſer le coude, & enſemble tout le coſté gauche du corps deſſus; en ſorte qu’elle ſervira d’un appuy, pluſtoſt que de nous empeſcher, comme font neceſſairement toutes les eſpees, qui n’ont pas la longueur proportionée.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE B
 
|FIGVRE B
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The same length of sword is also very convenient for drawing the blade. For, as shall be explained in the next Table, and as the Circle itself shows, when carrying the sword on a belt & hanging as described, the guard comes slightly forward beside the hip, the scabbard angles towards the rear; each at its correct height, and so one may easily use both hands at the same time, with the left hand grips the scabbard just below the guard and the right hand reaches circularly across in front to grip the handle, in a way that requires no other preparation, no twisting the body, as we ordinarily see done by others, as if they had to search for their sword, or as if it were not properly attached to their side, a very clumsy, if common, arrangement.
 
 
 
|La meſme longueur d’eſpee eſt auſſi tres commode pour le deſgainement. Car en la portant avec le ceinturon & le pendent de noſtre deſcription, qui ſera propoſé au prochain Tableau ſuivant, & que le Cercle meſme demonſtre; la garde en vient un peu en avant à coſté du corps, le fourreau tirant vers le derriere; chaſcun en ſa juſte hauteur, & en telle ſorte qu’on peut travailler à ſon aiſe en un meſme temps de la main droite & de la gauche, en portant la main gauche embas, pour empoigner le fourreau pres de la garde, & la droite circulairement en avant, pour prendre l’eſpee, ſans aucune autre preparation, ne ſans courber le corps, comme on voit faire ordinairement aux autres, quaſi comme s’il la falloit cercher, ou qu’elle ne fuſt aſſez à commandement attachée au flanc de celuy qui la porte. choſe qui  eſt de tres mauvaiſe grace, encor qu’elle ſoit assez commune.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE C
 
|FIGVRE C
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Next we see the operation of drawing the sword, which, we shall describe more fully in Plate III  with all the various circumstances and reasons for which, in drawing the sword, one is constrained to raise one’s hand and arm as high as possible, even to raise the right leg, or any other bodily action, which may even include opening the fingers, to raise the hand sufficiently to clear the scabbard. All of which are necessary to assist in drawing because of the length of the blade. Thus it is apparent that our size of blade is so large that it could not be made longer without causing considerable inconvenience.
 
 
 
|S’enſuit l’operation meſme du deſgainement, que nous deſcrirons plus particulierement au Tableau III. avec toutes ſes circonſtances, & les raiſons, pour leſquelles en faiſant le deſgainement on eſt contraint de hauſſer le bras, enſemble avec la main, tant qu’il eſt poſſible, meſmes de lever auſſi la jambe droite, & d’accomoder toutes les aćtions du corps, à celle fin que la main puiſſe monter à ſuffiſance, pour laquelle meſme conſideration il convient auſſi ouvrir les doigts. Leſquelles choſes ſont toutes neceſſaires à cauſe de ceſte longueur de la lame, qui a beſoin d’eſtre aſſiſtée de toutes ces aides. Dont it appert que noſtre meſure de lame eſt ſi grande, qu’elle ne pourroit eſtre de plus ſans des notables incommoditez.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE D
 
|FIGVRE D
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|So, as this blade length is equal to the lower half of the extended body, from the soles of the feet to the navel, it is also equal to the upper half, from the navel to the highest that the hand can be raised above the head and as we see from the figure these two halves are equal. This is easy to show, as it is here. If we put the tip on the ground with one end of the crosspiece on the navel, and rotate the the tip upwards around the crosspiece, one will find the tip is as high as one’s fingers can reach.
 
 
 
|Or tout ainſi que ceſte meſure eſt egale à la partie inferieure du corps eſtendu, depuis la plante des pieds juſqu’à la hauteur du nombril, auſſi l’eſt elle pareillement à la partie ſuperieur, depuis le nombril en ſus juſques au plus haut que la main peut atteindre, comme on voit en la figure que ces deux parties ſont egales en longeur; auſſi la preuve en eſt facile, comme elle eſt icy repreſentée. Car en mettant la pointe de l’eſpee en terre avec l’une des branches de la croix ſur le nombril, & tournant en apres la pointe droitement en haut, l’on trouvera, qu’elle viendra au plus haut qu’on pourra toucher du bout des doights.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|And thus it can be seen once again, that the size of the blade is equal to half of the extended length of a person, and equal to the radius of our Circle, taking the navel for the Centre and the extended length as the the Diameter.
 
 
 
|Et voilà comme il appert derechef, que la meſure de la lame eſt egale à la juſte moitié de la longueur eſtendu de la perſonne, & pareillement au demi-Diametre de noſtre Cercle, prenant le nombril pour le Centre, & la longueure eſtendue pour le Diametre.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE E
 
|FIGVRE E
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As for the natural height of a person from the soles of the feet to the top of the head, this can also be measured and is here shown to be measured with the sword. For if we grip the handle in the style of our training, about which we shall discuss more later,  and one extends the sword and arm in a straight line, as we can see with one of these two persons, keeping the tip, the guard, and the shoulder at the same height, the line of the sword and arm, from the tip to the shoulder or the armpit, will be found to be equal to the height of the person. If one wishes proof, take a long stick or half-lance, and measure the distance from the tip of the blade to the armpit, then place the end of the stick on the ground between the feet and and stand it upright. It will be found that the measurement is exactly the size of the person.
 
 
 
|Quant à la hauteur naturelle de la perſonne depuis  la plante des pieds juſques au ſommet de la teſte, icelle ſe peut auſſi meſurer, & eſt icy repreſentée à meſurer avec l’eſpee. Car ſi on la prend au poing ſuivant le ſtile de ceſtuy noſtre Exercice, dont il ſera parlé cy apres, & qu’on l’eſtende enſembe avec le bras en droite ligne, ainſi qu’il ſe voit en l’une de ces deux perſonnes, tenant la point, & la garde, & l’eſpaule en egale hauteur; la ligne de l’eſpee avec le bras, depuis la pointe de la lame juſques à l’eſpaule ou à l’aixelle, ſera trouvée egale à la ſtature de la perſonne. Si vous en demandez la preuve, prenez un long baſton ou un demie lance, et en meſurez de longeur depuis la pointe de la lame juſques a l’aixelle: puis appliquez ceſte meſme ligne à la hauteur de la perſonne, mettant le ſuſdite baſton entre le creux de ſes deux pieds, & le dreſſant tout drout contre le corps pour le meſurer. Et ce faiſant ſera trouvé, que la meſure en accordera juſtement à la hauteur de la perſonne.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE F
 
|FIGVRE F
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top; font-variant: small-caps;"
 
 
 
|SHOWING HOW
 
 
 
the when the body is erect and in profile, the arm and sword extended in a straight line, the reach is further than any other.
 
 
 
|DEMONSTRE QV'ESTANT LE
 
 
 
corps perpendicvlaire et en povrfil, le bras et l’espee estendvs en droite ligne, atteignent plvs loing qv’avtrement
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Now we shall prove that this same length of sword can be increased or shortened, according to the reach of various distances, depending on where one is. This is shown by the three following figures, F, G, & H, the first of which, marked F, shows how the arm and sword extended out in a straight line is the longest reach of all positions, as long as the body position does not change, of course. If one stands erect on both legs, neither leaning forwards, nor backwards, and one extends the sword and straightens the arm in a line, that is, with the tip and the guard at shoulder height, one will reach further forward than if one raises or lowers the tip. For one cannot do either without the tip following a curve along a circumference, which is also shown in the figure. By which it is evident that the more the tip rises or lowers, the further it moves from the nearest point of contact.
 
 
 
|Maintenant nous proverons, que ceſte meſme longueur d’eſpee eſt capable de s’allonger, & de ſe raccoucir, ſelon la meſure des diſtances, où on ſe trouve. Ce que nous ferons paroiſtre par les trois figures ſuivantes, F.G.H. dont la premiere, qui porte la marque d’un F. repreſente, que la droite ligne, qu’on fait avec l’eſpee & le bras eſtendu, eſt la plus longue de toutes celles qui peuvent eſtre faites avec ladite eſpee, à condition toutesfois, que le corps demeure en une meſme poſture. Car ſi on ſe tient droit ſur ſes jambes, ſans que le corps s’avance, ne ſe recule,  & qu’on eſtende le bras avec l’eſpee en droite ligne, c’eſt à dire, mettant la garde & la pointe juſtement en la hauteur de l’eſpaule; on attendra plus avant, que ſi la pointe monte, ou qu’elle s’abaiſſe. Car elle ne peut faire ne l’un ne l’autre, ſinon en allent courbe, à la maniere d’une circonference, comme il eſt auſſi repreſenté en la figure. Par la quelle il eſt evident, que d’autant plus que la pointe continue à monter ou à deſcendre, d’autant plus elle s’eſcarte du plus prochain endroit de l’attouchement
 
 
 
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|To be more precise, we divide the blade into 12 Spans, with the length of the arm at about 8 Spans, and the elbow, which is almost in the middle of the arm, at about 4 Spans long. So, the blade can rise or descend in a circular arc three ways; through the movement of the entire arm, by the movement of the elbow, or by the movement of just the wrist. It follows in the first case when one moves the entire arm, that the centre of this circle is at the shoulder, and consequently, the radius, which determines this arc of circumference, rising or descending, is the line of the sword together with the entire arm, which together equals about 20 Spans. In the second case, moving from the elbow, the centre is at the elbow, the length of the radius is 12 Spans plus 4 Spans, which together makes 16 Spans. In the third case, when one moves only from the wrist, the centre is the person’s fist, only the blade moves, which makes a radius of 12 Spans. Now everyone, with any knowledge of mathematics, knows that the circumference of a circle is proportional to its radius: and these become shorter; also, therefore a radius of 20 is greater than 16, and that of 16 greater than the third which is 12. It follows that, raising or lowering the tip with just the wrist, shortens our distance to the tip, more than if one uses the elbow, and with the elbow likewise more than using the entire arm.
 
 
 
|Pour en parler plus exaćtement, ſachez que nous partiſſons la lame in 12. Nombres, dont la meſure du bras en contient auſſi environ 8. en ſorte que le coude, qui en eſt quaſi la juſte moitié, en revient comme à 4. Nombres. Or eſt il que la pointe de l’eſpee peut monter ou deſcendre circulairement en trois ſortes; aſſavoir par le mouvement du bras entier, par le mouvemēt du coude, ou par le mouvement du ſeul poignet de la main.  Dont il s’enſuit au premier ſens quand on fait le mouvement du bras entier, que le centre d’iceluy giſt en l’eſpaule, & par conſequent, le demi-Diametre, qui doit faire la ſuſdite circonference, montante ou deſcendante, c’eſt la ligne de l’eſpee enſemble avec le bras entier, qui font enſemble bien pres de 20. Nombres. Et au ſecond, en faiſant le mouvement du coude, le centre eſtant au coude, la longueur de la ligne totale contient 12. & 4. qui font enſemble 16. Et pour le troiſieme, quand on fait le mouvement du ſeul poignet, le centre eſtant le poing de la perſonne, il n’y a que la lame ſeule, qui fait 12. Nombres pour la ligne du demi-Diametre. Maintenant chaſcun, qui a quelque intelligence des Mathematiques, ſçait que les circonferences ſont proportionelles à leurs demi-Diametres: & que les circonferences ſe raccourciſſent à l’advenant: & partant puis que le demi-Diametre 20. eſt plus grand que celuy de 16. & celuy de 16. plus grand que le troiſieme de 12. il s’enſuit qu’en hauſſāt ou abaiſſant la pointe, du poignet de la main tant ſeulement, on raccourcit le chemin de la pointe, qui eſt la circonference plus, qu’on le faiſant du coude: & avec le coude pareillement plus, qu’en faiſant le mouvement avec le bras entier.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|It would be very easy to mathematically calculate the differences of distance, but it is enough to show only one small example, from which it will be very simple to understand the rest that follows.
 
 
 
|Il ſeroit bien aiſé de calculer par raiſon Mathematique, combien ces differences portent: mais il nous ſuffira d’en propoſer ſeulement un petit exemple, par le quel is ſera facile d’entendre auſſi à l’advenant le reste.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Take the case where the tip of the sword is raised using just the wrist, so that the centre of motion is the hand, and consequently the radius is only the length of the sword, making 12 Spans and suppose the tip rises likewise a distance of 12 Spans along the circumference; drop a line perpendicularly from the tip to the ground and one will find the line 12 Spans long shortened by 6 Spans, that is, by half.
 
 
 
|Poſons donc le cas, qu’on hauſſe la pointe de l’eſpee du ſeul poignet; en ſorte que le centre de l’aſcenſion ſoit en la main, & par conſequent le demi-Diametre ſoit la ſeule longueur de la lame, faiſant 12. & que la pointe monte pareillement en circonference à 12. Nombres en haut; alors en laiſſant deſcendre une ligne perpendiculare du lieu de la pointe vers la terre, on trouvera, que la ligne 12 ſera raccourcie de 6. Nombres; c’eſt à dire, de la juſte moitié.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|If the tip rises by only 6 Spans, which is half of the previous rise, one finds the line shortened by only 1½ Spans, or one quarter the previous distance.
 
 
 
|Si la pointe ne monte, que 6. Nombres, qui eſt la moitié de l’aſcenſion precedente, on trouvera par la ligne perpendiculaire, qu’ell ſera racourcie de 1½, qui n’eſt, que le quart du precedent raccouciſſement.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|If it rises only 3 Spans, the line will again be shortened by one quarter of the previous distance or ¾ Spans.
 
 
 
|Si elle ne monte qu’à 3. Nombres de hauteur, la ligne du raccouriſſement ſera derechef le jusſte quart du precedent, aſſavoir ¾.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Likewise the same happens when we raise the tip from the elbow. Because if the tip rises 16 spans, the distance shall be shortened by 8. If raised up to 8 Spans, it will be shorter by 2. And if it is raised by only 4, it will be shorter by ½, which is only a quarter of the preceeding step.
 
 
 
|Ainſi en eſt il pareillement des autres aſcenſions, mettent le centre ſur le coude. car ſi la pointe en monte à 16. Nombres, elle ſe raccoucira de 8. Si juſques à 8. Nombres, elle s’en racourcira de 2. Et ſi elle ne monte qu’à 4. elle en ſera raccourcie ½, qui n’eſt que le quart du precedent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Of course the same happens when the motion is done with the entire arm.
 
 
 
|Il faut entendre auſſi le ſemblable des mouvements qui ſe font avec le bras entier.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Thus this is the difference between the straight  line versus the other lines at different heights, and we have not even considered  shortening the reach either by bending the arm, or changing the posture, or even simply moving the feet. For there is no doubt that one can reach further than the straight line, if one leans the body forward, or one steps forward: this is not apropos, and beyond doubt, because in such a case, there are two lines, not one, because the extension of the arm with the sword is one line, the movement of the body is yet another. That these two lines together reach further than just the straight arm line alone is not the point. Because to comprehend the reach of each line, we must compare and consider each one independently. To do this, we must leave the body in its natural posture, so as not to skew one way or the other.
 
 
 
|Voilà doncques la difference de la droite ligne contre les autres, qui ne demeurent pas en egale hauteur; ſans toutesfois conſiderer pour le preſent le raccourciſſemēt, ne la courbure du bras, ne la changement de la poſture du corps, moins encore l’avancemēt qu’il peut faire moyennant la demarche des pieds. Car is ne faut pas douter, qu’on puiſſe atteindre plus loing que la droite ligne, ſi on panche le corps ſur le devant, ou qu’on l’avance avec le demarche: ce qui eſt hors de ce propos & hors de doute, à cauſe qu’en tel cas, il ſe trouve deux lignes contre une, car l’extenſion du bras avec l’eſpee font une ligne, l’avancement du corps en fait encor une autre. Que ces deux lignes, eſtans jointes par enſemble, ſoyent plus longues que la droite ligne ſeule, celà ne touche pa à ceſte queſtion. Car pour ſçavoir la portee de chacune ligne à part, il les faut conſiderer & comparer les unes aux autres diſtinćtement. Et pour ce faire il convient, qu’on laiſſe le corps en ſon eſtat naturel, qui ne favoriſe non plus l’une, que l’autre.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Which is why, should one with to confirm the above, stand straight on both feet, hold the sword with the arm outstretched in a straight line, as shown in the figure, just touching the tip to a wall, or some other object at shoulder height, and then raise or lower the tip, with the entire arm, with the elbow, or with just the wrist; without any doubt in the world, you will find your line shortened, more or less, to the degree the centre of motion is more or less distant from the tip as it moves along the circumference.
 
 
 
|Parquoy ſi vous avez envie de faire preuve de ce que deſſus, mettez vous droit ſur vos pieds, & tenez premierement l’eſpee avec le bras eſtendus en droite ligne, en la maniere qu’il eſt icy repreſenté par la figure, en touchant de la pointe un certain endroit d’un mur, ou de quelque autre corps que ce ſoit ſur la hauteur de l’eſpaule; & puis eſſayez de monter ou d’abaiſſer voſtre pointe, avec le bras entier, ou avec le coude, ou avec la main tant ſeulement; il n’y a point de faute, le moins du monde que vous la montiez ou deſcendez, vous troverez voſtre ligne raccoucie, plus ou moins, au rebours que le centre du movement ſera plus ou moins eſloigné de la pointe, qui fait la circonference.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Part of the reason for this difference is when moving the entire arm from the shoulder, the line stays straight, notwithstanding it may move off the most direct path: but when moving from the elbow, one makes an angle, which is, of necessity, a break in the line: and it must also follow that this makes it ever shorter as it moves from the straight line. But as this break angle increases as it moves to the middle, as well as when one performs the moves with the hand, there is yet more shortening: for when the angle is close to the extremity of the line, there is but a small part which draws from the straightness.
 
Dont il s’entend auſſi, qu’elle s’accourcira encor d’avantage, en cas qu’on y face deux courbures, l’une ſure le coude, & l’autre ſur le poignet de la main.
 
Of course this shortens even further when faced with two bends, one at the elbow, the other on the wrist.
 
 
 
|La cauſe de ceſte difference giſt auſſi en partie, en ce que quand le mouvement ſe fait avec le bras entier, eſtant le centre en l’eſpaule; la ligne droit demeure en ſon entier ſans aucune courbure, nonobſtant qu’elle forligne quelque peu de la droite voye: mais quand on le fait avec le coude, on fait un angle, qui eſt necessairement une encogneure ſur la ligne: dont s’enfuit auſſi neceſſairement, qu’elle s’accourcit d’avantage, entant qu’elle s’eloigne plus de la droiture. Que ſi ceſte encoigneure de l’angle approche encor plus du milieu de la ligne, ainſi qu’il en advient quand on fait le mouvement avec la main, il y a touſiours encor plus d’accourciſſement; car quand l’angel eſt environ les extremitez de la ligne, il n’y en a qu’une petite partie qui s’esloigne de la droiture.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This straight line is of very great use in Training, and shall be the basis for several observations; as such it is worth being carefully described, and well understood. It is the longest and surest of all positions, the most capable in defense of holding off the Enemy at a distance, and the most powerful way to hit offensively. And above all, the straight line can reach the closest target most securely, and without fear of also being struck at the same time. This is why one must always take care to keep this position foremost in training.
 
 
 
|Ceſte droite ligne aura un fort grand uſage en noſtre Pratique, & ſera le fondement de pluſieurs obſervations, de ſorte qu’elle merite d’eſtre curieuſement declarée, & bien entendu. C’eſt la plus longue & la plus ſeure de toutes, la plus capable en defenſe à tenire l’Ennemi eſloigné, & la plus puiſſante en offenſion pour l’atteindre. Et ce pour autant, que celuy qui en donne l’atteinte au plus proche endroit d’attouchement, il le fait à ſeur, ſans aucun danger de recevoir au meſme temps la pareille. Et pour ceſte cauſe, il faudra touſiours taſcher de s’en prevaloir en la Pratique.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE G
 
|FIGVRE G
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Nevertheless there are times when one finds oneself in close, where the long lines are useless and even damaging, because the distances are entirely too short for a blade held out at arms length in a straight line (where one must shorten the arm, or even draw it back, to be able to use the tip.) At these close distances the length of our blade is not always comfortable and sufficiently easy to use: so we must shorten the line to  close distances as it is to reach at longer ones. This is what is shown by the following two figures; the one marked G demonstrates how one may shorten the line, if the ennemy runs up to get past the tip, by stopping him with your foot and firmly placing the guard against the right hip, the tip will just reach his chest, which would otherwise pass beyond the shoulder if the sword were longer.
 
 
 
|Neantmoins quand c’eſt qu’on entre en meſure etroite, où toutes les lignes longues ſont inutiles, & dommageables, à cauſe que les diſtances y ſont aucunefois plus courtes, que les lames eſtendues avec le bras en droite ligne (dont on eſt contraint de raccourcir le bras, ou meſmes de le retirer arriere, afin de ſe pouvoir ſervir de la pointe.) En ces meſures eſtroites noſtre longueur d’eſpee ne laiſſe pas d’y eſtre touſiours commode & maniable à ſuffiſance: car elle eſt autant propre pour raccourcir ſa ligne en ladite meſure eſtroite, qu’elle eſt capable de l’allonger en la grande. C’eſt ce qui eſt repreſenté par les deux figures ſuivantes; dont celle qui eſt marquée de la lettre G. demonſtre comment on la peut raccourcir, en cas que l’Ennemi nous veuille courrir ſus, pour venir au dedans de la pointe. car en luy mettant le pied contre le corps, & affermiſſant la garde ſur la hanche droite, la pointe luy en viendra juſtement devant la poitrine, qui luy paſſeroit autrement par deſſus l’eſpaule, en cas que l’eſpee fuſt plus longue.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE H
 
|FIGVRE H
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This same shortening can be accomplished another way, by placing the left hand firmly against the chest instead of using your foot, again firmly placing the guard against your right hip, because between the hip and the extended left hand is just enough space to comfortably use the sword as needed.
 
 
 
|Ce meſme accourciſſement de ligne ſe pourra pratiquer encor en une autre ſorte, en luy mettant la main contre la poitrine, au lieu de ſe ſervir du pied, en affermiſſant derechef la garde de l’eſpee ſur la hanche droite, car entre ladite hanche, & la main gauche eſtendue, il reſtera juſtement l’eſpace de la longueur de l’eſpee, pour la commodité de la manier & appliquer ſelon l’exigence.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE I
 
|FIGVRE I
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This length of sword is also equal to the double-length step, which is the longest one a person can make without losing power, as shown in Figure I. Since we declared the length of the blade equal to one half-diameter, we can estimate that the step, which is shown along the half-diameter, is also understood to be the length of the blade. Place the toes of the left foot on the letter X, it is impossible for a man to pass beyond the centre in one single step, unless he raises the heel and puts his weight over his right toes, as shown here. Doing this is not a single step with one foot, but two: since both feet move forward, one more, the other less.
 
 
 
|Ceſte longueur d’eſpee eſt auſſi egale à la longueur du pas double, qui eſt leplus grand que la perſonne puiſſe faire de toute ſa force, ainſi que la Figure I le demonſtre. Car puis que nous ordonnons la longueur de la lame à l’egal du demi-Diametre: il faut eſtimer que le pas, qui eſt representé ſur la ligne du demi-Diametre, s’entend auſſi eſtre fait ſur la longueur de la lame. Mettant donc les orteils du pied gauche ſur la lettre X, je di, qu’il eſt impoſſible à l’homme de paſſer en un ſeul pas outre le centre, ſi ce n’eſt qu’il y accommode auſſi l’autre pied, en eſleveant le talon, & y ſouſlevant le corps ſur les orteils; comme on le voit icy exprimé. Quoy faiſant, ce n’eſt point le pas d’un pied ſeul, mais de deux: à cauſe que tous les deux s’avancent, l’un plus & l’autre moins.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps;"
 
 
 
|FIGURE K
 
|FIGVRE K
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Finally taking the sword in hand, and standing erect at the Centre, with the arm and the same sword stretched out to the side in a single line, the point going down to touch the ground in an acute angle, as shown in figure K, we can see that the tip of the sword is just on the Circumference: in such a way that one could mark it on the pavement with just the single sword held in hand, without leaning. In any case, it is more expedient in something so important, to follow the order which we listed, above; more so as it is nearly impossible, just in turning around, to keep it steady and round as needed, to mark the circumference. Moreover, there is nothing more accurate than to put one of the ends of the cross-guard at the Centre point, and use the point to draw the Circumference, so the all rest can be drawn with confidence.
 
 
 
|Finalement ſi on prend ceſt eſpee au poing, & qu’on ſe mette perpendiculairement debout ſur le Centre, avec le bras & la meſme eſpee eſtendus à coſté en droite ligne, la pointe tirāt vers la terre en angle aigu, comme il eſt repreſenté en ceſte figure K, on verra que la pointe de l’eſpee viendra juſtement ſur la Circonference: en ſorte qu’on pourroit deſcrir ſur le pavé avec la ſeule eſpee à tenir en la main, ſans aucun abaiſſement du corps. Toutesfois il ſera plus expedient en choſe de ſi grande conſequence de ſuivre l’ordre que nous avons baillé cy deſſus; d’autant qu’il eſt quaſi impoſſible, en tournant le corps pour deſcrire la dite circonference, de le gouverner & moderer ſi juſtement ſans varier, comme il ſeroit à ſouhaiter. Partant n’y a rien plus ſeur, que de le faire avec l’eſpee meſme, en mettant l’une des branches de la croix ſur le point du Centre, & tirer la Circonference avec la pointe, pour venir tant plus ſeurement à l’accompliſſement du reſte.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|One could propose other considerations concerning the correct length of the sword: but is seems to me that enough has been said for those who like the elegance of wearing a sword by their side, the ease of drawing, the advantage of using it under all circumstances, and, principally, the necessity even, for those who would practice our training, using our Circle. Use will give them a good understanding of the need for this length and without this it would be impossible to understand the demonstrations of our precepts.
 
 
 
|On pourroit propoſer encor d’autres conſiderations touchant ceſte juſte longueur de l’eſpee: mais il me ſemble que c’en eſt aſſez dit à ceux qui aiment la bien-ſeance de porter l’eſpee à coſté, la commodité de la tirer, l’avantage de la manier en toutes occurrences, & principalement la neceſſité meſme, pour le regard de ceux qui voudront prendre la peine de faire exercice à noſtre mode, & ſur le plan, de noſtre Cercle: car l’uſage leur en fera bien entendre la neceſſité, & que ſans icelle il leur ſeroit impoſſible de comprendre les demonſtrations de nos preceptes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Because we have discussed the correct length of the sword, it would be reasonable if we finish by speaking, for the moment, as we did on the blade, about the entire hilt, or each of its parts. It is only reasonable that the observations which we have concerning arms, should be discussed before we come to the exercises. In any case we have found it best to put everything concerning the hilt in the next Plate, as this material cannot be deduced from this First Plate other than by bits as it appears in one image or another. It shall suffice for the present, to advise you to take a good look at the images of the hilt, which are at the bottom of the Plate and as seen from above in Circle No 1, until it can be discussed more fully with distinct description of all the parts in Plate II.
 
 
 
|Puis que nous avons donc traitté de la vraye longueur de l’eſpee, il ſeroit raiſonnable que nous vinſſions à parler doreſenavant de la façon, tant au regard de la lame qu’au regard de la garde en ſon entier, ou en chaſcune de ſes parties; eſtāt raiſonnable, que les obſervations, que nous avons touchant les armes, ſoyent declarées avant que devenir à l’exercice meſme. Toutesfois nous avons trouvé bon de remettre ce qui touche la garde, au Tableau ſuivant, pour ce que la matiere n’en pourroit eſtre deduite en ce Tableau pemier, ſinon par loppins, comme il paroiſtra par les figures de l’autre. Il nous ſuffira donc pour le preſent, de vous advertir de prendre bon eſgard à la figure de ces gardes, qui ſont icy representées au bas du Tableau, & au plan du Cercle N.1. juſqu’à ce qu’il en ſoit diſcouru plus amplement avec diſtinćtion de caſcune des parties; ce qui ſera fait au Tableau II.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top; font-variant:small-caps"
 
 
 
|CONCERNING the 12 SPANS
 
 
 
of the blade and of Sliding the point of contact up and down the blade
 
 
 
|TOVCHANT LES 12 NOMBRES
 
 
 
de la lame, et de la gradvation et desgradvation
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Speaking again of the blade and explaining the significance and use of the 12 Spans, by which the length is divided into 12 equal parts, as shown on the bottom of the Plate on both sides; the left side numbered, the right side of the same length, also numbered with twelve points, with each of the twelve Spans inscribed in Latin, corresponding the the twelve parts of the ancient Roman Pound weight.
 
 
 
|Parlons derechef de la lame, & expliquons la ſignification, & l’uſage de ces 12. Nombres, par leſquels elle eſt diviſée en 12. parties egales de longueur, comme il ſe voit au bas du Tableau à la main gauche; le ſemblable eſtant auſſi repreſenté au coſté oppoſite, ſur une autre lame de la meſme longueur, diſtinguée pareillement par nombres en douze points, & par des noms, empruntez du Latin, en douze parties, reſpondantes au douze parties de la livre Romaine à l’ancienne.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|All that is needed to follow all sorts of demonstrations are these 12 spans that divide the blade by degree of strength, from the tip to the crosspiece. These are of such importance that there will always be more to discuss no matter how much is already written. Because the principle advantages for practical work, for certainty in demonstrations, for understanding the relative weights, for governing  sensitivity of the hands, for attending to timing, and to approaches, are all found in whole or for the most part in the use of these Spans.
 
 
 
|Il n’y a rien plus neceſſaire, pour examiner tout ſorte de demōſtrations, que ces 12. Nombres, par leſquels la lame eſt diſtinguée en autāt de degrez de force, en allant depuis la pointe juſqu’à la croiſee: & ſont de ſi grande importance, que jamais on n’en pourra tant eſcrire, qu’il n’en reſte encor à dire d’avantage. Pource que les principaux avantages de la Pratique, la certitude des demonſtrations, les proportions des poids, la moderation du ſentiment, les addreſſes des temps, & des approches, ſe trouvent toutes, ou en leur total, ou en leurs principales parties en l’uſage de ces Nombres.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The first point one mus know is that the twelve degrees of strength begin at the tip, the weakest part, and run up the blade, each section increasing strength by degrees up to the strongest part, the crosspiece of the hilt.
 
 
 
|Touchant quoy il faut premierement ſçavoir, que ces douze degrez de force commencent depuis la pointe de la lame juſqu’à la croix de la garde: & que la pointe c’eſt le foible de l’eſpee; la garde c’en eſt le fort; ce qui eſt entre deux, tirant de la pointe vers la garde, ſe renforce tout de ſuite de degré en degré.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|People wrongly attribute actions to the sword, but the sword itself is nothing more than a lifeless, immobile, material object, which only comes alive only through the hand that guides it. Yet because the liveliness of the sword depends only on the hand, it follows that the partition that is closest and most affected by the power of the hand should also be the strongest, those further away must consequently be weaker. The one that is first and most immediately affected by force from the hand, is called the strong part of the sword, point number 12. The partitions which receive power from the previous one and transmit it to the next and weaker one are said to be more or less strong or weak, according the the number of degrees along the blade. The last partition, preceeded by all the others, is called the weak part.
 
 
 
|Car l’eſpee n’eſtant qu’une choſe materielle, eſt d’elle meſme ſans acune vigueur, & immobile, recevent toute ſa force de la main, qui la gouverne; de la quelle auſſi dependent toutes les aćtions, qui ſont attribuées improprement à l’eſpee. Et partant, puis que toute ſa vigueur depend de ceſt main ſeule, il faut neceſſairemēt, que la partie, qui en eſt plus proche & plus propre à recevoir ſon influence, ſoit auſſi la plus forte; celle qui s’en eſloinge, ſoit auſſi conſequément plus foible. Celle qui reçoit l’influence de force immediatement & la premiere de toutes, ſoit dite le fort de l’eſpee, cōme le point 12. Celles qui la recoivent mediatement par des autres precedentes, & la communiquent derechef à d’autres parties ſuivantes & inferieures, ſoyent dites plus ou moins fortes ou foibes, ſelon le nōbre des degrez qu’ils portent. Celle qui la reçoit la derniere de toutes, & par le moyen de toutes les autres precedentes, ſoit dite le foible.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Finally, the reason why I chose the number 12 and not another, was to keep the sword in proportion to the length of the arm, which is two cubits, while the sword is three, and as we showed above, that the blade being equal to the half-diameter and he arm equal to only one third, as the Diametre is divided into 24 partitions, the arm into 8, and so consequently the blade into 12.
 
 
 
|Au reſte la cauſe pourquoy nous avons plustoſt choiſi ce nombre de 12. que nul autre, c’a eſté pour garder la proportion de ceſte longueur de la lame au bras de la perſonne: qui eſt de deux coudees, & l’eſpee de trois, auſſi a il eſté dit & demonſtré cy deſſus, que la lame eſt egale à la moitié du Diametre, & le bras n’en eſt egal, qu’à un tiers, de ſorte que le Diametre eſtant 24. le bras ſera 8. & la lame par conſequent 12.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Those who divide the blade into two equal parts, known as strong and weak, with the weak starting from the tip to the middle and the strong from the middle to the hilt, have made note of some difference between the partitions, but not enough.
 
 
 
|Ceux qui l’ont partie en deux moitiez egales, aſſavoir au fort & au foible: commençant le foible depuis la pointe juſques au milieu, & le fort de là en avant juſques à la garde, y ont bien remarqué quelque difference de parties; mais inſuffiſament.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|There are others who have divided the blade into three equal parts, with a middle section between the strong and the weak parts, because they have noticed that the middle section is sometimes used as a strong part, sometimes as a weak part.
 
 
 
|Il y en a eu d’autres qui l’ont diſtinguée en trois parties egales, mettant entre le fort & le foible le mediocre: par ce qu’ils remarquoyent que le milieu de l’eſpee participe de l’un & de l’autre, & qu’on s’en ſert tantoſt comme dufort, & autresfois comme du foible.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Others, following the same logic, distinguish four parts: the strong, the semi-strong, the semi-weak, and the weak. But all without showing in their Style any evidence of use, or of noteworthy advantages or disadvantages of these differences.
 
 
 
|D’autres ſuivants la meſme trace, ſont venus un peu plus avant, & l’ont diſtinguée en quatre parties, leſquelles ils ont nommées le fort, le demi-fort, demi-foible, & foible. Mais le tout ſans en monſtrer en toute leur Pratique aucun evident uſage, ou difference remarquable d’avantage, ou de deſavantage.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|All these divisions of the blade into 2, 3, or 4 parts are insufficient, principally because when we consider two swords working at the same time, one against the other, it is impossible to distinguish with certainty which is the strong or the weak when divided into only 2, 3 or 4 parts. So suppose we distinguish the blades into 3 parts, and that we wish to press the medium against the weak part. It is impossible to do this with assurance: the measure of the weak goes from the tip to number 4, and the medium goes from 4 to 8, so that pitting the medium against the weak can mean the 7th Span against the first or the 4th against the 3rd. These two cases are so completely different in nature, that it is absolutely impossible to produce the same effects or demonstrate the same techniques. Thus it follows that if one does not divide the blade into enough parts, one cannot guarantee with certainty the same techniques, and therefore, we need to use a larger number. The most convenient is 12, which is proportional to the arm, as well as similar to the 12 parts of the Roman Pound, the Latin names of which are inscribed on the blade on the right hand bottom.
 
 
 
|Toutes ces diviſions de 2. 3. ou 4. parties ſur la lame, ſont inſuffiſantes: & principalement  à cauſe qu’il faut icy conſiderer deux eſpees, qui travaillent à meſme temps enſemble, l’une contre l’autre: dont is ſeroit impoſſible d’en aſſigner aucune certaine diſtinćtion, du fort ne du foible, pour la grande meſure de chaſcune de ces 2. 3. ou 4. parties, en quoy la lame ſeroit diviſée. Car poſé que qu’elles fuſſent diſtinguées en trois parties, & qu’il fuſt queſtion de les accoupler, le mediocre avec le foible, je dis, qu’il ſeroit impoſſible de le pratiquer avec aſſurance: eſtant la meſure du foible, depuis la pointe juſques à 4. & du mediocre depuis le 4. juſques au N.8. en ſorte qu’on ne ſe pourroit reſoudre d’accouppler le Nombre 1. au N.7. de la lame contraire; ou le Nombre 3. avec le 4. car en l’un & en l’autre il ſe trouve le foible avec le mediocre. Etants toutesfois lesdits accouplements & aſſemblages des eſpees di ſi differente nature & condition, qu’il eſt abſolument impoſſible d’en tirer les meſmes effets, ne d’y faire paroiſtre les meſmes demonſtrations. Dont s’enſuit que quand on ne met aſſez de parties ſur la lame, qu’on en oſte auſſi par meſme voye toute la certitude des demonſtrations: & par tant, qu’il eſt neceſſaire d’en venir à un plus grand Nombre. Dont le plus convenable c’eſt celuy de 12. qui retient la proportion du bras avec l’eſpee, outre la ſimilitude des 12. parties de la livre Romaine, dont les noms Latins en ſont eſcrits au bas de ce Tableau ſur la lame, qui eſt à main droite.
 
 
 
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|The names are as follows: 1. Vecia, one ounce. 2. Sextans, the 6th part of a pound, or two ounces. 3. Quadrans, the quarter-pound. 4. Triens, the third, or four ounces. 5. Quincunx, five ounces. 6. Semis, the half-pound. 7. Spetunx, seven ounces. 8. Bes, two thirds, or eight ounces. 9. Dodrans, three-quarters, or nine ounces. 10. Dextans, ten ounces. 11. Deunx, eleven ounces. 12. As, the whole, either the pound or the sum. It was not only their custom to divide up pounds this way, but also from then to now entire inheritances, which is still done today amongst Jurists, to express through these names, the value of each of the parts.
 
 
 
|Les noms en ſont tels qu’il s’enſuit. 1. Vecia, une once. 2. Sextans, la ſixieme partie de la livre, ce ſont deux onces. 3. Quadrans, le quart. 4. Triens, le tiers, qui ſont quatre onces. 5. Quincunx, cinq onces. 6. Semis, la demie livre. 7. Septunx, Sept onces. 8. Bes, deux tiers, ce ſont huit onces. 9. Dodrans, trois quarts, ce ſont neuf onces. 10. Dextans, dix onces. 11. Deunx, onze onces. 12. As, l’entier ſoit livre ou ſomme. Car ils n’avoyent pas ſeulement couſtume de diviſer ainſi les livres, mais auſſi à l’advenant d’icelles les ſommes entieres des heritages, ce qui ſe pratique encor aujourdhuy entre les Iuriſtes, pour exprimer par l’appropritation de ces dits noms, la valeur ce chaſcune des parties.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|We could do the same, using these same or similar names for the 12 degrees of strength. But the best and most sensible way would be to simply use the use the numbers, by which the length of the blade is divided into 12 equal parts; which also reflects the relative strength of each, for, as explained above, as the parts by degree get closer to the hand, which controls the entire sword, they become stronger, and conversely, as they move away, become weaker. But be that as it may, it is of little import to us: for use does not require exact knowledge of the relative force, but we only to know which is greater and which is lesser, in order to act against the incoming blade, whether it is necessary to increase, to hold, or lessen the force, to overcome, or to cede to the counter-force.
 
 
 
|Nous en pourrions auſſi faire le ſemblable, en nous ſervant de ces meſmes ou de ſemblables appellations, pour exprimer les 12. degrez de force. Mais le meilleur & le plus intelligible ſera de nous tenir ſimplement aux chifres, par leſquels ceſte lame eſt diſtinguée en 12. parties egales de longueur; n’empeſchant toutesfois rien, qu’elles ne ſoyent aucunement diſſemblables en puiſſance: car ainſi qu’il a eſté declaré cy deſſus, autant que les degrez s’approchent de la main, qui gouverne toute l’eſpee, d’autant ſeront elles trouvée plus fortes; & au contraire plus debiles. Mais quoy qu’il en ſoit, celà ne nous importe guere: d’autant que l’uſage ne requiert pas d’en ſçavoir ſi exaćtement la proportion, ains ſeulement de cognoiſtre le plus & le moins, pour ſe conduire à l’advenant, ſoit qu’il ſoit neceſſaire d’accroiſtre, ou de moderer, ou d’amoindrir ſa force, ou de ſurmonter, ou de ceder à la force contraire.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|These are, in effect, the two goals, to which we aspire, and which can be found by means of these same numbers. The most important thing to know is precisely the amount of one’s own force, or of the opponent, as is necessary in practice, and next how to moderate, to increase, to diminish, this force as needed under different conditions, and as the occasion demands.
 
 
 
|Et ce ſont en effećt lex deux intentions, qu’on devra pretendre, & les pourra on obtenir par le moyen de ces dits nombres. C’eſt aſſavoir premierement de congoiſtre preciſement la quantité de ſa propre force, ou de la contraire, tant qu’il eſt neceſſaire en la Pratique: & pour le ſecond de moderer, augmenter, & diminuer ſa dite force ſelon l’exigence de la diverſité, que les occaſions demandent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The first point is very easy: because numbers that are equal in quantity are also equal in force. The difference in force is shown by inequality of the numbers. As 5 is 1 degree stronger than 4, & 6 is stronger by 2 degrees, and so on for the rest.
 
 
 
|Le permier uſage en eſt fort facile: car les nombres egaux en quantité ſont auſſi egaux en force: la difference de force ſe demonſtrant par l’inegalité des nombres. Car 5 eſt 1 degré plus fort que 4, & 6 en eſt plus fort de 2. & ainſi du reſte à l’advenant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The second point is easy to understand from the first one. Say my intent is to increase my force, I must assess and increase my own numbers. For example: if the blades are crossed 6 against 6, and I wish to increase my force, I change the point of contact so that the 7, 8, or 9 of my blade crosses with the 6 of the other sword; and by this means, I shall have increased my force 1, 2, or 3, or as many degress as I wish. If the intent is to diminish my force, the sword must be withdrawn towards the tip, so the point of contact moves to smaller numbers. This is what we call decreasing. Sometimes, one increases one’s own blade with the decrease of the opponent’s. For example, say two blades are in contact in the exact middle, which is in Span 6, and say that I move the point of contact so that mine becomes number 8, and my adversary to number 4; then that would mean an increase in my blade with a decrease on the opposing blade. Or, say, initial contact begins with unequal numbers, for example number 5 against number 8 and I change the point of contact by sliding the blades so that I bring my 8 or 9 against his 4 or 5: so that from three numbers weaker, I have moved to four numbers stronger. Contrarywise, one may decreases one’s own blade with an increase of the opposing blade, diminishing one’s own strength, and increasing that of the other party. Likewise, the increase of both swords happens at the same time, and likewise again, a double decrease.
 
 
 
|Le ſecond point ſera facile à comprendre par le premier. Car s’il eſt queſtion d’augmenter ſa force, il faut graduer & augmenter ſes nombres. par example: si les lames ſont aſſemblées 6. contre 6. & que je veuille augmenter ma force, je les reculeray en telle ſorte, que le 7. 8. ou 9. de la mienne, ſe viennet accoupler avec le 6. de l’eſpee contraire; & par ce moyen j’auray augmenté ma force, de 1, 2, ou 3, ou autant de degrez, que je voudray. S’il eſt question de la diminuer, il la faudra reculer devers la pointe, qui en eſt le foible, en ſorte que l’aſſemblement en vienne à moins de nombres. C’eſt que nous appellons deſgraduer. Aucunefois on fera la graduation de ſa propre lame avec degraduation de la lame contraire: par example. Soyent accouplées les deux lames chaſcune au juſte milieu, qui eſt au Nombre 6. & que je tranſmue tellement le point de l’attouchement, que la mienne vienne au nombre 8. & celle de ma partie adverſe au nombre 4; alors ſera faite la graduation avec la degraduation de la partie contraire. Ou que l’accouplement ſoit premierement de nombres inegaux, par example, du nombre 5. contre le nombre 8. & qu’on change tellement le point d’attouchement par la raclure des eſpees, qu’on en mene le 8. ou 9. contre le 4. ou 5. de la partie adverſe: en ſorte que de trois nombres plus foible, on vienne à ſe rendre de quatre nombres plus fort. Il adviendra auſſi au contraire, qu’on fera la deſgraduation de ſa propre lame, avec graduation de la lame contraire, diminuant ſes propres forces, & augmentant celles de ſa partie. Aucunefois on en fera la graduation de toutes les deux eſpees enſemble: & aucunesfois derechef double degraduation.
 
 
 
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|The same things may be done with blades when they are not divided into 12 parts, but this will be ragged, and without any certainty of results; likewise when showing a proof, or wishing closer examination of some interesting aspect that comes about from a particular crossing of swords, it would be impossible to make any display of the contact, or to recreate a situation, which is, of course, absolutely necessary each and every time one wishes to examine any operation, without exception, whatever it may be.
 
 
 
|Les meſmes effećts ſe pourroyent auſſi pratiquer avec des lames qui ne fuſſent pas diſtinguée en ces 12. nombres: mais ce ſeroit comme à taſtons, ſans aucune certitude: auſſi quand il ſeroit queſtion d’en faire les preuves, ou d’examiner quelque beau trait, qui ſe ſeroit preſenté à l’occaſion de l’accouplement des eſpees, il ſeroit impoſſible, de faire aucune demonſtration de l’attouchement, ou de la ſituation; ce qui eſt toutesfois neceſſaire toutes & quantesfois qu’il ſe preſente à examiner aucune operation, ſans nulle exception, qui puiſſe eſtre.
 
 
 
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|If one can imagine, that it is absolutely necessary to know exactly the proportions of all unequal forces, to make use of all their advantages, but that adroitness, which it gives us, is not enough to fully comprehend all the differences. If two blades are crossed, for example 2 against 4 or 10 against 8, the difference between the stronger and weaker numbers in each case is the equal to 2. But the relative values are not the same when we come to compare these two different cases to each other, they will be proportionally significantly different, because 4 is the double of 2, but 8 is only one third more than 6. In this way the relative proportions of force are unequal, even when the numeric differences are equal. Because the proportional difference between these numbers, when we compare two numbers to two other numbers, will always lessen as they approach the hilt, as the lesser of the two numbers becomes greater; so the proportion of the difference between 2 & 3 is found to be greater than the proportional difference between 3 & 4 or between 4 & 5 and so on, the differences becoming ever smaller, as the numbers become larger.  It might seem to some that we should simply make a list of the relative differences, by point of contact along the sword, and so one could quickly see and work with the proportional increase or decrease of forces, for each point of graduation along the blades.
 
 
 
|Si quelqu’un s’imagine, qu’il ſoit abſoluement neceſſaire de cognoiſtre exaćtement les proportions de toutes les forces inegales, pour ſe ſervir à touts propos de leurs avantages; & que l’adreſſe, que nous en baillons, n’eſt pas ſuffiſante pour en comprendre à plein toutes les differences. Car ſi les deux lames ſont accouplées, par example 2. contre 4. ou 10. contre 8. la difference in ſera egalement de deux nombres plus fort ou plus foible, auſſi bien en l’un qu’en l’autre de ces deux accomplements: mais quand ce viendroit à comparer ces deux differences l’une à l’autre au regard des nombres, qui ſont diſſemblables, la proportion en ſeroit grandement differente: à cauſe que 4. eſt le double de 2. & 8. n’eſt qu’une troiſieme partie plus que 6. de maniere que les proportions de force ſont ſouventesfois inegales, nonobſtant que les nombres de leur difference ſoyent egaux. Car les proportions des differences des nombres, qui ſont mis en compariſon deux & deux contre deux & deux autres, vont touſiours en amoindriſſant à l’advenant, que le moindre de cesdites deux Nombres à comparer enſemble s’augmente; ſi que la proportion de la difference, qui eſt entre 2. & 3. eſt trouvée plus grande, que celle qui eſt entre 3. & 4. ou entre 4. & 5. & ainſi conſequemment; eſtant touſiours les differences plus petites, à meſure que les nombres s’aggrandiſſent. Dont il ſemblera par adventure à un tel, que nous devions expliquer l’inegalité de toutes ces differences par le menu, & aſſigner à chaſcun accouplement d’eſpees ſa proportion, afin qu’on peuſt ſçavoir par ce moyen, combien c’eſt qu’on augmente ou diminue la proportion de ſes forces, avec chaſcune ſorte de graduations, petites ou grandes, telles, qu’elles pourront eſtre, & ſur tels endroits des lames, où on les voudra mettre en oeuvre.
 
 
 
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|To the above, I would respond, that it is true, the proportional differences change, increasing or decreasing inversely with numerical values of the point of contact. Consequently, as the numbers, against which we measure the graduation, become larger, one must make larger increases towards the hilt to make any gains. And yet, as these numbers become larger, we have less ability to increase them. Nevertheless, it is enough to have a general awareness, without needing a close examination of the details. Technically, the force between the two swords can always be considered equal, since both swords have12 partitions. If two blades come together unequally, for example, one blade contacts at number 7 and the other at number 4, they will behave differently against each other, one with more, the other with less force; but alternatively, the sword at number 4 can reinforce itself with a graduation of 8 degrees up to 12, whereas the sword at number 7 can increase to 12 by only 5 degrees, because the number of partitions of the swords are equal. Because such a large change can happen in a moment, & this is even expected, it is enough to know the difference in forces from the number of degrees, which can easily determine if the difference is large, medium, or small. Because 1 degree is a little stronger, 2 degrees is evidently more, and 3 degrees is much more. Those are all the distinctions we need, since seeking to know exactly all the relative proprotions of each and every possible crossing of swords that can be imagined is not only impossible to observe at speed in our training, but it would also be useless.
 
 
 
|Là deſſus je luy reſpondray, que c’eſt la verité, que les proportions des differences ſe changent, en augmentant & en diminuant au rebours de l’accroiſſement de leurs nombres: & par conſequent, d’autant que les nombres, contre leſquels on fera la graduation, ſeront plus grands, auſſi faudra il faire à l’advenant la dite graduation plus grande pour gaigner quelque choſe: & au rebours, d’autant que les nombres, avec leſquels la graduation ſera faite, ſeront plus grands, d’autant en pourra eſtre la graduation plus petite. Et cependant il ſuffit d’avoir de cecy une cognoiſſance generale, ſans qu’il ſoit beſoin d’en examiner les particularitiez. Car s’il faut parler proprement, la force des deux eſpees eſt touſiours egale. Car elles ſont toutes deux comme 12. S’il advient qu’elles ſoyent accouplées inegalement; par exemple, le nombre 7. de l’une au nombre 4. de l’autre, il eſt bien vray qu’elles ſont alors diverſement gouvernées, l’une avec plus, & l’autre avec moins de puiſſance; mais en eſchange il faut conſiderer, que l’eſpee de 4. ſe peut renforcer en un inſtant juſqu’à 12, augmentant ſa force par la graduation de 8. degrez entiers; là ou l’eſpee de 7 ne ſe peut renforcer, que juſqu’à 12. pareillement, qui ne font que 5 degrez, à cauſe que les nōbres des eſpees ſont egaux. Puis qu’il peut donc advenir un ſi grand changement en un moment de temps, & meſmes qu’on le doit comme pour certain attendre, qu’il nous ſuffiſe de ſçavoir la difference des forces par le nombre des degrez: leſquels nous peuvent aſſez declarer ſi la difference en eſt grande, petite, ou moyenne. Car 1. degré, c’eſt un peu plus fort: 2. degrez, c’eſt evidement plus: 3. degrez, c’eſt beaucoup plus. Voilà les diſtinćtions, qui nous doivent ſuffire. Car de vouloir ſçavoir exaćtement toutes les proportions de tant & tant aſſemblages d’eſpees, qu’on pourroit imaginer, ne ſeroit pas ſeulement impoſſibe à obſerver en des occaſions ſi viſtes, comme ſont celles de ceſtuy noſtre Exercie, mais il ſeroit auſſi inutile.
 
 
 
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|Finally, all we have said up to now about the gradation of the sword, must be understood simply with regard to these twelve numbers, by which one adjusts one’s own force and likewise counters the opposing force, notwithstanding that there are still other aspects to consider, each of which shall be discussed, in its proper place.
 
 
 
|Au reſte tout ce qui eſt dit juſqu’à preſent touchant la graduation & deſgraduation des eſpees, pour moderer par icelles ſa propre force, & pareillement la force contraire; ſe doit entendre ſimplement au regard de ces douze nombres, ce qui n’empeſche toutesfois qu’il n’y ait encor pluſieurs autres manieres de renforcements: deſquels il ſera traité, de chaſcune en ſon propre lieu.
 
 
 
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|HOW TO HOLD
 
 
 
the sword in the hand to practice the drills
 
 
 
|LA MANIERE DE TENIR
 
 
 
l’espee av poing, povr pratiqver nos receptes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The last point illustrated on this Plate concerning the sword is the manner of holding it, which is quite different from other methods. As is shown, on the two numbered swords at the bottom, place the index finger over the exterior branch of the crosspiece, and wrap it around the end of the blade, and the thumb either over, or around, the crossguard likewise inside the guard, with the rest of the fingers wrapped around the handle, so it lies in the hollow of the palm, with the crosspiece held horizontally.
 
 
 
|Le dernier point qui eſt repreſenté en ceſt Table touchant l’eſpee, c’eſt la maniere de la tenir au poing, grandement differente de l’ordinaire des autres. Car ainſi qu’il eſt exprimé icy bas en ces deux eſpees nombrées, nous mettons le doigt indice dans la garde par deſſus la branche exterieure, & alentour du talon de la lame, & le pouce à l’autre coſté, ſur la branche interieure, ou alencontre, par dedans la garde pareillement, avec le reſte des doigts bien eſtoitement ſerrez alentour de la poignee, en ſorte que le pommeau ſoit affermi dedans le creux du poignet, & les branches horizontales, l’une à coſté de l’autre.
 
 
 
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|It is absolutely necessary for all those who would learn anything of our Style, to hold the sword in this way, and not in any other; this grip is the only sure way to perform most of the operations, and is the foundation of the best sword-work for the thrust, either to aim, or to defend. This confidence is principally founded on the proper angle of the crosspiece, and on the force of the blade, held in this said manner. This shall be discussed further elsewhere, where the comparison of this grip to others, shall evince the superiority, through the coming together of the effects and  advantages of this grip compared to all others.
 
 
 
|Il eſt abſoluement neceſſaire à touts ceux qui voudront faire aucune recerche de noſtre Pratique, de faire l’empoignement de l’eſpee en ceſte ſeule maniere, & non pas en quelque autre ſorte, que ce ſoit: d’autant que de ceſte ſeule depend la certitude d’une bonne partie de toutes les operations, & y ſont fondez les plus nobles exploits des eſtocades, à tirer, ou à defendre; dequoy l’aſſeurance eſt principalement fondeée ſur la ſituation de la croix, & ſur la force de la lame, tenue en ceſte maniere dernierement dite.  dont il ſera diſcouru autrepart; où nous mettrons en comparaiſon, & en ferons paroiſtre l’excellence, par la conference des effećts & des avantages de ceſte cy au regard de toutes les autres.
 
 
 
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|The practical point of this discussion on the concurrence of the Circle, the Sword, and the Human Body has been to show how easy it is for everyone to have a sword of the proper size.
 
But there is a concern about the permanently-inscribed Circle, wherein one must oftentimes test between people of unequal stature, for which each should have his own properly-sized Circle, or between people of equal size, but who are both either larger or smaller than the Diameter, such that the Circle is not drawn proportionally to their bodies.
 
To minimize this inconvenience, the permanent Circle should be drawn to the proportions of an average person, to accomodate everyone.
 
Those who are larger can make the ranges of their Instances a bit larger.
 
Such as the first, outside the Circumference, a bit inside the Quadrangle.
 
The second, near the middle of the Inside Square, a bit outside, on the oblique Diameter.
 
And the third, likewise, a bit outside the Circumference, on the extended Perpendicular Diameter.
 
Those smaller can shorten all the distances of their Instances against the opponent; and take the first, in contrast to those larger, a bit inside the Circumference along the Diameter.
 
The second on the Oblique Diameter, a bit inside.
 
And the third, again on the Perpendicular Diameter inside the Circumference.
 
That is how the Circle can be of use to all sorts of people, without ever changing it.
 
Thus I am quite certain this explanation is sufficient proof of the usefulness of both these two lengths, of the Sword, which, as I say, is the instrument used for every action, and of the Circle, which is the terrain, containing the correct and proportional distances for the actions, so they may be exploited confidently.
 
It is true, that we have been somewhat particular in the research of some parts of this treatise, such as the deduction of the range of the Instances, the graduations, of the proportions of the body, and several other similar things, which we have calculated exactly; nevertheless, those who have no knowledge of mathematics should not be discouraged.
 
Because what we have done was more for the contentment of those who would make a close  study of our Theory, than it is something necessary for our Training.
 
Other than that, we have tried to put everything in good order, so that each can easily distinguish between those things necessary for Practice, from those which are only for Theorists, as long as they read our writings attentively.
 
 
 
|Pour venir à la Pratique de tout ce qui a eſté diſcouru, touchant la convenance du Cercle, & de l’Eſpee, avec le Corps de l’Homme; il eſt aiſé à un chaſcun d’avoir une Eſpee de ſa juſte meſure.
 
Mais pour le Cercle, qu’on deſcrit une fois pour toutes, où il faut ſouventesfois faire des preuves avec perſonnes inegales de ſtature, aux quels il faudroit à chaſcun ſon propre Cercle; ou bien avec perſonnes egales, mais plus grandes, ou plus petites, que la ligne du Diametre, en ſorte que le Cercle ne ſeroit pas compaſſé à la proportion de leurs corps.
 
Pour obvier à ces inconvenients, il le faut tirer ſur la meſure d’une perſonne moyenne, afin qu’il ſoit capable d’eſtre accommodé à toutes.
 
Car les plus grands y pourront prendre les meſures de leurs Inſtances un peu largement.
 
Comme, la permiere, dehors la Circonference un peu au dedans du Quadrangle.
 
La ſeconde, pres le milieu du coſté du Quarré inſcrit, un peu au dehors, ſurle Diametre oblic.
 
Et la troiſieme ſemblablement un peu au dehors de la Circonference, ſur le Diametre perpendiculaire prolongé.
 
Les plus petits y raccourciront auſſi les meſures de leurs Inſtances à l’advenant; & en prendront la premiere au contraire des grands, un peu dedans la Circonference ſur le Diametre.
 
La ſeconde ſur le Diametre oblic, un peu en dedans.
 
Et la troiſieme derechef ſur le Diametre perpendiculaire au dedans de la Circonference.
 
Voilà comment ce Cercle pourra ſervir à toutes ſortes de perſonnes, ſans qu’il le faille jamais changer.
 
Or je m’aſſeure que ceſte explication ſera pour le commencement une preuve ſuffiſante de a grande utilité de l’une & de l’autre de ces deux meſures, de l’Eſpee di-je, qui eſt ‘inſtrumēt de toutes les operations, & du Cercle, qui eſt la deſcription du Terrain, contenant les vrayes & proportionnelles diſtances, correſpondantes aux operations, pour les exploiter avec aſſeurance.
 
Il eſt vray, que nous avons eſté quelque peu curieux en la recerche de quelques parties de ce traitté, comme en la dedućtion de la meſure des Inſtances, des graduations, & de a proportion du corps, & en quelques autres choſes ſemblables, que nous avons calculées aſſex exaćtement: toutesfois il ne faut pas que ceux, qui n’ont point de cognoiſſance des Mathematiques, en perdent pourtant courage.
 
Car ce que nous en avons fait, c’a eſté plustoſt pour le contentement de ceux qui voudront examiner de pres noſtre Theorie, que pour ce que la choſe fuſt d’elle meſme neceſſaire en l’Exercice.
 
Outre ce que nous avons taſché de mettre le tout ſi bien par ordre, que chaſcun y pourra aiſement diſtinguer les choſes neceſſaires à la Pratique, d’avec celles qui ne ſont que pour les Theoriſtes, moyennant qu’il liſe noſtre eſcrit avec attention.
 
 
 
|}
 
 
{{master end}}
 
{{master end}}
  
 
{{master begin
 
{{master begin
  | title = Book 1 - Tableau / Plate II
+
  | title = Book 1 - Tableau / Plates XII - XXII
 
  | width = 60em
 
  | 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 02.jpg|400px]]
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
 
 
|EXPLANATION OF THE SECOND PLATE
 
|DECLARATION DV TABLEAV DEUXIEME
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|A COMPARISON OF THE PROPORTIONS OF THE HUMAN BODY drawn by m. Albrecht dürer, in his second book of proportions, folio 60, with the proportions from the Circle, and an explanation of the proper size of the sword-strap and sword-hanger.
 
 
 
|CONFRONTANT LES PROPORTIONS DV CORPS DE
 
 
 
l’homme tirees de nostre cercle a celles de m. albert dvrer en son livre devxieme de proportions, fveille 60, et déclarant les ivstes mesvres dv centvron et dv pendant de l’espee.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|All knowlegeable people admit that it would be highly desireable, for the skillful practice of arms, if there were a defined and fixed Range, according to which one can adjust distances exactly against all opponents, and, as it happens, all movements, large and small, swift and slow. And, as this involves movements of the human body using the sword, it is obvious that the proportions of the human body should be the most appropriate measure to use and that these measurements should apply to the sword as well as to the training area. This would be the only means by which one could produce a reliable and accurate method to assess  distances, which has up until now been unknown, or at the very least, has never been evident in any demonstration.
 
 
 
|Toutes perſonnes de iugement confeſſent, qu’il ſeroit fort à deſiderer pour l’adreſſe de l’Exercise des Armes, qu’il y euſt une certaine & inviolable Meſure, ſelon laquelle on peuſt regler exaćtement toutes les Diſtances, & à l’advenant auſſi touts les mouvements, grands & petits, tardiſs & viſtes. Et puis qu’il eſt icy queſtion des mouvements qui ſe ſont à l’aide de l’Eſpee, & avec les membres du corps; que le plus apparent ſeroit de la trouver par les proportions de l’Homme meſme; & eſtant trouvée, le plus expedient de l’appliquer ſur l’Eſpee, & ſur le plan du Terrain, où l’on pretend de faire l’Exercice. Ce ſeroit le ſeul moyen, par lequel on pourroit parvenir à former un jugement ſolide touchant les vrayes proportions des diſtances, qui ont eſté juſqu’à maintenant du tout incognues, ou à tout le moins, il n’en a eſté jamais faite aucune demonſtration evidente.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|And therein one can see the great use of our Circle, which shows so clearly and perfectly, with confident skill, how to take advantage of the above usage and style of swordplay. Just like the advantage that a well-disciplined army on campaign, encamped in good order with organization has over the confused multitude of a barbarian horde. For just as it is important for a commander in the field, about to lay siege, to reconnoiter the ground for routes, heights, marshes, and, in sum, the entire situation about him, it is important in our Traning for us to know the delineations of the Circle, which is like a map of all the steps we can take or positions we can adopt, according to how the situation varies.
 
 
 
|Et par là ſe voit la grande utilité de noſtre Cercle, qui la repreſente ſi claire & ſi  parfaite, avec une adreſſe de l’aſſeurance à prendre ſi avantageuſement par le deſſus le precedent uſage & ſtile des Armes, comme la bonne ordonnance d’une armee logée en campagne diſtinćtement à loiſir & à ſouhait, par deſſus la confuſion d’une multitude de Barbares. Car autant qu’il importe à un Condućteur d’armee, pour mettre le ſiege devant quelque place, d’en cognoiſtre les plus ſeures approches, les paſſages, les prochaines hauteurs, les eaux, & en ſomme toute la ſituation d’alentour: autant nous importe en noſtre Exercice la delineation de ce Cercle, qui eſt comme une carte de toutes les demarches, à faire & à changer ſelon la varieté des occaſions.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This gives me hope and a belief that this invention will be praised by all those have a heart free from this ignominious desire to simply criticize the works of others without themselves offering anything better. For they can recognize that this Circle is proportional to human limbs, consequently as well to all movements which might be by one of the two adversaries, and that the proof of ranges and distances, which no one has adequately explained until now, depends on this same concurrance.
 
 
 
|Ce qui me fait eſperer & croire, que l’invention en ſera louée de touts ceux qui ont le coeur libre de ceſt infame deſir de calomnier les ouvrages d’autruy, ſans taſcher de mettre eux meſmes en avant choſes meilleures. Car ils pourront recognoiſtre, qu’elle eſt proportionnée à touts les membres, & conſequemment auſſi à touts les mouvements, qui peuvent eſtre faits tant de l’un que de l’autre des parties adverſes; & que de ceſt meſme convenance depend la demonſration des Meſures & des Diſtances, que perſonne n’a ſceu declarer juſques à preſent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|But as great as the concurrance is between the body and the lines of the Circle, as one could see from the portrait of the person in Circle No 1, someone may happen to suspect that this figure was somehow altered to fit the lines to support my desires rather than to expose a truth about nature, which would greatly diminish the value of the Circle and leave it partly useless for our Training. Thererfore, to show that I went about my work honestly, here is the proof in the Second Plate, where I show the same Circle with the portrait taken from The Proportions of Man, written over a hundred years ago, by the great painter and geometrician Albrecht Dürer. I shall apply the Circle to this portrait with all the pertinant lines, so that with the belly-button at the centre, the soles of the feet on the circumference, & the top of the head reaches just to the letter V, exactly as with my own figure.
 
 
 
|Mais d’autant que ceſt convenance eſt ſi extremement grande, comme il ſe voit notamment au pourtrait de la perſonne, au Tableau precedent Cercle N.1: par adventure quelquun en prendra occaſion de ſoupçonner, que nous avons accommodé ladite figure pluſtoſt ſelon noſtre fantaſie, pour en tirer les proportions deſirées, que d’enſuivre ſimplement la verité naturelle: ce qui amoindriroit de beaucoup la dignité du Cercle, & le rendroit en partie inutile pour l’Exercice. Pour donc faire paroiſtre, que nous y ſommes allez rondement, en voicy la preuve en ce Tableau Deuxieme, où nous appliquons le meſme Cercle au pourtrait d’un perſonnage tiré du livre de Proportions de l’Homme, eſcrit il y a plus de cent ans par ce grand Peintre & Geometricien Albert Durer: appliquant ſur ledit perſonnage noſtre Cercle avec toutes les lignes y appartenantes; en ſorte que le nombril ſoit prins pour le Centre, la plante des pieds ſe repoſe ſur la Circonference, & le ſommet de la teſte atteigne juſtement à la derniere entrecoupure du Diametre à la lettre V. tout de meſme qu’il en a eſté fait en noſtre figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|So I have chosen to show this using the portrait of an overall well-proportioned man which is presented in the aforesaid book of Proportions, Book 2, Folio 60. This figure displays all the measurements that this great Master made through his mathematical calculations and through his long observations as a painter. These measurments accord almost perfectly and effortlessly with the lines drawn between opposite angles across the diameter of the Circle.
 
 
 
|Or avons nous choiſi pour ceſt effećt le pourtrait d’un homme parcreu & bien proportionné en touts ſes membres, tel que l’ordonnance en eſt faite audit livre des Proportions, Liv. 2. feuillet 60. En laquelle figure il paroiſtra, que toutes les meſures que ce grand Maiſtre a ſceu remarquer par ſes calculations Mathematiques, & par ſes longues obſervations en l’art de Peinture, ſe diſcouvrent icy  quaſi toutes ſans artifice & plus parfaitement, par les aſſignations de nos lignes tirées perpendiculairement à travers le Diametre aux angles oppoſez, des uns aux autres.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To perform the comparison, because a large number of lines must be compared, and so that they do not create confusion, and to check the various assignations between the two parts, they are shown differently: dotted lines from the Diameter to the angles, solid lines to show Dürer’s proportions drawn from behind the person to the front of the body. Thus those which are in common will be partially dotted solid and partially dotted extending beyond Dürer’s parallelograms.
 
 
 
|Pour venir doncques à la confrontation, puis qu’il faudra compater icy un grand nombre de lignes, afin qu’elles n’engedrent confuſion, pour examiner la verité de aſſignations de part & d’autre, nous les repreſentons en differentes manieres. Les noſtres ſont poinćtées, allant par le Diametre juſqu’aux angles oppoſez: le ſiennes ſolides, tirées par le derriere de la perſonne juſqu’au devant du corps. Dont celles qu’il a communes & accordantes avec les noſtres, ſont en partie ſolides, & en partie poinćtées, aſſavoir au dehors de ſes parallelogrammes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The figure has, therefore, been arranged like this, and when one considers the degree of overlap between the lines from the Circle and that of such a Great Master of proportions, we can see the proof on a well-proportioned body. I believe that everyone can be satisfied with such a proof, rather than a face a great mass of arguments, which would serve to obscure the matter and give rise to more doubts rather than settle any existing ones.
 
 
 
|La figure eſtant ainſi dreſſée, & conſideré le grand accord, qui ſe trouve entre noſtre invention & celle d’un ſi grand Maiſtre des proportions, de quoy on voit la preuve ſur un corps qui eſt des mieux proportionnez; j’eſtime que chaſcun ſe contentera plus d’une telle demonſtration, que d’un grand amas d’arguments controuvez, qui ſerviroyent pluſtoſt d’offuſquer la matiere, & tendroyent à engendrer des nouvelles doutes, au lieu de reſoudre les anciennes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To the degree that I may say, we all agree, if I dare be so bold, that where there are differences, the Circle will serve to settle the question and to correct any errors which could not be avoided even by such a great mind, and such an exacting judge of proportions. This should make the Circle more impressive than if all the lines matched exactly. Now here is the proof, reminding you once again, that my lines are drawn from intersection to intersection, as if by chance, and his are artificially ordered, and arranged in five parallelograms. Thus here is the explanation.
 
 
 
|Et combien que je ne puiſſe dire, que nous ſommes partout d’accord, ſi oſerayje bien affermer pourtant, où il y a de la difference, que c’eſt noſtre Cercle qui en vuidera la queſtion, & corrigera les fautes, qui n’ont ſceu eſtre evitées par un eſprit ſi noble, & par un jugement des proportions ſi exaćte. Et c’eſt ce qui en doit augmenter l’eſtime, plus que ſi les aſſignations fuſſent trouvées s’accorder toutes enſemble. Maintenant venons a la preuve, vous advertiſſant derechef, que nos lignes ſont tirées ſimplement de l’un angle à l’autre, quaſi à l’adventure, & les ſiennes ſont artificiellement ordonnées, & rangées en cinq figures parallelogrammes. Dont voicy l’explication qui s’enſuit.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The first of all his lines corresponds on the last cross-cut line on the Diameter, marked with  a capital V, & shows the top of the head.
 
 
 
|La premiere de toutes ſes lignes reſpond juſtement ſur noſtre derniere entrecoupure du Diametre, marquée de la lettre V capitale; & demonſtre la ſyme, ou le Vertex de la Perſonne.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The second, which matches the second cross-cut line marked B, shows the tip of the nose.
 
|La ſeconde, s’accordant pareillment à la ſeconde des noſtres marquée B, demonſtrant le bout du nez.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The third is not found amongst the lines of the Circle, and shows the eyebrows.
 
|La troſieme des ſiennes ne ſe trouve point parymy les noſtres, & demonſre le ſourcils.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The fourth matches my line B, which shows the tip of the nose.
 
|La quatrieme s’accorde à la noſtre marquée B, demonſtrant le bout du nez.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The fifth, matching my line C, shows the chin.
 
|La cinquieme, revenant juſtement ſur la noſtre de C, demonſtre le menton.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The sixth, matching my line D, shows the top of the trapezoid muscles.
 
|La ſixieme demonſtre le pallerons; auſſi fait ſemblablement la noſtre marqée de la lettre D; & reviennent en une.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The next line is only on the circle, marked E, which marks the shoulders.
 
|Il s’en enſuit apres une des noſtres particuleres, marquée de la lettre E, qui vient juſtement ſur le haut des eſpaules.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Again, by contrast, a bit further down, are one of his lines, which shows the same. This difference shall be discussed shortly.
 
|Derechef, en eſchange un peu plus bas, il s’en enſuit une des ſiennes, pour demonſtrer le meſme; de laquelle difference il ſera parlé tantoſt.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Next comes the second parallelogram, of which the first line, which matches exactly with our third cross-cut of the Diameter, marked R, shows the the collar bones, or, as we described it, the top of the chest.
 
 
 
|S’enſuit apres le ſecond parallelogramme: dont la premiere ligne, s’accordant juſtement avec noſtre troiſieme entrecoupure du Diametre, marquée d’R, demonſtre les os traverſiers; ou bien ſelon noſtre deſcription, le plus haut de la poitrine.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The second, matching my line F, shows the chest, and, particularly, according to the preceeding Plate, the armpits.
 
 
 
|La ſeconde, accordant avec noſtre F, demonſtre la poitrine, & ſpecialement, ſelon la repreſentation du Tableau precedent, le aiſſelles.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The next line is only on the circle, marked G, which shows the breasts.
 
 
 
|Il s’en enſuit apres une, qui nous eſt particuliere, marquée de G, qui demonſtre le mamelles.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|And in contrast, another line particular to him, shows the armpit, much lower than seen from the front, as I showed in my figure. This follows from the mistake that the Author made placing the shoulders too low, and, consequently, the armpits to far forward.
 
 
 
|Et en eſchange une autre particuliere à luy, qui demonſtre l’aixelle, à regarder la perſonne de front, beaucoup plus bas, qu’il n’eſt repreſenté en noſtre figure: procedant l’erreur de ce que l’Autheur a placé le haut des eſpaules plus bas, qui’il ne devoit; & par conſequent auſſi les aixelles à l’advenant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The fourth line on his second parallelogram matches my line H, & shows, following the previous error, the tips of the nipples but is, in fact, in right in the middle and centre of the chest.
 
 
 
|La quatrieme ligne on ſon deuxieme parallelogramme revient ſur la noſtre marquée de H, & demonſtre, ſelon l’erreur precedente, les tetins des mammelles, mais en effet c’eſt le beau milieu & comme le centre de la poitrine.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Next, again, is one of his, which continues the same mistake, & consequently shows the bottom of the pectorals.
 
 
 
|S’enſuit derechef une autre des ſiennes, qui continue la meſme erreur, & demonſtre conſequemment les ſous-mamelles.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The sixth matches my line I, and shows the tip of the breastbone.
 
 
 
|La ſixieme s’accorde à la noſtre marquée de la lettre I, & demonſtre le brechet.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The next line is only on the circle, marked K, which shows the floating ribs.
 
 
 
|Apres laquelle y a la noſtre marquée de K, qui demonſtre le hypochondres, ou les fauſſes coſtes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The seventh, & last of this parallelogram, which is also only one of his, shows the waist.
 
 
 
|La ſeptieme & derniere de ce meſme parallel, qui luy eſt auſſi propre demonſtre la ceinture de la perſonne.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The first line of the third parallelogram, which matches exactly the Centre, shows the navel.
 
 
 
|La premiere du Troiſieme ordre, qui vient juſtement ſur le Centre, demonſtre le nombril.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The second line of his shows the loins.
 
 
 
|la ſeconde, à luy particuliere, demonſtre les hanches.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The third matches my line L, which purports to show the top of the thigh, but actually matches exactly the hip, as it is higher than the muscle.
 
 
 
|La troiſieme revient à la noſtre, marquée de la lettre L, voulant demonſtrer le haut de la cuiſſe; mais en effet elle reſpond juſtement ſur l’endroit de la jointure, combien que le muſcle en vienne plus haut.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The fourth matches my line M, and shows the bottom of the stomach.
 
 
 
|La quatrieme s’accorde à la noſtre marquée de M, demonſtrant le bas du ventre.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The fifth line of his, shows the virile member.
 
 
 
|La cinquieme qui luy eſt propre, demonſtre le membre viril.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The next line is only on the circle, marked N, which also shows the virile member. His line is at the top, mine at the bottom.
 
 
 
|Comme auſſi fait pareillement la noſtre marquée d’N. Toutesfois, la ſienne le demonſtre par haut, & la noſtre par bas.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The sixth line of his mistakenly shows the bottom of the butt-cheeks. I shall say more on this shortly.
 
 
 
|Sa ſixieme demonſtre fauſſement le bout des feſſes: dequoy il ſera parlé tout à l’inſtant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After this one, the next line is only on the circle, marked O, which shows the height of the anus.
 
 
 
|Apres icelle s’en enſuit une des noſtres particulieres, marquée d’un O, qui demonſtre la hauteur du fondement.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|And again another, only on the circle, marked P, which shows the concavity, or the top of the thigh muscle.
 
 
 
|Puis encore une, ſemblablement à nous particuliere, marquée de P. Qui demonſtre le concave ou le commencement du muſcle de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|And a third one, only on the circle, the next cross-cut along the Diameter, marked H, shows the middle of the thigh.
 
 
 
|Et pour le troiſieme s’enſuit la ſeconde Sećtion du Diametre, qui eſt marquée ſur ledit Diametre d’un grand H, demonſtrant le milieu de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After which follows, a bit lower down, the first line of his forth parallelogram, which is one of his, and shows, in his opinion, the concavity of the thigh.
 
 
 
|Apres laquelle s’enſuit un peu plus bas la premiere ligne du quatrieme parallelogramme, qui luy eſt particuliere, & demonſtre ſelon ſon opinion, le concave de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The next is again one of mine, marked Q, showing the same muscle, which is below the middle.
 
 
 
|En vient apres derechef une parmy les noſtres, marquée de Q, demonſtrant l’endroit du meſme muſcle, qui eſt deſſous le milieu.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|A bit lower still another of mine, marked R, which shows the lower part of the thigh.
 
 
 
|Vn peu plus bas encore une autre, marquée R. qui en demonſtre la partie inferieure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|A bit below that is the second and last line of his parallelogram showing the muscle just above the kneecap, slightly above where it ought to be. This can be seen from the following line, one of mine, marked S, which shows the true top of the kneecap. This is obvious to the eye, as much on Msr Albert’s drawing as on the one in the Circle No 1 in the First Plate.
 
 
 
|Puis apres la ſeconde & derniere de ce meſme parallelogramme, demōſrtant le ſurgenouil, un peu plus haut, qu’il ne devoit eſtre; comme il ſe voit par la ligne ſuivante, c’eſt aſſavoir la noſtre, marquée de la lettre S, qui demonſtre le vray endroit de la partie ſuperieure du genouil; comme il paroiſt à veuë d’œil, tant en ceſte figure de Mre Albert meſme, qu’en la noſtre au premier Cercle du Tableau premier.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This is the top of the kneecap is along the line marked S.
 
 
 
|Soit donc le ſurgenoil placé à l’endroit de la ligne S.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The first line of his last parallelogram does not match one of mine and marks the mid-point of the kneecap.
 
 
 
|La premiere ligne de ſon dernier parallelogramme ne ſe trouve pas parmy les noſtres, & demonſtre le my-genouil.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|His second line, which matches the one on the circle marked T, shows the lower-kneecap.
 
 
 
|La ſeconde, qui revient à la noſtre marquée de T, demonſtre conſequemment le ſous-genouil.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Next is the cross-cut that marks the first section of the Diameter, marked with a capital Roman letter E, which shows the top of the shin.
 
|S’enſuit apres la premiere ſećtion du Diametre, marquée en grande lettre Romaine d’un E, qui demonſtre le plus haut de la greve.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|And again one only on the circle, marked V, which shows the thickest outside part of the calf.
 
|Et derechef encor une autre des noſtres, marquée V, qui demonſtre le gras de la jambe en dehors.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Right after is the bottom of the calf, shown by the third line of this parallelogramme, which is not found in mine.
 
 
 
|Tantoſt apres s’en enſuit le bas, repreſenté par la troiſieme ligne de ce dernier parallelogramme, qui ne ſe trouve pas entre les noſtres.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The same is likewise shown on the inside of the leg, a bit lower by his fourth line, which corresponds to the one on the circle marked W. Note that there is a slight difference between the two assignations, but of little importance, since he put his lines on the bottom of the thick part of the leg, on the inside and outside, a bit higher than we did, which we put on lines W & X.
 
 
 
|Le meſme eſt pareillement demonſtré au dedans de la jambe un peu plus bas, par la quatrieme, qui s’accorde à la noſtre marquée d’W. Touchant quoy il y a quelque difference entre nos aſſignations, mais de petite importance, en ce que luy il a placé le bas du gras de la jambe, tant en dehors comme en dedans, un peu plus haut que nous, qui l’avons ordonné ſur les lignes W & X.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Next is the line marked Y, which is only on the circle, and shows the lower part of the shin.
 
|Apres s’enſuit la ligne Y, qui nous eſt propre, & demonſtre la partie inferieure de la greve.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The fifth of his lines shows the top of the foot.
 
|La cinquieme de ſes paralleles demonſtre le coup du pied.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|And finally the sixth line, which matches the line on the circle marked Z, the bottom of the outside of the ankle.
 
|Et conſequemment la ſixieme, qui revient ſur la noſtre marquée de Z, le bas de la cheville en dehors.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Finally, the end of the Diameter , and the last of these parallels, shows the soles of the feet.
 
|Finalement le bout du Diametre, & la derniere de ſes paralleles, demonſtrent les plantes des pieds.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|That then is the comparison between the two sets of lines and their interpretations, to demonstrate the true proportions of the human body. About this there is only to debate the differences, and to demonstrate through careful reasoning the errors made by Dürer, and to show that the attribution of our Circle are more exact and closer to Reality.
 
 
 
|Voilà donc la confrontation de toutes nos lignes, & de leurs interpretations, pour demonſtrer les vrayes proportions du corps de l’homme: touchant leſquelles il ne reſte deſormais qu’à en debatre les differences, & à demonſtrer par bonnes raiſons les fautes commiſes en l’ouvrage du Durer, & que les aſſignations de noſtre Cercle ſont plus juſtes & plus appprochantes de la Verité.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|I very much did not intend to boast about overturning, or to take away from this leading light of painters in the science of proportions, when he has made such an effort in his studies, and truly merits praise. Because we hold one thing certain, that is, in his aforsaid ''Book of Proportions'', his intention was to show many different types of persons: some beautifully or badly, or more or less proportioned than others. As such it would be very wrong to try and find in each of his figures the most exact and correct proportions, such as the ones presently needed and which can be found by way of our Circle, according to the before described attributions. Which is even more evident when we look at the mistakes he made, this being one of the best-proportioned figures of all the ones in his book, we shall be discussing it as one of the most perfect examples he could show.
 
 
 
|Combien que nous ne voulions pas nous vanter de conteroller, ne de reprendre ce grād flambeau des Peintres en la ſcience des proportions, où il a mis tant d’eſtude, & en a merité ſi grande louange. Car nous tenons pour choſe ſeure, qu’en ſondit livre de Proportions, ſon intention a eſté de repreſenter pluſieurs & differentes ſortes de perſonnes; les unes bien ou mal, ou moins ou mieux proportionnées, que les autres: en ſorte que ce ſeroit luy faire un grād tort de recercher en chaſque figure la plus exaćte & correćte proportion, que nous requerons preſentement, & nous perſuadons de l’avoir trouvée par ceſtuy noſtre Cercle, ſelon les aſſignations au paravant declarées. Ce qui ſera encor plus manifeſte par la confrontation des fautes de la ſienne, laquelle eſtant l’une des mieux proportionnées d’entre toutes celles qui ſoyent dedans ſon livre, nous en parlerons comme de l’un des plus parfaits exemplaires, qu’il a ſceu propoſer.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Firstly, then, there is a fault in that the neck is far too long, and consequently the height of the shoulders, the underarms, and nipples are all too low. The error in the length of the neck is immediately evident on closer inspection. The distance between the top of the shoulders and the earlobes is the same as or more than the length of the face, which should not be so.
 
 
 
|Premierement donc il y a de la faute en ce qu’il en a fait le col de beaucoup trop long, & par conſequent le haut des eſpaules, les aixelles, & les mammelles trop baſſes. Dont la faute touchant la meſure du col eſt toute evidente, en y prenant garde de pres. Car l’eſpace, qui eſt depuis le haut des eſpaules juſqu’au mollet de l’oreille, eſt autant ou plus, que l’entiere longueur de la face: ce qui ne peut nullement conſiſter.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Next there is another error, that he has drawn the bottom of the butt-cheeks too high, so that they are hardly proportioned compared to the rest of the body. To correct this fault, it is necessary to have the bottom of the pelvis slightly lower, as shown by line O. From this same fault, several more follow in locating the thigh muscles.
 
 
 
|Apres il y en a encore une, en ce qu’il a placé le bout des feſſes trop haut, en ſorte qu’elles ne ſont guere proportionnées en grande à tout le reſte de la perſonne. Pour corriger la faute, il eſt neceſſaire, que l’endroit du fondement ſoit ordonné plus bas, comme il eſt monſtré par la ligne O. Or de ceſte meſme faute il en procede encores quelques autres à l’endroit du muſcle de la cuiſſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The third error consists of his putting the top of the knee too high. Thus he made the thigh too short, and the leg too long, attibuting to both almost the same length, which is not according to nature. The thigh is longer, so that the top of the knee should be at the level of the line S. Consequently the knee should be lower and the shin shorter.
 
 
 
|La troiſieme erreur conſiſte en ce qu’il met la partie ſuperieure du genou trop haute. Dont s’enſuit qu’il fait la cuiſſe trop courte, & la jambe trop longue, attribuant quaſi une meſme longueur à l’une & à l’autre; ce qu eſt contre nature. Car la cuiſſe eſt plus longue; de ſorte que le ſurgenou doit eſtre placé à l’endroit de la ligne S; & par conſequent auſſi le genou plus bas, afin que la greve en ſoit accourcie.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As to the rest, if there are any differences or unjustified manipulation concerning the leg, that hardly matters at all.
 
 
 
|Au reſte s’il y a quelque difference, ou abus, en ce qui touche le mollet de la jambe, celà n’importe point grand choſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|But much more serious is the fault made in the length of the foot. He made it almost as large as the entire shin-bone. I percieve it should not be longer than the size of the head, as is shown in the preceeding Plate.
 
 
 
|Mais bien plus grand eſt la faute commiſe en l’ordonnance de la longueur du pied; le quel  il a fait quaſi auſſi grand qu l’os de la greve tout entier; jaçoit qu’il ne deuſt eſtre que la longueur de la teſte. comme il eſt monſtré en la Table precedente.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As to the arm, which is shown behind the back of the figure, there is a big mistake in the sizing of the hand. As demonstrated on the Circle in the previous Plate, the length of the hand should be the same as the width of the face, which is equal to half of one side of the Quadrangles. This proportion he should have followed, and would not have tripped into the big mistake of making the hand almost as long as the lower half of the arm.
 
 
 
|Touchant le bras, qui eſt repreſenté derriere le dos de la figure, il y a une grande faute en l’ordonnance de la main. Car ſuivant les demonſtrations du Cercle cy deſſus expliquées, la longueur d’icelle ne devoit eſtre, que de la largeur de viſage, qui eſt egale à la moitié des coſtes des Quadrangles. Laquelle proportion il devoit avoir ſuivie, & ne fuſt point treſbuché en ceſte lourde faute de mettre, comme il a fait, la longueur de la main quaſi tout auſſi grande, que l’enferieure moitié du bras.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|It is my estimation that this comparison will demonstrate one superior use for this Circle, and could be the only, that these proportions, from which we draw our skill in this activity, would be seized upon by all those who wish to honestly study this subject. I have also been in communication with several knowledgeable people, anatomists and painters whose opinions, for the most part, favoured my side. The correctness of my attributes can be quickly judged by eye, and experimentally by taking measurments. This way, as done with this figure, anyone can discover and correct faults which have been made by artists in their works.
 
 
 
|I’eſtime que ceſte confrontation demonſtrera une excellence en l’uſage de ce Cercle, & ne pourra eſtre, que les proportions, que nous en tirons pour l’adreſſe de noſtre exercice, ne ſoyent grandement priſées de tous ceux qui voudront examiner la choſe ſans aucun prejudice. Auſſi en avons nous communiqué avec pluſieurs perſonnes curieuſes & d’entendement, Anatomiſtes & Peintres, qui ſont tombez pour la plus part de noſtre coſté: par ce que la verité de nos aſſignations ſe peut comme juger à l’œil, & par l’experience d’en prendre la meſure; juſques là meſmes que par ceſte figure ſe peuvent deſcouvrir & corriger les fautes, qui auront eſté commiſes par les Peintres és ordonnances de leurs ouvrages.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|So this is what I thought it best to add to the above explanation of the preceeding Plate, concerning the concordance between the Circle and all the principle dimensions of the human body, so as to make even clearer how this figure can be used to understand the ground, or the Traning Plan, and to describe all the proportions of the Distances, and consequently the confidence to perform the appropriate movements. As well, so that those who will make the effort to spend time on their exercises on it, will soon come to admire its effeciveness.
 
 
 
|Et voilà ce que nous avons trouvé bon d’adjouſter par deſſus l’explication du Tableau precedent, touchant la convenance de ceſt figure avec le corps humain en toutes ſes principales parties: afin qu’il paroiſſe d’autant plus clairement, comment elle nous doit ſervir d’une delineation du Terrain, ou du Plan d’Armes, pour declarer toutes les proportions des Diſtances, & conſequemment auſſi l’aſſeurance d’y appliquer les mouvements convenables; ainſi que ceux, qui prendront la peine de faire quelque eſpace de temps leurs exercices deſſus, le trouveront en effećt & avec admiration.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''THE PROPER DIMENSIONS OF''
 
 
 
''the hilt, the handle, and the pommel, the sword-hanger and sword-strap, as shown within the Circle, and in relation to the body of the person, wherein one can see their perfection through the elegance of each part, and by the ease of use.''
 
 
 
|''LES IVSTES MESVRES DE LA''
 
 
 
''Garde, de la Poignee, & du Pommeau, du Pendant de l’eſpee, & du Ceinturon, demonſtrées par noſtre Cercle, & rappportées au corps de la perſonne, où elles font voire leur perfećtion par la bienfeance du part, & par la comodité de l’uſage.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Now it is necessary that the sword itself have its own proportion with regard to the human body, and to the Circle (which we have already shown in the preceeding Plate) , I shall demonstrate the rest, so one may see how I have not introduced a single change, subtle or obvious, not to the hilt, nor to the sword-strap, nor the sword-hanger, that does not have a good reason for it.
 
 
 
|Maintenant puis qu’il eſt neceſſaire, que l’Eſpee meſme ait auſſi ſa proportion, qui correſponde au corps de la perſonne, & au Cercle (comme nous l’avons deſia fait paroiſtre au Tableau precedent pour le regard de la lame) nous pourſuivrons à ceſte heure à en demonſtrer auſſi le reſte; afin qu’on voye, tant en la Garde, comme au Ceinturon, & au Pendant d’Eſpee, que nous n’avons introduit aucun changement du monde ſans raiſon non moins evidente, que grande.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In each of the two Quadrangles at the end of the Perpendicular Diameter line, along the edge of the Square Extension, is an image of the entire hilt,  including the handle and pommel, which you can see is divided into three parts. Firstly, the image is divided into equal halves by the line across the centre of the Quadrangle. Then one of these parts is divided again in half by the Collateral Line. As I say, the length of the hilt should be the same as the distance from the point where the Collateral Line crosses the centre-line of the Quadrangle to the edge. The handle together with the pommel should be as long as the distance from the centre of the Quadrangle to the edge, which is twice as long as the Guard in front of the crosspiece. The pommel should be of a form more extended than oval.
 
 
 
|Or donc voicy que nous vous repreſentons la forme entiere de la Garde, & de la Poignee, enſemble avec le Pommeau, au dedans de ces deux Quadrangles oppoſites ſur la longueur de l’Eſquirre: laquelle piece on  voit eſtre diviſée en trois parties. car premierement elle y eſt my-partie en deux moitiez egales à travers le centre du Quadrangle; & puis l’une deſdites moitiez derechef en deux egales moindres parties par la ligne Collaterale. Suivant laquelle preſuppoſition je dis, que la Garde doit avoir en longueur autant qu’il y a depuis l’entrecoupure de la Collateralle juſqu’au Centre: & la Poignee enſemble avec le Pommeau, autant qu’il y a depuis le Centre juſqu’au coſté du Quadrangle, qui eſt deux fois autant, vous avertiſſant par meſme voye, que le pommeau doit eſtre de forme un peu plus longue, que ovale.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The length of the crossguard should be equal the the Pedal line, that is, the length of the foot. The rest will be covered later on.
 
 
 
|La longueur des Branches de la croix dit eſtre comme la ligne Pedale, & par conſequent egale à la longueur de la plante d’un pied. Le reſte ſoit fait à l’advenant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|From these measurements it is easily understood that this shall be the form of the hilt, not the new designs that appear almost daily with so little basis, that it appears to no more than a simple ornament for decoration rather than something that one will use in a time of dire need. Some have crosspieces twisted, or bent; others have large handles, round, or flattened; others will have bows sweeping around the hand. All this for the sake of, I don’t know what display of courage, or more likely cowardice, according to the Spanish proverb: “Cargado de hierro, cargado miedo.” (Loaded with steel, loaded with fear) The form we have given it is simple and honest, just as in polite, civil conversation, and yet leaves out nothing that would be needed for defense.
 
 
 
|Par leſquelles meſures il s’entend, qu’elle ſera la forme de la Garde, alentour de laquelle on apporte journellement tant de nouvelles inventions & avec ſi peu de fondement, comme ſi la façon n’eſtoit que pour ſervir d’un ſimple ornement de la perſonne, pluſtoſt que pour quelque à faire, qu’on en pourroit avoir en tēps de neceſſité. Les uns font les banches crochues, ou courbées; le pommeaux grands, rond, plats par deſſus; d’autres y font comme des corbeilles alentour de la poignee; le tout pour faire, je ne ſçay quelle parade de courage, ou pluſtoſt de couradiſe, ſelon le proverbe E-pagnol, qui dit, Cargado de hierro, cargado miedo. La forme que nous luy donnons eſt ſimple & honeſte, meſme en la converſation civile; & ne laiſſe portant d’eſtre du tout ſuffiſante à la defenſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After this description of the form of the hilt, it is only reasonable to explain the reasons for these measurements, to show how perfectly they work.
 
 
 
|Apres la deſcription de ceſte forme, il eſt raiſonnable d’en expliquer auſſi les raiſons des meſures, pour demonſtrer ſa perfećtion.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The length of the pommel and handle were made equal to half the width of the Quadrangle: the distance from the edge to the line of the Extended Square which passes through the centre, which is the length of a hand. Of this, the Pommel takes up about half the length, so the rest of the handle is slightly longer than the width of a palm. This is a proper size to take the hilt in hand, however one chooses, and principally in my method. This length, almost the width of a palm, fits exactly into the hand of a person, which is what makes this size so very convenient.
 
 
 
|La longueur du Pommeau avec la Poignee, nous l’avons faite egale à la ligne de l’Eſquierre depuis le coſté du Quadrangle juſques au centre, qui eſt la juſte longueur d’un main, dont it faut un peu moins que la moitié pour le Pommeau, en ſorte que le reſte en demeure un pau davantage qu’une paulme; qui eſt une juſte meſure de la garde pour eſtre empoignée, en toutes ſortes qu’on voudra, & principalement à noſtre mode. Et en procede la commodité de ce que une telle longueur eſt juſtement capable de loger le poing de la perſonne, qui eſt à peu pres egal à une paulme.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The Guard in front of the crosspiece must also have its proper length, which is half the size of the handle and pommel. It shall become apparent in our exercise, at times when one must close the direct line with a simultaneous parry and thrust, without taking the hand off the line, even for a moment, that it will be possible when the guard is this proper length, but otherwise not.
 
 
 
|La Garde doit auſſi avoir ſa juſte longueur depuis les branches en avant, aſſavoir la juſte moitié de la longueur precedente. Ce qui approiſtra par experience en noſtre exercice, quād il ſera queſtion de fermer la droite ligne, en parant & bleſſant tout à meſme temps, ſans forligner de la main, prou ne peu, car en cas que la garde ait ceſte cōpetente meſure de longueur, elle y ſera capable, & autrement point.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The same applies to the crosspiece, which, if they are not of the proper length, will be inconvenient and will fail in their principal function. That is, they catch, sieze, and constrain the opponent’s blade from making any large movements around the hilt. Just as city’s ramparts are there not just to stop the enemy’s attack with their thickness, they are also there to provide an offensive defense, to throw them back, and knock them over. Likewise the hilt is the person’s rampart, who uses the crosspieces to undermine his Adversary, as well as it provides a simple defense, and works as a form of small-shield behind as much as one can use for cover or to hide behind.
 
 
 
|Le meſme en ſera touchant les Branches de la croix, leſquelles, ſi elles defaillent de la juſte proportion de leur meſure, en ſeront incommodées & defaillantes en leur principal uſage; qui eſt de ſurprendre, ſerrer, & contraindre la lame contraire à faire des grands mouvements & des grand circuits à l’entour de la garde. Car ainſi que les remparts d’une ville ne doivent pas ſimplement empeſcher les aſſauts de Ennemis par l’entremiſe de leur corpulence, mail beaucoup plus par les defenſes offenſives, qui les puiſſent rembarer & renverſer par terre; ainſi la garde, qui eſt le rempart de la perſonne, ſe doit prevaloir principalement de ſes branches pour contreminer l’Adverſaire, auſſi bien qu’elle fait une ſimple defenſe, & parade en forme d’eſcuſſon, entant que le corps s’en peut aucunement couvrir, ou ſe cacher derriere.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|So, having now dealt with the correct and most advantageous dimensions of the sword, we subsequently, with equal brevity and clarity, turn to the most suitable Sword-strap and Hanger, both for carrying the sword at the side and for drawing from its scabbard.
 
 
 
|Voilà donc juſqu’à maintenant les vrayes & les plus avantageuſes meſures de l’Eſpee, leſquelles eſtant achevées, nous traitterons conſequement avec pareille brieſveté & perſpicuité du Ceinturon & du Pendant d’eſpee, qui ſoyent les mieux feants, & les plus-commodes, tant pour la porter à coſté, que pour la deſgainer.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Let us first speak of the dimensions of the hanger and each part of it. The length from the belt to the blade should be equal to the distance along the Diameter from the Circumference to the Pedal Line. This is the most convenient size as much for wearing the sword, as for ease in drawing it from its scabbard.
 
 
 
|Parlons premierent des meſures du Pendant de l’eſpee, & de chaſcune à part. Nous diſons, que ſa longueur doit eſtre egale à la partie adjouſtée du Diametre depuis la Circonference juſqu’à la ligne Pedale; & que c’eſt là la plus convenable meſure de toutes en longueur, tant pour tenir l’eſpee attachée au corps, que pour en faire le deſgainement avec plus de facilité.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As to the width, it should be equal the the Pedal Line of the Circle. This shows that the bottom of the circle can be used as a pattern  for the hanger.
 
 
 
|Et au regard de ſa largeur, en voilà la meſure, qui eſt repreſentée ſur noſtre Cercle par la ligne Pedale; demonſtrant le plus bas & comme la baſe de la figure entiere de noſtre Pendent de l’eſpee.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The entire sword hanger should be made in the form of a triangle, such as the one that appears again in each of the four Quadrangles of the Circle, with the Pedal Line as the base and the two Collaterals for the two sides, which can be used as the pattern. The illustrator did not follow this rule when he drew the hanger, visible on the first figure at the bottom of the Plate, showing the current vulgar fashion of having curved edges, which are not the best form. It would be better and more useful to have straight edges, like the form of the triangles in the Circle. The reason is the outwardly curved edges can rub and catch on various pieces of clothing and accoutrements one may be wearing. This makes carrying a sword far more annoying than if the edges were straight.
 
 
 
|Car il faut que la figure entiere en ſoit faite en forme triangulaire, comme il eſt repreſenté derechef en ce meſme Cercle au dedās de chaſcun des Quadrangles, prenant la ligne Pedale pour la baſe, & les deux Collaterales pour les deux coſtez, à l’imitation duquel triangle il faut auſſi façonner le pendant de l’eſpee. Encores que le Peintre n’a pas bien enſuivi ceſte regle, quand il a repreſenté les deux coſtez du pendent de l’eſpee courbez, en la Premiere figure de ces deux perſonnages, qui ſont au bas de la Table, il a enſuivi la mode vulgaire, qui n’eſt pas la meilleure, il vaudroit mieux, & ſeroit plus commode que les bords fuſſent droits, ſelon la figure du triangle, qui en demonſtre la forme; à raiſon qu’eſtants courbez en dehors, il peut advenir qu’ils aboutiſſent & s’attachent quelque part au corps, ou aux accouſtrements, & qu’ils donnent alors plus de faſcherie à porter l’eſpee, ce qu’ils ne feroyent pas, s’ils eſtoyent droits.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As to the length of the sword-strap, we take the length on our Circle, that is the part of the Diameter from the Circumference to the very end of the Circumscribed Square. This line is equal to the diagonal of the Quadrangle, which is twice the Pedal line. From C to A is 4, the perpendicular length of the Hanger is 3, from C to the Pedal Line. Finally across the base at its largest is 2, from C to the centre of the Quadrangle.
 
 
 
|Quant eſt de la longueur du Ceinturon, nous en prenons auſſi la meſure ſur noſtre Cercle, aſſavoir en la partie adjouſtée au Diametre depuis la Circōference juſqu’au dernier bout du Quarré circonſcrit. Et puis que ceſte ligne eſt egale à la Diagonale du Quadrangle, qui eſt le double de la ligne Pedale; comme 4. de C juſques à A, que le Pendent en ſa longueur perpendiculaire en ſera comme 3. de C juſqu’à la Pedale; & finalement ſur la baſe en ſon plus large comme 2. de C juſqu’au centre du Quadrangle.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|A MORE PARTICULAR DISCUSSION AND EXPLANATION
 
 
 
of the use and sizing of the sword-belt and hanger taken from the measurements of our circle and in response to the abuse from several others who have a different style.
 
 
 
|DISCOVRS ET DECLARATION PLVS PARTICULIERE DE
 
 
 
l’vsage et des mesvres dv ceintvron et dv pendant de lespee tirees de nostre cercle, contre les abvs de plvsievrs qvi en vsent av contraire.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The topic of the correct sizes for the sword-strap and hanger will, I believe, produce many more counterarguments than the sword itself, since the changes we are introducing are greater than for the sword. We have the hanger longer and the strap shorter than usual. The means of wearing the sword by the side, with the strap and hanger (as shown by the two figures at the bottom of the Plate), is quite different from the usual way. We attach the belt-strap to the belt-buckle in front, and the hanger well forward in back, instead of the typical means of attaching the hanger to the left side at the hip and the belt-strap across the back to the right side, almost under the arm. I could cut all arguments short by simply referring to the two figures A & B which are sized proportionally to the same Circle: their heights equal CV, their swords half the diameter, their arms a third of the Diameter, and so on. Their sword-straps are equal to the Extended Diameter, their hangers equal to one third that length, the hanger widths the same as the Pedal Line, they are wearing these as I described and one can easily see from these images how easily and gracefully the sword can be worn and drawn, more than if it were carried in the usual style. These figures alone could be sufficient proof of what I am saying, being perfectly proportioned. Nontheless, to answer clearly to all counters and objections, I shall put forth further clarifications enough to convince them to change the way they carry their swords.
 
 
 
|Ie croy bien que nous aurons plus de contrediſants en ceſte matiere, qui eſt de recercher les juſtes meſures du Ceinturon & du Pendant de l’Eſpee, qu’en la precedente, qui a eſté de l’eſpee meſme. Auſſi le changement, que nous y introduiſons, eſt plus grand, que l’autre. Car nous prenons le ceinturon plus court, & le pendant plus long, qu’à l’ordinaire. Et touchant la maniere de porter l’eſpee à coſté, avec leſdites ceinturons & pendants (qui eſt repreſentée par les deux perſonnages d’embas;) la difference en eſt auſsi fort remarquable d’avec la mode vulgaire: parce qu nous attachons le ceinturon ſur le milieu du ventre, & conſequemment auſsi le pendant de l’eſpee bien avant en derriere; au lieu de les attacher & pendre, à la mode ordinaire, l’un au coſté droit, quaſi deſſous le bras, & l’autre ſur la hanche due coſté gauche. Il eſt vray que pour couper broche à toutes diſputes, qui en pourroyent fourdre, nous nous pourrions rapporter ſimplement à ces deux perſonnages A. B. qui ſont meſurez ſelon la proportion du meſme Cercle: eſtant leurs hauteurs compaſſées ſur la longueur de CV; les eſpees ſur la moitié du Diametre; les bras ſur un tiers du meſme; & le reſte à l’advenant: auſsi les ceinturons ſur l’une des parties prolongées du Diametre, les pendants de leurs eſpees ſur trois quarts de la meſme partie en longueur, & en largeur ſur la ligne Pedale: portants leſdits ceinturons & pendants ſelon noſtre deſcription; & que leurs figures eſtants repreſentées, on y voit une merveilleuſe grace à porter & à deſgainer l’eſpee, plus grande qu’elle n’eſt en la façon ordinaire. de ſorte que le ſeul regard de ces figures nous pourroit ſervir de ſuffiſante preuve pour ce que nous en pretendons, puis qu’il y appparoiſt la plus parfaite proportion, qu’on pourroit ſouhaiter en telle choſe. Toutesfois pour reſpondre clairement à tout ce que pluſierurs voudront objećter alencontre, nous mettrons icy les conſiderations en avant, qui nous ont perſuadez à quitter leur coſtume, pour en ordonner une autre meillure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The principal motivation for change was the graceless, inconvenient manner in which most hang their swords at their sides, loosely, without any support from the sword-strap, which is too long, and which cannot do anything but keep the sword from swinging  too far around, and does not support it at all. There are many who wrap the strap around their belt to shorten it, so that it can provide some support, which is an indisputable argument that this is not the proper length. Even without mentioning as well, that the tip of their sword is usually so high, and notably while running or when on horseback, that apart from the inelegance, man and horse are both inconvenienced, the tip of the sword falling down, like a spur, across the back, instead of hanging conveniently by the side, as a weapon intended to be aid. In fact one can see, in several Gentlemen and Knights, who are of a certain age, will carry their swords in the way I have described which is an older, easier, and better style of carrying a sword. Many were recklessly mislead from this path, by those who, in the past few years, have also introduced a clumsy style, used principally by the French, that seems to be adapted to fit the equipment, but not the wearer, and with no regard for the mechanics of using the sword, which should be the sole consideration in the design of the hanger. The mistake originated from the lack of any definite measurement for the sword-strap or the hanger, which means that at various times, fashion changed how they were made, long, sometimes longer, sometimes shorter again, than it should be according to my measurements, so one should not be astonished that people are making mistakes.
 
 
 
|Le Principal motif du changement a eſté, de voir la male grace, & l’incommodité de leur maniere; qui eſt telle que les eſpees leur pendent ordinairement au corps, ſans aucune fermeté, ſans eſtre ſouſtenues par le ceinturon, à cauſe de ſa longueur, qui ne peut faire autre choſe, que retenir ſeulement l’eſpee qu’elle ne ſe recule pas trop en arriere, non pas la ſouſtenir. dont il y en a pluſieurs qui s’entortillent le ceinturon alentour de la ceinture, pour le raccourcir, afin qu’il aide à ſouſtenir; qui eſt un argument infallible, de n’avoir pas ſa juſte meſure: ſans ce qu’on voit pareillement, que la pointe de l’eſpee leur vient ordinairement ſi haut, & notamment en courrant, ou allant à cheval, que outre la malſeance, ils en ſont incommodez homme & cheval touts enſemble, la pointe de l’eſpee luy tombant, quaſi comme un eſperon, ſur le dos, au lieu de s’accommoder honneſtement au corps de la perſonne, car les armes ſont inventées pour aides. Et de fait on voit, que pluſieurs Gentils hommes & Chevaliers, qui ſont un peu en aage, portent leurs eſpees à la mode de noſtre deſcription, qui eſt la plus ancienne, plus facile, & mieux fondée de toutes les autres: de laquelle ſe ſont temerairement fourvoyez, ceux qui en ont introduit depuis quelques annees une autre de fort mauvaiſe grace, uſitée principalement des François, & accommodée, ſelon qu’il me ſemble, pluſtoſt à la proportion de leurs accouſtrements, que de leurs corps, ſans nul eſgard de l’uſage, qui devoit eſtre la ſeule & unique intention de l’ordonnance. Or l’erreur a prins ſon origine de ce qu’il n’y a pas eu de certaine meſure ſur les Ceinturons & Pendants d’eſpees, de ſorte qu’on les a changez de temps en temps, & les a on portez aucunesfois longs, & plus longs, & plus courts derechef, que noſtre aſsignation ne monſtre, dont il ne ſe faut pas esbahir, s’il en procede des fautes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|These inconveniences and others are avoided by my method of using a shorter sword-strap, which is able to lift and support the weight of the hanger and sword, along with a longer hanger than usual, attached behind the left shoulder, as is portrayed at the bottom of the Plate by the first person. It is quite true that this hanger would be too long if it were not pulled towards the front, and thus shortened by the sword-strap. The shortness of the sword-strap lifts it so that the hilt, the scabbard, and the tip are all pulled into their proper height, and snugly held against the body, in a way that is both convenient and elegant. I think most should find this arrangement convenient, both for carrying, as the first figure in the Plate shows, and for drawing, as the second one shows. One draws the sword with easy, natural movements, without any need for extra force or awkward moves.
 
 
 
|Ces inconvenients, & pluſieurs autres ſemblables on les previendra, en uſant à noſtre mode d’un centuron plus court, qui ſoit capable de ſouslever la charge du pendent de l’eſpee; & d’un pendant plus long qu’à l’ordinaire, attaché derriere l’eſpaule gauche, ainſi qu’il eſt pourtrait, au bas de ce Tableau en la premiere perſonne. Or il eſt vray que ce pendant d’eſpee ſeroit ſans faute trop long, s’il n’eſtoit retiré en avant, & comme raccourci par l’aſſiſtence du ceinturon: duquel la briefveté le ſouſlage tellement, que la garde & le fourreau, & la pointe en viennent chaſcun en leur juſte & convenable hauteur; ayant le ceinturon, le fourreau, & le pendant d’eſpee tellement affermis & ſerrez contre le corps, qu’il en reuſſit la parfaite proportion de la commodité & de la bienſeance, qu’on y pourroit ſouhaiter pour entier contentement, tant en matiere de porter l’eſpee au coſté, que pour la tirer hors du fourreau, dont l’un ſe voit en la premiere, & l’autre en la ſeconde figure au bas de la Table. Car au fait du deſgainement, ceſte maniere s’y accommode ſi parfaitment, qu’on le peut parfaire ſans y appliquer aucune force, ny aucun mouvement, que naturel & ordinaire.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Because we propose to cover the drawing of the sword more completely in the next Plate, all that is to say here is to note that this means of carrying is elegant, and no more than that. I shall only add here the reasons for this change and why one should attach the sword-strap to the belt-buckle in front and the hanger on the back below the left shoulder, as shown in the figures. To begin with, do not attach either in a way that does not carry some of the weight; just as one would not attach two horses to a carriage in a way that only one does the work. Just as both work together to carry the load, and are support each other, likewise the strap and hanger work together to support the sword and hold it firmly by the side, whether on horseback, or on foot. From this hypothesis I draw the following conclusions.
 
 
 
|Mais puis que nous avons propoſé de traiter ceſte matiere du deſgainement tout à plein en la Table ſuivante, & que ce n’eſt icy proprement le lieu de parler, que de la bienſeance du port; nous ne paſſerons point plus outre, nous contentants d’adjouſter icy ſimplement les raiſons du changement; & les cauſes pour leſquelles on doit attacher les ſuſdits ceinturon, & pendant d’eſpee, ſur le milieu du ventre, & derriere l’eſpaule gauche, comme les figures demonſtrent. A l’entree de ces conſiderations nous mettons pour fondement general, que ny le Centuron, ny le Pendant, ne doivent pas eſtre attaches au corps de la perſonne ſans aucun uſage: car comme on ne met pas une couple de chevaux à la charue, afin qu’un ſeul en ſouſtienne toute la charge, mais qu’ils s’entraident, & ſoulagent mutuellement: auſsi voulons nous pareillement, que le ceinturon & le pendant s’entreaident à porter l’eſpee, & à la tenir deuement affermie contre le corps, tant à cheval, qu’à pied. De ceſte hypotheſe ſont tirées les concluſions ſuivantes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
|First, do not attach the strap to the right and the hanger on the left side, as is the usual custom. Because if the strap is not supporting the sword, it will drop down in a loop across the knees. That is why it should attach to the middle of the torso, and from that, it follows that I attach the hanger more in back, so the sword is at the side, a little behind, supported by the hanger with help from the strap. The sword is firmly held against the side by the proper proportion of tension between the two. Secondly, it is apparent that the belt-strap should be shorter than is typical, because otherwise it cannot support the hanger, and will be too slack. Thirdly, it follows, that, in contrast, the hanger should be longer, because, by degrees that it becomes shorter, the belt-strap becomes looser, and would need to be shortened proportionally, which it cannot. It is also apparent that the Pendent should be a little shorter than the belt-strap, so that the sword hangs a little behind the hip, rather than at the side. If it were equal in length to the belt-strap, then the sword would hang equally between the two. As it is shorter, the sword is pulled comfortably around towards the back. Fifthly, it is also apparent why the belt-strap and hanger should have the exact lengths that I have given, neither longer, nor shorter, because there is no other length that puts the hilt at such a convenient height that the right hand can easily and quickly reach across and grab ahold of the handle while the left hand holds the scabbard so as to quickly draw the sword, which is the first move in self-defense. It is also the perfect height to rest one’s elbow on, as shown and explained by figure A in Plate I. Finally, for these reasons, one can easily see how my way of carrying the sword is not only the more convenient than the typical method, but it takes the prize for elegance and appearance. Which is why one comes to the same conclusion in almost everything, as the Father of Roman Eloquence said, ‘beauty consists of, and is found in, Utility.’ If something is not practical, it may be appear beautiful to an untutored onlooker, but the discerning gentleman will recognize the inferiority and imperfection that patinas the lustre of appearance.
 
 
 
 
 
|Premierement qu’on ne doit attacher le Ceinturon ſur le coſté droit, & le pendant ſur le coſté gauche, comme quelques uns on le couſtume. Car en ce faiſant, ſi le ceinturon ſouſtient aucunement l’eſpee, il aviendra qu’elle pendra par devant la perſonne de travers, en loy croiſant les genoux. Pour ceſte cauſe nous avons ordonné de l’attacher ſur le milieu du ventre, & le pendant de l’eſpee à l’advenant, autant plus en arriere; afin que l’eſpee revienne ſur le coſté de la perſonneun peu vers le derriere, & qu’elle ſoit ſouſtenue par le pendant à l’aide du Centuron; & affermie contre le corps par la juſte proportion de la diſtance de l’un à l’autre. Secondement il appert, que le Ceinturon doit eſtre plus court, qu’on ne le fait ordinairement; car ſans cela il ne peut ſoulager le pendant; d’autant qu’il demeure trop laſche. Pour le troiſieme s’enſuit, que le Pendant doit eſtre au contraire, plus long: car à meſure qu’on le prent plus court, le ceinturon s’en relaſche à l’advenant; de ſorte que’il faudroit auſsi raccoucir à meſme proportion le ceinturon: ce qui ne peut eſtre. Il en paroiſt auſſi ſemblablement, que le Pendant doit eſtre un peu plus court que’ n’eſt le ceinturon: pour ce qu’on ne porte pas l’eſpee juſtement au coſté, mais un peu en arriere devers le pendant de l’eſpee, qui doit eſtre le plus court, afin qu’il la tire d’avantage, car s’il eſtoit egal au ceinturon, l’eſpee pendroit au juſte entredeux. Maintenant qu’il eſt plus court, auſſi l’eſpee s’en accommode un peu d’avantage en arriere. Il en appert auſſi pour le cinquieme, pourquoy le Ceinturon & le Pendāt doivent avoir la juſte longueur, que nous leur avons aſſigné, non plus grande, & auſſi non plus petite: pour ce qu’il n’y a point d’autre meſure, que ceſte-cy ſeule, qui ſoit proportionnée à tenir la garde en ſa convenable hauteur, & à luy donner la ſituation la plus parfaite de toutes, pour mettre à meſme temps & à ſon aiſe la main droite à l’eſpee, & la gauche au fourreau, pour accomplir conſecutivement l’operation du deſgainement, qui eſt la premiere preparation pour ſe mettre en defenſe: voire auſſi pour repoſer le coude du bras gauche deſſus, en la maniere, & pour les cauſes, qui ſont expliquées au Tableau precedent ſur la figure A. En fin par ces raiſons il ſe voit, que noſtre façon de porter l’eſpee, n’eſt pas ſeulement plus commode, que la vulgaire; mais qu’elle en gaigne auſſi le prix au regard de la bienſeance, & de l’ornement de proportion; duquoy on voit quaſi arriver le ſemblable en toutes choſes, car ſelon ce qu’en a teſmoigné le grand Orateur & Pere de l’Eloquence Romaine, la beauté conſiſte, & ſe deſcouvre en l’Vſage meſme. Si quelque choſe eſloignée de l’utilité, ne laiſſe pas de ſembler aucunefois belle aux ignorants, toutesfois les gens de jugement y recognoiſſent touſiours une imperfećtion, qui obſeurcit le luſtre de leur apparence.
 
|}
 
{{master end}}
 
 
 
{{master begin
 
| title = Book 1 - Tableau / Plate III
 
| 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 03.jpg|600px]]
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
 
 
|EXPLANATION OF THE ACTIONS IN THE THIRD PLATE
 
 
 
|DECLARATION DES OPERATIONS DV TABLEAV TROISIEME
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Having described in Plate I the proper size of the sword for each person, and in the description of Plate II the length and size of the hanger, which is likewise proportional to the the individual, it follows that next topic of discussion is the Draw, which is the first action that anyone does with a sword. About which we shall now discuss at some length, as this is of greater importance than many realize. I have seen in different ways how unpleasant it can be for those who do not know the proper way to draw, so that when they were surprised by their Adversaries, their swords were useless. To remedy this, one must learn to draw skillfully, so well that one does not get in one’s own way, nor can anyone else. There are two principal ways of drawing: moving forwards and moving backwards.
 
 
 
|Ayant demonſtré par la declaration du Tableau I. la iuſte meſure de l’Eſpee de chaſquune perſonne; & en la deſcription du II. la vraye longueur & largeur du pendant, qui luy ſoit pareillement proportionné: il s’enſuit par ordre à parler du Deſgainement, qui eſt la premiere aćtion de toutes celles de l’eſpee: de laquelle nous traitterons icy un peu au large, comme de choſe, qui eſt de plus grande importance, que pluſieurs ne penſent; & de laquelle on a veu à diverſes fois advenir de grands inconvenients à ceu qui n’en ſavoyent pas la vraye maniere, de ſorte qu’ils y ont eſté ſurprins par leurs Adverſaires, tellement que l’eſpee leur a eſté rendue inutile. Pour y remedier, il faut qu’on la ſache tirer dextrement, ſi bien qu’on ne s’y empeſche pas ſoy meſme, ou qu’on ne le puiſſe eſtre par autruy. Or il y a deux manieres principales de le faire; l’une en avançant, & l’autre en reculant.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|HOW TO DRAW THE SWORD
 
 
 
while advancing
 
 
 
|LA MANIERE DE TIRER L'E-
 
 
 
spee en avanceant
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The time to draw sword when moving forwards is when the enemy is in front at a reasonable distance, and there is a pressing need for self-defence. Moving backwards at such a moment would encourage the adversary by an apparent retreat, he would take it to mean he has the advantage, as if one is too frightened to approach. This is why one should move forward boldly and directly, to face the attack with firm resolve. It is far better to do what one must with courage than by constraint. So, march forward, draw the sword as illustrated by the four smaller figures on the left side of the Plate, labelled A, B, C, & D.
 
 
 
|L’occaſion de tirer l’eſpee en avançant ſe preſente, quand l’Ennemi eſt au devant de nous en raiſonnable diſtance, & que la neceſſité nous preſſe à noſtre defenſe. Car de reculer en arriere en une occurrence ſi neceſſaire & ſi evidente que ſeroit ce, ſinon allumer d’autant plus le courage de la partie adverſe par une eſpece de retirade, qu’il pourroit prendre à ſon advantage, comme ſi on ne l’oſaiſt point approcher. C’eſt pourquoy il luy faut aller hardiment au devant & alencontre, pour le recevoir avec une reſolution animeuſe; car mieux vaut faire ſon devoir par courage, que par contrainte. Allez donc, marchez, & tirez l’eſpee ſelon la maniere, que nous pretendons de monſtrer, par la repreſentation de ces quatre figures de moindre taille à gauche de la Table, marquées A.B.C.D.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure A
 
 
 
|Figvre A
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|First, after having taken two, three, or four paces, as you find convenient, as the left foot steps forward, grab the hanger and scabbard in the left hand, and as the foot lands on the ground, take the sword in your other hand, putting your index finger around the outside branch of the crosspiece, and inside the guard.
 
 
 
|Premierement, apres avoir marché deux, trois, ou quatre pas en avant ſelon voſtre commodité, vous empoignerez de la main gauche le pendent avec le fourreau de l’eſpee, joignant la garde, durant la demarche du pied gauche, & quand il tombe à terre, de l’autre main vous prendez voſtre eſpee, entourant avec le doight indice la brāche exterieure par dedans la garde.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure B
 
 
 
|Figvre B
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As you take another step forward, at the same time as you raise your right leg, increase your grip on the scabbard and draw it slightly downwards and to the rear. Raise the right foot slightly more than usual (to help the right side of the body, and especially the right arm to reach higher) and at the same time draw the sword from the scabbard using the index finger that is wrapped around the outside of the crosspiece and open the hand to raise the blade more easily, until the sword is clear of the scabbard. This way the foot, the right and left hands, the shoulder, the arm, and every part of the body works together. This is in contrast to those who have learned to draw the sword while keeping the right foot planted on the ground because this way one is never inconvenienced. After having drawn the sword in this way, pause with the right foot in the air to make the following actions easier and smoother. This is what the figure shows, as you can see, his sword is barely drawn from the scabbard, yet his foot is still in the air.
 
 
 
|Pourſuivant à marcher plus outre, à meſme temps que vous leverez le pied droit, vous fermerez bien for la main gauche, à ce que l’eſpee & le fourreau ne s’entreſuivent; & en en continuant à la reſtraindre en arriere & vers le bas, comme auſſi à porter le pied en l’air à coſté, un peu plus haut qu’en la demarche ordinaire, (afin qu’à l’aide & à l’advenant d’iceluy tout le coſté droit du corps, & notamment le bras puiſſe monter plus haut) au meſme temps vous tirerez l’eſpee avec le doigt, qui enſerre la branche exterieure; en ouvrant la main, afin qu’elle monte plus aiſemēnt, juſqu’à tant que la lame ſoit dehors le fourreau. De ſorte qu’en ceſte aćtion, le pied, la main, gauche, & droite, l’eſpaule, le bras, & en ſomme touts les membres ſe donnent mutuelle aſſtence, l’un à l’autre. Ce qui advient au contraire à ceux qui s’accouſtument à deſainer l’eſpee en laiſſant le pied droit en terre, car il eſt impoſſible qu’ils ne s’en trouvent incommodez. Apres donc que vous aurez tiré l’eſpee en ceſte maniere, vous arreſterez un bien peu le pied droit en l’air à coſté de vous, pour en continuer plus aiſement les aćtions ſuivantes. Et c’eſt proprement ce qu la figure repreſente: car vous voyez, qu ſon pied droit eſt encor eſlevé en haut, & l’eſpee à peine eſt elle hors du fourreau.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure C
 
 
 
|Figvre C
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To continue, during the brief pause while the foot is in the air, close your hand again on the grip and turning the wrist over, bring the blade circularly upwards, so it follows a half-circle in the air, until it is above your right shoulder, about even with and to one side of the head, tip pointing backwards, pommel towards the front, the arm bent, as shown in the figure.
 
 
 
|Pour continuer ce qui s’enſuit, durant la pauſe du pied droit vous fermerez derechef la main droite, & tournant le poignet du bras porterez la pointe de voſtre la lame circulairement en haut, de ſorte qu’elle face une demie circonference en l’air, juſqu’à ce qu’elle vienne au deſſus de voſtre eſpaule droite, ſur la hauteur & à coſté de la teſte, ayant la pointe en arriere, & le pommeau en avant, avec le bras un peu courbé; comme il ſe voit en la figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure C
 
 
 
|Figvre C
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Continuing from the preceeding action, bring the sword down from above the shoulder as the right foot touches the ground. As the left foot moves deliberately forward, bring your arm with the sword down across your front so the arm reaches full extension downwards at the same time as the left foot touches the ground. The left foot is now forward and the right arm is extended, with the sword pointing forward at the height of the thigh. At the same time, turn the inside branch of the crosspiece towards you and wrap your thumb over it and around the blade. In this way you will be holding the sword according the manner used in this System, and this will make all your actions prompt, vigourous, elegant, and easy to keep walking without interruption.
 
 
 
|Continuant l’operation precedente, vous ramenerez l’eſpee de haut en bas, comme d’un arriere main, par devant voſtre teſte, en mettant quand & quād le pied droit en terre; & durant que le gauche ſera en aćtion de cheminer, continuerez à porter le bras & l’eſpee par devant voſtre poitrine, tellement que la demarche du pied, & la deſcente de l’eſpee finiſſent au meſme inſtant; mettant le pied en terre, & laiſſant deſcendre le bras eſtendu enſemble avec l’eſpee à coſté de la cuiſſe droite, en tournant au meſme temps la branche interieure en dedans, & mettant le poulce alencontre. Par ainſi vous aurez l’eſpee dans la main ſelon la maniere de noſtre Pratique, & ſeront toutes vos aćtions promptes, gaillardes, bien-ſeants, & convenables à marcher touſiours avant ſans nulle interruption.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This action done, you will again advance the right foot, and keep the arm straight, slightly higher than the belt, and the blade held level and flat in front of the body across the lower chest, the tip slightly raised. This is how to walk towards your opponent, until you reach the distance where you can just touch each other, carefully, depending on the opportunities as they present themselves. There are plenty of examples in this book, with plenty of advice and instructions, as much for attack as defence.
 
 
 
|L’operation eſtant achevée, vous avancerez derechef le pied droit, & porterez au meſme temps le bras aucunement courbé, un peu plus haut que la ceinture, & la lame de travers par devant le corps, en croiſant de biaiz la poitrine, avec la pointe un peu montante. Voilà comment il faudra marcher tout droit à voſtre homme, juſqu’à ce qu’eſtants venus à meſure des vous pouvoir toucher l’un l’autre, vous vous alliez, gouverner ſelon que les occaſions ſe preſenteront. Dequoy, vous trouverez aſſez d’exemples en ce livre, avec ſuffiſantes regles & inſtrućtions, tant pour l’aſſaut, que pour la defenſe.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|HOW TO DRAW THE SWORD
 
 
 
while stepping backwards
 
 
 
|LA MANIERE DE TIRER L'E-
 
 
 
spee en recvleant
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Now we shall describe how to draw the sword while moving backwards. Because it happens often, when in the company of several persons, instead of engaging in pleasant conversation, the mood sours and you are forced to draw your sword. This is dangerous and difficult enough to do, but more so when it is usual to be standing close to others that one could easily jump on you, grab your arm, or the hilt of your sword, so that one is forced to use any means for self-defence. To this situation, the only solution is to draw your sword while moving backwards. This is illustrated by the four smaller figures on the right side of the Plate, labelled E, F, G, & H.
 
 
 
|Il s’enſuit que nous deſcrivions maintenant la maniere de tirer l’eſpee en reculant. Car il advient ſouvant, quād on ſe trouve en companie avec pluſieurs perſonnes, qu’au lieu de converſer honneſtemēt enſemble, il s’y eſmeut des queſtions, par leſquelles on eſt contraint de mettre la main aux armes, ce qui eſt aſſez difficile & dangereux à faire, d’autant que c’eſt l’ordinaire de ſe tenir en compagnie les uns ſi pres des autres, qu’on nous pourroit aiſement ſauter au corps, ou prendre le bras, ou la garde de l’eſpee, en ſorte que’on nous oſteroit tout moyen de nous defendre. A cela il n’y a autre remede qu’une bonne façon de deſgainer l’eſpee en reculant: laquelle iſt icy repreſentée par les quatre figures ſuivantes E.F.G.H.qui ſont à l’oppoſite des quatre precedentes.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure E
 
 
 
|Figvre E
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Taking two or three steps backwards, beginning with either foot, as the left foot takes a backwards step, grab the hanger and scabbard with the left hand. As the foot falls on the ground, reach across with the right hand and grab the hilt, as shown in the picture, putting the right index finger around the crossbar and into the guard.
 
 
 
|Faiſant deux ou trois pas en arriere, ſoit qu’on ait commencé avec le pied droit ou le gauche, faut aviſer d’empoigner de la main gauche le pendent de l’eſpee, enſemble avec le fourreau, tout joignant la garde, durant la demarche du pied gauche; & en le mettant à terre, de l’autre main on prendra l’eſpee, en embraſſant avec le doigt indice la branche exterieure par dedans la garde; comme la figure demonſtre.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure F
 
 
 
|Figvre F
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|With the sword firmly in hand and the left foot firmly on the ground, grab the hanger and scabbard with the left hand, pulling down and back, while stepping backwards with the right foot, step a bit slower and raise the foot a little higher than normal to make it easier to draw the sword, as similarly described for Figure B. These are the same movements, the only difference being that one is done moving forward, the other moving backwards.
 
 
 
|L’eſpee donc prinſe, & le pied gauche planté en terre, tout à l’inſtant on eſlevera l’autre, pour continuer la meſme retirade, en ſerrant cependant bien fort la main gauche, qui tient le pendant avec le fourreau de l’eſpee, la pouſſant meſmes un peu vers le bas, pour tirer l’eſpee tant plus aiſement, durant la continuation de monter le pied droit en l’air à coſté, un peu plus qu’en la demarche ordinaire; ſuivant au reſte en tout & par tout les obſervations qui en ſont dechifrées en a deſcription de la figure B. Car ce ſont toutes les meſmes aćtions, & n’y que ceſte difference, que l’une des figures travaille en avançant, & l’autre en reculant.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure G
 
 
 
|Figvre G
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|When you draw the sword from the scabbard, again, pause slightly with the right foot, holding it raised and off to the side, while doing this, move the tip of the blade circularly outside the arm, so it rises diagnoally in front of the chest, with a turn of the wrist, helped a bit by the arm, until the hilt is at the height of the head, a little to one side, the blade above the shoulder, with the point above and behind you. At this instant begin to lean slightly forward, pull the right foot back, as shown in the picture.
 
 
 
|Quand l’eſpee ſera hors du fourreau, on fera derechef une petite pauſe du pied droit, le tenant eſlevé à coſté, & durant icelle on menera la pointe de ſa lame circulairement en haut dehors le bras, en ſorte qu’on la face monter diagonalement par devant la poitrine, avec un tour de la main, aſſiſté de quelque petite accommodation du bras, juſqu’à tant que la garde arrive à l’endroit du ſommet de la teſte un peu à cartier, la lame reſpondant par deſſus l’eſpaule, avec la pointe un peu hauſſée derriere le dos; auquel inſtant on commencera enſemblement à pancher du corps ſur le devant, & à retirer en arriere le pied droit, qui eſt pour le preſent encore eſlevé; ſuivant ce qu’on voit en la figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|Figure H
 
 
 
|Figvre H
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Finally, after bringing the blade over the head from the left side and continuing to lean slightly forward bring the hand downwards, as if you were striking, diagonally across the chest, and as it passes the chest and the upper body, step back onto the right foot with as large a step as possible. As the foot touches the ground, straighten the arm down by your side, and draw the left foot back towards you as you straighten up. At the same time, turn the crossguard from vertical to horizontal, and move the thumb over the crosspiece, so as to hold the sword in hand as it should be according to the manner used in this System.
 
 
 
|Finalement on pourſuivra à mener la lame circulairement par deſſus ſa teſte devers le coſté gauche, & en continuant à pancher du corps, on fera comme un coup de revers en l’air, deſcendant diagonalement par devant la poitrine; & à l’inſtant qu’il paſſe ladite poitrine: & la partie ſuperieure du corps, on ſe retirera avec le pied droit, qui eſt encores eſlevé, en arriere, autant qu’un grand pas ſe peut eſtendre; & à l’inſtant qu’il ſe mettra en terre, on retirera pareillement le bras droit eſtendu à coſté; & laiſſera on ſuivre le pied gauche en trainant, laſchant au meſme temps la main, & tournant la branche interieure de la garde horizontale, de verticale qu’elle eſtoit, & enſemblement retirant le poulce de deſſous icelle en deſſus. Ce qu’eſtant fait, on aura l’eſpee à la main, ainſi qu’on la doit tenir, ſelon la mode de noſtre Pratique.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|You may find these actions difficult or even impossible at first, as there are so many points to pay attention to in such a short time, but after a bit of practice, it will seem, on the contrary, to natural and easy.
 
 
 
|Il eſt bien certain que ces operations vous ſembleront du commencement fort difficiles ou meſme impoſſibles à faire, à cauſe de tant de petits points à obſerver en ſi peu de temps, mais l’accouſtumance vous en fera paroiſtre le contraire, de ſorte que vous recognoiſtrez à la fin, que ce ſont toutes choſes naturelles & faciles.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As for the backwards blow, which was mentioned in the discription of this figure, it is not a useless gesture. On the contrary, it is very useful to keep men from following too closely and to keep them back, to gain space to adopt a defensive posture. After this last step, you must decide if you still need to step back further, or if you need to step in. This is done in the same way as described above, that is, putting the right foot forward again, and placing the sword across your front, the arm strait, with the right hand and guard about level with the belt, the tip slightly raised.
 
 
 
|Touchant le coup de revers, dont nous faiſons mention en la declaration de ceſte figure, il faut ſavoir, qu’il n’eſt pas inutile: car au contraire il ſert grandement à tenir les gens tant plus eſloignez, & pour ſe faire largue, au moyen dequoy on a plus e commodité de ſe mettre en defenſe. Ayant donc achevé ceſte derniere aćtion, il faudra juger, s’il eſt deſormais beſoing de reculer encores davantage, ou s’il eſt temps de faire ſes approches. Leſquelles il faudra faire en la meſme ſorte qu’il eſt dit cy deſſus, aſſavoir en avançant derechef le pied droit, & ſe mettant au meſme temps l’eſpee de travers par devant le corps, le bras aucunement courbé, la main droite, avec la garde, environ la hauteur de la ceinture; en ſe croiſant la poitrine avec la pointe un peu aſcendante.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|HOW TO PRESENT THE SWORD
 
 
 
to your opponent in the direct line posture
 
 
 
|LA MANIERE DE PRESENTER A SON
 
 
 
contraire l’espee en droite ligne
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|That, in essence, is what seems to me to be important about drawing the sword. Now to the practical exercises and we start with the Direct Line posture. What must be learned before anything else is how to present yourself deftly to your adversary, through precise and suitable motions. At the same time, you must know the proper way to approch the adversary. I shall leave aside an infinity of other postures, and choose this one, which is the most suitable for demonstrating the precepts of my system, as well as being superior to all others. I admit that there are more delicate and more ferocious postures, But if these appear more polished, or present a hostile expression, this one has the advantage of both caution and strength. So, I leave these other postures to those who wish to adopt them, and content myself for the moment with the Direct Line. In this Plate, I shall describe the manner and steps to adopt the posture, and shall discuss its worthiness and its advantages in the next section.
 
 
 
|Voilà en ſomme ce qui m’a ſemblé neceſſaire de vous propoſer touchant le deſgainement de l’eſpee. Venons à la Pratique de l’Exercice, & commençons  par la Droite Ligne, laquelle il faut apprendre avant toute autre choſe à preſenter dextrement à voſtre partie adverſe, avec geſtes propres & convenables pour l’attendre; & la meſme eſtant pareillement preſentée, que vous ſachiez auſſi la maniere de faire vos approches alencontre. Nous laiſſons à part une infinité d’autres postures, & en choiſiſſons ceſte ſeule, qui eſt la plus convenable pour la demonſtration de nos precepts, voire auſſi la meilleure de toutes. I’advoue bien qu’il y en a de plus mignardes, & de plus furieuses en apparence: mais ſi celles-là ſont accompagnées de plus de luſtre, ou de mauvaiſes mines, ceſte-cy l’eſt davantage de prudence & de force. Parquoy laiſſant les autres à ceux qui s’y plaiſent, nous nous contenterons pour le preſent de ceſte droite ligne, de laquelle nous deſcrirons en ce Tableau la maniere & l’ordre, comme il y faut proceder, nous remettants à diſcourir de ſa noblesse & de ſes avantages au prochain enſuivant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|A final note, which holds for all the examples throughout the book, that the swordsman who is on the Circle on the side of the letter A will always be called Alexander and his opponent Zachary. Alexander will normally be the one who follows my principles, but never Zachary, except as he is in this Plate III, where he is shown by four figures moving through consecutive actions, that show the means and steps by which you move into the Circle and adopt the direct line posture, which is explained, below.
 
 
 
|Il faut que je die en paſſant, & une fois pour toutes, que celuy des deux Contraires qui commence à travailler ſur le Cercle du coſté de la lettre A, ſera touſiours appellé Alexandre, & l’autre Zacharie: dont Alexandre ſera ordinairement l’observateur de no precepts, & aucunefois pareillement Zacharie: comme il l’eſt auſſi preſentement en ce Tableau III. où il repreſente en quatre figures & aćtions conſecutives, en quelle maniere & avec quels geſtes on ſe mettra ſur le Cercle en la poſture de la droite ligne; dont voicy l’explication qui s’eſuit.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''FIRST ACTION''
 
 
 
|''PREMIERE ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary is right in front of Circle No 1, facing the Z-X Quadrangle, carrying his sword in the crook of his left arm, and his left hand resting on the hilt.''
 
 
 
|''Zacharie ſe met droit evant le Cercle N.1. viz à viz du Quadrangle ZX, tenant l’eſpee ſur le coude du bras gauche, & en empoignant la garde par deſſous avec la main gauche.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To show this action as simply as possible, Zachary is standing straight, facing front along the Diameter, about one blade-length away from the Circle. He can check this by putting his blade on the ground. If he were to put his tip at the letter X, the crossguard would be exactly between his two feet. However, there is another method of checking and adjusting the distance, by extending the arm and the sword in a straight line and bringing the tip down to just touch the ground. If you stand up straight, and do not bend over or twist, or change your posture, the tip will just touch the ground at X on the Circumference. Zachary thus waits, in this relaxed posture,  sword in the left arm, left hand over the hilt, hands resting on his stomach, so the tip of the sword is behind his shoulder, until he sees his adversary in order to present the direct line.
 
 
 
|Pour repreſenter ceſte aćtion le plus ſimplement qu’il ſoit poſſible, Zacharie ſe met icy tout droit ſur ſes jambes viz à viz du Diametre, les pieds egalement avancez, s’en tenant eſloigné de la juſte meſure de ſa lame. Dequoy il peut prendre la meſure avec l’eſpee meſme, en la mettant à terre. Car s’il en met la point ſur la Circonference à la lette X, les branches de la garde luy en reviendront juſtement entre le creux des ſes deux pieds. Toutesfois il y a encore une autre maniere, plus facile pour examiner & adjuster ceſte meſme distance, aſſavoir en eſtendant le bras avec l’eſpee droitement en une ligne, & la menant de haut en bas juſqu’à toucher la terre. Car le point d’attouchement viendra touſiours au meſme endroit de la Circonference à la lettre X, moyennant que la ſituation du corps ne ſoit point changée, & qu’on ne le plie, ny en avant, ny en arriere, mais qu’il demeure droitement debout & perpendiculaire. Zacharie donc ſe tenant eſloigné en ceſte bras gauche, empoignant auſſi de la main  gauche la garde par deſſous, ſe laiſſant prendre & repoſer les bras ſur le ventre, en ſorte que la pointe de l’eſpee luy va derriere l’eſpaule. Et voilà comme il s’eſt mis en eſtat d’attendre, juſqu’à tant qu’il voye ſa partie adverſe en ordre, pour luy donner la droite ligne.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''SECOND ACTION''
 
 
 
|''SECONDE ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''In front of Circle No 2, he moves his left foot forward with a small step, bringing the sword circularly down in front until he holds it to the side, arm out straight, in an acute angle, point down.''
 
 
 
|''Devant le Cercle N.2. il s’avance avec le pied gauche d’un pas moderé, en menant l’eſpee circulairement par devant ſoy avec le bras raide, & la mettant à ſon coſté droit en angle aigu, la pointe baiſsée.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As he approaches the Circle, he first moves his left side and foot a medium step directly forward and at the same time straightens his sword arm,  swinging it through a semi-circle diagnoally downwards across his chest and down into an acute angle off to his right side, the tip about one hand width off the ground. All of the movements, of the arm, of the hand, of the sword must begin and finish at the same time as the step, to keep everything together. Be aware of a common mistake by novices, which is to cross-step and put the left foot in front of the right foot, instead of moving the left foot straight ahead, and so find themselves instantly entangled when performing the next actions.
 
 
 
|En approchant donc du Cercle, il avance premierement le coſté, & le pied gauche d’un pas mediocre en ligne droite, & cependent roidit le bras de l’eſpee, la menant par une demie-circonference diagonale par devant ſa poitrine, de haut en bas, en angle aigu à ſon coſté droit, & en mettant la pointe environ à la meſure d’une paume de la terre. Au reſte toutes ces aćtions, tant du bras, que de la main, & de l’eſpee, ſe doivent commencer & terminer enſemble avec le pas du pied, afin qu’il n’y ait rien de mal proportionné. Faut auſſi ſe donner garde, en apprenant ceſte demarche, d’une faute aſſez ordinaire & commune à la plus part des Eſcholiers; qui eſt de croiſer le pas, & porter le pied gauche en avant à la main droite, au lieu de marcher en droite ligne tout droit devant eux, dont ils ſe trouvent tout à l’inſtant embrouillez à faire les operations ſuivantes.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''THIRD ACTION''
 
 
 
|''TROISIEME ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''In front of Circle No 3, he raises his right foot as he steps and raises the sword up with his straight arm, so it points up at an obtuse angle.''
 
 
 
|''Devant le Cercle N.3.il eſleve & hauſſe le pied droit à coſté, enſemble auſsi l’eſpee de meſme avec le bras roide, en ſorte qu’ils viennent à y faire une ligne montante en angle obtus.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Here he raises the right foot to take the second step, and at the same time he raises his extended arm to the side, upwards at an obtuse angle. Since he intends to put the tip of his foot at the letter X, having already moved forward, together with his arm and sword, he looks down at the Circle to check his foot will land where he intends to place it, so the rest of the steps can flow uninterrupted, as shall be worked out in the next Circle.
 
 
 
|Voicy qu’il leve le pied droit pour faire le ſecond pas, & au meſme temps il porte auſſi le bras eſtendu avec l’eſpee en haut en angle obtus, juſtement à coſté. Et puis que c’eſt ſon intention de mettre le bout du pied droit à lettre X; l’ayant preallablement un peu avancé, enſemble auſſi le bras & l’eſpee meſme; il tourne les yeux en bas ſur la figure du Cercle, pour y prendre l’adreſſe du pas, qui luy reſte à faire, au point qu’il pretend de toucher: pourſuivant au reſte à marcher & à continuer ſans interruption, comme il ſera deduit au Cercle ſuivant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Note that I said to lift the right foot at the same time as your arm and sword, so they are raised to the side, in profile. If they were raised to the front, it would cause difficulties in the following actions, and something badly started cannot end well.
 
 
 
|Notez bien ce que nous diſons de porter le pied droit avec le bras & l’eſpee, cependant qu’ils montent, juſtement à coſté reſpondants ſur le pourfil du corps. Car ſi on les avance du commencement, on en ſera fort incommodé à la continuation des aćtions ſuivantes, ce qui eſt mal commencé ne pouvant avoir bonne fin.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''FOURTH ACTION''
 
 
 
|''QUATRIEME ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''In Circle No 4, he has stepped forward with right foot, and planted it at the point X, thrusting his sword out in a straight line over the Diameter, with the left foot following at the same time to arrive on the Pedal Line.''
 
 
 
|''Au Cercle N.4. il a marché du pied droit, & l’a planté à la Circonference au point X, jettant enſemblement l’eſpee en droite ligne au deſſus du Diametre, avec le pied gauche trainant à meſme temps derriere juſqu’à venir deſſus la ligne Pedale.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|While on the left foot, his other moving forward, along with his arm and his sword, & looking at the ground to adjust his step, he proceeds as follows: he carries the sword forward, with his arm extended, in a slightly downward circular motion. At the same time as his right foot comes down, his toes on the point X, and his heel along the Collateral inside the Quadrangle on the right hand side. Continuing the circular motion with the sword, keeping his arm and sword extended and straight, he brings it up not quite overhead, forward, and down until his arm and sword are horizontal over the Diameter and perpendicular to his torso. As he places his foot on the ground, and as he carries the sword circularly overhead, it is done with an impetus from the arm, with tension from all the nerves and muscles of the body, so that the right side is pulled forward, the heel of his right foot is turned to follow the line X-Y, and finally his left foot is drawn forward into balance until it rests on the Pedal Line at Z. Once planted, the he stands erect and in profile, sword and arm extended in a straight line parallel to the Diameter, shoulder, arm, the hilt, and the point held horizontally.
 
 
 
|Eſtant ſur le pied gauche, & ayant avancé l’autre, enſemble avec le bras & l’eſpee, & regardé en terre, pour adjuster le pas, il pourſuit en ceſte ſorte: c’eſt qu’il porte l’eſpee avec le bras eſtendu, circulairement en avant, un peu vers le bas; mettant au meſme temps le pied en terre, les orteils ſur le point X, & le talon ſur la collaterale dedans le Quadrangle à main droite. Et en continuant touſiours le ſuſdit mouvement circulaire de l’eſpee, il la ramene en haut avec quelque petite accommodation du poignet, en finiſſant le mouvement du bras (qui demeure touſiours eſtendu avec l’eſpee en droite ligne) juſtement au deſſus du Diametre, en angle droit & ligne perpendiculaire au regard du corps, & au regard du Diametre en ligne parallele. Or quand il plante le pied à terre, & qu’il porte l’eſpee circulairement en haut, celà ſe fait avec une impetuoſité du bras; dont touts les nerfs & muſcles du corps ſe tendent, le coſté droit en eſt tiré en avant, le talon du pied droit s’en tourne en dehors ſur la ligne XY, & finalement le pied gauche en eſt contraint & comme forcé à ſuivre & ſe laiſſer entrainer apres l’autre juſqu’à tant qu’il vienne ſur la ligne Pedale Z, où il doit demeurer, & redreſſer au meſme temps, qu’il y arrive, le corps droit & en pourfil, l’eſpee enſemble avec le bras eſtendus en ligne droite parallele au Diametre, en ſorte que l’eſpaule, & le bras, la garde, & la pointe de l’eſpee ſe retrouvent toutes en egale hauteur.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After all these actions are done, if there is any doubt about the posture, to check that it is correct, he need only extend the left arm in the same way towards the rear, at the same height. If his posture is correct, then the two arms and the sword will be on a straight line, while all the rest of his body is relaxed, so there is no tension and no deformation, since this is the most natural posture in the world. If there is any fault, either in the position of the body or the sword, it is easily determined because the line of the arms is not straight, or because the body is not upright, or because of the discomfort caused by contortions, as can be seen in all other postures, when they are forced to present the sword in the direct line.
 
 
 
|Apres toutes les aćtions faites, s’il eſt queſtion d’examiner la poſture, pour voir s’il y a de la faute; il ne faut qu’eſtentre pareillement le bras gauche en droite ligne, en arriere à la meſme hauteur. Car ſi la poſture eſt juſte, les deux bras enſemble avec l’eſpee, ne feront qu’une droite ligne, & en ſeront touts les membres du corps tellemēt à leur aiſe, qu’il n’y en aura de contraint ny de contrefait, d’autant qu c’eſt la poſture du Monde la plus naturelle. En ſomme, s’il y a faute, ſoit en la ſituation du corps, ou en la tenue de l’eſpee, elle ſe deſcouvrira d’elle meſme par l’inegalité de la ligne, qui devoit eſtre droite, ou par la meſſeance du corps qui ſe devoit tenir perpendiculaire, ou par le malaiſe procedant de la contorſion des membres, comme il en prend à toutes le autres poſtures, quand elles s’efforcent de preſenter l’eſpee en droite ligne.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|HOW TO APPROACH AGAINST THE DIRECT LINE POSTURE
 
 
 
and against the Obtuse Angle posture
 
 
 
|COMMENT IL FAVT FAIRE SES AP-
 
 
 
proches contre la droite ligne, et contre l’angle obtvs
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Having explained the actions of Zachary, I shall now likewise describe those of Alexander, as shown by the four figures, showing the different means of approaching against an opponent who has adopted the posture of a sword held in the direct line and the obtuse angle. But these postures are not shown by Zachary in this Plate, but rather in the fourth Plate, which follows this one. In each Circle of Plate IV, Zachary has adopted his posture, with the sword either in the direct line or at an obtuse angle. Alexander’s approaches to each posture begins on the numbered Circle in this Plate, and finishes in the same numbered Circle in the next Plate.
 
 
 
|Ayant ores declaré les operations de Zacharie, il ſera bien que nous commencions pareillement à deſcrire celles d’Alexandre; qui nous monſtre par ſes quatre figures, autant de differentes manieres de faire ſes approches contre la droite ligne & contre l’angle obtus. Mais puis que ces dites poſtures ne luy ſont pas preſentées en ce preſent Tableau par Zacharie, il faut ſavoir qu’elles ſeront repreſentées au quatrieme, qui eſt le prochain enſuivant, chaſcune à tour, ſur les Cercles, marquez de meſme nombre. Auſſi que les approches d’Alexandre ne ſont icy repreſentées à plein; mais que le ſurplus en eſt reſervé pour le meſme Tableau quatrieme, chaſcun à repreſenter ſur ſon propre Cercle. Cependant ſachez que les poſtures de Zacharie ſont telles.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|On Circle No 1, Zachary  presents his sword in the direct line, as in Circle No 4 in this Plate.
 
 
 
|Sur le Cercle N.1. il preſente la droite ligne, tout ainſi qu’au Cercle N.4. de ce Tableau preſent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|On Circle No 2, he presents his sword at an obtuse angle.
 
 
 
|Sur le N.2. il preſente l’eſpee en angle obtus.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|On No 3, he is doing the same.
 
 
 
|Sur le N.3. il fait le meſme
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|It is against these postures the Alexander must approach, the first half of which are shown here, and the finish will be shown against those postures.
 
 
 
|C’eſt alencontre de ces poſtures qu’Alexandre ſe met icy en devoir de faire ſes approches, qui n’y ſont toutesfois repreſentées qu’à demi, dont l’accompliſſement ſera veu, là où les poſtures ſe voyent alencontre.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''FIRST ACTION''
 
 
 
|''PREMIERE ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander has advanced two or three paces towards Circle No 1, at the moment he placed his left foot on the ground, he set his sword at an acute angle to his right side, and is now raising his right foot to land outside of the circle, and has raised his arm and sword up to an obtuse angle. The ending to this move will be shown in Circle No 1 in the following Plate.''
 
 
 
|''Alexandre s’eſtant preallablement avancé deux ou  trois pas devers le Cercle N.1. en plantant le pied gauche en terre, il a mis l’eſpee en angle aigu à ſon coſté droit, ce qu’eſtant fait, il hauſſe le pied droit en dehors, comme auſsi le bras avec l’eſpee, les mettant en ange obtus; le ſurplus de ceſte approche ſera repreſenté au Cercle N.1. du Tableau ſuivant.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Supposing Zacharie has adopted the fighting posture of the direct line to receive Alexander’s attack. Here we see Alexander making his approach against him. While he was out of range, he walked as far forwards as the distance required, carrying his sword freely, however he wishes, neither concerned about starting on the right or left foot, nor with the exact distance to his adversary. But when he puts his left foot down within one pace of the Circumference, he moves his sword off to his right side in a circular motion until it forms an acute angle, using the same motions at the same distance as Zachary before Circle N0 2. This done, as he raises his right foot, he raises his sword and straight arm up to an obtuse angle, just as Zachary before Circle No 3. There is only one difference, that is, when Zachary approached, he looked to the ground to check the distance so as to place his right foot along the Collateral line on the right side of the Quadrangle, with his toes exactly on the circumference at X, which he must do to be first in position on the Circle, and  which can do as he has no opponent to face. But Alexander cannot do this, as he must focus during all his actions, in his approach, in his comportment, and in assessing his distance, the long and short of it, on his adversary who is waiting for him, without ever looking away. If he did otherwise, he would never be able to put his sword into the direct line, parallel to and below the other, as is shown in the following Plate. This is why Alexander keeps his eyes fixed on his enemy.
 
 
 
|Preſuppoſant donc que Zacharie ſe ſoit mis le premier en campagne in la poſture de la droite ligne, pour attendre. Voicy Alexandre qui commence à faire ſes approches alencontre, en ceſte ſorte. Durant qu’il a eſté hors de meſure, il a marché autant de pas en avant, que la diſtane requeroit, menant l’eſpee librement à ſa fantaſie, ſans eſtre en peine de commencer la demarche avec le pied droit ou avec le gauche, ny de ſçavoir exaćtemēt la diſtance de l’Adverſaire. Mais quand il a mis le pied gauche en terre ſi pres du Cercle, qu’il pouvoit arriver en un ſeul pas à la Circonference; c’eſt alors qu’il a porté ſon eſpee circulairement avec une demie-circonference diagonale à ſon coſté droit en angle aigu, uſant des meſmes aćtions, & ſe mettant à la meſme diſtance, qu’il a eſté dit cy devant en la perſonne de Zacharie N.2. Ce fait, il leve le pied droit, & hauſſe enſemblement le bras avec l’eſpee en angle obtus; tout ainſi qu’en a fait Zacharie devant le Cercle N.3. Il n’y a que ceſte difference, que Zacharie regarde la terre pour compaſſer la demarche, & mettre le pied droit juſtement ſur la collaterale droite de ſon Quadrangle, avec les orteils touchants la Circonference; ce qu’il peut & doit faire pour ſe mettre le premier en poſture ſur le Cercle, d’autant qu’il n’a null autre adreſſe. Mais à Alexandre il n’eſt permis de ce faire; d’autant qu’il doit prendre l’adreſſe de toutes ſes aćtions, & de ſon approche, au comportement & à la diſtance de ſon Contraire qui l’attend, & la dite diſtance à l’aulne de la veuë, ſans jamais en deſtourner ſes yeux; car autrement il ne pourroit porter l’eſpee au ſuivant mouvement en ligne droite & parallele deſſous l’autre, comme il ſe voit en la Table ſuivante. C’eſt la cauſe, pourquoy Alexandre tient icy les yeux fichez ſur l’Ennemy.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''SECOND ACTION''
 
 
 
|''SECONDE ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander has advanced two or three paces towards Circle No 2 at the moment he placed his left foot on the ground, he swung his sword out and down at an acute angle, then, as he lifted his right foot to step forward, he raised his hand up and rested his sword on his right shoulder, with the point behind him.''
 
 
 
|''Alexandre s’eſtant preallablement avancé deux ou trois pas, devers le Cercle N.2. en plantant le pied gauche, il a jetté l’eſpee deſcendante en angle aigu, puis en eſlevant le pied droit en avant, il porte le bras avec leſpee en haut, le mettant par deſſus ſes eſpaule droite à coſté de la teſte avec la pointe en arriere.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In Circle No 2, let us suppose Zachary is waiting with his sword raised to an obtuse angle, as shown in the next Plate. To approach, Alexander has placed himself in front and taken two, three or more steps forward, as needed, to close the distance, carrying his sword freely, however he wants. But, when he puts his left foot down no more than a pace from the edge of the Circle, about to come into range, at the same time he moves his right hand forward and points the sword down at an acute angle in front. Then, as he raises his right foot to take a careful step, he brings the sword up and beside his head onto his right shoulder with the tip a little behind. As he takes his next step, he brings his sword forward and into contact with his opponent’s sword to the inside, as shall be more fully explained in Plate IV.
 
 
 
|En ce Cercle N.2. nous preſuppoſons, que Zacharie luy preſente l’eſpee en angle obtus, comme il ſera repreſenté au Tableau ſuivant. Pour travailler alencontre, Alexandre s’eſt mis tout droit devant; puis a marché deux, trois, ou quatre pas en avant, plus, ou moins, ſelon la diſtance, menant librement l’eſpee ſelon qu’il luy eſt venu à gré. Mais en venant ſi pres du Cercle avec le pied gauche, qu’il ne reſte plus qu’un pas, pour venir en meſure; en meſme temps il avance l’eſpee un peu à main droite, la portant de haut en bas en angle aigu; puis en eſlevant tout à l’inſtant le pied doit, & commençant à cheminer, il la ramene en haut à coſté de ſa teſte à la hauteur de l’eſpaule, la pointe d’icelle un peu montante en arriere. Leſquelles aćtions il a faites, en intention d’avancer l’eſpee avec le pas enſuivant, & la mettre au meſme inſtant qu’il viendra en meſure, contre la lame contraire en dedans, comme il ſera dit plus amplement en la declaration du Tableau IV.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''THIRD ACTION''
 
 
 
|''TROISIEME ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander has advanced two or three paces before Circle No 3, and, at the same moment he has placed his right foot close enough that his left foot is one pace from the Circumference, he points his sword down towards his right side at an acute angle. As he moves his left foot forward to place it at the Circumference, he again raises his sword to an obtuse angle under the opponent’s blade and above the Diameter, with his body leaning backwards.''
 
 
 
|''Alexandre s’eſtant avancé deux, ou trois pas devant le Cercle N.3. au meſme inſtant qu’il plante le pied droit ſi pres, qu’il peut atteindre la Circonference avec l’autre, il avance l’eſpee devers ſon coſté droit en angle aigu; laquelle il porte derechef en haut en angle obtus en avancant le pied gauche; & en le mettant à terre à la Circonference, derechef il la ramene de haut en bas en angle aigu deſſous l’eſpee contraire & au deſsus du Diametre, avec le corps panché à l’envers.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Coming to Circle No 3, suppose Zachary is again waiting in the same posture, presenting his sword at an obtuse angle, as shown in the following Plate. To approach, Alexander has again walked forward the same way as in the previous Circle, until his right foot is one pace from the Circumference, at the same time he moved his sword and arm down at an acute angle, off to the right side. Again, as he raises his left foot and steps forward, he again brings his sword upwards to an obtuse angle. At the instant his foot touches the ground with the toes on the Circumference at C, he brings the sword diagonally beneath his opponent’s sword at an acute angle, his body leaning slightly backwards. That much is shown here; the next step will be described later.
 
 
 
|Touchant le Cercle N.3. il faut preſuppoſer, que Zacharie l’attend derechef en la meſme poſture, luy preſentant l’eſpee en angle obtus, comme on le voit depeint au Tableau ſuivant. Pour l’aborder, Alexandre a marché encores tout de meſme, qu’au Cercle precedēt, juſqu’à ce qu’en approchant le pied droit ſi pres, qu’il ne reſte plus qu’un pas pour atteindre la Circonference, il a avancé au meſme temps le bras avec l’eſpee vers le bas en angle aigu, tirant un peu à main droite; & derechef, il l’a ramenée circulairement en haut en angle obtus, durant l’eſlevation & l’avancement du pied gauche, lequel en venant à planter en terre ſur la Circonference au point C, au meſme inſtant il porte ſon eſpee diagonalement deſſous la contraire in angle aigu le corps un peu renverſé. Voilà tout ce qu’il fait juſqu’icy: la ſuite ſera declarée en ſon lieu.
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|''FOURTH ACTION''
 
 
 
|''QUATRIEME ACTION''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''In Circle No 4, he has stepped forward with right foot, and planted it at the point X, thrusting his sword out in a straight line over the Diameter, with the left foot following at the same time to arrive on the Pedal Line.Alexander has advanced two or three paces and as he placed his left foot in front of Circle No 4, he moved his sword forward at an acute angle, which he then raised back up while stepping with the right foot, and brought it up beside his head over his right shoulder, with the point behind.''
 
 
 
|''Alexandre apres s’eſtre avancé deux ou trois pas, en venant à planter le pied gauche devant le Cercle N.4. avance l’eſpee en angle aigu, laquelle il ramene derechef en haut durant la demarche du pied droit, & la porte à coſté de ſa teſte au deſſus de l’eſpaule droite, avec la pointe tournée en arriere.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Here, in Circle No 4, suppose Zachary has adopted the direct line posture. Alexander again approaches in the same way, having taken two or three paces, as he puts his left foot down by the point of the Circumscribed Square, he moves the sword downwards at an acute angle. As he continues to step with his right foot into range, as he raises it and moves it forward, he brings the sword back up beside his head, over his right shoulder, with the tip pointing behind, and the guard about the height of the shoulder, and a little forward, as shown in the figure.
 
 
 
|Icy en ce Cercle N.4.preſuppoſant que Zacharie ſe ſoit mis en la poſture de la droite ligne. Alexandre vient derechef alencontre, ayant preallablement fait deux, trois, ou quatre pas en la meſme ſorte que deſſus, à la fin deſquels en mettant le pied gauche en terre devant l’angle du Quarré circonſcrit, il avance l’eſpee vers le bas an angle aigu; puis en continuant à marcher du pied droit pour entrer en meſure, durant l’eſlevation & l’avancement d’iceluy, il la raporte en haut à coſté de ſa teſte au deſſus de l’eſpaule droite, la pointe hauſſée en derriere, & la garde environ la hauteur de l’eſpaule, un peu en avant; comme il eſt repreſenté en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|These are the actions he has done as shown in this Plate. The next will contain how he moves into range, advancing the right foot to the Circumference of the Circle, meanwhile swinging the tip of sword inversely from high to low, which he does with a twist of the wrist and a little motion of the arm and continuing on until he has put his blade underneath his opponent’s in parallel and in a direct line. But as these things are shown in the following Plate, I shall finish my explanation of the Third Plate and move on.
 
 
 
|Telles ſont les aćtions qu’il a faites en ce Tableau preſent; la ſuite contiendra cōment c’eſt qu’il entre en meſure, en avançant le pied droit juſqu’à la Circonference du Cercle, & tournant ce temps pendant la pointe de ſa lame circulairement à l’envers du haut en bas à ſon coſté; ce qu’il fait du poignet de la main avec quelque petite accommodation du bras, en continuant le meſme tour juſqu’à tant qu’il ait mis ſa lame deſſous l’eſpee contraire en ligne droite & parallele. Mais puis que ces choſes ſeront repreſentées au Tableau ſuivant, faiſons icy la fin du Troiſieme, & paſſons outre.
 
 
 
|}
 
{{master end}}
 
 
 
{{master begin
 
| title = Book 1 - Tableau / Plate IIII
 
| 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 04.jpg|600px]]
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
 
 
|EXPLANATION OF THE ACTIONS IN THE FOURTH PLATE
 
 
 
|DECLARATION DES OPERATIONS DV TABLEAV QUATRIEME
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|I believe there will be some who, barely having glanced at Plate IV and its text, who will instantly decide that the topic should have been far too simple for such a long discussion, that we should not have tried earlier to expand the material, that it should be made simple to understand. But I ask them to consider that these are the basic foundations of this science, which will draw after them a long train of incomplete problems, which are impossible to solve if they are not closely examined at the beginning of training. Because, just as effects flow from causes, so there must be neither doubt, nor failure to understand, that all of the teachings which follow are devoid of mistakes and falsehoods. That is why I intend to use very precise descriptions of these initial moves, because  the consequences are so important. Having shown, through the four images of Zachary in Plate III, how to adopt the direct line, on the Circle, or on some other ground wherever it is, we shall now begin to describe Alexander’s actions, which were started and partially explained in Plate III, to show how to approach against the direct line posture and against the obtuse angle posture. Then we shall enter into a discussion of the value of the direct line posture, and the range of the First Instance (i.e. the first step in the fight sequence), to which we shall finally add the means of changing and adapting to different lengths of swords.
 
 
 
|Ie croy, qu’il y en aura pluſieurs, qui n’auront pas ſi toſt jetté les yeux ſur ce Tableau IV. & ſur ſes eſcrits, qu’ils ne jugent tout à l’inſtant, que le ſujet en euſt eſté trop maigre pour un ſi long diſcours, ſi nous n’euſſions taſché plus toſt d’amplifier la matiere, que de la rendre ſimplement intelligible. Mais je les prie de conſiderer, que ce ſont icy les premiers fondements de la ſcience, qui tireroyent apres eux une trainee de difficultez infinies, & impoſsibles à reſoudre, en cas qu’ils ne fuſſent examinez curieuſement à l’entree de la diſcipline. Car comme les effećts ſe conforment touſiours à leurs cauſes, auſsi il ne faut pas douter, erreur eſtant le premier maiſtre, que toute la doćtrine enſuivante ne fuſt pleine d’abus & de tromperie. C’eſt pourqouy j’entends d’uſer d’une exaćt declaration de ces premiers commencements, puis qu’il en depend de ſi grandes conſequences. Ayant donc enſeigné par les quatre figures de Zacharie au Tabl. III. la maniere de donner la droite ligne, ſur le Cercle, ou ſur quelque autre plan, que ce ſoit; nous commencerons à deſcrire preſentement la pourſuite des operations d’Alexandre, à demi parachevées audit Tabl. III. pour faire ſes approches contre la droite ligne, & contre l’angle obtus; puis entrerons en diſcours touchant l’excellence du ceſte poſture de la droite ligne, & de la meſure de la premiere Inſtance; à quoy nous adjouſterons finalement la maniere de la changer & accommoder ſelon les diverſes meſures des Eſpees.
 
 
 
 
 
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|'''Circle No 1'''
 
 
 
|'''Cercle N.1.'''
 
 
 
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|''Alexander began his approach against the direct line, as shown by Circle No 1 in Plate III. Here he proceeds with the rest of it, as he arrives at the First Instance with the sword extended in direct line below his adversary’s sword.''
 
 
 
|''Alexandre ayant commencé à faire ſes approches contre la droite ligne, en la forme qu’il eſt repreſentée au Tabl. III. Cercle N.1: il en pouſuit icy le reſte, en venant ſur la Permiere Inſtance avec l’eſpee eſtendue en droite ligne au deſſous de l’eſpee contraire.''
 
 
 
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|In Circle No 1, as was explained in the preceding Plate, Zacharie has put himself on guard first, in the direct line posture, his right foot on the line X–Y, his toes touching the end at the circumference, his left foot on the Pedal Line Z, holding his body erect, and showing his profile to the enemy, in such a way that his head and the centre of his body are over the middle of the Quadrangle on which he stands.
 
 
 
|Touchant le Cercle N.1. il a eſté dit au precedent Tableau, que Zacharie s’eſt mis le premier en campagne, en la posture de la droite ligne, le pied droit ſur la ligne XY, en touchant du bout d’iceluy la Circonference; & le pied gauche ſur la ligne Pedale Z, tenant le corps eſtendu en ligne perpendiculaire, & flanqué en pourfil ſur l’Ennemi; en telle ſorte que la teſte & le centre du corps reſpondent juſtement deſſus le milieu du Quadrangle, où il eſt placé.
 
 
 
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|To reach him, Alexander has taken two, three, or four paces forward, more or less, according to the distance, while freely carrying his sword however he wished. Then as he put his left foot down near the Circle, about one pace distant, so one more step with his right foot to C would put him into range in the First Instance, he straightened his arm and extended his sword out and down to the right. Following that, as he raises his right foot, he lifts the sword high up into an obtuse angle on the same side, as he prepares to make the final step, taking everything into account to precisely guage the distance to his adversary’s body, arm, and sword so he can put the tip of his sword near to the opponent’s guard and just underneath it along the same line, as he comes into range, and which will put him exactly at the First Instance, which will be described shortly.
 
 
 
|Pour l’aborder, <font style="font-variant:small-caps">Ale</font>xandre fait deux, trois, ou quatre pas en avant, plus ou moins, ſelon la diſtance, & a porté ce temps pendant l’eſpee librement à ſa fantasie: puis en faiſant la demarche du pied gauche, & le venant à planter ſi pres du Cercle, qu’il pouvoit arriver du prochain pas, à faire du pied droit, ſur la Premiere Inſtance au point C, durant icelle demarche il a porté le bras eſtendu enſemble avec l’eſpee, en ligne droite, en bas, à ſon coſté droit; & en pourſuivant à eſlever le pied droit, & porter enſemblement le bras avec l’eſpee en haut, en angle obtus au meſme coſté, il s’eſt preparé pour faire le pas enſuivant tant plus juſte, en prenant la meſure à l’aulne de la veuë, au regard de la diſtance du corps, du bras, & de l’eſpee contraire; afin de porter ſa pointe tout pres de la garde contraire, & juſtement deſſous la meſme ligne, au meſme temps, qu’il entrera en meſure, & qu’il ſe mettra exaćtement ſur la Premiere Inſtance, en la maniere qui ſera tantoſt deſcrite.
 
 
 
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|All of these steps were previously shown and described in Circle No 1, in Plate III. In any case, it seemed necessary to show at this point, so as to explain certain points more fully, and likewise, to  illustrate for you the full approach, rather than one or two disparate images in two Plates, neither of which would sufficiently clarify the other to the satisfaction of the reader. So let us see how he accomplishes this first approach, as shown here.
 
 
 
|Iuſques icy toutes ſes aćtions ont eſté representées & declarées au Cercle N.1. du Tableau III. dont toutesfous il me ſemble, que la repreſentation a eſté neceſſaire en ceſt endroit, afin d’en expliquer quelques particularitez de plus pres, & pareillement pour vous mettre devant les yeux tout d’une approche, qui autrement reſembleront à un corps deſmembré, comme eſtant diviſé en deux Tableaux, ſans que l’un fuſt ſuffiſamment eſclarcy par l’autre au contentemēt du Lećteur. Voyons donc le parachevement de ceſte premiere approche, qui eſt tel.
 
 
 
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|Alexander begins by advancing the entire right side of his body, foot, arm, and sword together, dropping the blade downwards as it makes a circular sweep towards the front. At the same time as he puts his foot down on the circumference of the Circle, his toes at the point C, with his heel along the right hand side of the collateral line of the Quadrangle, he stiffens his arm and wrist, and circles the blade back upwards under the adversary’s sword until it is parallel, with the tip as close as possible to his opponent’s hilt without touching it, as shown by the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> commençant à advancer egalement le coſté droit du corps, pied, bras, & eſpee enſemble; abaiſſe tout à l’inſtant ſa lame un peu circulairement vers le devant; & en metant le pied à terre ſur la Circonference du Cercle au point C, le talon d’iceluy ſur la ligne collaterale du Quadrangle à main droite, au meſme temps en roidiſſant le bras & le poignet de la main, il avance ſa lame circulairement en haut deſſous l’eſpee contraire en ligne parallele, en aſſituant la pointe droit à la garde contraire, le plus pres qu’il a peu faire, ſans toucher, ainſi qu’on voit en ſa figure.
 
 
 
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|This last motion of carrying the sword up under the opponent’s sword is made with impetus, so that the right side is pulled forward and so that the right foot easily spins on the ball of the foot onto the line C–B, and drawing the left foot along the ground to its natural place along the Pedal Line. At this instant, he straightens and draws upright, standing in profile, and finishes the movement of the sword in a direct line underneath his opponent’s sword.
 
 
 
|Ce dernier mourvement de porter l’eſpee en haut deſſous l’eſpee contraire, il le fait avec une certaine impetuoſité, dequoy le coſté droit du corps eſt tiré en avant, & conſequemment le talon du meſme pied ſe gliſſe en dehors ſur la ligne CB, entrainant quand & quand le pied gauche par terre, juſqu’à ſa place ordinaire, qui eſt a ligne Pedale; auquel inſtant il ſe redreſſe le corps perpendiculairement, le mettant en pourfil, & finiſſant le mouvement de l’eſpee en ligne droite au deſſous de l’eſpee contraire.
 
 
 
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|In this way, they both stand in the same posture, with feet planted on the same lines, head and body centred over the same point, each on their own end, standing upright and tall and sideways, their nerves and muscles extended, their knees and sword-arms straight, the handle held firmly in the fist, both blades parallel, side-by-side, above and below. The tip, the hilt, and the shoulder extending out in as straight a line as possible, parallel to the ground. A natural posture, which is very advantageous and convenient for both remaining in place and for moving, right, left, forwards, or backwards, without any hindrance. This is not true of other postures, such as they are. Because whatever advantages they have, they are outweighed by disadvantages. Only the direct line is a posture equiped equally well for attacking in all directions and also for defending against all attacks.
 
 
 
|Par ainſi les voilà touts deux en pareille poſture, ayants les pieds plātez ſur meſmes lignes, la teſte & le centre du corps reſpondants au deſſus du meſme centre, chaſcun au ſien, les corps eſtendus perpendiculairemēt, & en flanc, touts les nerfs & muſcles tendus, les genoux, & le bras de l’eſpee roides, la poignee bien fort ſerrée dedans le poing, les deux lames colloquées en lignes paralleles deſſous & deſſus; la pointe, la garde, & l’eſpaule droite, tant qu’il eſt poſſible, en egale hauteur. Poſture du tout naturelle, qui a l’aſſituation des pieds, du corps, & de l’eſpee grandement favorable & avantageuſe, tant pour demeurer, que pour ſe bouger, à droite, à gauche, en avant, & en arriere, ſans nulle incommodité. Ce qui ne ſe rencontrera pas en des autres poſtures, quelles quelles ſoyent. Car pour les avantages qu’elles donnent, touſiours elles donnent pareillement autant ou plus de deſavantage en contreſchange. La ſeule droite ligne eſt une poſture à tout faire, munie de touts coſtez egalement, & egalement preparée de touts coſtez à ſa defenſe.
 
 
 
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|'''Circle No 2'''
 
 
 
|'''Cercle N.2.'''
 
 
 
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|''Alexander follows the initial approach against the obtuse angle posture, which he started and half-completed in Circle N0 2 in the preceeding Plate, where he had just put the sword up beside his head, with his right foot raised and slightly ahead. As he is about to step to the First Instance, he will likewise adopt the obtuse posture against the opponent’s sword to the inside of the arm. ''
 
 
 
|''Alexandre pourſuit la premiere approche contre l’angle obtus, par luy commencé & à demi faite au Tableau precedent Cercle N.2. où il eſtoit venu juſqu’à ſe mettre l’eſpee à coſté de la teſte, avec le pied droit un peu avancé en l’air: maintenant en venant ſur la Premiere Inſtance, il la met pareillement en angle obtus contre l’autre en dedans du bras.''
 
 
 
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|On Circle No 2, Zachary presents his sword in the obtuse angle posture, the rest of his body held the same as the previous Circle, so that these two postures are almost the same. Observe now how Alexander works against him. Having turned his toso to face him, he has approached with two, three, or four paces, more or less, according to the distance between them. He held his sword in the meantime in the crux of his left arm while stepping with the right foot. Again advancing,and putting his left foot on the ground about one pace away from the Circle, he turned the sword diagonally down at an acute angle towards his right side. As he lifted his right foot to step forward, he then raised the sword again, up beside his head, over his right shoulder, with the hilt in front of and about even with the shoulder and the tip up behind his head.
 
 
 
|Sur le Cercle N.2. <font style="font-variant:small-caps">Zacharie</font> preſente l’eſpee en angle obtus, tenant au reſte le corps tout de meſme, qu’au Cercle precedent; de façon que ces deux poſtures reviennent quaſi en une. Voyons comment c’eſt que <font style="font-variant:small-caps">Alexandre</font> travaille alencontre. Ayant tourné la poitrine contre ſa partie, il s’eſt acheminé tout droit a luy, en faiſant deux, trois, ou quatre pas, plus ou moins, à meſure de la diſtance, qui eſt entre deux; ſe mettant cependant l’eſpee ſur le coude du bras gauche in avançant le pied droit; & derechef avançant, & mettant le gauche en terre, ſi pres du Cercle, qu’il peut atteindre la Circonference au premier pas enſuivant; il l’a portée diagonalement en avant vers ſa main droite en angle aigu: & puis l’a remontée encor pour la ſeconde fois, durant l’elevation & l’avancemēt du pied droit, à coſté de ſa teſte par deſſus l’eſpaule droite; tenant la garde un peu avancée ſur la hauteur d’icelle eſpaule, & la pointe un peu contremont par derriere la teſte.
 
 
 
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|All his actions to this point were described in the preceeding Plate. The rest follows here.
 
 
 
|Iuſques à icy ſes aćtions on eſté deſcrites au Tableau precedent: s’en enſuit maintenant le reſte.
 
 
 
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|He advances the right side of his body, bringing the foot, his arm, and the sword forward at the same time. He places his foot on the side of the Quadrangle line C–B (Not on the collateral line as in the previous demonstration) drawing the left foot after, up to the Pedal Line. At the same time, he carries the sword forward, towards the enemy, raising it to an obtuse angle, and crossing both swords to the inside, with his 5th Span against Zachary’s 5th Span, but without doing anything against the sword. By this means, he readys himself to move in this way along the Diameter, by forcing the opponent’s sword aside at the Second Instance, which shall be explained in another chapter.
 
 
 
|Il avance le coſté droit du corps, menant egalement au meſme tēps le pied, le bras, & l’eſpee; dont il plante le pied ſur le coſté du Quadrangle CB. (non pas ſur la collaterale, comme il a fait en la demonſtration precedente) laiſſant trainer le pied gauche apres, ſur la ligne Pedale; & au meſme temps, il porte l’eſpee en avant droit à l’Ennemi, la mettant contre icelle en angle obtus, en dedans du bras, Nombre 5. contre Nombre 5, ſans faire aucun effort alencontre; s’appreſtant par ce moyen à marcher par deçà le Diametre, en aſſujettiſſant l’eſpee contraire à la Seconde Inſtance, comme il ſera declaré autrepart.
 
 
 
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|Of all the postures which one might adopt, the Obtuse Angle is the strongest. No one wishes to give their adversary any advantage when he uses this one, so one must bring his sword to the same obtuse angle against it, and particularly if he intends to attack. If he were to try anything else, say, an attack along the direct line, the adversary would drop his blade down and interrupt the stoccata thrust along the direct line by taking a similar direct line, but over top of the other, and in a more natural and more powerful position. This is because movments which descend from above are assisted by forces of Nature. We call them natural moves. The other movements are unnatural and consequently weaker, however more or less. This can be manfestly seen when one person drops a rock from high up, and another person throws a rock upwards from below. One loses energy at every instant until it starts to fall back to the ground, as if exhausted from work. The other, falling from above, continuously gains energy. If the one should happen to hit the other, everyone knows that the one falling from above will affect the other more than the one thrown from below can affect the one falling, because the unnatural cannot resist natural forces any more than the weak can resist the strong, any more than one who is missing limbs can against someone fit,  vigorous, and able.
 
 
 
|Entre toutes ces poſtures, qui puiſſent eſtre, celle de l’angle obtus eſt la plus forte. Partant quiconque ne veut donner à ſa partie adverſe de l’avantage, lors qu’il en uſe; il faut qu’il porte ſon eſpee de meſme en angle obtus alencontre, & principalemēt s’il pretend de luy donner l’aſſaut. Car s’il y veut aller autrement, comme poſé qu’il le veuille attaquer avec la droite ligne, l’Adverſaire pourra laiſſer deſcendre au meſme temps l’eſpee de haut à bas, d’angle obtus en angle droit, & par ainſi rencontrer l’eſtocade de la ligne droite inferieure d’une ſemblable ligne droite, mais ſuperieur, & par conſequent plus naturelle, & plus puiſſante. Car les mouvements qui viennent de haut, ont la nature en aide; nous les appellons naturels. Les auſtres ſont violents, & par conſequent auſſi plus foibles, qui plus, & qui moins. Cela ſe voit manifeſtement par exemple, quand une pierre eſt jettée de haut en bas, & une autre jettée de la main d’une perſonne contremont. L’une perd à touts moments de ſa vigeur, de plus en plus juſqu’à tant qu’elle retombe d’elle meſme à terre, comme laſſée du travail, & opprimée de ſa propre charge. L’autre qui vient de haut, augmente continuellement ſa force. S’il advient, que ces deux pierres ſe rencontrent & choquent en l’air l’une contre l’autre, tout le monde ſait, que celle d’enhaut enforcera l’autre, & que le Violent ne pourra reſiſter au Naturel, non plus, que le foible au fort, ne celuy qui ſeroit perclus de ſes membres à un qui fuſt diſpoſt, gaillard, & habile.
 
 
 
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|It is the same with the practice of arms. The strong overcomes the weak, the natural defeats the unnatural. The superior and descending dominates the lower and ascending. To conclude, when the enemy has his sword at an obtuse angle, it is always necessary for us to adopt the same angle against him, so his moves are not more powerful than ours.
 
 
 
|De meſme en eſt il en la Pratique des armes. Le fort a l’avantage par deſſus le foible, le naturel vainc le violent: le ſuperieur & deſcendant, domine l’inferieur, & aſcendant. Concluons donc, quand c’eſt qu l’Ennemi tient ſon eſpee en angle obtus, ſoit qu’il eſt touſiours neceſſaire de nous ſervir du meſme angle obtus alencontre, afin que ſes mouvements ne ſoyent ſuperieurs aux noſtres.
 
 
 
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|'''Circle No 3'''
 
 
 
|'''Cercle N.3.'''
 
 
 
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|''Alexander has placed his left foot on the circumference at point C, and has moved his sword under the opponent’s sword, as shown in Circle No 3, in Plate III. He follows on by coming into the First Instance, crossing swords in an obtuse angle, on the outside of the arm.''
 
 
 
|''Alexandre eſtant venu à planter le pied gauche à la Circonference au C, & enſemblement à mettre l’eſpee en angle aigu deſſous de l’eſpee contraire, ſuivant la Representation du Tabl. III. Cercle N.3. il pouſuit icy le reſte de ceſte ſeconde approche, en venant ſur la Premiere Inſtance, & accouplant derechef les eſpees en angle obtus en dehors du bras.''
 
 
 
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|In Circle No 3, Zachary’s posture has not changed from the one before. But Alexander’s approach has, as described, below.
 
 
 
|En ce Cercle N.3. la poſture de <font style="font-variant:small-caps">Za</font>charie ne differe en rien de la precedente: mais bien l’approche d’<font style="font-variant:small-caps">Ale</font>xandre, comme il apparoiſtra par la deſcription ſuivante.
 
 
 
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|As I say, Alexander has taken three or four steps according to the distance, holding the sword across the stomach, as described before after drawing the sword, or having rested it in the crook of his left arm. Finally, as he as come close enough to the circle with his right foot that one more pace will bring him to the First Instance, he raised his arm with the sword up at an obtuse angle a bit to the right. Again, as he raised, moved, and placed his left foot on the ground at the Circumference point C, he dropped the sword down to an acute angle, swinging it diagonally under his opponent’s sword, with his body leaning slightly back on the right knee, which is also bent.
 
 
 
|Ie di donc, qu’<font style="font-variant:small-caps">Alexandre</font> a marché trois ou quatre pas en avant, à meſure de la diſtance; tenant du commencement l’eſpee de travers par devant ſa poitrine, en la maniere, qu’il a eſté dit cy deſſus apres le deſgainement, ou l’ayant couchée ſur le coude du bras gauche, & que finalement en approchant le pied droit ſi pres du Cercle, qu’il ne reſtoit qu’un pas à faire, pour venir à la Premiere Inſtance, il a hauſſé egalement le bras avec l’eſpee, en angle obtus un peu à coſté: & derechef en levant, avançant, & abaiſſant le pied gauche à terre, à la Circonference lettre C. il les a deſcendus egalemēt de haut en bas, portant l’eſpee diagonalement deſſous l’eſpee contraire en angle aigu, avec le corps panché un peu à l’envers ſur le genouil droit, iceluy eſtant plié.
 
 
 
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|Because this action will be used frequently at various occasions, I must warn you, when stepping into the First Instance with the left foot, and bringing the sword underneath the opposing blade at an acute angle, as much for attacking the enemy as for awaiting his attack, to always lean back on the right leg, with the right knee bent, to stay out of range this way, so he must take a larger step and take a longer time if he wishes to take advantage of his present superior position and attack, which is, at this point on his side. You, on the contrary, will find it easier to defend.
 
 
 
|Puis que l’uſage de ceſte operation viendra ſouvant à point en pluſieurs occaſions, je vous averti, en mettant le pied gauche en terre, à la Premiere Inſtance, & portant l’eſpee deſſous l’eſpee contraire en angle aigu, tant pour travailler ſur l’Ennemi, que pour attendre ſa charge, de ce faire en toutes occaſions avec le ſuſdit panchement du corps ſur la jambe droite, le genouil d’icelle plié, pour demeurer tant plus hors de preſence, afin que s’il vouluſt travailler ſur vous avec l’avantage de la ſuperiorité, qui eſt pour le preſent de ſon coſté, il euſt beſoin d’un plus grand temps pour vous atteindre; & vous, au contraire plus de commodité pour faire la defence.
 
 
 
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|Everything Alexander has done up to this point was explained fully in the description of Plate III. Here is the rest.
 
 
 
|Tout ce qu’Alexandre a fait juſques icy, a eſté declaré aſſez particulierement en la deſcription du Tableau III. En voicy donc à ceſte heure la pourſuite.
 
 
 
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|After having put his left foot on the Circumference at point C, he begins to shift his weight onto it, while lifting and moving his right foot forward, he raises his arm and sword at the same time into an obtuse angle. He contacts the opponent’s blade on the outside of the arm, his 6th Span against Zachary’s 5th Span, as shown in the picture. Thus having prepared to step with the right foot, which is at this moment in the air, with the right hand he casts the opponent’s sword aside to the Second Instance, as shall be shown in several places, below.
 
 
 
|Ayant mis le pied gauche à la Circonference au point C, il commence à ſouſlever ſur iceluy ſon corps, en eſlevant & avancant le pied droit, & hauſſant au meſme temps le bras avec l’eſpee en angle obtus; l’accouplant avec l’eſpee contraire en dehors du bras Nombre 6. au Nombre 5: ainſi qu’il eſt demonſtré à ſa pourtraiture. S’eſtant par ainſi appreſté à marcher du pied droit, qui eſt à preſent en l’air, à main doite, en aſſujettiſſant l’eſpee contraire à la Seconde Inſtance; comme il ſera monſtré cy apres en pluſieurs endroits.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|A note to the reader concerning this portrait of Alexander, that is does not match the description exactly. The left foot, which should be on the Circumference, is only about the middle of the Quadrangle. This was deliberate, so that it would not obscure the view of the figure behind, on the fourth Circle.
 
 
 
|Cependent Lećteur ſoyez adverti touchant la pourtrait de ceſt figure d’Alexandre, qu’elle n’accorde pas du tout à noſtre deſcription: car le pied gauche, qui devoit eſtre toucher la Circonference, ne vient qu’environ le milieu du Quadrangle; ce qui a eſté fait out expres, afin qu’il n’empeſchaſt la veüe de la figure, qui ſe tient derriere, ſur le plan quatrieme.
 
 
 
|- 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;"
 
 
 
|''Alexandre has, once again, started to make his second approach against the direct line posture, and proceeded to the point where he has raised his sword up next to his head, with the right foot raised to step (as shown in the previous Plate, Circle No 4). He is about to enter into range in the First Instance, turning, and advancing his sword in a line parallel to and above his opponent’s.''
 
 
 
|''Alexandre ayant recommencé à faire une ſeconde approche contre la droite ligne, & icelle pourſuivie juſqu’à porter l’eſpee à coſté de ſa teſte, avec le pied droit eſlevé (comme il eſt repreſenté au Tableau precedent Cercle N.4.) il entre icy en meſure à Premiere Inſtance, en tournant & avancant l’eſpee en ligne parallele au deſſus de l’autre.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|<font style="font-variant:small-caps">Zacharie</font> is again waiting in the direct line posture. <font style="font-variant:small-caps">Alexandre</font> came up to him in the following way, that is, he took three or four steps and held the sword at an acute angle, down and forward until he took a step with his left foot, which brought him within one pace of the Circle, so that the next step would put him into the First Instance. As he raised his right foot and stepped forward, he brought the sword up high, beside his head, holding the hilt in front of his shoulder, and the tip up behind. This is according to the explanation in Plate III. I shall now explain how he proceeds.
 
 
 
|Zacharie ſe tenant derechef en la posture de la droite ligne, Alexandre le vient aborder en la maniere ſuivante; c’eſt aſſavoir, qu’en ayant preallablement fait trois, ou quatre pas, & porté l’eſpee en avant en angle aigu, durant la demarche du pied gauche, par laquelle il s’eſt approché ſi pres du Cercle, qu’il pouvoit arriver deſormais en un pas à la Permiere Inſtance; conſequemment en eſlevant & avançant le pied droit, il a ramené l’eſpee en haut, à coſté de ſa teſte, tenant le pommeau d’icelle au devant, à la hauteur de l’eſpaule, & la pointe en derriere un peu hauſſée. Le tout ſuivant la declaration plus particuliere du Tableau III. Diſons maintenant comment il pourſuit à parachever le ſurplus.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|He puts his right foot down at the letter C, turning the tip of his blade behind. He turns his wrist with a slight drop of the arm, until he brings it parallel to and above his opponent’s sword.
 
 
 
|Le pied droit il met en terre à la lettre C, voltant la pointe de ſa lame en arriere: en touranant le poignet avec quelque petite deſcente du bras, juſques à la porter finalement par deſſus l’eſpee contraire en ce ligne parallele.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|So, we have two ways of approaching against a direct line position: one is shown in the first circle, the other in the fourth; of the two, the first is safest. Because what else is it, to hold the sword-tip behind or to the side at the moment one moves the right foot to step into First Instance in range of an enemy already on guard, if not to give him a clear chance to try a good stoccata thrust, a natural opening, close up, on someone who has put himself into a position to have to make an unnatural, rising defence with slower, bigger movements?  This is why I say, that this last method of approach by Alexander is quite a graceful way to move into First Instance, but too dangerous when coming into range, and that the first method is the best in all sorts of circumstances.
 
 
 
|Voilà donc deux manieres de faire ses approches contre la droite ligne: l’une qui est demonſtrée ſur le cercle premier, & l’autre ſur le quatrieme; dont la premiere eſt la plus ſeure. Car de porter ſa pointe derriere le dos, ou à coſté, cependant qu’on entre avec le pied droit en meſure, eſtant l’Ennemi ſur ſes gardes à la Premiere Inſtance, qu’eſt ce, ſinon luy donner un franc avantage de hazarder au meſme temps une bonne eſtocade, à tirer naturellement & de pres, ſur celuy qui ſe met en eſtat de faire ſa defenſe violentement contremont, avec des mouvements plus grands, & de plus loing? C’eſt ce qui me fait dire, que ceſte derniere operation d’Alexandre eſt aſſez gratieuſe pour ſe mettre le premier en poſture; mais trop dangereuſe pour entrer en meſure: & que la premiere c’eſt la meilleure en toute ſorte d’occurrences.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|A DISCUSSION ON THE SUPERIORITY OF THE DIRECT LINE
 
 
 
|DISCOVRS SUR L'EXCELLENCE DE LA DROITE LIGNE
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This Direct Line posture that we have described is flawless and superior to all other postures. For this reason, throughout the book, Zachary will usually adopt it for his defence. We give Alexander, who is his adversary, an infinity of opportunities to start from this, because it is the most adaptable, and consequently most useful for instruction, and for exercises for Scholars, than any other. I assure you, that anyone who knows how to handle himself against this posture will,  as well, fully understand how to face various other styles, whether against a single sword, or with weapons in the left-hand. By the end of the first book, we shall have seen so many of these postures and their counters, that all the rest can be easily worked out from the same lessons.
 
 
 
|C’eſt poſture de la Droite ligne, que nous venons de deſcrir, eſt la plus noble; & la plus parfaite, de toutes: à raiſon dequoy Zacharie s’en ſervira ordinairement en ce livre pour defenſe, en donnant à Alexandre, qui eſt ſa partie adverſe, une infinité de differentes occaſions, dont elle eſt plus capable, & conſequemment auſsi plus utile aux inſtrućtions, & aux exercises des Eſcholiers, que nulle autre. Vous aſſeurant, que celuy qui ſe ſçaura bien gouverner alencontre d’icelle, comprenra auſsi bien tant de diverſes manieres, ſoit qu’ils ſe ſervent de l’eſpee ſeule, ou qu’ils l’aſsiſtent auſsi de la main gauche. Deſquelles poſtures, & de leurs contraires, nous avons inſeré ſur la fin du premier livre telle quantité, que tout le reſte s’en pourra facilement rapporter aux meſmes leçons.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
| Concerning the use of postures, it is my estimation that, in the case of a friendly bout, that someone who knows how to properly present a Direct Line posture, needs no other, for his defence, as far as defense depends on posture. One can see how much this burdens an attacker, when used skillfully, to wait, to beat back, and to dominate even the most forceful attacks, even from the greatest swordsman, if he practises only the old styles. But when it comes to serious swordplay, and above all when life is in danger, there is no guard, neither high nor low, neither distant or close, no body position, no special way of gripping the sword, that could make this better. It is true that this book is filled with examples of Direct Line postures, but this is for instruction. When it comes to practice, I wish that our scholar should abandon all that, and that he take upon himself the same expessions and attitudes as those who have elegant fighting styles, whether his enemy is standing in a posture, advancing, or using his sword. He shall continue to move, using a frank, natural pace, to one or the other of the two sides, always avoiding the Diameter Line, where the Enemy stands erect, and always keeps, to the extent possible, the bodies, the Diameters, the positions, and movements in an unequal state. Because to work against an adversary, one must have an advantage, and to have an advantage, one must have inequality. Between things that are equal, being equal, there is no prerogative. As soon as he comes into range, he must make sure of his adversary’s sword, attacking it to throw it aside, or control it, or to cover it, or using it to conveniently guide his critical thrusts. He must continually step without interruption. Of course he must adapt to different circumstances, but never plant his feet on the ground as if in a posture, except when safely and securely inside his opponent’s line while at the same time executing an opportunistic strike. Then, and only then, he may break the continuous flow of motion, but absolutely not before this. Because a body in motion is also quicker to change and adapt its movements to all occasions, than one frozen in a posture, and because, as much as to take command of the situation, one must first begin to take action, which makes you ready to turn, return, step aside, avoid, and, in sum, make all the required moves promptly, with swiftness and ease.
 
 
 
| Touchant l’uſage des poſtures, j’eſtime, s’il eſt queſtion de tirer des armes par courtoiſie, celuy qui ſçaura bien preſenter la droite ligne, n’en avoir beſoin de nulle autre, pour ſa defenſe, ſi la defenſe depend deſ poſtures; voire qu’elle ſera baſtante à celuy, qui en ſçaura dextrement uſer, pour attendre, rabatre, & domter touts les plus rudes aſſauts, meſme du plus grād tireur d’armes, moyennant qu’il ne pratique que le vieil ſtile. Mais quand il ſeroit queſtion de tirer à bon, & ſur tout, quand il y iroit de la vie, il n’y a nulle garde, haute ne baſſe, longue ne courte, nulle poſture de corps, nulle tenue d’eſpee, & fuſt elle qualifiée de touts les avantages poſsibles, en laquelle on ſe doive arreſter pour attendre. Il eſt vray, que ce livre eſt grandement rempli des poſtures de la droite ligne; mais ce n’eſt que pour donner inſtrućtion. Quand ce viendra à l’a Pratique, je veux que noſtre Eſcholier abandonne tout celà; & qu’il tienne, quant à luy, la meſme contenance & les mines de ceux qui ſe donnent l’aſſaut à bon eſcient, ſoit que l’Ennemi ſe tienne arreſté en poſture, ſoit qu’il s’avance, ou qu’il travaille. Il continuera touſiours à cheminer, en uſant d’une demarche franche & naturelle, vers l’un ou l’autre des deux coſtez, fuyant ſur tout la ligne du Diametre, où le corps de l’Ennemi eſt dreſſé, & tenant perpetuellement, tant qu’il ſera poſsible, les corps, les diametres, inſtances, & mouvements en deſgalité. Car pour bien travailler ſur l’Adverſaire, il faut de l’avantage; & pour avoir de l’avantage il faut de la deſgalité; eſtant impoſſible qu’entre choſes egales, entant qu’egales, il y ait aucune prerogative. Si toſt qu’il viendra à meſure, il s’aſſeurera de l’eſpee contraire, en l’attaquant pour l’aſſujettir, ou obliger, ou en la couvrant, ou en tirant au long d’icelle des eſtocades de premiere intention, s’il en a la commodité; continuant touſiours ſa demarche ſans nulle interruption: vray eſt qu’il ſe comportera diverſement ſelon la diverſité des occaſions; mais jamais ne plantera les deux pieds enſemble en terre en forme de poſture, ſi ce n’eſt quand il ſe mettra dedans la ligne de l’eſpee contraire en lieu ſeur & libre, en executant au meſme temps le coup qui ſera donné ſelon l’exigence. Là luy eſt permis de rompre aucunement la courſe de ſes aćtions, mais point devant; à raiſon que le corps qui eſt en aćte de ſe mouvoir, eſt auſsi plus prompt à changer & accommoder ſes mouvements à toutes occaſions, que non pas quand il ſe tient arreſté en poſture. Car auſsi bien pour l’avoir à commandement, on eſt contraint de le met~re premierement en branſle, qui luy ſert d’une preparation pour ſe diſpoſer à ſe tourner, retourner, virer, & en ſomme à faire toutes ſes affaires avec viſteſſe, promptitude, & facilité requiſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Enough concerning postures in general. Let us return now to the subject of the Direct Line. As I have said, it is the best posture of all, and I shall now prove how True this statement is. All the postures that try to avoid contact with the blade before striking (these are the ones which get away from presenting the sword in a straight line) can be made useless, by taking aim at them when you make the first strike. Thus the enemy is hit, or he is forced to parry, and in parrying, he uncovers some new part of himself. This way, if one threatens with the tip it will force him out of his posture, and enter into a labyrinth of strikes and counters. This is also the reason why those who use these postures, recognizing through experience their defects, only half-trust them, relying on the dagger in their left hand to fight. Which shows how little confidence they have, and how little knowledge, of the power of the sword. They do not know it is sufficient by itself, it is all that is needed to attack and defend. But what am I saying? One should not be surprised, if those who have no interest in the science of fighting with weapons try to become very fast only through long and continual practice, and so they may succeed by overcoming and beating their opponents, rather than constraining them, not understanding the secrets of such an impressive shield.  Nothing they do is founded on true reason and solid theory, but in simple and badly-founded practice, so that comparing their Fencing to the True Art of Wielding Arms, is like elevating a manual of mechanics to be equal to mathematical ingeniousness. The first are content merely to produce an effect, even if it is by chance, and the others champion nothing that is not built upon infallable rules.
 
 
 
|Voilà touchant les poſtures en general; retournons à la Droite ligne; & puis que nous venons de dire, que c’eſt la plus parfaite de toutes, faiſons paroiſtre ceſte verité par bonnes preuves. Toutes les poſtures qui ne contraignent pas de toucher la lame, avant que de tirer, (ce ſont celles qui s’eſloignent de preſenter l’eſpee en ligne droite) on les peut rendre inutiles, en tirant deſſus pour fraper tout du premier abord; dont l’Ennemi en demeure atteint, ou il eſt contraint de parer, & en parant il ſe deſcouvre touſiours en quelque nouvel endroit du corps; de façon que ſi on dreſſe là ſa pointe, on le fera ſortir de ſa poſture, & entrer en un labirinthe de parades. C’eſt auſsi la cauſe, pourquoy ceux qui uſent de ces poſtures, en recognoiſſants par experience l’imperfećtion, ne s’y fient qu’à demi prennants recours à l’aſsiſtance de la main gauche. En quoy ils demonſtrent bien le peu d’eſtime, & le peu de cognoiſſance, qu’ils ont, du grand pouvoir de l’eſpee; ne ſachants pas qu’elle eſt ſuffiſament qualifiée d’elle meſme, de tout ce qui eſt requis & à donner l’aſſaut, & à faire la defence. Mais que di-je? Il ne ſe faut pas eſtonner, ſi ceux qui n’aſpirent à aucune ſcience des armes, ains ſeulement taſchent de parvenir par longs & continuels exercices à une viſteſſe du corps, & du bras, dont ils ſe puiſſent prevaloir, en prevenant & abuſant leurs Contraires, plus toſt que de les contraintre, ne comprennent pas les ſecrets d’une Armure ſi noble; & que tout ce qu’ils font n’eſt fondé en aucune raiſon de vraye & ſolide Theorie, mais en ſimple & mal aſſeurée Pratique, de façon que de vouloir comparer leur Eſcrime au vray Art de manier les armes, c’eſt tout autant que de mettre en parangon le manuel des œuvres Mechaniques avec les inventions des Mathematiques; dont les unes ſe contentent d’obtenir ſeulement l’effećt, encor que ce fuſt par hazard; & les autres n’advouent rien pour bon qui ne ſoit fondé ſur des regles infallibles.
 
 
 
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|Thus, to understand the superiority of the Direct Line, the foremost of all the postures, let us consider that the body is in an entirely natural position, convenient and ready to work, to move in all directions equally: forward, backwards, left, and right, extending, or shortening the paces as needed, with no other preparation, having the arm and sword out in front in a straight line, and ready to parry all sorts of thrusts, cuts, and back-cuts, without using any excessive motions against them. Observe how the head, shoulders, and trunk down to the pectorals are covered by the guard. So well, that the enemy cannot attack them, not in passing the tip, which is the weak part of the sword, over the guard, which is the strongest part of the sword. It can be compared to a town’s boulevard, or a fortress, built to withstand a large army with a small garrison. Because if your enemy should chance to take aim at these above-listed body parts, as soon as your eye catches the beginning of his movement, you prepare to defend against him, to receive the weak part of his blade with the crosspiece of your guard, at about the 3rd or 4th Span, before the point can pass or reach your elbow. As you continue to progress along the blade, you move forward and flank him from a little bit aside the Diameter. In this way he will be forced to withdraw from the direct line which you will now control, and all you will need to do is put the point between his eyes, stopping out of courtesy or driving home in anger, as you desire.
 
 
 
|Pour donc comprendre l’excellence de ceſte Droite ligne, la premiere de toutes les poſtures; conſiderons qu’elle retient le corps en une ſituation du tout naturelle, & commode, & diſpoſée à travailler, & à ſe tranſporter de toutes parts egalement; en avant, en arriere, à droite, & à gauche, en allongeant, ou en raccouciſſant la demarche, ainſi que bon luy ſemble, ſans nulle autre preparation: ayant le bras & l’eſpee avancez en ligne droite, & appreſtez à parer toute ſorte d’eſtocades, eſtramaçons, & revers, ſans uſer alencontre d’aucuns mouvements extremes. Voire que la teſte, & les eſpaules, & la poitrine juſqu’à l’endroit des tetins, y ſont couverts de la garde; ſi bien que l’Ennemi ne les peut offenſer, ſi non en paſſant de ſa pointe, qui eſt le foible de l’eſpee, du long de la garde, qui en eſt le fort: & à bon droit ſe compare à un boulevart de ville, ou à une fortereſſe, baſtante à ſouſtenir l’effort d’une grande armee avec bien peu de gens. Que s’il advient donc, que l’Ennemi ſe hazarde de tirer vers les parties ſuſdites, tout à l’inſtant que vous appercevrez à veue d’œil le commencement de ſon mouvement, vous ferez voſtre preparation alencontre, pour accueillir de la branche voſtre garde le foible ſa lame à Nombre 3. ou 4. avant que ſa pointe puiſſe arriver, ou paſſer l’endroit de voſtre coude; en continuant à la graduer, & vous avancer & flancquer ſur luy un peu à coſté le Diametre; en ſorte qu’il ſera contraint de vous quitter la droite ligne, laquelle vous demeurera franche, & ne tiendra qu’à vous, de luy mettre la pointe devant les yeux, en l’arreſtant par courtoiſie, ou de l’executer par rigueur, ſelon voſtre appetit.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|For one who percieves the lack of advantage he would have by coming so close to your guard, either to the inside or the outside of the arm, he might try to hit you in the stomach, by dropping the point. He would not be considering the fact that the more he moves off the straight line towards the closest open place, the more he loses from the length of his sword, which is why by doing this, he is giving you more time to see, observe, and judge all his moves. You will have little other to do than fold the stomach while leaning the torso forward, and placing the tip of your sword on his shoulder. Because by doing this, if you are equals, if you have likewise equal swords, your Direct line will be able to hit him, while his tip will still be at least a foot away from you. Thus all these operations, along with several others, which demonstrate so clearly the advantages of this posture, are shown in Plate V, which shall serve in this regard as proof of the Direct Line, as it shall be, in the majority of the Plates that follow, the principal subject of the exercises.
 
 
 
|Que ſi en recognoiſſant le peu d’avantage, qu’il auroit à venir ſi pres de voſtre garde, tant en dehors, comme en dedans du bras, il taſche à vous fraper au ventre, en abaiſſant la pointe; ſans conſiderer qu’autant qu’il s’eſloigne de la droite ligne, & du plus prochain endroit de l’attouchement, qui eſt voſtre eſpaule droite, autant il perd ſur la longueur de ſon eſpee, à raiſon dequoy il vous donne auſsi plus de loiſir de voir, diſcerner, & juger touts ſes mouvements: vous n’aurez autre choſe à faire, ſinon de creuſer au meſme temps un peu le ventre, en panchant de la poitrine ſur le devant, & aſſituant la pointe de voſtre eſpee à ſon eſpaule. Car en ce faiſant, ſi vous eſtes egauz, & que vous ayez pareillement les eſpees egales, voſtre droite ligne le pourra toucher, lors que ſa pointe ſera encor eſloignée de vous de plus d’un pied de diſtance. Or toutes ces operations avec quelques autres, qui demonſtrent ſi clairement les avantages de ceſte poſture, ſeront repreſentées au Tabl.V. qui nous ſervira pour ceſt eſgard d’une preuve de la droite ligne, comme de celle qui ſera en la pluspart des Tables ſuivantes le principal ſujet de l’exercice.
 
 
 
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|Some wish to approach this posture with feints from a distance and out of range, following the ordinary practice of the old mode, and trying, by these means, to confuse the Adversary, to be able to hit him while he is uncovered. All of this is nothing, as much as the Direct line is sufficient to defend oneself, such that one does not need to move oneself against these feints, any more than a horse stops at the yapping of a small beast. But if he dares come into range with his feints, and his blade passes your guard as far as Span 2, 3, or 4, either inside or outside, thinking to make you parry and move your sword to the side, he, himself, runs the risk of receiving rather than giving, if you, yourself, approach him in a Direct Line, at the same instant that he approaches, keeping your sword moving forward in a straight line. He can hardly keep from being wounded himself.
 
 
 
|De voulouir aborder ceſte poſture avec des feintes tirées de loing & hors de meſure, ſuivant l’ordinaire de la vieille mode, en taſchant par icelles de mettre l’Averſaire en confuſion, pour le fraper au deſcouvert de ſes arme: tout cela n’en eſt rien, d’autant que la droite ligne eſt ſuffiſante à s’en defendre d’elle meſme, de ſorte qu’elle ne ſe doit mouvoir à l’occaſion de telles feintes, non plus qu’un cheval ne s’arreſte à l’abbayement temeraire de quelque petite beſtiole. Mais s’il oſe entrer avec ſes feintes en meſure, & paſſer de ſa lame voſtre garde juſqu’aux Nombres 2. 3. ou 4. ſoit en dehors, ſoit en dedans, penſant de vous faire parer & eſcarter voſtre eſpee; il courra luy meſme grand fortune de recevoir au lieu de donner, ſi vous vous approchez devers luy à meſme grand inſtant qu’il s’approche, en continuant à advancer ſeulement voſtre eſpee en droite ligne: car à peine ſe pourra il garder de ne ſe bleſſer luy meſme.
 
 
 
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|If, to clear your sword from the line, he attacks in the ancient style, either inside or outside, to engage he advances, one foot or the other, at the same time, along the Diameter, so as to come within range to hit you, in order to do this, he will need to create some great opening by moving his tip so far away from you, that he will deprive himself of all defense, and will make himself a target for various thrusts and cuts, as shall be satisfactorily shown, below.
 
 
 
|Si pour faire ſortir voſtre eſpee de la ſituation, il la vient attaquer à la mode ancienne, en dehors ou en dedans, pour l’engager, en avançant quand & quand l’un ou l’autre des pieds ſur le Diametre, afin de gagner la meſure de vous pouvoir toucher; il luy ſera beſoing pour trouver ceſt effećt de faire avec ſon eſpee une grande ouverture, en eſcartant la pointe ſi loing de vous, qu’il ſe prive luy meſme de toute defenſe, & ſe mette en bute à pluſieurs coups de pointe & de taille, comme il ſera monſtré en la dedućtion de ces eſcrits, à voſtre entier contentement.
 
 
 
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|He might use another means, to attack you. He will try to bring his blade under yours, by bending his body and moving the right arm forward, together with the left hand, hoping to get close enough to your tip to beat it, and then hit you with a thrust in second time. If he makes his approach in this manner, here is the solution. At the same instant that he moves into place, where he hopes to beat aside your tip, you must likewise close on him, stepping a bit outside on the right hand side, putting yourself on the right side, the tip up, the guard down, to protect your lower areas. When this preparation is skillfully done, whether he follows up with an attack or whether he stays on guard, you will have the means to hit your target. These and other such proofs will be explored in Plate XXVII, where you will likewise find the reasons, drawn from fine, clear, and self-evident demonstrations.
 
 
 
|Il pourra uſer d’encor une autre pratique, pour vous aſſaillir. c’eſt qu’il viendra porter ſa lame deſſous la voſtre, en courbant le corps, & avançant le bras droit, enſemble avec la main gauche, en eſpoir de l’approcher aſſez pres de voſtre pointe, pour le battre, & puis vous tirer une eſtocade au ſecond temps. S’il fait ſon approche en ceſte maniere, en voycy le remede. Au meſme inſtant qu’il entre ſur le lieu, où il s’attend de vous battre la pointe, il faut que vous entriez pareillement deſſus luy, en marchant un peu en dehors à main droite, vous mettant ſur le coſté droit, la pointe montante, & la garde baſſe, pour vous en couvrir les parties inferieures. ceſte  preparation eſtant d’extrement faite, ſoit qu’il pourſuive à travailler ſur vous, ſoit qu’il demeure ſur la parade, vous aurez moyen de le toucher à voſtre poſte. Telles & ſemblables preuves ſeront propoſées au Tabl. XXVII. où vous en trouverez pareillement les raiſons, tirées de demonſtrations autant evidentes, & certaines, que belles, & admirables.
 
 
 
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|One could suggest even more proofs of the Direct Line if these are not obvious enough to let you know that this is the finest, and most secure of all the positions with regard to defense. It is true that those who are not adept at this Exercise, cannot use this to defend themselves against the above-described proofs, but the imperfection of their ignorance should not become a prejudice against the perfection of this posture. The fault is in those who do not know how to apply this at the proper timing and distance, which is easy for others. However much we praise and applaud this, that is not to say that there aren’t a number of ways to work against it, even gaining some advantage. But I conclude it would be very difficult, even impossible, for all those who have not seriously trained in the principles that make up our system. The principal reason comes from the fact that the tip of the sword, when in the Direct line, is so strong in the face of the adversary, that he does not know how to work against it, except by diverting from his situation. For this reason he is constrained to cross swords, and thereby give you the means to know his intent by the feel of the weight and force he uses. This is an advertisement of his plans, and a rule for contrary actions. By this way, this posture is like a closed room, where one cannot enter without the goodwill of the master of the house. So one is constrainted to strike against him, to come in. All the other positions, as they all are, even that of the obtuse angle, are like open rooms, where one can rummage around however one likes. For one can hit their body, without running into their sword. It follows then, that the difficulty of working against the Direct line is entirely evident. Thus one must also conclude that one’s adversaries will need to be very talented and able, which is why, as much because one is able to use it in a wide variety of occasions, we chose it to train our scholar. So that, having first learned to overcome this difficult point, he will be even easily able to work through the rest, which will be for him but the least amount of effort.
 
 
 
|L’on pourroit propoſer encore d’autres preuves de la Droite ligne, ſi celles cy ne fuſſent baſtantes pour donner à cognoiſtre, qu’elle eſt la premiere, & la plus ſeure de toutes au regard de la defenſe. Il eſt vray que ceux qui ne ſont pas adroits en l’Exercice, ne ſe pourront pas defendre avec icelle contre les ſuſdites preuves; mais l’imperfećtion de leur ignorance ne doit tourner en prejudice à la perfećtion de la poſture. la faute en ſera en ce qu’ils ne la ſçauront appliquer aux temps & aux diſtances, qu’elle demande; ce qui ſera facile aux autres. Or quoy que nous la priſons & exaltions tant, ce n’eſt pas pourtant à dire, qu’il ne ſe trouve aſſez de moyens de travailler alencontre, meſmes avec avantage: mais nous jugeons que cela ſera tres difficile, voire impoſſible à touts ceux qui ne ſe ſeront exercez ſerieuſement en la meſme pratique de nos preceptes. Dont la cauſe principale giſt en ce, que la pointe de l’eſpee ſituée en ligne droite, eſt ſi fort en preſence à l’Adverſaire, qu’il ne ſçauroit travailler, ſinon en la divertiſſant de ſa ſituation. à raiſon dequoy il eſt contraint de venir à l’attouchement, & de vous preſenter le moyen de cognoiſtre par le ſentiment le poids & la force, dequoy il uſe. qui eſt un advertiſſement de touts les deſſeins, & une reigle de toutes les aćtions contraires. De maniere que ceſte poſture reſſemble à une chambre fermée, où lon ne peut entrer ſans congé du maiſtre de la maiſon; ains eſt on contraint de fraper à l’huis, pour entrer avec permiſſion. Toutes les autres, tant qu’il y en a, meſmes celle de l’angle obtus, reſemblent à une chambre ouverte, où on ſe peut fourrer dedans maugré qu’ils en ayent: car on leur peut toucher le corps, ſans venir à l’eſpee. S’enſuit donc que la difficulté de travailler ſur la droite ligne eſt toute evidente. dont il faut auſſi conclure, que ſes contraires ont beſoing de plus grand artifice: pour laquelle cauſe, comme auſſi pour ce qu’elle eſt capable d’une grande varieté de diverſifier ſes occaſions, nous l’avons choiſie, pour y exercer noſtre Eſcholier; afin que ayant premierement rompu ceſte pointe de difficultez, il ſe rende en apres tant plus aiſement capable de foncer tout le ſurplus, qui ne ſera que la moindre partie de la beſogne.
 
 
 
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|All that we have discussed up until this point has been concerned with the superiority of the Direct line with respect to the sword. We now shall speak more particularly with regard to the feet. Because the feet [moderate] all movement, extending or shortening steps, speeding them up or slowing them down, the lift, raise, lower, and straighten the body, there is nothing more necessary than to understand how they are used in the most convenient and natural way, so as to always be at the closest possible distance at all times. This is the situation: Zachary is waiting, right foot on the outside edge of the Quadrangle that runs X-Y with his toes on the circumference of the Circle at X and the left foot along the Pedal Line. Alexander is also standing with his feet at the opposite end of the diagram, his right foot on the side of the Quadrangle that runs C-B, likewise with his toes at C and his left foot on the Pedal Line at A. All this is clearly is clearly shown in the diagram of Circle No 1 in Plate I where we have shown through the footprints how the two adversaries should stand in the First Instance. This is what we call the true foundation of all the ranges, and the single beginning of all attacks and defenses. This arrangement of the feet is not only correct to present your sword while in the Direct Line posture, but also to keep your body slightly tense, naturally ready for any changes, and to move easily (which is the function of the feet) from one place to another.
 
 
 
|Par ce qui a eſté diſcouru juſqu’à preſent, a eſté demonſtrée l’excellence de la Droite ligne au regard de la tenue de l’eſpee: maintenant nous en parlerons auſsi plus particulierement au regard de la ſituation des pieds. Car puis que les pieds moderent touts les mouvements, allongent les pas, les raccourciſſent, les haſtent, ou les retardent, ils ſouſlevent, hauſſent, baiſſent, redreſſent le corps, il n’eſt rien plus neceſſaire, que de bien entendre, quelle en eſt la ſituation la plus commode & naturelle, afin de s’en eſloigner le moins, qu’il eſt poſsible, en toutes ſes aćtions. Or voicy la ſituation dont nous parlons: Zacharie ſe tient planté, le pied droit ſur le coſté exterieure du Quadrangle XY. en touchant de ſes orteils la Circonference du Cercle à la lettre X. & le pied gauche ſur la ligne Pedale. Alexandre tenant auſſi les pieds de meſme à l’autre bout du plan: le pied droit ſur le coſté du Quadrangle CB. en touchant pareillement la lettre C. & le pied gauche ſur la Pedale A. le tout ſe voit plus clairement tracé en figure plane au premier Cercle du Tabl. I. où nous avons exprimé par la repreſentation des pieds, comment parties ſe doivent mettre ſur la Premiere Inſtance: laquelle nous tenons pour le vray fondement de toutes les meſures, & pour l’unique entree de touts aſſauts & defenſes. Ceſte ſituation de pieds n’eſt pas ſeulement propre pour l’effećt de preſenter l’eſpee en ligne droite, mais auſsi pour tenir les forces touſiours unies & le corps naturellement preſt à touts changemens, & à ſe tranſporter aiſement (qui eſt le propre office des pieds) de l’une place en l’autre.
 
 
 
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|If you wish to see the proof, leave the left foot where it is, on the Pedal Line, and turn the heel of your right foot inside, along the extended Diameter, leaving your toes at C without changing anything, the sword and arm extended in a straight line above the Diameter. I tell you that you will find the limbs of the upper body straining against the limbs of the lower body. You will find it very difficult to keep the sword in the same line. Furthermore, when trying to move the right foot to the Second Instance, either to the left or to the right, it cannot be done without being forced to turn the foot in mid-step, into its true aspect, as it was at first. Otherwise the pace would be cramped and slow. It is true that if you change the foot as just described you will increase the force of the sword to the outside. If the enemy tries to cross your sword from that side, either to carry it away or throw it off, you can resist him with less force, if you are holding your sword as we described. But as much as it is useful against the outside line, it is that much less useful to the inside, because as much as the force is increased to one side, it is weakened on the other.
 
 
 
|Si vous en demandez la preuve. Laiſſez le pied gauche, ainſi qu’il eſt, ſur la ligne ordinaire; & tournez ſeulement le talon du pied droit en dedans ſur le Diametre prolongé, laiſſant les orteils à la lettre C. ſans varier, le bras eſtendu avec l’eſpee en ligne droite au deſſus du Diametre. je di qu’en ce faiſant vous ſentirez que les membres de la partie ſuperieure du corps conteſteront contre les membres de la partie inferieure; & qu’à grand peine pourrez vous continuer à tenir l’eſpee en la meſme ligne. D’avantage en cheminant avec le pied droit vers la Deuxieme Inſtance, ſoit à main droite, ſoit à gauche, il ne ſe pourra faire, que vous ne ſoyez contraint de tourner le pied environ la mi voye en ſa vraye ſituation, où il avoit premierement eſté. autrement la demarche en ſera plus moleſte, & plus tardive. Il eſt vray que le changement du pied, eſtant fait en la forme dernierement dite, vous augmentera la force de l’eſpee par dehors; & que ſi l’Ennemi la vient toucher de ce coſté là, pour l’emmener, ou pour l’aſſujetir, vous luy pourrez faire reſiſtence avec moins de force, qu’en le tenant ſelon la forme de noſtre deſcription: mais autant que cela vous ſera profitable en dehors, autant il ſera nuiſible en dedans: car à meſure que la vigueur ſe reforce de l’un des coſtez, autant elles s’affoiblit de l’autre.
 
 
 
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|For the second proof, do like this. Leave the left foot where itis, turning the heel of the right foot outwards, until it is on the Circumference of the Circle. By doing this, I tell you, that if the Enemy tries to contact your sword to the inside to throw it off, or move it aside, it will be very easy for you to resist, because of the increased force to the inside. But in exchange, you will be equally weakened to the outside. In summary, the situation is exactly the opposite of the previous one, and the effects are exactly opposite.
 
 
 
|Pour la ſeconde preuve, faites ainſi. Laiſſez le pied gauche, & tournez ſeulement le talon du pied droit en dehors juſqu’à la Circonference du Cercle. En ce faiſant, je di, que ſi l’Ennemi vient toucher voſtre eſpee en dedans pour l’aſſujetir, ou pour la tranſporter, il vous ſera tres-facile de luy reſiſter, à cauſe de l’accroiſſement de la force en dedans: mais en eſchange vous ſerez d’autant plus affoibli en dehors. Somme ceſte ſituation du pied eſtant direćtement contraire à la precedente, auſſi les effećts en ſont du tout contraires.
 
 
 
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|Another proof. Leave the right foot where it is, and turn the toes of the left foot inwards onto the  Extended Diameter, without moving the sword off the Direct Line. I tell you that by doing this, apart from the discomfort to the body that comes from the twisting of the limbs, if the Enemy tries to attack you from inside, he will have the advantage. For, just as the position of the feet weakens the sword, it also turns the whole body rightwards, to the outside.
 
 
 
|Autre preuve. Laiſſez le pied droit immobile, & tournez ſeulement les orteils du pied gauche en dedans ſur le Diametre prolongé, ſans ſortir l’eſpee de la droite ligne; je di qu’en ce faiſant, outre le mal-aiſe du corps, procedant du retorſement des membres; ſi l’Ennemi vous vient attaquer par dedans, il ye trouvera de l’avantage: d’autant que le dedans de l’eſpee eſt affoibli par la ſituation des pieds, eſtant le corps incliné de luy meſme à ſe tourner en dehors à la main droite.
 
 
 
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|The contrary will happen if you turn the left foot outwards, with the toes back along the Extended Diameter, while leaving the sword in the direct line, as before. For apart from the discomfort of the posture, the sword will be weakened to the outside, which means you cannot resist on that side, except with difficulty. Because the arm of the sword will be forced by the location of the foot and the tension on the muscles of the left leg, to turn to the left.
 
 
 
|Le contraire en aviendra, ſi vous tournez le pied gauche en dehors, avec les orteils en arriere ſur le Diametre prolongé, laſſant l’eſpee en ligne droite, comme au paravant. Car outre le malaiſe de la poſture, l’eſpee ſera tellement affoiblie par dehors, que vous n’en pourrez faire aucune reſiſtence de ce coſté là ſi ce n’eſt avec grand travail: à cauſe que le bras de l’eſpee ſera comme forcé, par la collocation du pied & des muſcles de la jambe gauche, à ſe tourner devers le coſté gauche.
 
 
 
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|We have described situations that are, admittedly, extreme. It would be unusual if someone placed their feet down in such a disorderly way that we have described. But that is not really the problem. Anyone who fully understands the greater possible faults will be able to understand as well the subtler ones, providing they can be shown through the same means. What we have done is to make obvious the difference in strengthening and weakening according to the position of the feet. As to the use of these proofs and even the precepts, it is completely obvious: the knowledge of how to attack the adversary’s sword on the side which will be weakest. Furthermore that the weak can not resist, and will be overcome by its opponent. The strong can modify all its actions with a little work, the weak is restricted to giving up chances to be hit in various ways, to anyone who knows the value of sensitivity, as shall be explained further in our Plates.
 
 
 
|Nous avons deſcrit ces examples aſſez extremes. car de vray il aviendra peu ſouvent, que quelquun plante ſes pieds ſi deſordonnement, comme nous venons de prepreſenter. mais il n’y a point de difficulté en cela; car qui entendra bien les fautes plus lourdes, il comprendra auſſi bien toſt les plus ſubtiles, moyennant qu’elles puiſſent eſtre deſcouvertes par les meſmes preuves: ce que nous en avons fait, c’à eſté afin que la difference du renforcement & de l’affoibliſſement en fuſt d’autant plus evidente. Quant à l’uſage de ces preuves & des preceptes meſmes, il eſt tout manifeſte: c’eſt aſſavoir, de monſtrer la maniere d’attaquer l’eſpee contraire par le coſté qui ſera plus foible. d’autant que le foible eſt incapable de reſiſter, & preſt à eſtre ſurmonté de ſon contraire. le fort peut moderer toutes ſes aćtions avec un peu de travail: le foible eſt contraint ſomme à donner occaſions de bleſſer en pluſieurs manieres, pour celuy qui cognoiſt la valeur du ſentiment: comme il ſera declaré en la ſuite de nos Tableaux.
 
 
 
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|One must also observe the correct space between the two feet. This is shown clearly enough by the lines in the Quadrangle. If one stands otherwise, for example, with feet together  and one tries to raise the right foot to take a step forward, the centre of mass must stay on the left foot, and will be forced to perform some other preparation (for example leaning the body forward) to give his pace impetus before he moves.  Which is a superfluous move and noticeable warning to the enemy who can see what you are about to try.
 
 
 
|Il faut auſſi obſerver en ceſte ſituation des pieds la juſte eſpace qui eſt entre deux; qui eſt repreſentée aſſez clairement par les lignes du Quadrangle. Car ſi on met autrement, par exemple à pieds joints, & qu’on commence à lever le pied droit pour marcher, le centre du corps demeurera ſur le gauche, & ſera on contraint d’y adjouſter encor quelque autre preparation (comme depancher le corps un peu en avant) pour luy donner ſa courſe, devant qu’il chemine. Qui eſt un mouvement ſuperflu, & un remarquable advertiſſement à l’Ennemi pour deſcouvrir & prevenir toutes vos entrepriſes.
 
 
 
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|All this is without considering how firmly the body stands when the feet are the proper distance apart. When they are, one need only lift the forward foot when one wishes to take a step forward. The body will move of its own accord, so that, rather than needing to be moved, it needs instead to be stopped from moving.
 
 
 
|Sans compter que le corps ſe tient encores beaucoup plus ferme, quand on a les pieds en juſte diſtance; laquelle eſtant prinſe, il ne faut que lever tant ſeulement le pied de devant, quand on veut marcher. car le corps ſe preparera de luy meſme à partir du lieu, de ſorte qu’il ſera pluſtoſt beſoing de le retenir, que de l’inciter d’avantage.
 
 
 
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|The basis of all this discussion consists of that the position of the feet is entirely natural. I admit that, one might, nonetheless, object that at the beginning of the exercise, one needs to carefully place the feet on their lines, in the required form. But this is at the beginning of the exercise, and for those who are not accustomed to it. The difficulty is not from the fact that this is not entirely in accordance with a natural posture, as much as the fact that these actions are not customarily practised in this way, and accompanied by such movements. Thus it is easy to prove, following the way I practised myself several times with those who steadfastly held to a contrary opinion. In the middle of the dispute, I  stepped away, five or six paces. Then, I immediately called them over, as if I wanted to show them something new, then asked them to stop, suddenly, in place, without moving their feet. They always found that the majority of those who held their bodies erect and with knees straight, had their feet placed exactly as I have described. Often, this was enough to end our disputes.
 
 
 
|Le fondement de tout ce diſcours conſiſte en ce, que ceſte ſituation des pieds eſt toute naturelle. On me pourra cependant objećter, qu’au commencement de l’exercice, on y trouve bien de la beſoigne, tant pour bien porter & tenir l’eſpee en ligne droite, comme auſſi à planter chaſcun des pieds ſur ſa ligne, & en ſa forme requiſe. Ie le confeſſe; mais c’eſt au commencement de l’exercice, & à ceux qui n’y ſont pas accouſtumez. La difficulté ne depend point de ce que la choſe ne ſoit du tout accordante à la nature, ains de ce que ces aćtions ne ſont point accouſtumées d’eſtre pratiquées en telles occurrences, & accompagnées de tels mouvements. Dont il eſt aiſé de faire la preuve, ſuivant ce que j’en ay pratiqué moy meſme à pluſieurs fois entre ceux qui ſouſtenoyent fort & ferme le contraire de ceſte ſituation. Au milieu de la diſpute je me retiray cinq ou ſix pas à l’eſcart; puis à l’improviſte je les appellay à moy, en faiſant ſembland de vouloir dire ou monſtrer quelque choſe nouvelle, les priant de s’arreſter tout court en leurs places, ſans bouger des pieds. Fut touſiours touvé que la plus part de ceux qui tenoyent le corps perpendiculaire, & les genoux roides, avoyent les pieds ſituez ſelon la forme de noſtre deſcription: de ſorte que ceſte preuve a ſouvent terminé nos diſputes.
 
 
 
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|This, then, is how we intend to use Nature as our guide everywhere, rejecting all unnatural movements and all extreme postures, which have been used in the past among those who practised the profession of arms. All our precepts are drawn from observations of Nature herself, to benefit from the help she offers, and so follow the path to the highest degree of perfection.
 
 
 
|Et voilà comment nous pretendons de ſuivre partout la Nature pour guide, rejettants touts movements violents, & toutes les poſtures extremes, qui ont eſté pratiquées par le paſsé entre ceux qui faiſoyent profeſſion des armes. Touts nos preceptes ſeront tirez des obſervations de la Nature meſme, pour l’aſſiſter du ſecours qu’elle meſme nous offre, & l’acheminer au plus haut degré de ſa perfećtion.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant:small-caps;"
 
 
 
|A DISCUSSION ON THE USE AND SUPERIORITY OF THE FIRST POSITION,
 
 
 
along with the means of changing it to accommodate various sizes of swords.
 
 
 
|DISCOVRS DE L'VSAGE ET EXCELLENCE DE LA
 
 
 
premiere instance, avec la maniere de la changer et accommoder selon les diverses mesvres des espees.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This is enough about the posture. Now let us speak briefly of the range, at which the two parties stand on the four Circles of this Plate. The distance is such that when they each present their swords in the Direct Line, they are both the same distance. This is the First Instance, the true start of the play, at which the two parties are at a proper distance, and totally propotioned to their bodies and weapons. Not too far, because they can hit the enemy in slow time, not too close because they have enough time to defend against an attack from their adversary. Those who ignore this range, who hold themselves further away than they should, who, if they wish to move in closer inevitably put themselves into danger before they can reach their intended distance. This is why in all the discussion about this exercise, knowledge of this range will be our guide, to reach the distances proportional to our intended actions. As such it will be like a turret from which we may discover the intended actions of our adversary. Of course it is understood that any actions of the sword must pass through this First Instance before they can reach the body. All of the thousands of sequences of moves, the ways in which the play can go, start, properly speaking, from this position. In the end, this is the compass which shows us, amid the tempestuous waves of this sea, the course we must take, to arrive at the port of Victory. But that is enough for the present, without engaging in further discussion. The properties of the First Instance, just like the Second and Third, cannot be listed in a menu, without listing at the same time the situations that bring us there, which are so many. And yet they must be found in the Plates which follow.
 
 
 
|Or c’eſt aſſez dit de la poſture: parlons à cette heure & briefvement de la meſure, en quoy les parties ſe tiennent ſur les quatre Cercles de ce Tableau: qui eſt telle, que quand ils s’entrepreſentent leurs eſpees en lignes droites, elles viennent à ſe meſurer les unes les autres. C’eſt la Premiere Inſtance, vray commencement du jeu, tenant les parties en une diſtance juſte & totalement proportionnée aux corps & aux armes: non trop large; car on y peut toucher l’Ennemi en un temps mediocre; & not trop eſtroite; car en icelle on ſe peut aſſez defendre à temps de touts les aſſauts du Contraire. Ceux qui ignorent ceſte meſure, ſe tiennent plus eſloignez de ce qu’ils ne devroyent: ou, s’ils ſe veulent approcher d’avantage, ils ſe mettent en un danger inevitable, avant que d’arriver à la meſure pretendue. C’eſt pourquoy en tout le diſcours de ceſt exercice, la cognoiſſance de ceſte meſure nous ſervira de guide, pour arriver aux diſtances proportionnées à nos deſſeins: en ſorte qu’elle nous ſera comme une eſchaugette, de laquelle on deſcouvre toutes les entriprinſes contraires; attendu que toutes les operations de l’eſpee ſont contraintes de paſſer le paſſage de ceſte Premiere Inſtance, avant qu’elles puiſſent attenter ſur le corps. Toutes les aćtions, par leſquelles le jeu ſe peut diverſifier en mille & mille manieres, prennent icy, à proprement parler, leur origine. En fin c’eſt le compas, qui nous monſtre parmy les vagues impetueuſes de ceſte mer, la courſe, qu’on doit prendre, pour arriver au port de Vićtoire. Mais c’eſt aſſez pour le preſent, ſans entrer en ce diſcours plus avant; car les proprietez de la Premiere Inſtance, comme auſſi de la Seconde, & Troiſieme, ne ſe peuvent declarer par le menu, ſans declarer quand & quand les occaſions, qui nous y ameinent, leſquelles ſont en grand nombre: & partant les faudra chercher és Tables ſuivantes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Note that we are supposing that these two people are equal, and their weapons are likewise equal, and proportional to their bodies. In this way it is the bodies and swords which give the true distance of this First Instance. For if the weapons were unequal, it would change the Instance. If the Enemy has a longer sword than yours, watch out that the tip of his sword does not go past the crosspiece of your guard, so that there is always an arms-length between you and the tip, which is a reasonable distance, and large enough for you to defend yourself. If you were to move closer, to put your tip at his guard, he would have the advantage, because the length of the weapons favours him, such that at a wide distance he can hit, without risk of being hit back. This is why we must offset this advantage, as soon as he makes contact with his blade, to try to throw it off, or to control him, to get inside blade or to move in to a distance so close that he cannot overcome you, or manipulate his weapons as he needs to. If his sword is shorter than yours, or is not proportional to his body, you adopt the First Instance a bit closer, so that your tip is past his guard, making sure his tip does not pass yours, the reasons for this are self-evident. In sum, there is nothing more sure than to have properly proportioned weapons, because the ones too long or too short, if they are of some advantage in certain situations, they are also disadvantageous in others. Proportional weapons are, by contrast, equally useful at large or close range.
 
 
 
|Notez, que nous preſuppoſons, que les perſonnages ſoyent egaux, & qu’ils ayent pareillement les armes egales, proportionnées à leurs corps; de maniere que ce ſont les corps & les eſpees, qui donnent la vraye meſure de ceſte Premiere Inſtance. Car les armes eſtants inegales, il faut changer l’Inſtance à l’advenant. Si l’Ennemi a l’eſpee plus longue, que la voſtre, gardez vous bien, que ſa poinćte ne paſſe outre les branches de voſtre garde, afin qu’i y demeure touſiours entre deux la meſure du bras entier, qui eſt une raiſonnable diſtance, & aſſez grande pour vous preparer à temps à la defenſe. Car ſi vous taſchez de vous avancer plus pres, pour mettre la voſtre tout joignant la ſienne garde, il aura de l’avantage, à raiſon de la longueur de ſes armes qui le favoriſe, tellement qu’en meſure large il peut donner des atteints, ſans qu’il ſe mette en hazard d’en recevoir. C’eſt pourquoy on luy doit oſter c’eſt avantage, dés auſſi toſt qu’il preſente ſa lame à toucher, en taſchant de l’aſſujettir, ou de l’obliger, pour entrer dedans ſes angles, ou pour venir en meſure eſtroite, en laquelle il ne s’en puiſſe prevaloir, ny manier ſi promtemēt ſes armes, comme il ſeroit de beſoin. Si ſon eſpee eſt plus courte, que la voſtre, ou que la proportion de ſon corps ne requiert, la voſtre ayant ſa juſte meſure, vous predrez la Premiere Inſtance un peu plus pres, en ſorte que voſtre poinćte pourra paſſer outre ſa garde, moyennant que la ſienne ne paſſe pas la voſtre; dont les raiſons ſont toutes evidentes. En ſomme il n’eſt rien plus certain que d’avoir les armes proportionnées. car les trop longues, & les trop courtes, ſi elles portent quelque avantage en d’aucuns endroits, elles ſont auſſi accompagnées de pareilles imperfećtions en contreſchange: les proportionnées ſont au contraire egalement utiles en la meſure large & en l’eſtroite.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In sum, this is the superiority of the Direct Line posture, presented at the distance of the First Instance. We could list even more reasons, if these were not self-evident enough, to persuade those who are open to the Truth. I truly believe that we have not unnecessarily repeated anything, but the usefulness of this subject shall serve as an excuse. Considering that such an important matter merits being treated with thoroughness. At this point, I shall leave the reader who can expect to shortly receive even more, just like a landlord who, allowing the rent to be uncollected one month, expects double the next.
 
 
 
|Voilà en ſomme, qu’elle eſt la perfećtion de la Droite ligne, à preſenter ſur la Premiere Inſtance. On en pourroit alleguer encore d’autres raiſons, ſi celles-cy n’eſtoyent aſſez evidentes pour perſuader la Verité à ceux, qui la veulent recevoir. Ie croy bien, que nous avons uſé aucunefois de quelques redites: mais l’utilité du ſujet en fera noſtre excuſe; conſiderant qu’une matiere de ſi grande importance ne meritoit, que d’eſtre traitée bien exaćtement; eſtant expedient d’y arreſter la contemplation du Lećteur, pour imiter en ceſt endroit les avaricieux, qui laiſſent longuement courrir leurs rentes, afin qu’ils les reçoivent par apres avec double uſure.
 
 
 
|}
 
{{master end}}
 
 
 
{{master begin
 
| title = Book 1 - Tableau / Plate V
 
| 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 05.jpg|600px]]
 
 
 
N.B., The coat of arms at the top belongs to John Sigismund (1572 – 1619) of the House of Hohenzollern, Elector of Brandenburg from 1608 and Duke of Prussia, through his wife Anna, from 1618.
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
 
 
|EXPLANATION OF THE ACTIONS IN THE FIFTH PLATE
 
 
 
|DECLARATION DES OPERATIONS DV TABLEAV CINQUIEME
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Our intention is to examine the advantages of the Direct Line, adopted carefully at the First Instance, and in the form shown in the foreground of the preceeding Plate, and on which all subsequent actions depend. But seeing how fighters most frequently begin to work with feints as soon as they come into range, to try and draw the opponent’s sword a little out of the way before striking with their thrusts, it seems necessary for your satisfaction, and to clarify the Plate, to have here a short discourse on feints, first, before entering into the particular explanations of the examples, that will be presented. Therefore we posit that Alexander, arrived into position first, right foot along the outside edge of the Quadrangle on the line A-C, and the other on the Pedal Line. Zachary has approached, and is at the First Instance on the other side of the Circle, likewise in the Direct Line posture, on the right side of the Quadrangle and left foot on the usual line, putting his sword above the other, and working with feints inside and outside, sometimes with the foot firmly on the ground, somtimes, and more often, with the foot slightly raised off the ground. Never staying exactly at the First Instance, at other times starting from further back or closer, according to his whim. In sum, he is making such a large number and variety of feints that it is impossible for Alexander to work against him if he cannot distinguish exactly how close each of these will reach. Because the forward movement of the foot and the body, that happens with each move, can be defined in four degrees, from which we derive four types of feints, which are necessary to recognize, to be able to defend against them. The instructions for how to do this are below, and without which, there is no other remedy against these subtle feints, other than a lucky strike, and to open yourself to the enemy, in the hope of hitting him in return, or to break away as a coward, to get away from his strikes.
 
 
 
|Noſtre intention eſt d’examiner les avantages de la droite ligne, preſentée à la Permiere Inſtance avec jugement, & en la forme, qui eſt monſtée au premier plan du Tableau precedent: du quel auſsi toutes ces operations ſuivantes dependent. Mais voyant que les tireurs d’Armes commencent le plus ſouvent à travailler avec les feintes, ſi toſt qu’ils viennent à meſure, pour faire ſortir l’eſpee contraire un peu de preſence, avant que tirer leurs eſtocades; il nous ſemble neceſſaire pour voſtre plus grand ſatisfaćtion, & pour l’eſclairciſſement du Tableau, de mettre icy un petit diſcours touchant les feintes, premier que d’entrer en la declaration particuliere des exemples, qui ſont icy propoſez. Dont nous preſuppoſerons, qu’Alexandre s’eſtant mis le premier en poſture, le pied droit ſur le coſté exterieure du Quadrangle AC, & l’autre ſur la ligne Pedale; Zacharie l’eſt venu aborder, en ſe mettant à la Premier Inſtance à l’autre bout du Cercle, en pareille poſture de la ligne droite, ſur le coſté droit du Quadrangle & ſur la ligne ordinaire du pied gauche, portant l’eſpee deſſous l’autre, & pourſuivant à travailler avec feintes par dehors, & par dedans, tantoſt à pied ferme, tantoſt, & le plus ſouvent, avec le pied droit un peu levé; aucunesfois demeurant exaćtement ſur la Premiere Inſtance, autresfois commençant de plus loing ou de plus pres, ſelon qu’il luy vient à gré. Somme il fait un ſi grande varieté de feintes, qu’il eſt impoſsible à Alexandre de bien travailler alencontre, s’il ne diſtingue exaćtement la meſure de l’approchement de chaſquune d’icelles. Car l’advancement du pied & du corps, qui les accompagne, peut eſtre distingué en quatre degréz; dont procedent quatre eſpeces de feintes, qui ſont neceſſaires à cognoiſtre, pour ſe fortifier deuement alencontre, ſelon les inſtrućtions qui s’enſuivent, & ſans leſquelles, il n’y à autre remede contre les feintes ſubtiles, que le ſeul hazard de tirer, & de donner ſur l’ennemi à corps perdu, en eſpoir de luy rendre ſon change, ou de rompre touſiours en covard la meſure, pour eſchapper tant ſeulement les coups.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The first type of feint, is that which is made by Zachary from the First Instance, by raising his right foot and setting his weight back on his left, without any noticeable forward movement. In such a way that the tip never passes the guard of his adversary’s sword. The remedy against this feint is to scorn it and to make no move against it, not with the arm, nor with the sword, until the enemy approaches closer.
 
 
 
|La premiere eſpece de feintes, c’eſt celle qui eſt fait par Zacharie à la Premiere Inſtance, en levant le pied droit, & faiſant la charge du corps ſur le pied gauche, ſans nul advancement notable; en ſorte que ſa poinćte ne paſſe pas la garde de l’eſpee contraire. La remede de ceſte feinte, c’eſt de la meſpriſer, & de ne faire aucun mouvement alencontre, ny du bras, ny de l’eſpee, juſqu’à tant que l’ennemi s’approche d’avantage.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The second type is when he begins to lean his body forward, enough so that, doing his feint to the outside, or inside, the tip can just reach his enemy’s hand. The counter is to arouse both the arm and sword-hand at the same time, straightening the body, and lightly lift the heel of the right foot, so that it is ready to work according to circumstances,and raising the tip of the sword upwards towards the side of the feint, above the adversary’s sword, to be able to cover it from a superior position.
 
 
 
|La ſeconde eſpece, c’eſt quand il commence à pancher du corps en avant, ſi bien qu’en faiſant la feinte en dehors, ou en dedans, la pointe puiſſe arriver juſqu’à l’endroit du poignet de la main de l’ennemy. Le contraire, c’est d’aviver au meſme temps le bras & la main de l’eſpee, roidiſſant le corps, & eſlevant le talon du pied droit, afin qu’il ſoit preſt à travailler ſelon les occurrances, & eſlevant enſemblement la poinćte de l’eſpee en haut du coſté de la feinte, par deſſus l’eſpee contraire, pour la couvrir avec un peu de ſuperiorité.
 
 
 
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|The third type is when he continues to approach with his body so far forward that the tip can reach half-way to the adversary’s elbow. This cannot be done except with a larger and more obvious movement than the one before. The counter to this type of feint is done in almost the same way as above, however by increasing and adjusting ones actions to the actions of one’s adversary. Because at the same time as you must extend your body, raise the right foot, and lift your arm and the sword forwards, while turning the outside branch of the crosspiece a little higher than the other, and raising the tip to an obtuse angle beside the adversary’s sword, to gain a superior position. That is the closest approach you can permit the adversary to make with his body, while remaining on the defensive. If he comes any closer, one must hit him at the same time, or else he will either continue to follow the path of his feint to the inside or the outside, intending to wound on that same side, or he will disengage with a circular move to hit low or sweep over to the opposite side. This preparation against this, done as described, will be used as a universal means to counter his moves and render them useless.
 
 
 
|La troisieme eſpece, c’eſt quand il continue ſon approchement du corps ſi en avant, que ſa pointe puiſſe arriver juſqu’à l’endroit due mitandu coude contraire; ce  qu’il ne peut faire ſinon avec un mouvement plus grand  & plus apparent, que n’a eſté le precedent. Le contraire de ceſte eſpece de feinte, ſe pratique quaſi en la meſme ſorte que deſſus, toutesfois en augmentant & accomodant les aćtions à l’exigence des aćtions conraitres. Car au meſme temps il faut s’eſtendre le corps, lever le pied droit, hauſſer le bras & l’eſpee en avant, en tournant la branche exterieure, du poignet de la main, un peu plus en haut que l’autre, & eſlevant la pointe en angle obtus du coſté de l’eſpee contraire, pour le couvrir avec un petit avantage de ſuperiorité. Voila tout le dernier approchmēt de corps, qu’on peut ou doit permettre au Contraire, tandis qu’on demeure ſur la defenſe: car s’il entre plus avant, il luy faut donner l’atteinte au meſme temps, ſoit qu’il pourſuive le trait de la feinte encommencée dedans, ou en dehors du bras, pour bleſſer de meſme coſté, ou qu’il uſede cavation pour toucher en bas, ou au coſté oppoſité. Auſsi ceſte preparation, que nous venons de deſcrire, eſtant deuement faite, ſervira d’une addreſſe univerſelle, pour rendre touts ſes desseins inutiles.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The fourth type is when he moves so far forward with the feint, that the tip of his sword can reach the elbow of his adversary. Which is the last and largest movement that he could do without putting his foot down on the ground. Alexander recognizes this extreme approach by his adversary, by the large and noticeably forward movement which he uses and way the body leans forward. He must be careful if he allows his opponent to follow through with this feint, because there is no remedy against a second motion. Yet he must move from the defense to the attack, moving in at the same time as the enemy moves to try his feint, with a short step along the Diameter, with the body erect, the arm and sword extended, so that he can just hit the opponent’s face with his tip, before the feint can be completed. But all this will be more amply demonstrated in Plate XXVII, which is the proper place to work on feints, and against the left-hand dagger.
 
 
 
|La quatrieme eſpece, c’eſt quand il s’avance tellement avec ſa feinte, que la pointe de ſon eſpee pourroit arriver au coude du bras contraire; qui eſt le dernier & le plus grand mouvement qu’il ſçauvit faire, ſans planter le pied à terre. Alexandre recognoiſſant ceſt extreme approchement de ſon Contraire, par le grand & notable avancement & panchement du corps, dequoy il uſe; ſe doibt bien donner garde de luy laiſſer parfaire ceſte feinte encommencée; car au ſecond mouvement il n’y auroit plus de remede. Et pourtant faut, qu’il devienne aſſaillant de defendant qu’il eſtoit, (en entrant, au meſme temps que l’ennemi eſt en aćtion pour faire ſa feinte) d’un petit pas par delà le Diametre, le corps droit, le bras & l’eſpee eſtendues, en ſorte que il touche de ſa poinćte au viſage, avant que la feinte ſoit parachevée. Or toute cecy vous ſera demonſtré plus amplement en la Tableau XXVII. qui eſt le propre lieu ou on travaillera ſur les feintes, & ſur les aſsiſtences de la main gauche.
 
 
 
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|These are the notifications that we felt necessary to give you concerning feints and their counters. These will be very userful to Scholars who have achieved some skill, but can be safely ignored by Novices, who will have enough to do learning to control their swords, arms, hands, & legs, without concerning themselves with such subtle observations. They can be content, for the present, to learn of them as part of the Theory, yet still fully practising the examples from this Plate without going into too many circumstances, in order to simply learn thrusts, & counters, which shall be explained with their descriptions, rather than trying to skillfully learn each remedy for each type of feint. Because one cannot fly without wings.
 
 
 
|Voilà les advertiſſements, que nous  avons jugez neceſſaires de vous propoſer touchant les feintes, & leurs contraires: qui ſeront de tres-grande utilité pour les Eſcholiers qui auront fait quelque advancement notable; mais on s’en pourra paſſer pour le regard des Novices, qui auront aſſes à faire à bien gouverner leurs eſpees, mains, bras, & jambes, ſans qu’ils s’embarques en des obſervations ſi ſubtiles. Qu’ils ſe contentent pour le preſent de les recevoir ſeulement,par maniere the Theorie, en pratiquant les exemples de ce Tableau plus groſsierement, ſans beaucoup de circonſtances, pour y apprendre ſimplement les eſtocades, & les rencontres, qui ſeront expliquées en leurs deſcriptions; pluſtoſt que d’approprier artiſtement chaſque remede à chaſque eſpece de feintes. Car auſsi bien ne peut on voler ſans aiſles.
 
 
 
|- 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 assumes the Direct Line posture and waits, then, attacked by Zachary with a thrust inside his arm towards the face, at the instant the tip passes his elbow, he parries against the 3rd or 4th Span with the strong part of his own sword, and moving a little to the side with the right foot, he closes the straight line, in a way that he wounds Zachary's face.''
 
 
 
|''Alexandre ſe tenant en la poſture de la droite ligne, & aſſailli par Zacharie d’un coup de pointe en dedans du bras devers le viſage, à l’inſtant que la pointe luy vient paſſer le coude, il la ſur prend au Nombres 3. ou 4. avec le fort de ſa propre eſpee, & allant un peu à coſté avec le pied droit, il luy ferme la droite ligne, de façon qu’il le bleſſe au viſage.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander assumes the Direct Line posture and waits there. Zachary threatens him with a feint of the third type outside the arm by lifting his foot, and moving his body and arm forward, until the tip of his sword is about mid-way to Alexander’s elbow as if Zachary were going to thrust at him in the face. He hopes to make him parry the attack, and consequently have Alexander move his sword out to the side. All at once, he passes his sword beneath his adversary’s guard, continuing to move his body forward putting the right foot on the ground at R. As he leans his body further forward, he brings the sword back up, drawing his left foot, that is lagging behind, up to the same distance behind his right foot, while at the same time aiming his thrust inside the right arm straight at his opponent’s face, carrying his arm and sword along the direct line. Alexander’s defence consists of working against the feint, and against the thrust. Against the feint, using only his wrist, he turns the outside branch of the crosspiece diagonally upwards, moving the end to the side of the feint to cross and cover a good bit of his opponent’s blade with his own, without touching it, and without moving off the line, not to the right, nor to the left, not with the arm, nor with the sword. That is the counter to the feint. If Zachary had continued to move his tip with the feint to hit on the same side, this preparation would have been the correct way to break the hit outside the arm, as it is also, at present, the correct way to begin to counter the thrust to the inside. Then, as Zachary passes his sword under his opponent’s guard, to hit on the opposite side from where he made his feint, Alexander, as soon as he percieves the first hint of a change, becomes alert, and comes on guard, straightening the arm and the knees, so well that at the instant the tip of his opponent’s sword is near he elbow, he meets the 3rd or 4th Span of his opponent’s blade with the centre of his own guard, and catches it, and locks it between the blade and the inside branch of his crosspiece as he turns it horizontally, while at the same time stepping with his right foot and moving his body forward, with his arm and sword, the point of contact progressing up his opponent’s sword, so in this way he closes off the straight line letting the tip of his opponent’s sword pass across his chest, as he wounds the enemy in the face. He finally puts his right foot down just along the Diameter between the letters C and E, and draws his left foot behind until he is again erect on his feet in profile and in a perpendicular line. In this way, he increases the force of his thrust so much that he pierces through his opponent’s head.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> ſe tenant en la poſture de la droite ligne, <font style="font-variant:small-caps">Zacharie</font> le vient menacer d’une feinte a la troiſieme eſpece en dehors du bras en eſlevant le pied droit, & avançant le corps & le bras de l’eſpee, juſqu’à porter ſa pointe environ le milieu du coude contraire quaſi comme s’il luy vouloit tirer une eſtocade an viſage; ſous eſpoir de l’obliger à parer le coup, & conſequēment à eſcarter l’eſpee. Puis tout à l’inſtant il la repaſſe par deſſous la garde contraire, en continuant l’advancement du corps, avec le pied droit: lequel poſant à terre ſur le diametre à la lettre R. avec quelque augmentation du panchement du corps, il remonte l’eſpee en haut, laiſſant ſuivre & trainer le pied gauche proportionellemēt derriere l’autre, en tirant & dreſſant au meſme temps ſon eſtocade en dedans du bras droite au viſage de ſa partie, portant le bras & eſpee eſtendues en ligne droite. La defenſe d’<font style="font-variant:small-caps">Alexandre</font> conſiſte à travailler contre le feinte, & contre l’eſtocade. Contre le feinte, en tournant du ſeul poignet de la main la branche exterieure de ſa garde diagonalement en haut, en montant la pointe du coſté de la feinte pour croiſer & convrir un bien peu la lame de ſon contraire de la ſienne ſans la toucher, & ſans forligner ny à droite, ny à gauche, ny du bras, ny de l’eſpee. Voilà le contraire de la feinte. Si <font style="font-variant:small-caps">Za</font>charie euſt continué d’avancer ſa pointe avec la feinte pour le toucher du meſme coſté, ceſte preparation euſt eſté le vray moyen de luy rompre le coup en dehors du bras, comme elle eſt à preſent le vray commencement de rencontrer l’eſtocade tiree en dedans. Puis donc que <font style="font-variant:small-caps">Zacharie</font> repaſſe l’eſpee par deſſoubs la garde de ſon contraire, pour frapper à l’oppoſite du lieu, ou il avoit dreſſé ſa feinte, <font style="font-variant:small-caps">Alexandre</font>, dés auſſi toſt qu’il apperçoit le premier trait du changement, ſe reſveille, & ſe met ſur ſes gardes, en roidiſſant le bras & les genoux, ſi bien qu’à l’inſtant que la pointe de l’eſpee de ſa partie luy vient à l’endroit du coude, il la reçoit au Nombre 3, ou 4, avec le centre, qui eſt la garde de la ſienne, & la prend & enſerre, entre ſa lame & ſa branche interieure tournée horizontalement, en avançant au meſme temps le pied droit & le corps enſemble, avec le bras & l’eſpee, en graduant l’eſpee contraire & par ce moyen il ferme la droite ligne en laiſſant eſcouler la pointe de ſon contraire à vuide par devant ſa poitrine, bleſſant l’Ennemy au viſage, & abaiſſant finalement le pied droit à terre par delà le Diametre entre les lettres CE, & laiſſant trainer le pied gauche derriere, juſqu’à ce qu’il revienne droit ſur ſes pieds en pourfil, & en ligne perpendiculaire: il accroiſt par ce moyen tellement la vigueur de ſon eſtocade, qu’il le perce au travers la teſte.
 
 
 
|- 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 the initial approach against the obtuse angle posture, which he started and half-completed in Circle N0 2 in the preceeding Plate, where he had just put the sword up beside his head, with his right foot raised and slightly ahead. As he is about to step to the First Instance, he will likewise adopt the obtuse posture against the opponent’s sword to the inside of the arm. ''
 
 
 
|''Alexandre pourſuit la premiere approche contre l’angle obtus, par luy commencé & à demi faite au Tableau precedent Cercle N.2. où il eſtoit venu juſqu’à ſe mettre l’eſpee à coſté de la teſte, avec le pied droit un peu avancé en l’air: maintenant en venant ſur la Premiere Inſtance, il la met pareillement en angle obtus contre l’autre en dedans du bras.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Following the thrust, he closes with the enemy, stepping forward with the right foot, up to the letter H, putting his weight on this right foot, bending the knee, and drawing his left foot up behind him as far as the circumference. He continues to push his sword forward with all his strength, striking the enemie’s guard so hard that the enemy is forced to bend his arm, and let his tip fly upwards at an obtuse angle, and so he is safely beneath it, and prevents any attempt at revenge.
 
 
 
|Pourſuivant l’execution de l’eſtocade, il entre ſur l’ennemy, en cheminant avec le pied droit juſqu’au lettre H, ou il fait la charge du corps ſur la jambe droite, en pliant le genouil, & trainant le pied gauche derriere juſqu’à la circonference; en continuant a pouſſer l’eſpee en avant de toute ſa force, avec le bras roide, il en choque ſi rudement la garde contraire, qu’il force l’ennemi à ſe courber le bras, & laiſſer aller ſa pointe en haut en angle obtus, venant par ainſi deſſous, & luy oſtant toute apparence de revenge.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This precept is very far from common practice, which says that after striking, one should immediately retire out of range. I shall show you here, that you should follow the tip forward until you are absolute Lord and Master of your enemy. Do not run, nor jump backwards, which would be nothing other than inviting a riposte. It is far better to move in so far as to make his weapons useless. I know well, that those who are used to the old mode will not take up this method, and will hold it as being too dangerous. But this is because they themselves do not understand that one must secure the opponent’s sword before hitting them. And they think that we shall try everything we can to adapt to their mode, extending our strikes, leaving swords free, or trying to move them off line by way of feints. Things we we are careful not to do. Because such thrusts happen only by chance, and it would appear they fail as often as they succeed. Even when everything goes as hoped for, they cannot succeed, they negate whatever advantage they had, even without having some manifestly obvious danger, and is nearly as dangerous for the person dominating as it is for his opponent. Their own practice speaks for itself, where one can see they are ordinarily more at pains to withdraw with haste out of range, than they are of making sure of their hits. See how they withdraw most often, before even finding out if they are well or poorly placed. Which is, in effect, nothing more than taking lucky shots, with no superiority, nor any advantage. It follows then, that they wave their swords freely about, and the one who hits always needs to take two timings, one to move in, the other to get back out of range. We also see how frequently the wound each other which is an infallable argument that luck dominates, and they themselves know the imperfections of  their system, because they do not know how to attack artfully with their sword.
 
 
 
|Ce precept eſt grandement eſloigné de la Pratique vulgaire, qui commande, qu’on ſe retire tout à l’inſtant hors de meſure, apres qu’on à donné l’atteinte. Icy vous monſtre, qu’il faut pourſuivre la pointe, juſqu’à ſe rendre tout à fait Maiſtre & Seigneur abſolu de l’Ennemy, non pas fuir ny ſauter en arriere, qui ne ſeroit autre choſe, que de le provoquer à la riposte, il vaut pluſtoſt mieux entrer ſi en avant qu’on luy rende les armes inutiles. Ie ſçay bien, que ceux qui ſont accouſtumez à la veille mode ne laiſſeront pas de reprendre ceſte maniere & de la tenir pour trop dangereuſe: mais c’eſt pource qu’ils n’entendent pas eux meſmes, comme on ſe doit aſſeurer de l’eſpee contraire, avant que de porter l’atteinte: & qu’ils penſent que nous nous efforçions à leur mode allongeant nos bottes, en laiſſant les eſpees libres, ou en taſchāt de les faire ſortir de preſence par le moyen de quelques feintes. Ce que nous n’avons guarde de faire. Car telles eſtocades ſont tirées à l’adventure, & y à tout autant d’apparence quelle reuſſiront mal que bien; au fort quand tout eſt allé à ſouhait, ſi ne peuvent, ils nier encores, que l’avantage qu’ils ont eu, n’ait eſté accompangé de quelque danger manifeſte, & à peu pres autant hazardeux pour celuy qui a eu le deſſus, que pour ſon cōtraire. I’en pren à teſmoin la pratique meſme de leurs exercises, ou on le voit, qu’ils ſont ordinairement plus en peine, pour ſe retirer à la haſte hors de Meſure, qu’ils ne ſont aſſeurez à porter les atteintes, voire qu’ils ſe retirent le plus ſouvent, premier que de ſçavoir, s’ils ont bien ou mal addreſſé. Ce qui n’eſt en effet autre choſe, que de tirer ſes coups à l’adventure, ſans nulle ſuperiorite, ny advantage; procedant de ce qu’ils ont les eſpees de part & d’autre egallement libres; & que celuy qui porte la botte à touſiours beſoing de deux temps aſſez remarquables, le premier pour tirer, & le ſecond pour ſortir de preſence. Auſſi voit on, qu’ils s’entrebleſſent ordinairement les uns les autres, qui eſt un argument infallible, que la fortune y domine; & qu’ils recognoiſſe biē eux meſmes l’imperfećtion, & le danger de leur Pratique, par ce quils ne ſçavent  que c’eſt d’attaquer artiſtement une eſpee.
 
 
 
|- 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 has placed his left foot on the circumference at point C, and has moved his sword under the opponent’s sword, as shown in Circle No 3, in Plate III. He follows on by coming into the First Instance, crossing swords in an obtuse angle, on the outside of the arm.''
 
 
 
|''Alexandre eſtant venu à planter le pied gauche à la Circonference au C, & enſemblement à mettre l’eſpee en angle aigu deſſous de l’eſpee contraire, ſuivant la Representation du Tabl. III. Cercle N.3. il pouſuit icy le reſte de ceſte ſeconde approche, en venant ſur la Premiere Inſtance, & accouplant derechef les eſpees en angle obtus en dehors du bras.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander waits in the same position as in Circle No 1. Zachary comes at him in the old style  with a feint, either high or low, taken from a rigid arm to the outside, at the instant he arrives at the circumference of the Circle. Then, moving his left foot closer, he raises his other foot, he begins a circular disengage, which he continues to do while moving his body forward, so that at the same instant he puts his right foot on the ground at the letter R, he thrusts with all his strength at his adversary’s face. Alexander seeing that the feint does not go past the crosspiece of his guard, does not move at all, until Zachary moves forward a little, and begins to bend at the waist with his right foot raised. Then he gets ready, tensing his body, his feet, his hand, and the sword, in the way described, above, against the third type of feint. So that when the enemy enters, and aims the tip of his sword towards his face on the inside line, as the tip comes near his elbow, he catches the sword with the inside branch of his crosspiece at about the 4th or 5th Span, and progresses up the blade by moving his body forward. He hits Zachary in the face with a straight thrust, putting his foot down further along the Diameter between the letters E and H, continuing to move towards him, and bending his knee to increase the power of his strike, as described above.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> ſe tenant tout de meſme, qu’au Cercle N.1; <font style="font-variant:small-caps">Zacharie</font> le vient aborder  à la mode ancienne avec une feinte, haute, ou baſſe, tiree d’un bras roide par dehors l’eſpee, à l’inſtant qu’il arrive à la Circonference du Cercle: puis en approchant le pied gauche, & eſlevant l’autre, il commence à faire la cavation; laquelle il continue durant l’avancement du corps, ſi bien qu’au meſme inſtant qu’il met le pied en terre ſur le Diametre à la lettre R, il tire de toute ſa force une eſtocade vers le viſage de ſon Contraire. <font style="font-variant:small-caps">Alexandre</font> s’appercevant, que la feinte ne paſſe point la branche de ſa garde, ne ſe bouge nullement, juſqu’à tant que <font style="font-variant:small-caps">Za</font>charie s’avance un peu d’avantage, & commence à faire la cavation avec le pied droit eſlevé. Car lors il ſe prepare, s’avivant le corps, le pied, le bras, & l’eſpee, en la façon, qui eſt deſcrite en la troiſieme eſpece des feintes; de ſorte que l’ennemi entrant, & dreſſant la pointe de l’eſpee vers ſon viſage en dedans le bras, à l’inſtant qu’elle vient à l’endroit de ſon coude, il la reçoit de la branche interieure de ſa garde au Nombre 4. ou 5. & en la graduant avec un avancement du corps, il luy donne le coup en droite ligne au viſage, abaiſſant le pied un peu au delà le Diametre entre les lettres EH. continuant  à charger le corps ſur iceluy, en pliant le genouil, pour augmenter la vigueur de l’eſtocade, en la maniere & pour les conſiderations declarées cy deſſus.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To perform this action successfully, one needs to know how to distinguish two distances at which Zachary’s thrusts can commence.
 
 
 
|Pour bien pratiquer ceſte operation, il eſt beſoing de ſçavoir diſtinguer deux diſtances, ou les eſtocades de <font style="font-variant:small-caps">Za</font>charie ſe peuvent encommencer.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|If it happens that he lunges to strike from the First Instance, or from even further away, he will necessarily have his body and arm lowered and weak, before his tip can reach the bend in his adversary’s arm. That being so, Alexander can meet him at the same time, likewise leaning forward against him, and crossing the strong part of his sword against the weak of his opponent’s at the 4th or 5th Span.
 
 
 
|Car il s’advient, qu’il allonge ſa botte depuis la Premiere Inſtance, ou encor de plus loing, il aura le corps & le bras de l’eſpee necessairemēt abaiſſez & foibles, devant que ſa pointe arrive à l’endroit de la plieure du bras contraire. Cela eſtant, <font style="font-variant:small-caps">Ale</font>xandre le peut rencontrer au meſme temps, en uſant pareillement d’un panchement de corps alencontre, & accouplant le fort de ſon eſpee au foible de l’eſpee contraire au Nombre 4. ou 5.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|But if he has previously moved his body closer during the feint, as soon as he makes his thrust from closer in, and the tip of his sword could pass beyond his adversary’s elbow without any lowering or weakening of his body, arm, or sword, Alexander will first straighten right up, with the right foot lifted, without leaning his body forward, until just as the adversary’s blade (which he has caught with the strong of his own) is a little off to the side, caused by Zachary’s body moving forward. Then he suddenly closes in, leaning his body forward, and, with his arm out straight, wounds him as he slides along the sword, as shown by the figure.
 
 
 
|Mais s’il a fait preallablement quelque approachment du corps, durant la feinte; ſi bien qu’il tire ſon eſtocade de plus pres, & qu’il puiſſe paſſer de ſa pointe plus avant que le coude du bras de ſon contraire, ſans aucun abaiſſemēt ou affoibliſſement du corps, bras, ou eſpee, <font style="font-variant:small-caps">Ale</font>xandre ſe dreſſera premierement tout droit, avec le pied droit eſlevé, ſans pancher du corps en avant, juſques à tant que la lame contraire (eſtant accueillie du fort de la ſienne) ſe ſoit un peu eſcoulée, moyennant l’avancement du corps: & lors il entrera tout ſubitement en panchant ſur le devant, & le bleſſera en luy graduāt l’eſpee avec le bras eſtendu, ſuivant la demonſtration du figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This manner of receiving a thrust is somewhat different from that of Circle No 1, because this one counters with a single move, whereas the other takes two. This one executes the strike by a bend of the knee, the other requires one to prepare the body by becoming erect in the direct line posture with knees straightened. So it may seem to some that this way of giving a hit and a finish all at once, with the legs wide and the knees bent, is quite daring, more active, and more noble than the other because  it appears to be much more like the furiously active method of fighting commonly used. Whereas the other is so far removed it could not be used this way. However, you may be sure, that the method shown in Circle No 1 is the more sure, being more ready to respond to any changes, and stronger, since all the parts of the body are extended and tensed, and all forces work in conjunction. This gives their movements a vigour and internal liveliness that is not apparent, for the reason that the movements become smaller as they become more powerful. Moreover, as they come from a body that is extended perpendicularly, they are superior to the other. Notably when we employ skills in proportion to the requirements of the situation. Even so, his body is thus ready as much to move and fight on all sides, as it is to engage, stop, and moderate its actions appropriately, for he holds most of his ability in reserve. This is why it is very useful to perform these thrusts and the like in two motions, rather than one, which is also never necessary, as shall be shown in the following Circle. Alexander shall be constrained to stand up on his legs, with his body erect and straight, according to our style, to protect himself against the thrust, and so force his opponent to attack from the outside of his arm. If he wished to meet this attack by leaning his body forward over his forward knee, by this lowering of his body, arm, and sword, he would, of necessity, find himself lower than his adversary, who would not be long in taking full advantage of the superior position of his body, which he has kept by staying upright.
 
 
 
|Ceſte maniere de rencontrer une eſtocage, eſt aſſez differente de celle du Cercle N.1. Car celle cy fait l’execution de ſon coup en un ſeul temps, & l’autre en deux: celle cy l’execute en pliant le genouil, & l’autre veut que le corps ſoit preallablement dreſſé en ligne perpendiculaire avec les genoux roides. Or il ſemblera bien à pluſieurs, que ceſte façon de donner & achever tout enſemble avec les jambes larges & le genou plié, ſoit plus gaillarde, plus aćtive, & plus noble, que l’autre, par ce qu’elle a en apparance quelque choſe de commun avec les plus furieuſes Aćtions de la Pratique vulgaire; dont l’autre eſt ſi fort eſloignée, qu’elle ne le pourroit eſtre davantage. Cependant ſoyez ſeur, que celle du Cercle N.1. eſt la plus ſeure, plus preſte à prevenir touts les changements, & meſme auſſi plus robuſte, par ce que touts les membres du corps y ſont tendus & reſveillez, & tiennent leurs forces plus unies; ce qui donne à leurs mouvements une vigueur & vie interieur, qui ne paroiſt pas en l’exterieur; à raiſon qu’ils ſont d’autant plus petits, que la force en eſt plus grande. En outre, pour ce qu’ils procedent d’un corps eſtendu perpendiculairement, ils ſe font avec plus de ſuperiorité, que les autre; notamment quand on y employe l’artifice & la proportion, que les occaſions requierent; meſme que le corps eſt alors preparé tant pour ſe trāſporter & travailler à touts coſtez, qu’à pourſuivre, arreſter, & moderer ſes aćtions tout ainſi que bon luy ſemble; pour ce qu’il a tout en reſerve. C’eſt pourquoy il eſt tres utile de pratiquer les executions de telles & ſemblables eſtocades en deux temps, plustoſt qu’en un: & aucunesfois il eſt du tout neceſſaire, comme il ſera monſtré par la deſcription du Cercle ſuivant: ou <font style="font-variant:small-caps">Ale</font>xandre ſera contraint de ſe mettre droit ſur ſes jambes, pour s’aſſeurer contre l’eſtocade, que ſa partie luy tire en dehors du bras, avec le corps haut & droit, enſuivant le ſtile de noſtre Pratique. Car s’il vouloit rencontrer en panchant du corps en avant ſur le genouil de la jambe anterieure, par l’abaiſſemēt du corps, du bras, & de l’eſpee, il deviendroit neceſſairement inferieur à ſa partie, qui ne s’eſloigne guerre de prendre l’avantage de ſuperiorité, par la hauteur du corps qu’il ſe reſerve.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 4'''
 
 
 
|'''Cercle N.4.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary again attacks with resolve using a straight thrust to the outside of the arm, towards the face, with the body so upright that he does not pass beyond the letter V. Against this Alexander, having made ready, meets the 4th Span of his opponent’s sword with the strong of his own, raising himself slightly on his toes, by which means he retains his superiority, and progressing along his opponent’s sword, keeping his arm straight, with a small step to turn his head and his back towards the thrust, he wounds Zachary in the face instead, recovering into the same posture that he had before.''
 
 
 
|''Zacharie luy tire encore ſur la meſme poſture une autre eſtocade reſolue en droite ligne, dehors du bras, & devers le viſage, avec le corps touſiours ſi haut qu’il ne passe point la lettre V, ſur quoy Alexandre ayant fait ſa preparation, accueile l’eſpee contraire du ſort de la ſienne au Nombre 4, avec un petit ſouſlevement du corps ſur les orteils de ſes pieds, de quoy il retient la ſuperiorité, & en graduant l’eſpee contraire d’un bras roide avec une petite demarche, pour tourner la teſte & le dos devers l’eſtocade, il le bleſſe luy meſme au viſage, en revenant tout droit debout en la meſme poſture qu’il s’eſtoit au paravant.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Both parties stand facing each other in the First Instance. Zachary has his sword below the other, parallel, in a direct line. He begins to move his straightened arm to feint to the inside of his opponent’s arm, raising his right foot and moving it slightly forward. Then, continuing the same forward motion, he passes his sword back beneath his opponent’s guard and makes a resolute thrust to his opponent’s face from the outside of the arm, putting his right foot down at the letter V, with the arm extended and the body erect, following with his left foot, as much as he needs to remain upright. Alexander again percieves that the feint does not come any closer than the crosspiece of his sword, and so remains still, waiting until his adversary makes his circular disengage with an obvious forward movement of his body. Then he gets ready to receive the attack, tenses himself, raises his right foot, and moves his sword as previously described. At the instant his opponent’s blade reaches his elbow, he catches the sword at the 4th Span with his strong part of his, but it is enough for him to remain erect, if he raises himself a little, by lifting his left heel and going up onto his left toes, at the same time looking backwards over his shoulder towards the tip of his enemy’s blade. He slides up this blade by stiffening his arm so that, with a small step forward and to the right, putting his food down near the letter E, he forces his opponent off the straight line and wounds him in the face. He allows his left foot to follow, drawing it behind in a circular path, until he returns to face his opponent in profile, in the natural way he was when in the First Instance inside the perpendicular lines.
 
 
 
|S’eſtants plantez les deux parties à la Premiere Inſtance; l’eſpee de <font style="font-variant:small-caps">Zacharie</font> deſſous l’autre en ligne droite & parallele, il commence incontinent à faire avec le bras roide une feinte à ſon Contraire par dedans le bras, en eſlevant & advançant quelque peu le pied droit; puis en continuant le meſme advancement du pied enſemble avec le corps, il repaſſe ſon eſpee par deſſous la garde de ſa partie, & en tire une eſtocade reſolue tout droit vers le viſage d’iceluy en dehors le bras, abaiſſant le pied droit à terre à la lettre V, avec le bras eſtendu & le corps haut, laiſſant trainer le pied gauche derriere, autant qu’il eſt beſoing pour ſe tenir touſiours perpendiculaire. <font style="font-variant:small-caps">Alexandre</font> s’appercevant derechef, que la feinte ne paſſe pas les branches de ſa garde, attend ſans bouger juſqu’à tant que l’Adversaire face la cavation avec quelque approachement notable du corps; & lors il ſe preſente à le recevoir, en avivant le corps, eſlevant le pied droit, & conduiſant l’eſpee ſelon les inſtrućtions precedentes; & à l’inſtant que la lame contraire luy vient à l’endroit du coude, il la reçoit du centre de la ſienne au Nombre 4. ne luy ſuffiſant pas de ſe tenir droit, ſi ce n’eſt qu’il y adjouſte encor un petit ſouſlevement du corps, pour ſe hauſſer un peu davantage ſur les orteils du pied gauche, en tournant au meſme temps la teſte vers le dos devers la pointe ennemie; laquelle il va graduer en roidiſſant le bras, de telle ſorte, qu’avec un petit pas, poſant le pied droit un peu à coſté environ la lettre E, il le contraint de quitter la droite ligne, & le bleſſe au viſage, laiſſant ſuivre le pied gauche  derriere en trainant un peu circulairement, juſqu’à venir en pourfil en la ſituation naturelle de la Premiere Inſtance au dedans de perpendiculaires.
 
 
 
 
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Those who hold to ordinary fencing are greatly astonished at such a precept. Because moving your head and back towards the tip of your adversary’s sword while he is thrusting seems to be rash action that defies Nature herself, given it is natural to try and preserve oneself before attacking one’s Adversary. This is the reason they are accustomed to avoiding the attacking sword, leaning their head and body away from the menacing tip. In response, I must confess, that our exercises are exactly opposite to theirs, and I say they are making a great mistake trying to evade the tip in this way. Because the more they believe they are avoiding the tip by moving their head out of the way, the more they remain in danger of being hit. And on the contrary, the closer one gets, following the instructions in this and similar manoeuvres, the more secure one will be, and one will enter even more forward between the perpendicular lines. Because if Alexander had  evaded his opponent’s tip by pulling his head back, I ask you, what would have prevented his opponent’s sword, which is free, from changing direction to pursue his advantage by another means? It is therefore better to counter the attack decisively, than to wait for him to come in to make his move, with the risk of being hit. And it is better to break his thrust than to leave him free. We conclude, then, that the skill and confidence goes to the one who knows how to dominate his adversary’s intentions, and chance and surprise to the one who fears the approach of a tip, as if it was invincible.
 
 
 
|Ceux qui tiennent l’Eſcrime vulgaire s’eſtonneront grandement d’un tel precepte. Car porter la teſte & le dos vers la pointe de l’Adverſaire, durant le temps qu’il eſt en aćte de tirer ſon eſtocade, il leur ſemblera que ce ſoit une temerité qui deffie la Nature meſme, laquelle taſche touſiours de ſe conſerver ſoy meſme, avant que d’offenſer le Contraire. Et c’eſt la raiſon pouquoy ils s’acouſtument quant à eux de fuir l’eſpee qui vient contre eux, en panchant de la teſte & du corps à l’oppoſite du poinćt qu’elle menace. Pour reſponce, je confeſſe, que nos exercises ſont direćtement contraires aux leurs, & dis qu’ils font une bien grande faute d’eſquiver la poinćte en ceſte ſorte. Car d’autant plus qu’ils la penſent eviter, en portant la teſte hors de preſence, dautant plus demeurent ils en danger d’en eſtre touchez. Et au contraire d’autant plus qu’on s’en approchera, ſuivant l’inſtrućtion de ceſte & de ſemblables operations, d’autant plus en ſera on aſſeuré, & entrera on plus avant dedans les perpendiculaires. Car ſi Alexandre euſt voulu eviter la poinćte contraire en ſe retirant la teſte, je vous prie, qu’eſt ce qui auroit empeſché l’eſpee contraire, qui eſt libre, de changer le trait, & de pourſuivre ſon advantage en quelque autre ſorte? Il vaut mieux doncq de rencontrer le coup avec ſuperiorité, que d’attendre, qu’il vienne & qu’il aille à ſa poſte, avec hazard d’en recevoir l’atteinte; & mieux vaut le rompre que le laiſſer libre. Concluons donc, que l’Art & l’aſſeurance eſt à celuy qui ſçait domter les pretentions de ſon contraire; le hazard & l’eſpouvante à celuy, qui redoute la venue d’une pointe, comme ſi elle eſtoit invincible.
 
 
 
|- 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 follows through and executes his thrust, powering and increasing it by stepping forward with his right foot, putting his whole body weight behind his right hand and his sword. He finally puts his foot down on the Diameter beyond the letter H, shifting the weight of his body to the bent forward knee, while sliding up his opponent’s sword keeping his arm straight until he runs into his opponent’s guard, with such force that that his enemy must bend his arm, let the tip of his sword go up at an obtuse angle as Alexander’s sword goes through his head.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> pourſuit & execute ſon eſtocade, l’augmentant & parachevant avec eſlevation & avancemēt du pied droit, enſemble du corps, du bras, & de l’eſpee; en abaiſſant finallement le pied ſur le diametre outre la lettre H, menant la charge du corps ſur le genouil anterieur plié, & graduant cependant la lame contraire avec le bras roide, juſqu’à en rencontrer la garde, avec telle violence, que l’ennemy eſt forcé, de ſe courber le bras, laiſſer aller ſa poinćte en angle obtus, & recevoir l’eſpee de l’Adverſaire à travers la teſte.
 
 
 
|- 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 advances and again aims a thrust from outside the arm to the face with a bent arm, moving his right foot up to the letter R. Which means Alexander avoids the hit by moving his left side forward, and puts his right foot along the diameter inside the circumference, and, at the same time, crosses the 7th Span of his blade against the 5th or 6th Span of his adversary’s, slides up the blade, lowers the hand, and keeping his elbow close to the side to protect the lower part of his body, he steps forward with his left foot up to the letter I.''
 
 
 
|''Zacharie s’avance, & luy tire derechef une eſtocade par de hors le bras devers le viſage en ligne courbe, portant le pied droit juſqu’à la lettre R; qui faićt qu’Alexandre eſquive le coup en avançant le coſté gauche, & poſant le pied droit ſur le Diametre au dedans de la circonference, & acceuillant au meſme temps du Nombre 7, le 5 ou 6 de l’eſpee contraire, avec quelque deſgraduation, abiſſement de la main, & le coude affermi contre le flanc, en ſorte que la partie inferieure du corps eſtant affranchie, il fait là deſſus ſon intrade, en allant du pied gauche juſqu’à la lettre I.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After the two adversaries have adopted their direct line postures at the First Instance, holding their swords parallel to each other, that of Alexander above the other, Zachary once again tries to thrust from the outside, but this time not with a direct line, as in Circle No 4, because Alexander can block him with a similar direct line, overpowering and wounding him at the same time. Therefore, he prefers to strike with his arm bent, as follows. He first moves forward with a feint of the second type inside the arm, moving both his foot and body, with the sword-arm extended, until the tip reaches about even with his opponent’s wrist. Then, still moving forward, he turns his wrist up, bends his arm, passes the tip above his opponent’s sword, and strikes from outside his opponent’s arm with a powerful thrust to his enemy’s face. His right foot comes down on the Diameter, at the letter R, he leans his body forward over his right knee, and allows the left foot to come up in balance to the letter X. Alexander first defends against the feint, tensing and straightening up his body, while raising his right foot, and extending his right arm, his sword-tip moving against the feint as shown before (Circle No4). He waits in this superior position, a universally applicable response against every move the adversary might try after his feint, who will either continue the same move, or make a circular disengagement to try some change of position, or yet something else, as may be. He determines his adversary’s intent, from the first motion of the change by the turning of his shoulder and his arm, and before the tip can even pass the level of his elbow, he clearly sees that it is aimed towards his face in a bent line. In one motion, he avoids this blow by moving his head off the line to the left, as he sets his right foot down along the Diameter just inside the circumference, lowerss his right hand down while raising the tip of his blade so that the 5th or 6th Span of his blade makes contact with the 7th Span of Zachary’s blade, and he bends his elbow and moves it down against his right side to protect against any cuts. He continues the left-forward motion with a circular step with his left foot up to the letter I (at the crossing of the Interior Collaterals and the Oblique Diameter). While he does this, the point of contact slides up Zachary’s blade, and forces it away to the side. Then he sets his left foot down, bends his knee and puts his weight on it while forcing his opponent’s sword further away, exactly as shown by the figures in the image.
 
 
 
|Apres que les deux Contraires ont eſté plantez à la Premiere Inſtance en poſtures de la droite ligne, tenants les eſpees paralleles l’une à l’autre, celle d’<font style="font-variant:small-caps">Alexandre</font> deſſus & l’autre deſſous; <font style="font-variant:small-caps">Zacharie</font> entreprend de luy tirer derechef une eſtocade en dehors du bras, non toutesfois en ligne droite, comme au Cercle N.4. à cauſe qu’<font style="font-variant:small-caps">Ale</font>xandre la luy avoit rencontrée avec pareille ligne droite; domté, & bleſſé au meſme temps; dont il aime mieux de luy porter le coup avec le bras courbé, en la maniere ſuivante. Il s’advance premierement avec une feinte de la ſeconde eſpece en dedans du bras, portant egalement le pied & le corps avec le bras eſtendu, juſques à tant que ſa poinćte arrive alendroit du poignet de la main contraire; & puis en continuant encor le meſme advancement, il la repaſſe par deſſous, & en tir en dehors du bras avec pleine force une eſtocade, au viſage de l’Ennemi en ligne courbe; poſant le pied droit ſure le Diametre à la lettre R, en accommodant le corps en avant ſur le genouil de la jambe droite, & laiſſant trainer le pied gauche proportionnellement derriere juſqu’à la lettre X. <font style="font-variant:small-caps">Alexandre</font> ſe prepare premierement cōtre la feinte, s’avivant & eſtendant au meſme temps le corps avec eſlevation du pied droit, en eſtendāt le bras avec l’eſpee, la poinćte dreſſée contrement du coſté de la feinte, comme il à eſté monſtré cy deſſus; en attendant avec ceſte ſuperiorité, comme avec un remede univerſel, tout ce que l’Adverſaire luy peut machiner en ſuite de la feinte, ſoit en continuant le trait encommencé, ou en uſant de quelque changement par maniere de cavation, ou de quelque autre ſorte, que ce puiſſe eſtre. S’appercevant donc au premiere trait du changemēt, de l’intention de ſon Adverſaire, par le torſement de l’eſpaule & du bras d’iceluy; avant que la pointe luy paſſe l’endroit du coude, il voit clairemēt, qu’elle eſt dreſſé devers ſon viſage en ligne courbe: à l’occaſion dequoy il eſquive le coup en oſtant ſa teſte hors de preſence, par le moien d’un tournoyement & avancement du coſté gauche qu’il veut faire en poſant le pied droit, à preſent eſlevé, ſur le Diametre au dedans de la Circonference, en acceuillant au meſme temps avec le Nombre 7. de ſa lame dreſſée contremont le 5. ou 6. de l’eſpee contraire, ſur laquelle il fait quelqeu petite deſgraduation avec quelque abaiſſement de la main, s’affermiſſant le coude contre le flanc, pour la defenſe de la partie inferieure du corps; & continuant à ſe tourner & avancer ſur le meſme pied circulairemēt le coſté gauche, juſqu’à en poſer le pied à la lettre I. par deçà le Diametre, pliant le genouil & accommodant le corps deſſus, en aſſujettant l’eſpee contraire; le tout en conformité de ce qui eſt repreſenté par les 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 raises his left foot, and driving his adversary’s blade down and away from his own, leans slightly backwards to his starting point, then advancing with the same foot, he inserts the tip of his sword into his opponent’s right armpit.''
 
 
 
|''Alexandre eſlevant le pied gauche, & amortiſſant la lame contraire en oſte la ſienne, ſe panchant un peu du dos a l’envers & derechef en revenant d’ou il eſtoit parti & avançant le meſme pied, il luy aſſene la pointe au coſté droit deſſous le bras.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This Circle continues from the preceeding one. Zachary has barely finished the motion of his failed thrust, but Alexander takes advantage of the situation. Raising his left foot while, at the same time, giving his opponent’s blade a push, both to desensitize him to the motion and pull his own sword from on top, he moves the tip in a circular motion up, around his opponent’s arm, and down, and while keeping his elbow against his side, moving the guard close in to his stomach, his back turned slightly away. Then, straightening again, he hits at the same instant that he puts his foot down at the letter L on the Perpendicular Diameter, allowing his right foot to come up as far as needed to be comfortably balanced and to reach the right side of his enemy, underneath the arm, as shown in the figure.
 
 
 
|Ce cercle contient la pourſuite du precedent. Car à peine <font style="font-variant:small-caps">Za</font>charie a il achevé le mouvement de ſon eſtocade perdue, qu’<font style="font-variant:small-caps">Alexandre</font> pourſuit ſon advantage; en eſlevent le pied gauche avec un petit pouſſement ſur la lame contraire, pour luy troubler le ſentiment, & pour en oſter par meſme voye la ſienne de deſſus, en menant la pointe circulairement alentour du bras contraire de haut en bas, & s’aſſermiſſant le coude du bras droit contre le coſté, avec la garde au devant pres de la poitrine, le dos un peu à l’envers; puis en revenant droit, il donne l’atteinte, & au meſme inſtant poſe le pied ſur le Diametre perpendiculaire à la lettre L. trainant conſequemment le pied droit derriere, autant qu’il eſt requis pour remettre le corps à ſon aiſe, & pour toucher au coſté droit de l’Ennemi deſſoubs le bras, comme il eſt pourtrait 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;"
 
 
 
|''Execution of the final part of the preceeding thrust, with all the force possible from the arm and body, with certain particularities that must be observed.''
 
 
 
|''Finale execution de l’eſtocade precedente, aſſiſtée de toutes les forces du bras & du corps, avec les particularitez qu’il y faut obſerver.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To exploit the execution of the final part of this wounding, he moves his body forward, extending his arm with his sword, stepping wih his left foot up to the letter Q, drawing the other along up to the letter H intending to pass right through the body. This is clearly shown in the figure.
 
 
 
|Pour exploiter la finale execution de ceſte bleſſure, il s’avāce le corps, avec le bras & l’eſpee eſtendue, portant le pied gauche juſqu’à la lettre Q. en traināt l’autre apres juſques à la lettre H. pourſuivant à luy paſſer le corps tout outre. Le tout ſe voit clairement en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|We have divided the operation shown in Circles 7 & 8 into two beats, to help students. Those who are more advanced, can accomplish this in one beat, since they only need to put their left foot down once. What is more, there is a means of shortening the time even more, with an extra step: that is, when one forces the opponent’s sword away, as described in Circle No 6, one steps forward with the right foot up to the letter E, a bit beside the Diameter line, or even more, and, as following through, while turning the left side of his body forward, he drops the contact with his opponents blade the same way as in Circle No 7, only putting his left foot down at the instant his tip makes contact with his opponent’s armpit, then following through in the same way as before.
 
 
 
|Nous avons diviſé ceſte operation des Cercles N.7. & 8. en deux temps, en faveur des diciples. Car ceux qui ſeront plus avancez, la pourront accomplir en un, n’ayans beſoing de mettre le pied gauche en terre, ſinon une fois tant ſeulement. Qui plus eſt, il y aura moyen d’en abbreger le temps encores d’avantage, avec l’execution annexee: c’eſt qu’en aſſujettiſſant l’eſpee du Contraire, en la maniere deſcrite au Cercle N. 6. on entre du pied droit juſques à la lettre E. un peu par deça le Diametre, ou meſmes plus outre: & puis en pourſuivant tourner le coſté gauche en devant, deſtachant les eſpees en la meſme façon comme au Cercle 7. ſans toutefois abaiſſer le pied gauche à terre, ſinon au meſme inſtant qu’on le touche deſſoubs le bras, pourſuivant au reſte l’execution en la meſme ſorte, que deſſus.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Note that we presume, in Circle 6, that Zachary has made his thrust with full intent to harm, which is the real situation that prompts the first contact, the continuation, and final execution of the thrusts shown in Circles 6, 7 , and 8. But let us suppose he has not made this thrust with resolute determination, that he moves his tip a little slower, or that he does not move his body forward as much as a determined thrust requires, moving his right foot forward only as far as the letter V. What is the solution? Because if one tried to turn the left side forward and try to throw his sword aside as shown in Circle 6 would be very dangerous, because Zachary can still change his actions and make a circular disengage to wound Alexander inside the arm. Which would be impossible if he were fully committed to the outside thrust. The difference between these two attacks is what Alexander must learn to distinguish, through his adversary’s preparations, and initial motions. Whether he is attacking with intent, or reserved. Having recognized this, he moves his right foot forward beside the Diameter to about the letter E, closing his elbow by his side as he his body moves forward, and, with a slight drop of the hand and wrist movement, aims his raised tip towards his adversary’s sword, to be able to turn his adversary’s point aside, whether the blades are in contact or not. He is careful not to move his left foot forward, but keeps it slightly raised behind or to the side, and if his enemy continues with his initial movement, he will also continue with his left foot, more slowly than before, in order to maintain the correct amount of contact, to be able to work confidently against any changes his enemy might make. These must be met with the strong going against his weak, and then giving a hit to the face when stepping forward with the left foot. This will be fully explained in the appropriate chapter. So, having prepared, it sometimes happens that the swords touch, and sometimes not, or at least much later than they should. In the first case, you already know what to do, to move in relatively slowly with the left side and foot, maintaining the sensibility of the contact. In the second case, when the opponent does not touch your blade, it is absolutely certain he does not intent to wound you with his bent-arm attack, that he is only pretending to in order to get you to move your sword aside, away from defending the centre line, so he can more easily disengage around your arm. To prevent this, you must take advantage of this feint, by leaning further forward while lowering your hand and guard, catch the weak of his blade, at the 3rd, 4th, or 5th Span, with the strong of your blade as he moves upward from beneath your blade. Continue to move up his blade, aiming the tip of your sword towards his face to wound him following along the line of the blade, stepping forward with the left foot beyond the perpendicular diameter, if he is not fast enough with his disengagement. If he does it at all, considering that he can do this only with a circular motion.
 
 
 
|Or notez que on preſuppoſe au Cercle 6. que <font style="font-variant:small-caps">Za</font>charie ait tiré ſon eſtocade avec pleine reſolution, qui eſt la vraye occaſion, de laquelle ceſte rencontre, continuation, & execution des ſuſdites Cercles 6. 7. 8. depend. Mais poſé le cas, qu’il ne tiraſt pas avec ceſte reſolution & hardieſſe, ains qu’il portaſt ſa pointe plus lentemēt, ou qu’il n’avançaſt pas le corps, tant que la proportion d’une eſtocade reſolue demande, n’entrant du pied droit que juſqu’à la lettre V. peu plus ou moins. Quel remede? Car de vouloir icy tourner le coſté ſeneſtre devant, & aſſujettir ſa lame à la mode du Cercle 6. c’eſt choſe treſdangereuſe: pource qu’il s’eſt reſervé de pouvoir changer l’operation encommencée, & de faire la cavation pour bleſſer au dedans du bras: ce qui luy ſeroit impoſsible s’il eſtoit en aćte  de tirer avec reſolution. La rencontre, c’eſt qu’il faut qu’<font style="font-variant:small-caps">Ale</font>xandre ſache distinguer, par les commencemens & preparations des mouvemens du contraire, s’il tire avec reſolution, ou avec reſerve. Et l’ayant recognu, qu’il entre du pied droit environ la lettre E. par deça le Diametre, en s’affermiſſant le coude du bras droit contre le coſté, avec avancement du corps, & quelque petite deſcente de la main, & accomodation du poignet, par laquelle il dreſſera ſa pointe contremont devers l’eſpee contraire, pour en deſtourner la poinćte au temps convenable, ſoit que les lames s’entretouchent, ou non: ſe gardant cependant d’avancer le pied gauche, mais qu’il le tienne en l’air derriere ou à coſté, & ſi l’Ennemi continue ſon premier mouvement, il continuera auſſi à l’egal d’entrer du pied gauche, pluſtoſt lentement qu’autrement, afin de retenir le ſentiment juſte, pour travailler avec plus d’aſſeurance ſure les cavations qu’on luy pourroit faire; leſquelles il faudra rencōtrer en accueillant le foible de l’eſpee contraire du ſort de la ſienne, & luy donner le coup au viſage avec avancemēt du meſme pied gauche: ainſi qu’il ſera deſcript plus particulierement en ſon lieu. Or en faiſant ceſte preparation, il advient aucunefois que les eſpees s’entretouchent, & aucunefois point, ou pour le moins plus tard, qu’elles ne devroyent. Quand la premiere occurrence ſe preſentera, vous avez deſia voſtre inſtrućtion, d’entrer lentement avec le coſté, & le pied gauche, moyennant l’aſſeurance du ſentiment: Quand la ſeconde ſe preſente; & que l’adverſaire ne touche pas voſtre lame, c’eſt un argument infallible, qu’il n’a pas intention de bleſſer avec ſa courbe; ains ſeulement d’en faire le ſembāt, pour faire ſortir voſtre eſpee hors du centre de ſa defenſe, afin de ſe ſervir en apres de la cavation avec plus d’apparence. Pour y obvier, il faut que vous prenniez ſur ceſte feinte un nouvel amendement de voſtre avantage; en augmentant le panchement du corps en avant, enſemble avec la deſcente de la main & de la garde, en dreſſant la pointe en haut devers ſon viſage pour le bleſſer ſuivant le fil de ſa lame, s’il ne fait aſſez toſt la cavation. Et s’il la fait, conſiderant qu’il ne la peut faire autre, que circulairement; vous accueillirez du fort de voſtre eſpee le foible de la ſienne, Nombre 3, 4, ou 5, cependant qu’elle montera de deſſous voſtre garde en haut: & continuerez à la graduer, & à le bleſſer au viſage, en avançant le coſté gauche, & entrant avec le meſme pied dedans ſes perpendiculaires.
 
 
 
|- 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 is waiting in the Direct Line posture, Zacharie tries a thrust to the stomach, with the intention of stepping with his right foot up to the letter R, but Alexander prevents him, turning his right side away with his arm still fully extended and forward to give a hit on Zachary’s own right shoulder, which forces him to shorten his pace and set his foot down on the Diameter at the letter V.''
 
 
 
|''Alexandre eſtant planté en droite ligne, Zacharie luy va tirer un coup d’eſtocade devers le ventre, en avançant le corps avec intention de porter le pied droit juſques à la lettre R. mais comme Alexandre le previent, en deſtournant le coſté droit avec le meſme bras eſtendu & avancé, & luy donne l’atteinte en l’eſpaule droite à luy meſme, il eſt retenu en arriere & contraint de raccourcir le pas à lettre V ſur le Diametre.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After having taken a look at the thrusts to Alexander’s face that Zachary might make, to the inside and outside of the sword, it is a good idea to likewise add the thrusts that he could also make towards the stomach, beneath the arm, so that by these proofs one can judge as one should the superiority of the direct line posture, which he has, once again, adopted in Circle No 9, on the ordinary lines of the Quadrangle A-C. Zachary has likewise approached, by adopting the direct line posture, setting his blade parallel to and beneath the other, in the usual way of our style. Or, he may have approached up to the First Instance in the old style, with his body bent over. Having arrived there, he strikes outside with a feint of the second type, reaching to the wrist, and moves in closer. Continuing the same advance, swiftly he drops his tip with a circular motion, keeping his arm straight. Advancing as he does this, he intends to put his foot as far forward as the letter R along the Diameter, and at the same time he aims the tip of his sword at the lower part of his enemy’s body. These are the actions made by and goals of the attacker. The instructions for the defender follows. Alexander first responded to the feint. Tensing his body, raising his right heel up, and working with his sword, as has been described, above. He recognises, as his opponent begins to make the second part of the movement,  that his opponent is going to wound him in the stomach or in the right side and as he does this his opponent lowers his arm and sword, so much that he leaves his right shoulder uncovered. At the same time, Alexander turns his right side outwards, his feet pointing forward and moves the upper part of his torso forward by leaning his upper body while holding his sword out straight in front, so that he hits his opponent in the right shoulder, which is the closest part of his body, and by this hit, he forces him to shorten his step, putting his foot down at about the letter V, rather than the letter R, as he intended.
 
 
 
|Apres avoir propoſé les eſtocades, qui pourroyent eſtre tirées par Zacharie en dehors & en dedans l’eſpee vers le viſage d’Alexandre, il ſera bon d’y adjouſter pareillemēt celles qu’il pourroit tirer vers le ventre au deſſoubs des armes, afin que par ces preuves on puiſſe dignement juger de l’excellence de la droite ligne, en laquelle il s’eſt derechef arreſté en ce Cercle 9. ſur les lignes ordinaires du quadrangle AC. Zacharie l’eſt pareillement venu aborder avec la meſme droite ligne, en aſſeoyant ſa lame parallele au deſſous de l’autre, ſuivant l’ordinaire de noſtre ſtyle: ou bien il eſt venu à la premiere Inſtance avec le corps courbé, ſelon la couſtume ancienne; & y eſtant arrivé, il à tiré par dehors une feinte de la ſeconde eſpece juſqu’au poignet de la main contraire, en levant le pied droit, & commençant à s’avancer: puis continuant le meſme avancement, il à rabaiſſé ſa pointe circulairement avec le bras roide, & avec grande viſteſſe; avançant quand & quand le corps d’avantage, en intention de porter le pied juſques à la lettre R. ſur le Diametre, & d’aſſener au meſme temps le coup de ſa pointe en la partie inferieure du corps de ſon Ennemi. Voilà les aćtions, & l’intention de l’aſſaillant. S’enſuit l’inſtrućtion pour le defendant. <font style="font-variant:small-caps">Alexandre</font> à fait premierement ſa preparation contre la feinte; s’avivant le corps, avec eſlevation du talon du pied droit, & travaillant de l’eſpee, ſelon ce qui a eſté dit plus particulierement cy deſſus. Puis recognoiſſant au ſecond mouvement le changement, que l’Adverſaire commence, pour le bleſſer au ventre, ou au coſté droit du corps; & que pour ce faire, il s’abaiſſe le bras & l’eſpee, tant qu’il ſe deſcouvre luy meſme l’eſpaule droite; il ſe deſtourne à meſme temps le coſté droit en dehors avec les pointes des deux pieds devant, & avance la partie ſuperieure du corps en la panchant avec le bras eſtendu, de ſorte qu’il luy donne l’atteinte en l’eſpaule droite, qui eſt le plus prochain endroit de lattouchement, le prenant & prevenant par ceſte rencontre, en ſorte qu’il le contraint de raccourcir le pas, & abaiſſer le pied environ la lettre V. au lieu de l’avancer juſques à R. comme il avoit deſſeing.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To clarify: Alexander must hit at the same instant that Zachary begins to lower his tip, while his body can still be held back, and before he has taken his large step. As long as Alexander knows how to adjust and use the time he has, he will wound him without moving from his place, doing nothing other than tuning his body, keeping his feet still, as we have described, which he can most certainly do as much as the adversary’s tip will, of its own accord, move away from the closest point of contact, and it will be held even further back because of the impediment of the counter-thrust, which stops the person from continuing the step he intended to make.
 
 
 
|Pour en parler plus clairement; il faut que <font style="font-variant:small-caps">Ale</font>xandre luy donne l’atteinte, au meſme inſtant, que <font style="font-variant:small-caps">Za</font>charie commence à abaiſſer ſa pointe, durant que ſon corps eſt encor capable d’eſtre retenu en arriere, & avant qu’il ait prins une grande courſe. Car moyennant qu’<font style="font-variant:small-caps">Ale</font>xandre  ſache bien prendre & adjuſter ce temps, il le bleſſera ſans bouger de ſa place, ne faiſant autre choſe, que tourner en peu le corps, par le moyen des pieds, ainſi que nous venons de deſcrire. ce qu’il pourra faire aſſeurement pour autant que la pointe contraire s’eſt eſloingnee d’elle meſme du plus prochain point de l’attouchement, & qu’elle eſt retenue encor outre cela en arriere par l’obſtacle de l’eſtocade, arreſtant la perſonne environ le milieu du chemin qu’elle avoit penſé de faire.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|But let’s suppose, either by his speed, or because Alexander is inattentive, that Zachary is now so far forward that there is no longer any means of stopping him, or breaking his step. In this case, it is not advisable for Alexandre to try to reach him with a simple twist of the body. So he must, at the same time, take a small backwards step, out of fear that the adversary’s sword-tip (which is nearby, is free to move, approaching, and cannot be stopped by a straight line counter-thrust) will wound him at the same instant, or just afterwards. In this case, he must draw his feet backwards a little bit, about as much as his adversary’s approach, so that there is no part of his body is left where Zachary intends to strike, or, if Zachary wants to reach even further, he will be forced to make extremely long moves, and to unbalance himself so that he cannot recover quickly, in which case ne should meet him at this point, when he is weakest, when he has abandoned himself to the mercy of his adversary, having abandoned his position of superiority in such a way that one can easily use the direct line to hit the nearest open target, as long as one leans a little forward. To accomplish this, being in the Instance is very advantageous for Alexander, because he attacks from the direct line posture, which has the longest range, by leaning his upper body forwards, while withdrawing the lower part, which is where his adversary aimed the tip of his sword, and his enemy has moved himself off of the dirct line by attacking downwards at an acute angle. Finally, which is very important, Alexander works from a position of superiority, and he can surprise the enemy at the very instant that he has expended all his effort, leaving nothing for his defense.
 
 
 
|Mais poſons le cas, que par ſa viſteſſe, ou par l’inadvertance d’<font style="font-variant:small-caps">Ale</font>xandre, il ſoit venu ſi avant qu’il n’y ait plus de moyen de l’arreſter, ou de luy rompre le pas. En ceſte occaſion il n’eſt pas loiſible à <font style="font-variant:small-caps">Ale</font>xandre de l’attendre avec un ſimple tournement du corps; ais il eſt contraint de ſe ſervir quand & quand d’une petite retirade; de peur que la pointe contraire, (que eſt en preſence, & libre, & en aćte d’approcher, ni ne peut eſtre arreſtée par l’eſtocade de la droite ligne) ne le bleſſe au meſme inſtant, ou bien peu apres. Il faut donc en ce cas qu’il retire les pieds un peu en arriere, plus ou moins à l’advenant de l’approchement de l’Adverſaire, afin qu’il ny ait point de corps au lieu qu’il pretend de frapper, ou s’il veut pourſuivre ſa poinćte plus avāt, qu’il ſoit contraint à faire des mouvements extremes, & à tresbucher du corps, dequoy il ne ſe peut redreſſer à temps, ſi on adviſe bien de l’accueillir durant le meſme affoibliſſement, au quel il s’eſt comme abandonné à la mercy de l’Adverſaire, luy quittant tout l’advantage de la ſuperiorité. en ſorte qu’on le peut aiſement toucher en droit ligne au plus prochan lieu deſcouvert, moyennāt qu’on ſe panche un peu ſur le devant. Or pour ce faire les Inſtances ſont grandement advantageuſes pour <font style="font-variant:small-caps">Ale</font>xandre, par ce qu’il travaille avec la droite ligne, qui eſt la plus longue meſure, avec panchement de la partie ſuperieure du corps, en ayant en outre retiré la partie inferieure où l’Adverſaire avoit dreſſé ſa poinćte, & que l’ennemi s’eſt eſloigné de luy meſme de la droite ligne, en tirāt le coup vers le bas en angle aigu: & finalement, ce qui importe beaucoup, qu’il travaille avec ſuperiorité, & qu’il ſurprend l’Ennemy à l’inſtant qu’il n’a plus nulle reſerve de force pour ſa defenſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|An observation, at all times, when performing this, take care that you do not withdraw your foot too early, and so allow your adversary come halfway to the next Instance, and so he will continue to press his point even more forcefully, encouraged to expect that it will succeed, which will leave your arms and legs vulnerable to attack. Because otherwise if he has time to observe your change of position, he will likewise change his position in response against it, either by making a circular disengage, or attacking your sword, or moving out of range. Thus, a retreat made too soon will alert him to his advantage.
 
 
 
|Toutesfois pour pratiquer ceſt obſervation prenez bien garde, que vous ne faciez pas la retirade du pied avant qu’il ſoit temps, ains que vous laiſſiez venir l’Adverſaire juſqu’à la moitié de l’Inſtance, afin qu’il continue plus furieuſement à pourſuivre ſa poinćte, en eſperance, & avec apparence de la mettre à execution; ce qui luy ſera faire des extremitez à luy prejudiciables. Car autrement s’il adviſe à temps du changement, que vous faites, il changera pareillement alencontre, ſoit en uſant de cavation, ou en affrontant les eſpees, ou en rompant la meſure; de façon, que la retraite, qui ſera faite avant le temps, luy ſervira d’un advertiſſement pour ſon advantage.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|There is one more question to answer about the explanation of this Circle No 9, if one who is going to give a similar hit to the lower stomach, or to the shoulder of his opponent, is not going to put themselves inevitably in danger of receiving a similiar hit to the stomach, because it seems an acute blow would not stop an adversary’s forward movement, so that he would continue on without stopping. I shall answer this in the description which follows, where it shall be self-evident.
 
 
 
|Il reſte encor une autre demande pour la declaration de ce Cercle 9. aſſavoir, ſi celuy qui donneroit un tel coup d’eſtocade, avec une poinćte aigue en la poitrine, ou en l’eſpaule de ſa partie adverſe, ne ſe metteroit pas en danger inevitable de recevoir la pareille au ventre, à cauſe qu’il ſemble qu’une poinćte aigue ne pourroit en rien du monde arreſter le corps contraire, qu’il ne s’avançaſt plus outre, ſans null pauſe. I’en remets la reſponce à la deſcription de l’execution qui s’enſuit; où elle ſera evidente d’elle meſme.
 
 
 
|- 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;"
 
 
 
|Because Alexander leaned the upper part of his body forward to hit, it follows that his arm and hand were lowered by the same degree as a result, and it follows that his guard can contact and block his adversary’s blade, before the tip has time to reach his own body. So that, by the lowering of his arm, that accompanied the forward lean of his torso, he holds the lower blade in subjugation, pushing it further down and away, moving in closer while keeping his body bend over. Combined with raising his left foot to enter in against his adversary, he steps forward with his lower left side, while keeping his right side (which is the block against his opponent’s thrust) to the rear. He puts his left foot down at or near the Letter I, beside the Diameter, leaning and moving his right shoulder forward, while keeping his arm straight to force his guard downwards, and moving it up his adversary’s blade, until his opponent’s sword tip is almost into the ground. All while piercing further into the shoulder and neck of his opponent, in a way that he cannot defend against it.
 
 
 
|Puis qu’<font style="font-variant:small-caps">Alexandre</font> a donné l’atteinte avec panchement du corps, dont la partie ſuperieure, le bras, & la main, deſcendent tout enſemble proportionnellement, il s’enſuit que ſa garde viendra toucher & empeſcher la lame contraire, avant que la poinćte ait le loiſir de parvenir juſqu’à ſon corps: de ſorte que par la deſcente du bras (qui accompagne le panchement de la partie ſuperieure du corps) il tiendra la lame inferieure en ſubjećtion, l’abaiſſant plus loing de ſoy & pluſtoſt, qu’il ne s’en approche par la continuation de ſon panchement encommencé. Ioint auſſi qu’en eſlevant le pied gauche, il entrera ſur ſa partie adverſe, avec la partie inferieure du coſté gauche tant ſeulement, demeurant cependant le coſté droit, (qui eſt le blanc de l’eſtocade contraire) en arriere; & plantera le pied en terre au poinćt I ou environ par deça le Diametre, panchant & avançant davantage la partie ſuperieure du coſté droit, deſcendant touſiours ſa garde avec le bras eſtendu ſur l’eſpee contraire, la graduant juſqu’à la garde, de ſorte que la poinćte viendra quaſi à toucher la terre: pourſuivant au reſte à percer l’eſpaule & le col de ſon Adverſaire, de façon qu’il ne luy reſte plus aucune defenſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Moreover, it is understood that he will continue and complete this strike by recovering his balance by a step with his right foot, to dominate he enemy still more. This is so very easy that we thought it was enough to mention it, and did not need another figure to illustrate.
 
 
 
|Or il s’entend qu’il accomplira la cōtinuation de ceſte execution, avec le pied droit pour ſe redreſſer, & pour dompter l’ennemy encores davantage: laquelle choſe eſtant tresfacile, il nous ſemble, que c’eſt assez d’en avoir donné ce petit advertiſſement, ſans la repreſenter en 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;"
 
 
 
|''Zachary again aims the same thrust to the lower body, but this time with the guard higher up, to protect his shoulder, from which Alexander turns and draws his right hip backwards, while the upper body leans forward and extends his arm with the sword so as to hit him in the face.''
 
 
 
|''Zacharie luy tire encores la meſme eſtocade que deſſus, pour le toucher au bas du corps, mais avec la garde un peu plus haute, en ſorte qu’il ſe couvre l’eſpaule, dont Alexandre ſe deſtourne & retire quelque peu le coſté droit en arriere, avec la partie ſuperieure du corps panchée en avant, & le bras avec l’eſpee eſtendus de façon qu’il le touche au viſage.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This action begins the same way as the previous, that is, the two adversaries face each other at the First Instance. Zachary makes a feint to the inside. This was likewise met, as in Circle No 9, but with the difference that the thrust in Circle No 9 was made so low that his shoulder was exposed, so he guards against that this time. So, as he moves his body forward while making a circular disengagement, in order to attack and move his foot forward to the Letter R, he carries his hand a bit higher, so as to cover his shoulder with his guard. Which is why, as soon as Alexander, having made ready by becoming alert and tensing his body, extended his arm and brought the tip of his sword up at an obtuse angle, as fully described in the previous example, percieves the first indication of a move from the feint, at the instant his adversary’s sword begins to drop down, to aim the tip at his lower body, he likewise drops his own, bringing the tip, with his arm extended, to about the height of his adversary’s head, again intending to use the direct line posture to wound him in the shoulder. But seeing that his shoulder is covered by the guard, he immediately turns his right side to the outside, so the toes of his feet point forward, he draws his right hip and foot back slightly, leaning further forward with his upper body. This motion brings his arm down at the same time, dropping the guard onto his opponent’s sword. As he continues to lower it further, he is presented with the opportunity to wound him in the face, as is shown in the figure.
 
 
 
|Le commencement de ceſte operation eſt de meſme, que la precedente: aſſavoir, que les deux contraires eſtās venus à meſure de la Premiere Inſtance, <font style="font-variant:small-caps">Zacharie</font> a tiré ſur <font style="font-variant:small-caps">Alexandre</font> une feinte en dedans du bras: laquelle à pareillement eſté recontrée, comme au Cercle 9. mais la difference conſiſte en l’eſtocade & en la rencontre a propriée: car l’eſtocade a eſté tirée au dit Cercle 9. en abaiſſant ſi avant le bras & l’eſpee qu’il s’eſt deſcouvert luy meſme l’eſpaule, dont il ſe garde en ceſte operation preſente. Car en avançant le corps avec la cavation, pour tirer & marcher du pied droit juſqu’à la lettre R. il porte le bras un peu plus haut, de ſorte, qu’il ſe couvre l’eſpaule avec ſa garde. Parquoy ſi toſt qu’<font style="font-variant:small-caps">Alexandre</font> apperçoit le premier trait du changement de la feinte (ayant preallablement fait ſa preparation; enſavivant le corps, eſlevant le pied droit, & eſtendant le bras avec l’eſpee, la pointe d’icelle en angle obtus, comme il a eſté deſcrit plus amplement en l’operation precedente) à l’inſtant que l’eſpee de ſa partie commence à deſcendre, pour luy aſſener la pointe au bas du corps; il abaiſſe pareillement la ſienne, en conduiſant la pointe avec le bras eſtendu environ la hauteur de la teſte de ſon contraire, pour le bleſſer derechef avec la droite ligne, en l’eſaule. Mais la voyant couverte de la garde, à l’inſtant il deſtourne ſon coſté droit un peu en dehors, avec les pointes des deux pieds en devant, & quelque retirade du pied droit, & de a partie inferieure du meſme coſté, panchant d’autant plus en avant de la partie ſuperieure. ce qui luy fait deſcendre au meſme inſtant le bras, & la garde ſur la lame cōtraire; & en continuant à l’abaiſſe d’avantage, luy preſte la commodité de bleſſer ſon Contraire au viſage: ainſi qu’on voit en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|What we just described, that is, Zachary’s feints that are made in two moves in Circles 9 & 11 and likewise in 12 which follows, are more often made to the inside rather than the outside. This is because they are more advantageous and easier to do this way, and more common amongst those who take shots at the lower part of the body. In any case, if they wish to aim elsewhere, because anyone is free to aim wherever they imagine, there would be no difference in the result, but in Alexander’s preparation, which will always be to seize the upper hand over his opponent’s blade by moving over to the side of the feint. This way he will meet the thrust in the same way, whether it comes from the outside or the inside line.
 
 
 
|Ce que nous avons deſcrit, que les feintes de Zacharie ſont tirées en ces deux operations des Cercles N.9. & 11. & pareillement encor du 12. enſuivant, pluſtoſt en dedans du bras, qu’en dehors; c’eſt pour autant quelles ſont plus avantageuſes & plus aiſées à faire en ceſte ſorte, & plus communes entre ceux qui portent les bottes en la partie inferieure du corps. Toutesfois s’il les veut tirer autrement, puis qu’il eſt libre à chaſcun de faire à ſa fantaſie, il n’en reſourdra autre difference, que de la preparation d’Alexandre, qui prendra touſiours la ſuperiorité des lames du coſté de la feinte: car pour rencontrer l’eſtocade il travaillera touſiours de la meſme ſorte, ſoit qu’elle vienne par dehors, ou par dedans.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|One must also be careful in this action and all similar ones, withdraw one’s body and feet away a precise distance from the approaching adversary and the tip of his sword, in accordance with the warnings in Circle 9.
 
 
 
|Faut auſſi obſerver en ceſte operation, & en toute autre ſemblable, de meſurer & moderer le retirement du corps & des pieds, à l’advenant de l’approchement du corps & de la pointe Contraire, ſuivant l’advertiſſement du Cercle 9.
 
 
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|But as the final action of this hit requires that one add at least one more step beyond what we see demonstrated by the figures, note that when Zachary’s blade ends up below the outside branch of Alexander’s while his guard is above it, then he must step in with his left foot while sliding the contact up the blade as seen in Circle 10. And when it is below [above] the outside branch he must enter in and slide up the blade by stepping forward with his right foot.
 
 
 
|Mais d’autant que la finale execution de ceſte atteinte, requiert quon y adjouſte encor un pas par deſſus ce qu’on voit en la demonſtration des figures, notez, que quand la lame de Zacharie ſe retrouve deſſoubs la branche exterieure d’Alexandre, cependant qu’il tient ſa garde deſſus, qu’alors il entrera ſur luy avec le pied gauche, en luy graduant l’eſpee, à l’imitation de ce qui eſt repreſenté au Cercle 10. Et en cas qu’elle ſe retrouve deſſous la branche exterieure, qu’il entrera & fera la graduation en marchant du pied droit devant.
 
 
 
|- 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;"
 
 
 
|''Zachary once again tries to hit his adversary in the lower body, sword-tip pointing down, with his hand held so high that he protects even his head. So, Alexander allows him to approach, moves the tip of his sword up to his adversary’s head, and realizing that it is protected, he attacks the blade to throw it aside, turning to the right side and at the same time lowering the arm and sword onto his adversary’s blade, moving up it.''
 
 
 
|''Zacharie tire encor derechef pour toucher ſon Contraire au bas du corps, avec la main ſi haute qu’il s’en couvre meſme la teſte, & la pointe baſſe; dont Alexandre, le laiſſant approcher, conduit ſa pointe à la hauteur de la teſte contraire, & la recognoiſſant eſtre couverte il travaille ſur ſa lame pour l’aſſujettir, en deſtournant le coſté droit du corps, & par meſe voye s’abaiſſant juſtement le bras & l’eſpee ſur l’eſpee Contraire, en la deſgradant.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In this Circle, it is not enough for Zachary, as he makes the same feint to the inside as above, to protect his shoulder as he strikes at his adversary’s right side, he must also raise his guard high enough to cover his head as well. He raised his foot, with a slight forward movement of his body, during his feint. Now he carries on, continuing to move his body forward, aiming to strike with his arm extended, his hand raised high, and his tip low, stepping along the Diameter almost to the centre, drawing his left foot behind him into the circle.
 
 
 
|Il ne ſuffit pas à <font style="font-variant:small-caps">Zacharie</font> en ce preſent Cercle, apres avoit fait encor la meſme feinte que deſſus, en dedans du bras contraire, de ſe couvrir l’eſpaule en tirant le coup d’eſtocade vers le coſté droit de ſa partie, ſi ce n’eſt qu’il porte la garde de ſon eſpee ſi haute, qu’il s’en couvre auſſi toute la teſte. Car ayant levé le pied, avec un petit avancement du corps durant la feinte: il pourſuit preſentement, en continuant ledit avancemēt du corps & du pied, à tirer le coup, avec le bras eſtendu, la main haute, & la pointe baſſe, abaiſſant finalement le pied à terre ſur le Diametre bien pres du centre, trainant l’autre derriere juſqu’au dedans du Cercle.
 
 
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander has prepared against the feint, raising his right foot, straightening his body, extending his arm, and raising the tip, as previously explained in detail. As soon as he can see that his Enemy has begun to drop his blade with his body noticeably leaning forward to hit the lower part of his body, Alexander keeps his arm extended and he moves the tip of his sword up to about the level of his adversary’s head. But as he cannot see any place to hit, because his opponent has covered his head with his guard, and because the tip of his ennemy’s sword is closing with him below, he turns slightly to the outside, points his toes forward towards the Enemy, withdraws his right side, including his sword and arm, back and to the right, lowering his sword and arm by leaning with his torso, crossing his adversary’s sword and sliding up to throw it aside while controlling it by drawing his guard back towards his side as he turns the crosspiece diagonally so the outer branch is upwards.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> ayant fait ſa preparation contre la feinte, en eſlevant le pied droit, & dreſſant le corps, eſtendant le bras, & hauſſant la pointe, en la maniere qu’il eſt ſpecifié plus amplement és autres operations: dés qu’il remarque, que l’Ennemi commence à deſcendre ſa lame avec un notable approchement du corps, pour frapper en la partie inferieure, laiſſant le bras eſtendu, il conduit ſa pointe d’en haut juſques environ la hauteur de la teſte contraire: mais comme il ne voit point d’apparence de la toucher, à cauſe qu’elle eſt converte de la garde, & que la pointe ennemie le vient ſerrer par en bas, il s’en deſtourne un peu en dehors dreſſant les orteils de ſes deux pieds en devāt droit devers l’Ennemi, en retirant par ainſi le coſté droit, enſemble le bras & l’eſpee en arriere un peu à coſté, les abaiſſant par le moyen du panchement de la partie ſuperieure, ſur l’eſpee contraire, la croiſant & deſgraduant pour l’aſſujettir & domter parfaitment, en retirant le bras avec la garde à ſon coſté, ſes branches tournées diagonalement.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The caution, as was explained above, that one must not be hasty and retire backwards too quickly, applies likewise in this present action. Seeing as how one must lean forward and drop the hand and sword much lower than before to force the adversary’s sword aside. If one moves too early, this means the hand drops quite far down, leaving one uncovered, and with considerable danger from the outside line. Which is why it is necessary to allow the attack to come as close as possible while still being able to step back, in order to encourage him to fully commit to the thrust onto the target, so as to be more assured of meeting his blade at the end of his movement, when he can no longer defend himself against the counter, and he can no longer change his actions. This precept is repeated here, as much as the danger is even greater now than previously, so this warning becomes even more necessary.
 
 
 
|Or comme il a eſté dit cy deſſus, qu’il ne ſe faut pas trop haſter de ſe retirer en arriere, ainſi le faut il pratiquer pareillement en ceſte operation preſente. Voyant qu’il eſt icy beſoing de pancher du corps en avant, avec un plus grand abaiſſement du bras & de l’eſpee qu’auparavāt, pour aſſujettir la lame contraire: choſe qui ne peut eſtre fait ſans deſcendre aſſez notablement, & ſans ſe deſcouvrir avec treſgrand danger en dehors du bras, ſi on ſe precipité à le faire devant le temps. Parquoy ſera beſoin de laiſſer venir le coup ſi pres qu’il eſt poſſible, pourveu ſeulement qu’on ne perde pas le moyen de ſe retirer, afin de luy donner occaſion de pourſuivre ſa pointe, pour l’accueillir aſſeurement ſur la fin du mouvement, quand il n’aura plus de reſerve pour ſa defenſe; tant s’en faut qu’il auroit le moyen de faire & executer de nouveaux deſſeings. Ce precepte vous eſt repeté en ce lieu cy; d’autant que le danger y eſtant plus grand qu’au paravant, auſſi l’advertiſſement en eſtoit plus neceſſaire.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As to what we have said, that one must control and cast the adversary’s sword aside by leaning the body forward as the arm goes downwards, you must understand that while your arm moves independently, it can reach further down by leaning forward with the torso, while turning the wrist to turn the outside branch of the crosspiece diagonally upwards to the right, and the tip across the the left, to cross over the opponent’s blade, force it down and aside, while moving the point of contact up to the hilt, as indicated by the shadows on the ground of the Circle. There is nothing more important than this precept to avoid the danger of a circular disengagement, as well as in all the other possible situations that may come up. Because by observing this, as soon as the enemy begins to do anything, the arm is already free, and able to do whatever work it must to defend and attack. Which would not be done, except in the case where he is descending. Because it is impossible to raise up and to lower at the same time, nor to accomplish a two-beat move in one instant. This admonishment will be very useful on several occasions, and so it is important to understand this.
 
 
 
|Quant à ce que nous avons dit, qu’il faut domter & aſſujettir l’eſpee contraire, en panchant du corps ſur le devant avec deſcente du bras, cela ne ſe doibt pas entendre en telle ſorte, que le bras face aucun mouvement en ſon particulier pour accomplir la dite deſcente, ains ſeulement qu’il ſoit tiré plus bas par l’accommodation du corps, ne travaillant cependant qu’un bien peu du ſeul poignet, en tournant la branche exterieure diagonalement en haut vers le coſté droit, & la pointe traverſée vers le coſté gauche, pour croiſer, aſſujettir, & deſgraduer, comme il eſt repreſenté ſur le plan du Cercle. Pour eviter le danger de cavation, enſemble avec touts les autres changements qui pourroyent ſurvenir; il n’y a rien ſi neceſſaire que ce precepte. Car en l’observant, dés que l’ennemy commence pour peu que ce ſoit, le bras eſt deſia libre, & diſpoſé à travailler en ſon particulier pour defendre & pour offenſer. Ce qui ne ſeroit, en cas qu’il fuſt en aćte de deſcendre: car il eſt impoſſible de le hauſſer & abaiſſer tout enſemble, ny d’accomplir deux temps en un meſme inſtant. Cet advertiſſement aura fort grand uſage en pluſieurs occaſions; & partant il le faut bien comprendre.
 
 
 
|- 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 completion and final action from the preceding Circle. Alexander has acquired a great advantage, by having forced aside his adversary’s sword, sliding up the blade, with the outside branch of his crossguard diagonally upwards. At this point, he turns the crossguard back to horizontal and aims his tip towards his adversary’s side, underneath the guard and arm. He moves his entire body, arm, and sword forward, and seizes his adversary’s blade by trapping it with the exterior branch of his crossguard, as he slides up to the hilt, and steps with his right foot up to the letter H, putting his weight on it and drawing his other foot behind, up to the circumference. At the same time, he exploits the strike through his enemy’s body, driving forward, hitting with the guard, and forcing him to bend his arm, almost knocking his opponent’s sword from his hand, leaving his opponent at his mercy, as shown by the figures.
 
 
 
|Ceſt la pourſuite & l’execution du precedent. Car Alexandre s’eſtant acquis un ſi grand avantage, comme d’avoir aſſujetti l’eſpee contraire, avec deſgraduation, & accomodation de la branche exterieure dreſſée diagonalement en haut: il retourne icy ſes branches horizontales, & ſa poinćte devers le coſté de l’ennemy deſſoubs la garde & le bras, s’avançant tout le corps enſemble avec bras & l’eſpee, & prenant ſubitement avec ſa branche exterieure la lame contraire, en la graduant. & portant le pied droit juſqu’à la lettre H. en menant la charge du corps deſſus, & trainant l’autre par terre juſqu’à la circonference; & au meſme temps il exploite le coup de ſa poinćte à travers le corps de l’ennemy, ſi avant qu’il vient choquer ſa garde, & le contraint de plier le bras, & de laiſſer quaſi tomber l’eſpee hors du poing, à la mercy de ſon Contraire. Comme les figures demonſtrent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|
 
|
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To summarize, these are examples which show the great utility of our First Instance, and of the direct line posture when presented from this distance. One is fortified against all sorts of feints, and assured against all strikes, whether long and determined, or tentative and slow, high or low, made from a direct line or a bent line, on the inside or outside of the arm, to meet probes in one beat, and attacks in two beats, sometimes with the body erect, sometimes bent slightly forward or backwards, always striking with with small movements, which have more force than they seem, with more audacity and assurance than one thinks possible, quite the reverse of what we see in the typical styles. If you were to tell me that it appears effortless to achieve a high degree of skill, I would answer that nothing in life worth having comes easily. In any case, I can assure anyone who has not yet acquired the skills, that the more they put these precepts to the test, the more prefect they will become. Because, just as gold purified in a furnace acquires greater luster, so with our exercises. When looked at closely, examined, attentively inspected, practiced, with each repetition they will appear more elegant and beautiful. Careful and thorough exploration of these techniques will show they do not depend in any way on chance; there is no uncertainty in their execution. There is only the rules of science in their perfection. Any amateur, if he is capable, will find in them courage and confidence in the use of arms, and what he lacks in strength, he will soon make up for in dexterity.
 
 
 
|En fin, voilà les exemples, qui demonſtrent le grand uſage de noſtre Premiere Inſtance, & de la droite ligne preſentée en icelle: fortifiée contre toute ſorte de feintes, aſſeurée contre toutes bottes, tant longues & reſolues, que tardives & lentes, hautes, baſſes, tirées en ligne droite ou courbe, en dehors ou en dedans du bras, pour rencontrer otes en un temps & ores en deux, tantoſt avec le corps dreſſé, tantoſt un peu courbe en avant ou en arriere, en donnant touſiours le coup avec des petits mouvements, qui ont plus de force, que d’apparance, & en faiſant l’execution avec les plus hardis & aſſeurez, qu’il eſt poſsible, au rebours de ce que la Pratique vulgaire en monſtre. Si vous me dites, qu’il n’y a pas grande apparence de venir aiſement à ceſte perfećtion d’en monſtrer les effets; ſachez pour reſponſe, que tout ce qui eſt louable ne s’acquiert ordinairement, qu’à grand travail. toutesfois, je m’aſſeure encores pour le regard de ceux qui n’en auront encores nulle habitude, que d’autant plus qu’ils mettront les preceptes à l’eſpreuve, d’autant plus y trouveront ils de perfećtion. Car ainſi que l’or eſtant mis à la fournaiſe, en reçoit un plus grand luſtre, par l’approbation de ſa pureté; tout de meſme nos inſtrućtions, eſtants regardées de pres, examinées, contrerollées, pratiquées, & repetées en paroiſtront touſiours plus belles. Car quand on aura fait une digne recerche de leur Verité, & de leur importance, on verra que l’incertitude de la fortune n’y a nulle part, & que les ſeules regles de la ſcience y dominent en telle perfećtion, quel Amateur, qui s’en ſera rendu capable, empruntera meſme le courage & l’aſſeurance des armes, qui manque à la foibleſſe des ſes forces de la certitude & dexterité de leur uſage.
 
 
 
|}
 
{{master end}}
 
 
 
{{master begin
 
| title = Book 1 - Tableau / Plate VI
 
| 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 06.jpg|600px]]
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
 
 
|EXPLANATION OF THE ACTIONS IN THE SIXTH PLATE.
 
|DECLARATION DES OPERATIONS DV TABLEAV SIXIEME.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Zachary, having found himself, in the previous table, so thoroughly dominated and contained by the power of the Direct Line posture, now tries to imitate it and use it to his own advantage, expecting to be able to be as successful as Alexander, just as he has seen him do. So he hopefully presents Alexander with the same posture, to force him to come against it the same way. As he has the opportunity of being first in place, he steps onto the Circle, right foot along the line X-Y, toes on the Circumference at X, and the left foot on the Pedal Line, as described previously in Plates III & IV, placing his blade into the Direct Line posture, to await his adversary to come against him. Thus in place, Alexander approaches, also using the Direct Line posture, moving into the First Instance at the other side of the Circle, the toes of his right foot on the letter C, the left foot on the other Pedal line in the Quadrangle, his sword held in the Direct Line posture underneath his opponent’s in the same way as shown in Circle No 1 of Plate IV, on which all the of the present actions of this Plate depend, just as all of those in the Fifth Plate.
 
 
 
|Par les preuves de la droite ligne, qui ont eſté faites au Tableau precedent, en prevenant & domtant ſi avantageuſement toutes les intreprinſes de Zacharie, il s’en tient ſi à plein contenté, qu’il ſe diſpoſe preſentement à la vouloir imiter, s’aſſeurant de s’en prevaloir auſsi bien qu’Alexandre, en conforomité de ce qu’il luy a veu faire. Dont il le requiert amiablement de travailler à ſon tour ſur la meſme poſture, qu’il entend luy preſenter à la pareille. Ce que luy eſtant volontiers accordé, il ſe va mettre ſur le Cercle, le pied droit ſur la ligne XY, en touchant la Circonference à la lettre X, & le pied gauche ſur la ligne Pedale, ſuivant les deſcriptions plus particulieres des Tableau III. & IV. aſſituant ſa lame en droite ligne, pour attendre que ſon Contraire vienne travailler alencontre. Eſtant donc ainſi placé en poſture, Alexandre le vient aborder avec pareille ligne droite, ſe mettant à la Premiere Inſtance à l’autre bout du Cercle, le pied droit à la lettre C, le gauche ſur l’autre ligne ordinaire au dedans du Quadrangle, l’eſpee en ligne droite parallele au deſſous de l’eſpee contraire, en la meſme ſorte qu’il eſt repreſenté au Tableau IV. Cercle N.1. dont toutes les operations de ce preſent Tableau dependent, auſſi bien que celles du cinquieme.
 
 
 
|- 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 must work against the Direct Line posture, after he has moved to the First Instance, he raises his right foot, together with the tip of his blade, crossing swords with his 8th Span against his opponent’s 3rd Span, with a subtle pause of the body, intending to cast his opponent’s blade aside in the Second Instance.''
 
 
 
|''Alexandre ayant à travailler ſur la poſture de la Droite ligne, apres eſtre venu à la Premiere Inſtance, il level le pied droit, enſemble avec la pointe de ſa lame, en accouplant les eſpees en dedans du bras, Nombre 3, à Nombre 8, avec un arreſt du corps fort ſubtil, en intention d’aſſujettir ſon Contraire à la Seconde Inſtance.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander has arrived at the First Instance, and plans to cast his adversary’s sword aside when he moves to the Second Instance, along the Oblique Diameter. To do this, as he begins his move, he raises his right foot, keeping the knee straight, without making any general movement of his body, or of his arm, except a rotation of the wrist to raise his tip up, contacting the inside of his opponents sword at the 3rd Span with the 8th Span of his own, with a slight pause of his body, very subtle and imperceptible because it lasts no longer that the time it takes to raise his tip and make contact with the sword, just in case his Adversary tries to hit him with a thrust, high or low, inside or outside. At that very instant he has his right foot ready and he is able to set it down wherever he needs.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> eſtant arrivé à la Premiere Inſtance, ſe propoſe d’aſſujettir l’eſpee contraire à la Seconde, par deçà le Diametre, Et pour ce faire, en commençant à travailler, il leve le pied droit, avec le genouil roide, ſans aucun mouvement general du corps, ny du bras in particulier; ſinon que par quelque petite accomodation du poignet, il fait monter ſa poinćte en haut, en touchant l’eſpee contraire en dedans, du Nombre 3. le Nombre 8. avec quelque petite pauſe du corps, tres-ſubtile & fort difficile à recognoiſtre, parce qu’elle ne doit durer non plus, que l’aſcenſion de la poinćte, & l’inſtant de l’attouchement des eſpees, afin que s’il advenoit d’aventure, que l’Adverſaire entreprinſt de luy vouloir tirer au meſme inſtant quelque eſtocade, haute, ou baſſe, en dedans, ou en dehors, qu’il euſt le pied droit tout preſt, & à commandement pour le planter ſelon l’exigence.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This is the beginning of all the actions in this table and should be studied closely, each and every time it is a question of casting a blade aside, whether to the inside or to the outside. Since the interval between C and the Second Instance, whether to one side or the other is a quite large step to take, and to take it, one must have the initiative in both time and movement. I would say it is quite noticeable and obvious, if one tries to do this in one single motion without out the pause, that the Enemy will observe the beginnings of this action and can interrupt it very advantageously, and while performing his own counerattack. All of which can be prevented by means of this raising of the right foot and adding this pause. Of this we shall see several proofs in this book and singularly in the next Plate VII.
 
 
 
|Voilà la premiere entree de toutes les operations du Tableau, laquelle il faudra fort curieuſement obſerver, toutes & quantes fois qu’il ſera queſtion d’aſſujettir la lame, ſoit par dedans, ou par dehors. Car l’intervalle, qui eſt depuis la lettre C juſqu’à la Seconde Inſtance, tant de l’un coſté que de l’autre, c’eſt une grande eſpace de chemin, & pour l’achever, il faut que le temps & le mouvement ſoit auſſi à l’advenant. Ie veux dire, qu’il ſera ſi notoire & manifeſte, ſi on entreprend de l’accomplir en un ſeul temps ſans la ſuſdite pauſe, que l’Ennemi en obſervant les commencements de l’operation, la pourra deſtourber fort avantageuſement, & avec apparence de mettre ſon entreprinſe à execution. Ce qu’on pourra prevenir par le moyen de ceſte eſlevation du pied droit, & de la pauſe annexe: dequoy on verra pluſieurs preuves en ce Livre, & ſingulierement au prochain Tableau VII.
 
 
 
|- 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;"
 
 
 
|''Zachary continues to maintain his posture; Alexander continues to force the sword aside, carrying his right foot towards the Second Instance, while sliding the point of contact up the sword, followed by a slight halt of the foot, while he makes sure of his superior position, and, having put his foot down at G, he brings the other along in a slow, circular motion to the Circumscribed Square at the Oblique Diameter.''
 
 
 
|''Puis que Zacharie continue à ſe tenir en la poſture; Alexandre pourſuit à luy aſsujettir l’eſpee, en portant le pied droit devers la Seconde Inſtance, avec deſgraduation, ſuivie d’un petit arreſt du pied, durant lequel il prend l’aſſeurance de la ſuperiorité, & ayant mis ledit pied baſtivement à terre à lettre G, il porte l’autre apres lent & circulairement juſqu’à le mettre ſur le Quarré circonſcrit & ſur le Diametre oblique.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Zachary made no movement against the preceeding action, and so waits, alert, waiting to see what follows. Alexander stays on his left foot and advances his right foot towards the Second Instance, sliding his sword up his adversary’s blade so that his 8th Span now contacts the 5th Span of his adversary’s blade, and pauses for a slight moment. When his body, travelling over and carrying the blades forward reaches the edge of his balance and is at the point of tripping, he hastily puts his right foot down at the Second Instance, his toes on the letter G, and his heel along the line of the Inside Square. He instantly follows this by raising his left foot and advancing it deliberately in a circular path and finally places it parallel to the right foot, with the toes where the Oblique Diameter crosses the Circumference and heels along the Outside Square at the letter D. From this pose, he draws his left side slightly forward, and the heel of his right foot naturally slides inwards onto the Colateral G-M in such a way as to naturally straighten his body, to stand easily, legs straight, to maintain a sense of contact and be able to swiftly respond and defend against an attack.
 
 
 
|Puis que <font style="font-variant:small-caps">Zacharie</font> ne fait aucun mouvemēt contre l’aćtion precedente, ains qu’il demerure ſur la parade, en attendant la pourſuite; <font style="font-variant:small-caps">Alexandre</font> demeure ſur le pied gauche, & avance un peu le droit devers la Seconde Inſtance, graduant les eſpees de telle ſorte, qu’il met ſon Nombre 8. contre le Nombre 5. de ſa partie adverſe, peu plus ou moins, avec une petite pauſe. Et quand le corps, en cheminant, & tranſportant à l’advenāt les eſpees, vient ſur le point de tresbuſcher, il plante haſtivement le pied à la Seconde Inſtance, les orteils à la lettre G, & le talon ſur le meſme coſté du Quarré inſcrit; pourſuivant à eſlever tout à l’inſtant le pied gauche, & à l’advancer lentement & circulairement, & de le planter finalement parallel avec le pied droit, les orteils ſur le Diametre Oblique, & le talon ſur la lettre D; par laquelle collocation des pieds le coſté gauche du corps eſt tiré un peu en avāt, & le talon du pied droit ſemblablement s’en gliſſe en dedans ſur la collaterale GM. de façon qu’elle met le corps naturellement droit, & à ſon aiſe, avec les jambes roides, pour avoir le ſentiment plus exaćte, & pour eſtre plus prompt à travailler ſelon qu’il ſera de beſoing pour ſa defenſe.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 3.'''
 
|'''Cercle N.3.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary awaits the follow-up to being pushed aside; Alexander will strike with a thrust, sliding up and trapping his blade while his right foot falls to the ground and while he moves his left foot quickly and in a circular motion forward to the letter K. He then adjusts himself to stand erect, body slightly forward as he brings his tip up in a circular motion, keeping his arm straight, until the tip is in front of his adversary’s face.''
 
 
 
|''Zacharie attendant la pourſuite de l’aſsujettiſſement; Alexandre luy va tirer une eſtocade, en graduant & enſerrant ſa lame, durant que le pied droit tombe à terre, & durant qu’il continue à porter le pied gauche aſſez viſte & un peu circulairement en avant ſur la lettre K, il ſe dreſſe le corps deſsus, un peu de front, conduiſant cependent ſa pointe circulairement avec le bras roide juſqu’à devant le viſage de ſa partie adverſe.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|While Zachary’s sword has been pushed aside (which is to his adversary’s advantage), if he simply waits, figuring that he only needs to bring the sword in line with the Collateral G-X, and push it forward. His opponent must bypass the strong part of his blade, he can meet this with his strong part and take the direct line, and only needs to prevent his opponent’s move with a counter-thrust. This is his plan.
 
 
 
|Encores que l’eſpee de <font style="font-variant:small-caps">Zacharie</font> ſoit aſſujettie, (qui eſt un grand avantage pour ſon Contraire) ſi ne laiſſe il pas pourtant de l’attendre, eſtimant qu’il en fera la pourſuite par la trace de la ligne Collateralle GX, en pouſſant l’eſpee droitement ſur luy; laquelle eſtant contrainte de paſſer par le fort de la ſienne, il la rencontreroit fort à propos, en prennant la droite ligne, & ne faudroit à prevenir ſon Contraire au meſme temps d’un contrecoup d’eſtocade. Voila donc ſon intention.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander, knowing full well the danger, wants to avoid the strong of his opponent’s blade, so he makes his way sideways, raising his right foot and moving it slowly forward, knee straight, towards the Third Instance along the same line of the Inside Square, until, just as he is about to lose his balance, he swiftly slides his sword up his opponent’s blade from the 4th or 5th Span where he pushed it aside. He ensures that, at the same moment as he beings to lean, that he turns the inside arm of the crosspiece horizontally upward, to trap his opponent’s blade from beneath, and moves his own tip circularly towards his enemy, then he puts his foot down on the same line at the letter N. At the same time, he draws his left foot along in a circular motion to put it down at the letter K, half in the Quadrangle, along the line of the Outside Square. At which point he turns his left side slightly forward, so the right foot turns inward, his heel moving to the Circumference line, he stands erect, and, by the same means, hits with a thrust, sliding his opponent’s sword behind the guard with his straight arm, until the tip is in front of the left side of his opponent's face, where he could hit by exending his arm, as shown by the figures.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font>, qui cognoiſt tres bien le danger, voulant eviter le fort de l’eſpee contraire, chemine en travers, eſlevant & avançant le pied droit lentement, avec le genouil roide vers la Troiſieme Inſtance, au long de la meſme ligne du Quarré Inſcrit, juſqu’à ce qu’eſtant le corps ſur le poinćt de tresbucher, il entre plus viſtement en graduant la lame contraire depuis le Nombre 4. ou 5. où elle eſtoit aſſujettie, en avant; en adviſant au meſme inſtant qu’il commence à ſe pancher, de tourner ſa branche interieure horizontale, de façon qu’il en prenne & enſerre la lame contraire par deſſous, & en conduiſe ſa propre pointe circulairement vers l’Ennemi, pourſuivant d’abaiſſer le pied à terre à la lettre N ſur la meſme ligne; & auſſi quand & quand à entrer du pied gauche quelque peu circulairement, juſqu’à le planter parallel au pied droit à la lettre K, moitié dedans, moitié dehors; ſur lequel pied droit, en ſe tournant le coſté gauche un peu en devant, & le talon en gliſſant en dedans ſur la Circonference, il ſe dreſſe le corps perpendiculairement, & pourſuit par meſme voye ſon eſtocade, en graduant l’eſpee contraire par derriere la garde avec le bras roide, juſqu’à luy preſenter la pointe devant le coſté droit du viſage, retenant le pouvoir d’en faire l’execution par rigueur; comme les figures demonſtrent.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 4.'''
 
|'''Cercle N.4.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary parries the previous thrust to the inside with medium force. Alexander switches to stab, by stepping forward with the left side while bending his arm, so he continues to hold his point in front of Zachary’s face.''
 
 
 
|''Zacharie parant le coup de l’eſtocade precedente en dedans, avec un poids mediocre; Alexandre la change en Imbrocade, ſe mettant le coſté gauche du corps devant avec le bras courbé, en ſorte qu’il continue à luy tenir la pointe arreſtée devant le viſage.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Zachary sees the tip of his opponent’s blade in front of his face and uses moderate force to parry it away to his left. Alexander feels this and in response, he instantly lifts his left foot and tilts the branches of his crosspiece inwards so the tip of his blade stays in front of his adversary’s face. Before moving the sword, he adjusts the angle of his position by moving his left side forwards, setting his foot down at the letter S, the heel along the Exterior Transverse, and bending the elbow, all at the same time. He continues to tilt the crossguard so the external branch points diagonally upwards and inwards, and slides his sword so the weak of his opponent’s blade is caught and trapped between the exterior branch of the crossguard and the strong of his own blade. Again, with an elegant motion, he puts the tip of his blade in front of his adversary’s eyes, with a bent arm, leaning forward, left knee slightly bent.
 
 
 
|<font style="font-variant:small-caps">Zacharie</font> ſe voyant la pointe contraire devant le viſage, il la pare en dedans du bras devers le coſté gauche, en uſant d’un poids mediocre. Ce qu’<font style="font-variant:small-caps">Alexandre</font> apperçoit par le ſentiment dont il leve au meſme inſtant le pied gauche, & en tournant les branches de ſa garde en dedans, tellement que ſa pointe demeure continuellement devant le coſté droit du viſage de ſa partie adverſe; accommodant ſes aćtions à l’advenant du tranſport de ſon eſpee, & ſe mettant par ainſi dedans les angles avec le coſté gauche devant, en avançant & poſant le pied à terre à la lettre S, le talon d’iceluy ſur la traverſante exterieure, & pourſuivant à courber au meſme inſtant le bras, & à tourner les branches de ſa garde ſi avant, que l’exterieure s’en tourne diagonalement en dedans; de façon que le foible de l’eſpee contraire ſe gliſſe au fort de la ſienne entre deux la lame & la branche: dont it la prend & enſerre au meſme temps, & derechef en uſant de courtoiſie, il luy preſente la pointe devant les yeux en ligne courbe, panchant du corps en avant, avec le genouil de la jambe gauche plié.
 
 
 
|- 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 continues his parry further away. Alexander lets him carry the two swords, angling even further around, right foot raised, and the crosspiece turned back vertically.''
 
 
 
|''Zacharie continuant à parer plus outre; Alexandre luy laiſſe emporter les eſpees, ſe mettant plus avant dedans l’angle, avec le pied droit levé, & la branche interieure de la garde tournée verticalement.''
 
 
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Zachary continues his parry, turning his opponent’s sword even further away, dropping his arm slightly downwards. Alexander feels this and at the same moment raises his right foot, and moves his whole right side, including his arm, forward, straightening himself up, pivoting on his left foot, and twisting his wrist so the inside branch of his crosspiece points vertically upwards, while allowing his blade to slide up his opponent’s while turning, until the tips are near each other, as shown in the figure.
 
 
 
|Zacharie continuant à parer, en deſtournant l’eſpee contraire encores plus outre, avec un petit abaiſſement du bras devers le meſme coſté; Alexandre s’en apperçoit par le ſentiment, & leve à l’inſtant meſme le pied droit, lequel il avance enſemble avec le meſme coſté, bras, & eſpee, tournant cependant la branche interieure verticalement en haut: dont la pointe s’en eſcoule avec deſgraduation des deux eſpees un peu en arriere, bien pres à egal de la pointe contraire; le tout en tournant & dreſſant le corps droit ſur la jambe gauche: comme on 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;"
 
 
 
|''Alexander disengages his blade and delivers a cut to his opponent’s face as he steps across and to the side, behind him.''
 
 
 
|''Alexandre desgage ſa lame, & en donne un coup d’eſtramaçon au viſage de l’Adverſaire, en paſſant à ſon coſté, & luy venant derriere le dos.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander follows this, continuing to pivot on his left foot, stepping across with his right foot, turning to the left, while, at the same time, he slips his sword out from under his opponent’s, by allowing his thumb, which was pressed against the crosspiece, to slide against the crosspiece, turning his wrist over, and moving the tip up from beneath his opponent’s sword, and moving in more forward and to the side by leaning his body, and, going outside the Circle, cuts across his opponent’s face.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation, en continuant à tourner le coſté droit devant, enſemble avec le bras de l’eſpee, laquelle il delivre au meſme tēps à la faveur du poignet de la main de deſſous l’eſpee contraire, en laiſſant gliſſer le poulce, qui eſtoit affermi contre la branche interieure, deſſous, de ſorte qu’il en entoure au meſme inſtant la poignee, & en mettant l’eſpee ſur le trenchant, il en conduit la pointe en haut par deſſus l’eſpee contraire, & en entrant plus avant à coſté avec quelque panchement du corps, allant dehors le Cercle, il en donne à ſon Contraire un coup d’eſtramaçon au viſage.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The actions in the three Circles No 4, 5, & 6, are shown separately, almost as if there is a short pause between them. We did this for the benefit of our learners. Because in fact the entire sequence should follow so smoothly that it would be difficult to distinguish one step from the next so there is no interruption between any two. But to keep Scholars from being confused, and to explain the real basics that they are learning, they must learn this movement in parts, slowly, so they do not become examples of the proverb: Who grasps too much, catches very little.
 
 
 
|Les aćtions de ces Cercles N.4.5.6. ſont icy repreſentées chaſcune à part, quaſi comme s’il y intercedoit quelque petite pauſe. Ce que nous avons fait pour le regard des apprentiſs. Car autrement le tout ſe doint entreſuivre de ſi pres, qu’à grand peine y pourroit on diſtinguer le precedent d’avec le ſubſequent, tant s’en faut qu’il y aye de l’interruption entre deux. Mais pour n’embrouiller pas l’entendement des Eſcholiers, & pour leur declarer les vrais fondements de ce qu’ils apprennent, il faut que le tout ſoit monſtré par articles, ſans ſe haſter, de peur qu’il ne leur advienne ſelon le commun proverbe: Qui trop embraſſe peu eſtraint.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|A note concerning Circle No 4. That Alexander, when moving to the bent-arm position, is not required to put his foot down exactly at the letter S on the Inside Square, since he must accomodate his appoach to the following step, according to how much he senses his sword is forced away. So it happens that sometimes he will put his foot down beside the Outside Square, and at other times even outside the Circle. This will make it easier for him to follow on to Circle No 5 and to the cut in No 6, which is shown in the figure as being exactly executed on Zachary’s head. But to perform with precision, he must keep the blade in front of Zachary’s face, before putting his foot down, and to bring it in a circular motion around to the head, at the moment when he is about to lose his balance, then step, and then, as shown in the figure, bend the right knee, put his weight on it, leaning slightly forward, with the the arm and sword extended forward at an acute angle.
 
 
 
|Notez touchant le Cercle N.4. qu’Alexandre, en donnant la courbe, n’eſt pas tenu d’abaiſſer preciſement le pied gauche à terre ſur le coſté du Quarré inſcrit à la lettre S: car il doit accomoder ſon intrade à l’advenant, qu’il ſe ſent eſtre conduit par le tranſport des eſpees: dont il adviendra meſme aucunesfois, qu’il le plantera ſur le coſté du Quarré circonſcrit. & autresfois meſme au dehors. Ce qui luy donnera tant plus de commodité devenir à la pourſuite du Cercle N.5. & à l’eſtramaçon du 6. qui eſt repreſenté en la figure d’eſtre executé par rigeur ſur la teſte de Zacharie: mais pour jouer en courtoiſie, il luy faut preſenter la lame devant le viſage, premier que d’abaiſſer le pied en terre, & la mener circulairement outre ſa teſte, quand on commence à tresbucher. & à le planter, & puis, comme il eſt repreſenté en la figure, ployer le genouil droit & charger le corps deſſus, en panchant un peu vers le devant, avec le bras & l’eſpee eſtendus au devant en angle aigu.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Then, as he is leaning forward, he follows with a second cut, as follows: he lightly pushes off the ground with his left foot to straighten up, and uses this to pivot around on his right foot, so that, by raising the sword above his shoulder, keeping the hand forward and the tip raised behind him, he turns around to face his opponent, ready to strike while stepping forward with his left foot. (See Circle No 7.) Or he can put his blade in front of the right side of his opponent’s face and again raise it circularly about his opponent’s head, as he puts his foot down behind him a little off to the side. Then he again bends his forward knee to put his weight on it, with his arm and sword extended upwards at an acute angle, just as in the preceeding action, and which will be further explored in subsequent Plates, where it will be repeated.
 
 
 
|Puis eſtant ainſi avec le corps panché en avant, il pourſuivera d’en tirer encor un redoublement d’eſtramaçon, en la maniere ſuivante: c’eſt qu’il fera du pied gauche un petit pouſſement contre la terre, pour ſe redreſſer, & volter à l’aide d’iceluy ſur le pied droit, en telle ſorte, qu’en hauſſant l’eſpee par deſſus ſon eſpaule, la main quelque peu avancée, & la pointe montant en derriere le dos, il ſe tournera de front contre ſa partie adverſe, tout preſt à luy donner le coup avec l’avancement du pied gauche; ou à luy preſenter la lame devant le coſté droit du viſage, & à la monter derechef circulairement alentour de la teſte contraire, au temps qu’il plantera le pied derriere luy un peu à quartier; en apres il pliera derechef le genou de devant pour faire la charge du corps deſſus, avec le bras & l’eſpee pareillement eſtendus en angle aigu, tout ainſi qu’en l’operation precedente, & comme il en ſera parlé plus particulairement en d’autres Tableaux, où il ſera queſtion de la repeter, & d’en faire plus ample declaration.
 
 
 
|- 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 is behind his adversary, and does an about turn on his right foot. Zachary has also turned towards him at the same time, to defend with his sword. But before he can achieve this maneuver, Alexander cuts him across the face a second time. ''
 
 
 
|''Alexandre eſtant derriere ſon Adverſaire, & faiſant la volte ſur le pied droit; Zacharie s’eſt auſsi tourné devers luy au meſme temps, pour luy preſenter l’eſpee; mais avant qu’il ait parachevé l’œuvre, Alexandre luy donne encor une ſeconde touche d’eſtramaçon au viſage.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Here, again, we have the same second cut, which differs from the previous description only in that one was made against an enemy who had stayed still and not moved at all. But in Circle No 7, at the instant that Alexander raises his left foot and begins to turn about on his right foot, the Enemy also spins on his right foot, barely moving his left foot from its place, and bending his arm to bring his sword up and over in front of him, to put it between himself and Alexander. Alexander sees this, before he can complete the mouvement, he cuts him in the face. Or he gracefully puts his blade in front of Zachary’s eyes, then sets his left foot down towards his enemy, as is shown in the image.
 
 
 
|Voicy encor le meſme eſtramaçon redoublé, qui  ne differre qu’un bien peu d’avec celuy que nous venons de deſcrire: c’eſt aſſavoir que ceſtuy-là a eſté donné ſur l’Ennemy qui ne bouge point un rien de ſa place. Mais en ce Cercle N.7. à l’inſtant qu’<font style="font-variant:small-caps">Alexandre</font> commence à faire la volte du corps ſur le pied droit, en eſlevant le gauche; l’Ennemy ſe tourne pareillement ſur ſes pieds, ne bougeant qu’un bien peu de ſa place à tout le pied gauche, en avançant l’eſpee devers luy avec le bras courbe. Ce que voyant Alexandre, avant qu’il ait parachevé le mouvement, il luy donne le coup au viſage: ou bien, il luy met la lame devant les yeux en courtoiſie, plantant conſecutivement le pied gauche en terre devers l’Ennemy; comme on le voit pourtrait en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|That is the follow-on from Circle No 4, which develops when Zachary turns the point of his adversary’s sword away from his face to the inside of his arm, after Alexander had arrived at the Third Instance, as shown in Circle No 3. Now, it is reasonable to show likewise what happens after this thrust if Zachary instead parries while his opponent is still stepping towards the Third Instance.
 
 
 
|Voilà donc la ſuite du Cercle N.4. procedante de ce que Zacharie a deſtourné la pointe contraire de ſon viſage en dedans du bras, apres qu’Alexandre eſt arrivé à la Troiſieme Inſtance, ainſi que le Cercle N.3. demonſtre. Maintenant il eſt raiſonnable de vous repreſenter pareillement la pourſuite de ceſte meſme eſtocade, en occaſion que Zacharie la pare pluſtoſt, durant que ſa partie eſt encor en aćte de cheminer vers la Troiſieme Inſtance.
 
 
 
|- 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 again moves to thrust from the Third Instance, the same as in Cercle No 3. Zachary parries to the inside, but with more force than he does in Circle No 4. Thus Alexander is constrained to follow the force against his sword, moving towards the centre to L, and adjusting his left side to allow him to stab.''
 
 
 
|''Alexandre tirant encores l’eſtocade à la Troiſieme Inſtance, tout de meſme le Cercle N.3; Zacharie la deſtourne en dedans du bras, mais avec plus de force, qu’il ne fit au Cercle N.4. Dont Alexandre eſt contraint de ſeconder le tranſport des eſpees, en allant devers le Centre juſqu’à L, & accommodant le corps avec le coſté gauche pour luy donner l’imbrocade.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This stab comes from the advantage of the sword being cast aside, as shown in Circle No 2. While he is moving again to thrust from the Third Instance, at the instant his foot comes down to step on the letter N, Zachary defends himself and moves the sword forcefully away to the inside. Alexander recognizes this from the feel, and, from the beginning, makes use of the resistance to slow his movement, while he quickly moves his left foot across close to his right foot, as if making a dance move. Then he straightens up, by raising the right foot and moving it quickly along the Perpendicular Diameter to the letter L, remembering to turn and adjust his hand according to the movement of the swords. He then leans slightly to the right side and puts his weight on his right foot, and drawing the left to the letter N, At the same moment, he bends his entire arm and turns the exterior branch of his crosspiece diagonally downwards so the opponent’s blade slides down to rest against the strong of his blade, outside the crosspiece. At this instant, he turns his left side forward, aims the tip of his blade at his opponent’s face, carefully holding it in front of his eyes, as shown in the figure.
 
 
 
|Ceſte imbrocade provient de l’avantage de l’aſſujettiſſement, repreſenté au Cercle N.2. Car cependant qu’il chemine derechef pour donner l’eſtocade à la Troiſieme Inſtance, à l’inſtant que le pied droit s’abaiſſe, pour ſe planter à la lettre N. <font style="font-variant:small-caps">Zacharie</font> ſe defend, & luy tranſporte l’eſpee avec force au dedans du bras. Ce que recognoiſſant <font style="font-variant:small-caps">Alexandre</font> par le ſentiment, il taſche du commencement, à y reſiſter, en ſe ſervant d’une petite retenue, & cependant il approche le pied gauche haſtivement bien pres de l’autre, quaſi comme un demi fleuret; dont le corps ſe dreſſe, en eſlevant le pied droit, & le portant devers le Centre le long du Diametre perpēdiculaire, ſans oublier à tourner & accommoder cependant la main à l’advenant du tranſport des eſpees; & à faire la charge du corps en panchant un peu de coſté ſur le pied droit, iceluy poſant à terre à la lettre L, & trainant proportionnellement l’autre juſqu’au point N, & en parachevant au meſme inſtant de ſe courber entierement le bras, & tourner ſa branche exterieure en dedans diagonalement, de ſorte que la lame contraire en vient à s’eſcouler, en deſgraduant, au fort de la ſienne, & au dehors de la branche; auquel inſtant il tourne le coſté gauche en devant, en aſſituant ſa pointe au viſage de l’Ennemi, & l’y tenant par courtoiſie arreſtée devant les yeux; ſuivant la figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle no 9.'''
 
|'''Cercle n.9.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary increases the force of his sword even more, to parry the preceding thrust from Circle No 3. So Alexander moves forward against this with his right foot to the Centre, thereby accomplishing the same action as above.''
 
 
 
|''Zacharie augmentant encor davantage le poids de ſa lame, pour parer l’eſtocade precedente du Cercle N.3. auſsi Alexandre s’avance là deſſus avec le pied droit juſqu’au Centre, en accompliſſant derechef la meſme operation, que deſsus.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Here, again, is the same action, differing only in the degree of force used in defense. For at the instant Alexander put his foot down in the Third Instance, Zacharie parries his strike with even more effort than before. So Alexander, to work around the movement of the swords, must move his front foot further in towards the Centre, drawing his left foot behind him to the letter M, while performing the same actions as above, to keep the tip of his blade pointing in the face of his adversary.
 
 
 
|Voicy derechef la meſme operation, ne differant, qu’au poids de la defenſe. Car à l’inſtant qu’Alexandre a abaiſſé le pied droit à la Troiſieme Inſtance, <font style="font-variant:small-caps">Zacharie</font> a paré le coup avec plus d’effort, qu’au precedēt; dont <font style="font-variant:small-caps">Alexandre</font>, pour ſeconder le tranſport des eſpees, eſt contraint d’entrer du pied droit plus avant juſques au Centre, en trainant proportionnellement le pied gauche apres juſques à l’M. en accompiſſant cependant les meſmes aćtions que deſſus, juſques à preſenter ſa pointe en ligne courbe devant le viſage de ſon Contraire.
 
 
 
|- 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’s stab is parried even further outwards, so he lets the swords flow away by extending his arm, with the interior branch of the crosspiece vertical, and his right foot raised.''
 
 
 
|''L’imbrocade d’Alexandre eſtant parée encores plus outre il laiſſe eſcouler les eſpees, en allongeant meſmes le bras, avec la branche interieure verticale, & le pied droit eſlevé.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Zachary sees the tip of the sword in front of his face, he continues his defense of parrying it again to the inside. Alexander percieves this through his sense of feel, and he extends his arm, along with the sword, out to the side, raising his left foot lightly off the ground and immediately setting it back down in the same place, or even a bit further out, shifting his weight back onto this foot by pushing back with his right foot and raising it off the ground. At the same time, his right arm turns so the guard moves outwards, his 7th Span against his opponent’s 4th Span, with the inside branch of the crosspiece upwards, so as to prevent his enemy from drawing into the Direct Line posture towards his face. So if he wanted to straighten his tip, he would be forced to move circularly in a bent-arm posture, to arc around this branch. This would take longer to do than to strike horizontally in a straight line. Consequently, this gives Alexander more time to percieve and respond to any movements his enemy makes. Ordinarily he would follow the moves made in this 10th Circle with with one of the actions in Circle No 11 or No 13. That is to say, he would try to hit his opponent directly in the face dropping contact with his opponent’s sword. Or he may decide to increase the force on the sword because he wants to push it further away before trying anything else. These actions, and their counters, will be explained fully in following Plates. Nonetheless, it is good to give this little warning now, so that you will remember these actions, which we will explore shortly, every time an occasion to use them presents itself.
 
 
 
|Continuant la defenſe, & la ſuite des deux Cercles precedēts, <font style="font-variant:small-caps">Zacharie</font> qui voit la pointe contraire devant ſes yeux, la pare derechef en dedans du bras. Ce qu’appercevant <font style="font-variant:small-caps">Alexandre</font> par le ſentiment, il allonge le bras enſemble avec l’eſpee à ſon coſté, en eſlevant le pied gauche à fleur de terre, & le rabaiſſant derechef tout à l’inſtant au meſme endroit, ou bien un peu en dehors, en revenant droit ſur iceluy à l’aide du pied droit, qui fait en s’eſlevant un petit pouſſement contre la terre; & au meſme temps le bras droit ſe tourne avec la garde de l’eſpee en dehors, ſon Nombre 7. au Nombre 4. de l’eſpee contraire, avec la branche interieure dreſſée en haut, de ſorte qu’elle empeſche l’Ennemi de tirer en droite ligne & en un temps à ſon viſage. Car s’il y vouloit dreſſer ſa pointe, il ſeroit contraint d’aller circulairement en ligne courbe, en forme d’arc alentour de ladite branche: ce qui requiert plus de temps, que de fraper horizontalement en ligne droite: & par conſequent il donne auſſi plus de loiſir à Alexandre, pour juger, & rencontrer exaćtement la diverſité du ſentiment, que l’Ennemi luy donne. Lequel eſtant en termes de ce dixieme Cercle, ordinairement il attentera l’une ou l’autre des deux operations, du Cercle 11. ou 13. c’eſt aſſavoir qu’il taſchera de fraper ſa partie au viſage en deſtachant les eſpees; ou qu’il accroiſtra le ſentiment pour l’aſujettir à ſa fantaſie, avant que de rien attenter plus outre. deſquelles operations, & de leurs contraires, en ſera donné ſuffiſante inſtrućtion és demonſtrations ſuivantes. Toutesfois il n’eſt que bon d’en donner cependant ce petit advertiſſement, afin que toutes les fois, qu’il ſe preſentera telle ou ſemblable occaſion, il vous ſouviene de vous tenir preſt à les rencontrer, en la maniere que vous entendrez tout à l’heure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In order to provide a better view of the crossed swords, Alexander is shown with his right foot and hand slightly more forward than they should be, the tip turned behind him. Which would be the preparation for striking the blow shown in Circle No 13. However, it may be that your opponent would content himself to hold the swords in this position, with a lighter contact, neither pressing, nor forcing your blade away, so that you cannot perform any of the following actions. Then you must repeat the step in with the right foot along the Perpendicular Diameter, drawing the left behind, and once again putting the tip of your blade in his face, exactly as in Circles No 8 & 9.
 
 
 
|Pour vous mettre en veuë les eſpees croiſées, a proſpećtive du corps d’Alexandre eſt icy repreſentée avec le pied & la main droite un peu avancez, plus qu’ils ne devroyent, & la pointe tournée en arriere; qui eſt comme une preparation pour donner le coup du Cercle N.13. Que s’il advenoit cependant, que voſtre partie adverſe ſe contentaſt, de retenir les eſpees ainſi accouplées avec un ſentiment temperé, ſans pouſſer, ne ſans oſter ſa lame de la voſtre, de ſorte que vous ne pourriez venir aux operations ſuivantes; alors il faudroit reprenre l’entree du pied droit, ſuivant le Diametre perpendiculaire, en avançant le gauche, & luy preſentant derechef la pointe devant le viſage en ligne courbe, tout de meſme les Cercles N.8. & 9.
 
 
 
|- 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;"
 
 
 
|''From the previous Circle No 10, Zachary thrusts horizontally to the face. Alexander follows his movement keeping the swords in contact, in such a way that he gracefully adopts the Direct Line posture, with his sword-tip before the face.''
 
 
 
|''Zacharie luy tirant une eſtocade horizontale devers le viſage, en ſuite du Cercle N.10.; Alexandre la pourſuit avec les eſpees accouplées, en ſorte qu’il prend luy meſme la droite ligne, & luy met la pointe en courtoiſie devant le viſage.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This follows on from the preceeding action. Zachary makes a thrust horizontally at his opponent’s face, taking his sword off of the other, and turning slightly to the outside. Alexander feels this movement as his enemy begins to pull his sword away, does not wait until he can lift it or push it away, but continuously keeps contact, so his opponent cannot circle around his guard to make his thrust to the face. As soon as his opponent’s sword moves across, he closes the Direct Line, meeting the weak of his opponent’s blade with the strong of his own, and precisely sets his tip in front of his opponent’s eyes, putting his foot down by the other one at the same instant, about one short pace apart.
 
 
 
|C’eſt la pourſuite de la demonſtration precedente. <font style="font-variant:small-caps">Zacharie</font> tire un coup de pointe horizontal vers le viſage de ſa partie, en oſtant ſa lame de deſſus la contraire, & tournant le coſté droit du corps un peu en dehors. <font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment de ce mouvement, que l’Ennemi commence à faire, pour deſtacher ſa lame, il n’attend pas ſi long temps, qu’il la puiſſe lever ou oſter, mais ſans l’abandonner il la pourſuit continuellement, & comme elle ne peut laiſſer de venir alentour de ſa garde, pour donner l’eſtocade au viſage; à l’inſtant qu’elle y arrive, il luy ferme la droite ligne, en accueillant le foible du fort de la ſienne, & luy mettant ſa pointe en courtoiſie devant les yeux, & abaiſſant au meſme inſtant le pied à terre à coſté de l’autre, à la diſtance d’un pas arreſté.
 
 
 
|- 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;"
 
 
 
|Here is the final execution of the preceeding thrust. This is done by suddenly raising the right foot and stepping, with the body forward, and with the arm and sword extended, to the letter S. Continue on by putting weight on the forward knee, and pierce the head of your Adversary, who is forced to bend his arm and let his tip go up against his opponent’s sword.
 
 
 
|Voicy la finale execution de l’eſtocade precedente; laquelle il pourſuit en eſlevant ſoudainement le pied droit, & cheminant avec le corps avancé, & avec le bras & l’eſpee eſtendus, juſqu’à la lettre S; continuant à faire la charge ſur le genou de devant, & percer la teſte à ſon Contraire, qui en eſt contraint de courber le bras, & laiſſer aller ſa poinćte en haut au gré de l’eſpee contraire.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Those who are a little versed in this exercise, will be able to prepare and execute this thrust in one single movement. But it is better to practice as we have shown, in two parts, to instruct Novices. To whom I counsel and shall always counsel to take pains to do it a few times well, rather than repeating it often.
 
 
 
|Ceux qui ſeront un peu verſez en l’exercice, pourront donner & executer ceſte eſtocade en un ſeul temps; mais il vaut mieux de la pratiquer, comme nous l’avons repreſentée, en deux, pour donner inſtrućtion aux Novices; auxquels je conſeille & conſeilleray touſiours de mettre pluſtoſt peine à faire bien, qu’à faire beaucoup.
 
 
 
|- 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 wants to force his opponent’s sword further away, following Circle No 10. Alexander will pass to the side with a double-size step, freeing his sword, and hitting him with a cut to the head.''
 
 
 
|''Zacharie voulant aſſujetir l’eſpee contraire davantage, en ſuite du Cercle N.10; Alexandre luy va paſſer à coſté avec un pas double, en delivrant ſa lame, & luy en donnant un coup d’eſtramaçon à la teſte.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This action comes from the position shown in Circle No 10, where Zachary’s sword can be seen above the other. In this case to further force the sword away as he would like to, with more power, he increases the force on the blade. Alexander percieves this as his blade is in contact, he moves his raised foot forwards, turns his right side towards Zachary, along with his arm and the sword-guard, so that he disengages from his opponent’s sword, by moving his tip behin him in a circular motion down, around his opponent’s, and upwards. As he moves his body, stepping with his foot, he delivers a cut diagonally across the face, finishing his motion with a double-length step outside the Circle, even with the letter X, with the knee bent.
 
 
 
|Ceſte operation provient de la demonſtration du Cercle N.10. où l’eſpee de <font style="font-variant:small-caps">Zacharie</font> ſe voit deſſus l’autre: toutesfois pour l’aſſujettir à ſa fantaſie & avec plus d’avantage, il accroiſt le ſentiment. Ce qu’<font style="font-variant:small-caps">Alexandre</font> appercevant par l’attouchement, il avance au meſme temps le pied, qui eſt eſlevé, en tournant le coſté droit du corps en avant, enſemble avec le bras & la garde de l’eſpee, ſi bien qu’elle ſe deſgage de l’eſpee contraire, en faiſant de ſa poinćte un circuit en arriere & alentour de la poinćte d’icelle de bas en haut, & en continuant l’advancement du corps & du pied, qui chemine, il luy porte un coup d’eſtramaçon diagonal au viſage, pourſuivant à faire avec le pied droit un pas double en ligne droite, à planter dehors le Cercle vis à vis de la lettre X, avec le genou plié, pour y faire la charge.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|One could also make use of this action when making the cut to the face from the Third Instance. While putting the foot down at the letter N, the enemy made his defence, carrying the swords down to the inside much more forcefully than in Circles No 4, 8, & 9, so that one could not hold it with the bent arm, and one would be forced to let it go, giving it free rein.
 
 
 
|On pourra auſſi ſervir de ceſte meſme operation, quand on ſera venu pour donner le coup de l’eſtocade à la Troiſieme Inſtance, & qu’en abaiſſant le pied droit à la lettre N, l’Ennemi aura fait ſa defenſe, en tranſportant les eſpees en dedans du bras avec plus de force, qu’il n’a fait és Cercles N.4.8.& 9. de ſorte qu’on ne le puiſſe moderer avec la courbe, & qu’on ſoit contraint de le laiſſer aller, comme à bride avallée.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander percieves, on this occasion, the powerful force being used to parry his thrust, and makes a half pirouette with the left foot, bringing his right foot in as quickly as possible to raise it up and and bring his right side forward with his arm and sword, in the same way as above, into the angle that is open before him. He continues with the rest, the cut and the double-length step, as is shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> donc s’appercevant, en ceſte occaſion, de la grande force avec laquelle on luy pare ſon eſtocade, il fait une demi-fleurette avec le pied gauche, l’approchant le plus viſtement qu’il eſt possible au pied droit, pour l’eſlever, & ſe tranſporter en toute promptitude le coſté droit devant, enſemble auſſi en avançant le bras & l’eſpee, en la meſme ſorte, que deſſus, au dedans de l’angle qu’on luy ouvre: en continuant le reſte, de l’eſtramaçon, & du pas double, à l’imitation de ce qui eſt repreſenté en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The real blow is made severely, but in any case, nothing prevents it from being practiced carefully, simply putting the blade in front of the face, while stepping, and moving the sword about the head as the foot comes down.
 
 
 
|Il eſt vray, que le coup y eſt executé par rigueur: toutesfois il n’y a rien qui empeſche de le pratiquer auſſi en courtoiſie; en luy preſentant la lame devant le viſage, cependant que le pied chemine, & cependant qu’il s’abaiſſe en terre, la mener circulairement outre ſa teſte.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|That being done, one could again make a second strike, either carefully or severely, as in the example of Circle No 6, following the same instructions.
 
 
 
|Celà fait, on le pourra redoubler encore en courtoiſie, ou en rigueur, à l’exemple de la pourſuite du Cercle N.6. ſuivant les meſmes inſtrućtions.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
||
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|It is apparent from these examples that before one can hit the person who is holding the Direct Line posture, one must first overcome the sword. Because the large distance at the First Instance is advantageous and good for the defender, as much, in contrast, as it is difficult and inconvenient for the attacker. In fact, if you paid close attention to the demonstrations in the previous Plate V, all of Zachary’s thrusts were made from the First Instance, all of their counters were made by Alexander from the Second. As much as he never stayed in place without moving, nonetheless his hits were only begun at the instant when his enemy had closed in to the Second Instance. If someone is out of range, he is also out of danger; when at long range, he is likewise out of danger from smaller and more subtle moves. Thus is follows that, when the enemy is standing in the Direct Line posture, that one must move in closer to put him in danger, but confidently. Good foot, good eye. Believe that neither the speed of the body, nor the quickness of the arm, are nothing compared to the benefit of a good approach. Thus all the practicality of our Training is that we are always moving towards the enemy to come into the range that is most convenient and proper to the execution of our attacks. That is, if he does not bring himself into range and save us the trouble. This is what we wanted to present here, in Plate VI. More specific observations and confidence in how to proceed, shall be explained hereafter, each in its proper place.
 
 
 
|Il appert par ces exemples, qu’il faut neceſſairement venir à l’eſpee, premier que d’attenter ſur la perſonne, qui ſe tient en ceſte poſture de la Droite ligne. Car la meſure large de la Premiere Inſtance, luy eſt avantageuſe & propre pour les defenſes, autant qu’elle eſt au contraire incommode & dangereuſe pour celuy qui la veut aſſaillir. Et de fait ſi vous avez prins bonne garde aux demonſtrations de la Table V. precedente, toutes les eſtocades de Zacharie, qu’il y eſt repreſenté d’avoir tirées de la Premiere Inſtance, elles ont eſté rencontrees par Alexandre à la Seconde. Car encores qu’il ſoit demeuré aucunesfois ſans bouger de ſa place, toutesfois les atteintes, qu’il a données, n’ont eſté commencées, ſinon à l’inſtant que l’Ennemi s’eſt avancé juſqu’à ceſte Seconde Inſtance. Car ſi celuy qui eſt hors de meſure, eſt auſſi hors de danger, auſſi qui eſt en meſure large, eſt hors du danger des plus petits & plus ſubtils mouvements. S’enſuit donc, quand l’Ennemi ſe tient en la Droite ligne, qu’il le faut aborder plus pres, pour le mettre en danger; mais avec aſſeurance, Bon pied, bon œil. Et croyez hardiment, que ny la viſteſſe du corps, ny la promptitude du bras, ne ſont rien au prix d’une bonne approche. Dont toute la Pratique de ceſtuy noſtre Exercice ſera telle, qu’on ira touſiours ſerrant l’Ennemy, juſqu’à venir à la meſure, qui ſoit convenable & juſte aux executions, qui ſe preſentent à faire; ſi ce n’eſt que luy meſme nous vienne au devant, pour nous relever de la peine. Voilà ce que nous avons voulu repreſenter en general en ce Tableau VI. Les obſervations plus particulieres, & l’aſſeurance, comment il y faut proceder, ſeront declarées cy apres, chaſcune en ſon lieu.
 
 
 
|}
 
{{master end}}
 
{{master begin
 
| title = Book 1 - Tableau / Plate VII
 
| 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 07.jpg|600px]]
 
 
 
N.B., the coat of arms at the top belongs to George William (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
 
 
|EXPLANATION OF THE ACTIONS IN THE SEVENTH PLATE
 
|DECLARATION DES OPERATIONS DV TABLEAV SEPTIEME
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After Zachary saw how Alexander advanced against the Direct Line posture, forcing his adversary’s sword aside at the Second Instance, and all that followed from there, he again put himself into the same posture, but with the intention of putting Alexander’s approaches to the test, and to do everything he can against them. In the preceeding Plate, he did nothing against them, except what he had to do of necessity for simple self-defense. In this one, he intends to cross his adversary’s approach with several thrusts, at the beginning, in the middle, and at the end of the action where his sword is being forced aside, taking his opportunity at the moment when Alexander raises his right foot, or when he moves towards the Second Instance, still in balance, or when he lowers it down as his body falls forward, or when he puts it down, or after he is in position. Alexander, knowing nothing of Zachary’s plans, starts again with the Direct Line posture in the same way as before, moving into the First Instance at the other end of the Circle, with his sword likewise held underneath the other.
 
 
 
|Apres que Zacharie a veu la maniere d’Alexandre d’avancer ſes approches contre la droite ligne, en aſſujettiſſant l’eſpee contraire à la 2. Inſtance, avec tout ce qui en depend; il ſe va planter derechef en la meſme poſture, avec intention de mettre les approches d’Alexandre à l’eſpreuve, & de les travailler en toutes ſortes à luy poſsibles. Car en la Table precedente il n’avoit rien fait alencontre, ſinon ce qu’il eſtoit contraint de faire par neceſsité; pour la ſimple defenſe de ſa perſonne: mais en la preſente il ſe propoſe de traverſer l’approche de ſon contraire par pluſieurs eſtocades, tirees au commencement, à la continuation, & ſur la fin de l’aſſujettiſſement de l’eſpee: prenant le temps qu’il leve le pied droit, ou qu’il l’avance devers la 2. Inſtance, le tenant encor en balance, ou qu’il l’abaiſſe avec le tresbuchement du corps, ou qu’il le plante à terre, ou qu’il y ſoit deſia arrivé. Alexandre donc ne ſachant rien de ceſte intention, recommence à travailler ſur la droite ligne, en la meſme ſorte que devant, ſe mettant à la premiere Inſtance à l’autre bout du Cercle, avec l’eſpee ſemblablement en ligne droite parallele au deſſous de l’autre.
 
 
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 1'''
 
|'''Cercle N.1.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander forces his opponent’s sword aside at the Second Instance to the inside of the arm. He proceeds to there with great care, as much when raising his right foot, crossing the swords, and moving forward while sliding down the blade, as when moving the blades to take the upper hand, setting his foot down on the ground precisely in place and following with the other, deliberately, with a circular motion, until he is once again straight on his legs, as shown here in this image.''
 
 
 
|''Alexandre aſſujettit l’eſpee contraire à la Seconde Inſtance en dedans du bras; y procedant avec grande circonſpection, tant à eſlever le pied droit en accouplant les eſpees, & à l’avancer en faiſant la deſgraduation, qu’à tranſporter les lames & à en prendre deuement la ſuperiorité, en plantant le pied eſlevé à terre au lieu & avec la juſteſſe requiſe, & à pourſuivre avec l’autre lent & circulairement juſqu’a ce qu’il revienne droit ſur ſes jambes; en la forme qu’on le voit icy en figure.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|So, to force his opponent’s sword aside at the Second Instance, he begins his work with the right foot, raising it off the ground, keeping his knee straight, at the same time raising the tip of his sword with a small movement of the wrist, making contact with the opponent’s sword to the inside, his 8th Span against the 3rd Span, and pausing briefly. After which he advances his right foot towards his left side, raising the sword further for a second time with the wrist, the inside branch of the crosspiece of his guard turned sightly upwards. In such a way that he conducts the tip of his blade a little over to the side, crossing and sliding up his opponent’s blade moving his own until his 8th Span is against the 4th Span at least, or the 5th at most. He continues to move the foot further along the same line, until his body just begins to fall forward. Then he quickly steps in and puts his foot down along the Inside Square at the letter G, then immediately raises his left foot and moves it deliberately in a circular path through the air, keeping his leg straight until he is opposite the arch of his other foot, which is on the ground. Further, to the degree his body advances with the above actions, he moves his opponent’s sword forward, with a slight roll of the wrist to force it aside, turning the inside branch of the guard vertically, and putting his left foot, currently in the air parallel to the right, down on the circumference of the Circle along the side of the Outside Square, his toes on the Oblique Diameter G-S* and his heel at the letter D. Thus the left side is turned a little forward and the heel of the right foot is on the Collateral G-M. His arm goes downwards and slightly extended, the guard is by the right hip but slightly higher, his blade crossing his opponent’s blade at the numbers mentioned, his tip rising to the top of his opponent’s head, his body is straight and perpendicular, the muscles of his arm and his knee are tensed, his feet the proper and proportional distance apart, to have all his limbs able to move promptly and actively.
 
 
 
*C S is a typo in the original text. The oblique diameters run from G-S.
 
 
 
|Et pour aſſujettir l’eſpee contraire à la ſeconde Inſtance, il commence à travailler du pied droit, l’eſlevant de terre avec le genouil roide, en faiſant monter au meſme temps par une petite accomodation du poignet de la main ſa pointe en haut, touchant l’eſpee contraire en dedans, du Nombre 3. le Nombre 8. avec quelque petite pauſe: apres laquelle il avance le meſme pied droit devers ſon coſté gauche, hauſſant encore l’eſpee pour la ſeconde fois à la faveur du poignet, avec les branches de la garde tournees un peu en dedans; de façon qu’il en conduit la pointe de ſa lame un peu de travers, croiſant & deſgraduant l’eſpee contraire en graduant la ſienne, & aſſemblant ſon Nombre 8. avec le Nombre 4. pour le moins ou 5. pour le plus: pourſuivant à avancer le pied plus outre du long de la meſme ligne, juſqu’à tant que le corps commence à tresbucher: lors il ſe haſte d’entrer, & de le planter ſur le coſté du Quarré Inſcrit à la lettre G, continuant à eſlever tout à l’inſtant le pied gauche, & à le porter lent & circulairement en l’air avec la jambe roide, juſqu’à ce qu’il vienne à l’oppoſité du creux de l’autre pied, qui eſt planté en terre. Or à meſure que le corps s’avance avec les ſuſdites aćtions, il emporte auſſi l’eſpee contraire à l’advenant, luy donnant un petit branſle du poignet de la main pour l’aſſujettir, en tournant les branches de ſa garde en dedans verticalement, & plantant le pied gauche à preſent eſlevé in l’air parallele au pied droit, ſur la circonference du Cercle, & ſur le coſté du Quarré circonſcrit, les orteils ſur le Diametre oblique C S, & le talon à la lettre D; dont le coſté gauche du corps ſe tourne un peu en devant, & le talon du pied droit en eſt tiré ſur la collaterale GM; avec le bras deſcendant & mediocrement eſtendu, la garde luy revenant à l’oppoſite de la hanche droite, un peu plus haute, ſa lame croiſant l’eſpee contraire en travers par devant ſa poitrine, & aux Nombres ſuſmentionneez, ſa point aſcendant juſqu’à la hauteur du ſommet de la teſte contraire, le corps dreſſé perpendiculairement, les muſcles du bras & des genoux tendus, les pieds en diſtance juſte & proportionée, pour avoir tous ſes membres à commandement, prompts, & aćtifs.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Having duly pushed his opponent’s sword aside, the point of contact between the two swords will be above the two Exterior Collaterals, which cross each other on the Perpendicular Diameter at the letter M. This action is also described in Plate VI, as one of the background figures, but properly presented here, in this Plate, as a more important figure, to clearly show the details of the posture of the body, arm and sword, and the position of the feet in the circle, as is now time that we take a closer look at this action. Just as the figure is larger and more detailed, our description should be more complete and precise, and readers should pay closer attention. What, after all, is more important than knowing how to attack and force your opponent’s sword aside? Or what is more useful than to be able to approach with a distinct advantage? But as superior as this is, it is also difficult. This is one of the most important sequence of operations in our  System, about which we have several important cautions to make, which shall be explained following this discription, and without which it would be impossible to forsee all the infinite number of countermeasures that could be made against this approach. You shall see in this Plate the more notable ones, which are made by means of circular disengagements.
 
 
 
|Ceſt aſujettiſſement eſtant deuement accompli, il ſera trouvé que le Centre de l’attouchement des eſpees reſpondra juſtement au deſſus des deux collaterales exterieurs, qui s’entrecoupent ſur le Diametre perpendiculaire, à la lettre M. Il eſt vray que la meſme operation eſt auſſi deſcrite en la Table VI. toutesfois conſiderant, qu’elle y eſt demonſtrée par figures de moindre taille, & qu’elle devoit eſtre propoſée en ce Tableau preſent en forme plus royale, repreſentant diſtinćtement la tenue du corps, du bras, de l’eſpee, enſemble la ſituation des pieds ſur le Cercle, & qu’il eſtoit icy proprement queſtion de la mettre à l’eſpreuve; nous avons trouvé bon, que comme la figure y eſt plus grande, que auſſi les particularitez en ſoyent declarées en la deſcription plus exaćtement, & quelles s’y liſent comme en de plus gros charaćteres. Car quelle choſe plus noble, que de ſçavoir attaquer & aſſujettir l’eſpee contraire? ou quelle plus utile, que de faire ſes approches avec un ſi notable advantage? Mais autant qu’elle eſt excellente, d’autant eſt elle difficile: c’eſt l’une des plus importantes opetions de Noſtre Pratique, où il faut proceder avec la caution de pluſieurs obſervations, que ſeront declarées à la ſuite de ceſte deſcription, ſans leſquelles il ſeroit impoſſible de prevenir tant de traverſes, qui ſe pourroyent faire alencontre de ceſte approche juſqu’à un Nombre infini; dont vous en verrez en ce Tableau preſent les plus notables, qui ſe ſont par le moyen de la cavation.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|One can make this push to the side against several different levels of force, according to what level our adversary gives to us, because of the superior strength we have from made our contact at the 8th Span against his 4th or 5th Span, before we even try to do anything with his blade. In any case one must not fail to pay close heed to this advantage, nor not take care to make the point of contact as exact as possible, and so to diminish the power of the adversary’s sword. One must always moderate one’s own power according to the situation. If the opponent uses less force we must move the point of contact up our blade accordingly. Likewise if he increases his force, we must increase ours down the blade so the force stays the same. But if he pushes hard enough that we can feel that his blade, if we let it go, will open up his centre line with his arm and blade at an angle off to the side, then we offer no resistance, and allow his blade to fly freely off to the side and we then put ourselves inside the open angle and consequently strike him, either high, or low, according to the situation as it presents itself.
 
 
 
|On peut faire ceſt aſſujettiſſement ſur pluſieurs differents degrez de ſentiment, que l’adverſaire nous donne, à raiſon de la grande ſuperiorité d’avoir aſſemblé le Nombre 8. avec le Nombre 4. ou 5. de l’eſpee contraire, avant que de rien attenter ſur icelle pour la tranſporter. Toutefois qu’on ne ſe fie pas tant ſur cet avantage, qu’on laiſſe de prendre garde, le plus exaćtement qu’il ſoit poſſible, à l’accroiſſement, & à la diminution de la vigueur de l’eſpee contraire. Car il faut touſiours temperer ſes forces à l’advenant. Si elle s’affoiblit, il faut que la noſtre decroiſſe pareillement; ſi elle ſe renforce, il faut que la noſtre s’augmente alencontre, pour travailler touſiours avec poids egalement proportionné. Mais s’il fait un ſi grand effort, que le ſentiment nous rapporte, qu’il s’en va forligner, & faire un angle avec le bras & l’eſpee, lors on le laiſſe aller tout du commencement, ſans nulle reſiſtence, afin qu’il s’eſcarte tant qu’il voudra, & qu’on ſe mette ce temps pendant dedans l’angle pour luy donner conſecutivement l’atteinte en haut, ou en bas, ſuivant l’occaſion qu’il preſente.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Likewise, it may happen that, when in the act of forcing the opponent’s sword to the side that he weakens his resistence and yet you continue to press with the same force, without having moderated your force at that instant to equalize with his, you are in danger of overreaching with your blade and could be wounded if he makes a circular disengage and strikes over your arm.  If he gives so much with his blade that you lose contact, and yours begins to fly too far off the line, you should immediately extend your arm and sword up at an obtuse angle towards his face with a little forward motion of the body, still staying in balance. Be aware of where his tip is aiming, either up towards your face, or under your arm, or to your side. Depending on where it is coming, you can defend by moving your body around in conjunction with your arm and sword.
 
 
 
|Pareillement s’il advient, eſtant en aćte de faire l’aſſujetiſſement, que l’ennemi s’affoibliſſe, & que vous continuez au contraire la vigueur precedente, ſans l’avoir temperée au meſme inſtant, & à l’egal de la ſienne, vous ſerez en tresgrand danger de tresbucher de voſtre lame, & de recevoir quelque atteinte par deſſus le bras, par le moyen de la cavation. Que s’il affoiblit ſa lame ſi avant, que vous en perdiez le ſentiment, & qu’elle commence à tresbucher vous allongerez au meſme inſtant le bras & l’eſpee en angle obtus devers ſon viſage; avec un petit avancement de la partie ſuperieure du corps, le tenant cependant en balance, & en aguettant la part ou la pointe contraire tire, ſoit en haut devers le viſage, ou deſſous le bras, ou à coſté; ce que diſcernant, vous ſeconderez l’extenſion du bras & de l’eſpee avec les mouvemens du corps, ſelon qu’il ſera plus expedient pour voſtre defenſe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|One will discover with experience that those who are not schooled in these techniques and who do not understand the fundamental reasons for them, will usually allow an enemy to pull away, even drop the connection at will, without working against him, and thus lose sight of his sword-point until it is too late. So they lose the timing, and real ability to defend themselves, when the enemy has made moves that far ahead, and he has taken such a degree of advantage, that one can no longer take the Direct Line position from him. Then all he needs to do is make a simple step, opening up the angle of approach, where he can enter, if he understands how to take the lead, and maintain his advantage by whatever opportunities present themselves. This demonstrates the vital necessity of being able to respond in time to an opponent’s movements, and the difference between letting him escape from your awareness of his movements and being instantly able to counter them, the latter being done with confidence, the former being very dangerous and impossible to do calmly. To avoid this problem, one must be able to instantly recognize the start of your opponent’s actions from the contact between swords. Having recognized these movements, then use your body, your arm, and your feet equally so they work together to help support the ability to connect with the sword. This is why we have described so thoroughly and precisely all the motions that happen together, including the body, the arms, and the legs. Such as raising the right foot from the ground, making a short pause, and then moving it forward with the knees straight to put it quickly on the ground. Likewise the step with the left foot in all its particulars. If the connection is not supported by the movement of the feet, it cannot be precise enough to detect and counter the opponents actions as they begin.
 
 
 
|On trouvera par experience, que ceux qui ne ſont pas ſtylez en l’uſage de ceſte Pratique, & n’en comprennent encor à plein les raiſons fondamentales, permettront ordinairement à l’ennemi d’affoiblir, voire meſme de deſtacher ſon eſpee à ſa fantaſie, ſans travailler alencontre juſqu’à tant qu’ils voyent ou il dreſſe ſa pointe. Dont ils viennent à perdre le temps, & la vraye occaſion de leur defenſe; pour ce que l’ennemi quand il eſt venu ſi avant que cela, il s’eſt emparé tellement de la ſuperiorité des lames, qu’on ne luy peut d’oreſenavant clorre la droite ligne; ne reſtant autre apparence que de faire une ſimple parade, accompagnée d’une ouverture d’angle, où l’ennemi ſe peut fourrer dedans, s’il entend la maniere de prendre le temps, & de pourſuivre ſon avantage avec telle ſorte d’execution, qu’il luy viendra plus à propos. Choſe qui demonſtre bien la grande neceſſité de travailler à temps ſur les mouvmens contraires, & la difference qu’il y a de ſe laiſſer eſchapper les commencemens des occaſions hors des mains, ou de les rencontrer tout à la premiere abordee. dont l’un ſe fait avec tresgrande aſſeurance, & l’autre avec ſi extreme danger, qu’il eſt comme impoſſible d’y donner ordre. Pour eviter ceſt inconvenient, il faut recognoiſtre les commencemens des aćtions contraires par l’attouchement des eſpees; & les recognoiſſant, aſſiſter le ſentiment avec le ſecours du corps, du bras, & des pieds egalement, afin que tout aille un meſme train. C’eſt pourquoy, nous avons deſcrit ſi curieuſement & exaćtement tous les mouvemens qui vont par enſemble, tant du corps, que du bras, & des pieds: comme d’eſlever le pied droit de terre, d’en faire une petite pauſe, de l’avancer avec la jambe roide, de le planter haſtivement à terre: pareillement auſſi la demarche du pied gauche, avec toutes ſes particularitez. Car ſi le ſentiment n’eſtoit bien aſſiſté du mouvement des pieds, il ne pourroit eſtre aſſez juſte, pour recognoiſtre & rencontrer les aćtions contraires & leurs commencements.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|When the feet land on the ground at the Second Instance, they must be exactly on the lines as described, while pressing the opponent’s sword aside. Turn the body so the left side is a little more forward, and the right side slightly back, the right arm lowered and pushed slightly forward, the guard back towards the right, slightly above the hip, with the arm and guard ready to defend the side which is more exposed to danger, as we shall see by the examples in this Plate. This is to uncover the left side to the enemy, which is easier to defend as shown in Circle No 2 in the following Plate.
 
 
 
|Ce que les pieds doivent ainſi tomber à terre à la Seconde Inſtance, & en tenant l’eſpee contraire aſſujettie, eſtre ſituez preciſement ſur les lignes que nous avons deſcrites; avec le coſté gauche du corps tourneé un peu en devant, & le bras deſcendant, & mediocrement eſtendu, la garde revenant devers le coſté droit, un peu plus haut que la hanche: c’eſt pour deſcouvrir à l’ennemi le coſté gauche, qui eſt le plus facile à defendre, ainſi qu’il paroiſtra par le Cercle 2. du ſuivant; & pour tenir le coſté droit d’autant plus arriere, avec le bras & la garde preparés à ſa defenſe, comme celuy qui eſt le plus expoſé au danger, ce qu’on verra par les exemples du Tableau preſent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|We begin our description with Circle No 4. The figures represent the result of two different actions, one direct, the other follows on from Circle No 2. We shall begin with the first case.
 
 
 
|Or pour venir à ſa deſcription, nous commencerons par le Cercle 4. duquel les figures repreſentent deux differentes operations: l’une qui va de droit devant, & l’autre qui ſuit apres le Cercle 2. nous parlerons donc preſentement de la premiere.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 4'''
 
|'''Cercle N.4.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''As soon as Alexander begins to try and cross swords, Zachary makes a thrust to the face from outside the arm. But he is surprised and wounded by Alexander who takes a step to the outside and closes the Direct Line on him.''
 
 
 
|''Des qu’Alexandre commence à vouloir accoupler les eſpees; Zacharie luy tire une eſtocade en dehors du bras devers le viſage: dont il eſt luy meſme ſurprins & bleſſé par Alexandre, en deſtournant la demarche un peu en dehors, & luy fermant la droite ligne.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Both parties begin in the First Instance in the Direct Line posture, swords parallel. Alexander begins to move with the intention of forcing aside the opponent’s sword when at the Second Instance. To do this, he raised his right foot, and crossed his opponent’s sword to the inside, his strong part to the weak part. Zachary makes a circular disengage and around his opponent’s arm, then gives a strong thrust with a straight arm outside Alexander’s arm, stepping forward with his right foot up to the letter R along the Diameter. Alexander sensing that he has lost contact with his opponent’s sword, instantly extends his arm and sends the tip of his sword towards his opponent’s face, the tip slightly up, crossing his opponent’s sword, and, taking a step to the outside, leaning backwards, his body erect in profile, he puts his right foot along the Interior Collateral C-S and sets it down at the second intersection, while sliding the point of contact up the blade in a circular motion over his enemy’s guard, to wound him in the face. He draws his left foot up into place, to the increase the power of his thrust. This is shown in the picture of him in Circle No 4.
 
 
 
|S’eſtans trouvez les deux parties à la Premiere Inſtance en poſture de la droite ligne, les eſpees paralleles l’une à l’autre. <font style="font-variant:small-caps">Alexandre</font> commence à travailler avec intention d’aſſujettir l’eſpee contraire à la Seconde Inſtance. Et pour ce faire, ayant levé le pied droit, en touchant l’eſpee contraire en dedans, du foible le fort; <font style="font-variant:small-caps">Zacharie</font> fait ſa cavation, & luy tire avec le bras roide une eſtocade reſolue devers le viſage en dehors du bras, avançant le pied droit juſqu’au point R. ſur le Diametre. <font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment, que l’eſpee contraire ſe commence à ſe deſtacher, il eſtend tout au meſme inſtant le bras & l’eſpee devers ſon viſage, la pointe d’icelle un peu aſcendante, en croiſant l’eſpee contraire & en deſtournant ſa demarche en dehors, avec le dos panché à l’envers, & le corps dreſſé en pourfil, il poſe le pied à terre ſur la ſeconde interſećtion de la collaterale CS. en graduant circulairement l’eſpee de ſon ennemi, & le bleſſant au viſage; & laiſſant ſuivre le pied gauche en trainant proportionnellement, pour accoiſtre la vigueur de ſon eſtocade: ainſi qu’on le voit au pourtrait de ſa figure, Cercle 4.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Zachary performed this circular disengage immediately after the blades made contact and as Alexander paused just after he raised his right foot. He could as well done this while Alexander was stepping to the left and forcing the swords over to the side, before Alexander reached the point of losing balance. In that case, Alexander responds in the same way. That is, he moves into the enemy by stepping along the Diameter, as far as possible, so as to control his opponent’s sword more easily, almost the same way as when forcing it aside, by crossing over top of the blade as it goes under. The more one closes the distance by moving along the Diameter, the more easily one can close off the Direct Line, and, at the same time, the greater the angle of the enemy’s sword will be, leaving a safer opening to step into.
 
 
 
|Or ainſi que ceſt cavation à eſté faite par <font style="font-variant:small-caps">Za</font>charie tout à l’inſtant, apres l’eſlevation du pied droit d’<font style="font-variant:small-caps">Ale</font>xandre, & de l’attouchement des deux lames, aſſavoir durant la premiere pauſe; auſſi la pourra il faire durant l’avancement du meſme pied devers le coſté gauche au commencement du tranſport de ſon eſpee, avant que le corps d’<font style="font-variant:small-caps">Ale</font>xandre commence à tresbucher. Cela eſtant, il ſe faudra regler encor en la meſme ſorte. C’eſt qu’on entrerera ſur l’ennemi en allant devers le Diametre, le plus qu’il ſera poſſible, afin de porter l’eſpee tant plus facilement, quaſi par maniere de jetter, en croiſant, au deſſus de celle qui fait la cavation. Car autant plus qu’on s’en approche en tirant vers le Diametre, autant plus aiſement on luy pourra fermer la droite ligne, & autant plus grand ſera l’angle, qui nous ſera ouvert pour y entrer au meſme temps, avec plus d’aſſeurance.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 2'''
 
|'''Cercle N.2.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''At the instant Alexander begins to overbalance and his foot goes to the ground, Zachary strikes with a thrust to the face from the outside. Alexander forstalls this before he can complete his circular disengage by moving forward to the inside and sliding his blade up, keeping the arm straight and the point aimed at his face.''
 
 
 
|''A l’inſtant que le pied droit d’Alexandre commence à tres-bucher vers terre; Zacharie luy va tirer une eſtocade devers le viſage en dehors du bras: dont Alexandre le previent avant qu’il ait achevé ſa cavation, en entrant plus avant dedans & graduant ſa lame; avec le bras roide & la pointe dreſſée contre ſon viſage.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Here we see Zachary begin his circular disengagement at the moment his adversary begins to overbalance. He extends his sword with a straight arm and again aims his thrust in the Direct Line, just as above, towards his opponent’s face from outside the arm, while moving forward and stepping up to the letter V on the Diameter. As soon as Alexander feels how his opponents blade lose force against his, without waiting for it to disengage, he moves his own forward with the arm extended, his tip raised a little towards his opponent’s face, across the opposing sword. He slides the point of contact up and steps with his right foot just inside the Inside Square. He draws his left foot up to the Exterior Collateral G-M to put himself into profile, stopping the point precisely in front of his opponent’s eyes, as shown in the figure.
 
 
 
|Mais voicy que <font style="font-variant:small-caps">Zacharie</font> commence à faire ſa cavation, au temps que le corps de ſa partie adverſe commence à tresbucher; en eſtendant l’eſpee avec le bras roide, & en tirant derechef ſon eſtocade en ligne droite, ainſi que deſſus, vers le viſage de ſa partie par dehors le bras, avançant le corps & le pied juſqu’à la lettre V. ſur le Diametre. Si toſt qu’<font style="font-variant:small-caps">Alexandre</font> s’apperçoit par le ſentiment, que la lame contraire s’affoiblit, voire qu’elle s’amortit; ſans attendre qu’elle ſoit deſtachee, il avance la ſienne avec le bras eſtendu, la pointe un peu montante vers le viſage du contraire, au travers de ſa dite eſpee; icelle graduant, & entrant avec le pied droit un peu au dedans du Quarré Inſcrit; & laiſſant trainer le gauche proportionnellement derriere ſur la collaterale exterieure GM. dont il ſe met en pourfil, en arreſtant ſa pointe en courtoiſie devant les yeux de ſa partie, ſuivant la repreſentation de la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This circular disengage that happens at the instant the opponent begins to overbalance is much more dangerous for Alexander than the preceeding one, which happens while his body is still in balance, and consequently so he can better control it. This is the reason why we chose  to show this second encounter in this figure, as it is the most difficult. You should also know that it is the moment Zachary will choose most often to attack with his circular disengagement. If waits a little longer, until Alexander’s foot is almost on the ground, so that he cannot put it anywhere else than at the letter G, where he expects to be able to cast his opponent’s sword aside, the circular disengage is even more advantageous. In any case, the response remains the same, as long as one can begin to work in time, and move into profile the same as before.
 
 
 
|C’eſte cavation qui ſe fait à l’inſtant que la Partie commence à tresbucher du corps, eſt plus dangereuſe pour <font style="font-variant:small-caps">Ale</font>xandre, que la precedente, qui ſe fait durant qu’il ſe ſouſtient le corps encor en balance, & par conſequent qu’il le peut miex gouverner. C’eſt la cauſe pourquoy nous avons voulu repreſenter ceſte deuxieme rencontre en figure, comme eſtant la plus difficile. Auſſi devez vous ſçavoir que c’eſt le temps que <font style="font-variant:small-caps">Za</font>charie prendra le plus ſouvent pour tirer avec ſa cavation; que s’il attend encor d’avantage juſqu’à tant que le pied droit d’<font style="font-variant:small-caps">Ale</font>xandre ſoit en aćte de s’abaiſſer, de façon qu’il ne ſoit plus en ſon pouvoir de le planter autrepart, qu’à la lettre G. ou il s’attendoit d’aſſujettir l’eſpee, la cavation luy ſera, en ce faiſant, encor plus avantageuſe. Toutesfois on en fera la rencontre en la meſme ſorte, moyennant qu’on cōmence à travailler au commencement du temps, en mettant conſequemment le corps en pourfil tout de meſme qu’auparavant.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 3'''
 
|'''Cercle N.3.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander makes his thrust powerfully. He forces the opponent’s sword and arm aside while moving into the Centre, and pushing his sword with all his strength through his opponent’s head.''
 
 
 
|''Alexandre faiſant l’execution de l’eſtocade en vigueur, il force le bras & l’eſpee contraire, en entrant juſqu’au Centre, & pouſſant l’eſpee detoute ſa force à travers la teſte de ſon adverſaire.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This is the final part of the previous thrust, done by Alexander, moving forward, sliding the point of contact up the crossed blades with his arm straight and stepping with his right foot into the Centre, bending the right knee, to make his hit with the full weight of his body leaning forwards. He draws the left foot behind up to the letter G, so that he will connect with his opponent’s guard hard enough to force it away, and bending his opponent’s arm, and letting his opponent’s sword fall away to the side, he makes a large enough angle that his opponent loses all possibility of defense.
 
 
 
|C’eſt la finale execution de l’eſtocade precedente, faite par <font style="font-variant:small-caps">Alexandre</font>, en avançant le corps, graduant les lames avec le bras roide, & entrant avec le pied droit juſqu’au centre, en pliant le genouil d’iceluy, pour y faire avec l’execution du coup la charge du corps, en panchant ſur le devant; & trainant le pied gauche derriere bien pres de la lettre G. de ſorte qu’il vient rencontrer ſi rudement la garde contraire, qu’elle eſt contraint de luy ceder, & pliant le bras, & laiſſant eſcouler ſa lame à coſté; dont il ſe fait une ſi large ouverture d’angle, qu’il en perd toute apparance de ſa defenſe.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 4'''
 
|'''Cercle N.4.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary makes his circular disengagement and aims his thrust from the outside of the arm towards the face of his adversary at the moment his sword is forced aside. So Alexander leaned backwards and stepped, and made his hit while Zachary’s sword was below his during the disengage, and followed with his left foot for for support.''
 
 
 
|''Zacharie fait ſa cavation, & tire l’eſtocade en dehors du bras devers le viſage de ſa partie adverſe au temps que ſon eſpee eſt aſſujettie: dont Alexandre marché à l’envers avec le dos panché de meſme, en luy donnant l’atteinte par deſſus l’eſpee durant le temps de la cavation, l’aſsiſtant avec la pourſuite du pied gauche.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This circular disengage was made even later than the previous one. After Alexander kept pushing his adversary’s sword aside at the Second Instance, as shown in Circle No 1. Zachary made a feint so as to be able to wound him with a Direct Line thrust to the face from the outside over the sword. He moves forward, stepping in with the right foot just beside the Diameter almost to the letter R, following on by shifting his weight onto the forward knee, in the usual style. At the same instant that Alexander feels his opponent’s sword leave his, he extends his arm and sword towards his opponent’s face, with the tip raised up a little, and leans back, while stepping backwards with his right foot, just beyond the Diameter, near the letter E, while moving his sword in a circular motion over and across his opponent’s, so as to hit him. His left foot follows, bringing it up into position, sliding the contact of his sword up his opponent’s, and turning sideways, as is shown in the picture.
 
 
 
|Voicy une cavation qui a eſté faite encor plus tard, que la precedente. Car apres qu’<font style="font-variant:small-caps">Alexandre</font> tenoit l’eſpee contraire aſſujettie à la Seconde Inſtance, en la forme du Cercle 1. avec un ſentiment moderé de part & d’autre; <font style="font-variant:small-caps">Zacharie</font> luy eſt venu faire une feinte pour le bleſſer en droite ligne au viſage, par dehors & par deſſus l’eſpee; en avançant le corps, & entrant du pied droit un peu par deça le Diametre, quaſi à la lettre R. pourſuivant à faire la charge du corps ſur le genouil de devant, à la mode accouſtumée. Au meſme inſtant donc qu’<font style="font-variant:small-caps">Alexandre</font> s’apperçoit par le ſentiment de l’affoibliſſement de l’eſpee contraire ſe voulant delivrer de la ſienne, il luy eſtend le bras & l’eſpee devers le viſage, avec la pointe quelque peu hauſſé, marchant du pied droit à reculons avec la jambe roide & le dos panché à l’envers au delà du Diametre, & outre la lettre E. jettant au meſme temps ſon eſpee circulairement ſur l’eſpee de ſon contraire en croiſant, & luy donnant l’atteinte; laquelle il pourſuit avec le pied gauche, trainant proportionnellement apres, en graduant les eſpees, & ſe mettant en pourfil; comme il eſt demonſtré en ſa figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 5'''
 
|'''Cercle N.5.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''This is the final execution of the preceding, which follows from the others.''
 
 
 
|''C’eſt l’execution de la precedente, procedant en conformité des autres''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This is the final part of the execution of the thrust by Alexander. He keeps his arm straight, steps in along the Diameter between the letter H and the Centre, puts his weight over the forward knee, draws his left foot up behind, sliding up the blades until he strikes his opponents guard with all his strength so hard that he is forced to bend his arm and let his tip fly up at an obtuse angle, as is shown in the figure.
 
 
 
|C’eſt icy l’execution finale de la meſme eſtocade, faite par <font style="font-variant:small-caps">Alexandre</font> avec le bras roide, en entrant du pied droit ſur le Diametre entre la lettre H. & le Centre: continuant à faire la charge en panchant ſur le genouil anterieur, & à trainer le pied gauche apres, en graduant les lames juſqu’a rencontrer la garde de l’ennemi, de toute ſa force ſi rudement, qu’il le contraint de courber le bras, & de laiſſer aller ſa pointe en haut en angle obtus; comme on le voit repreſenté en ſa figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 6'''
 
|'''Cercle N.6.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary again tries his circular disengagement, and consequent thrust with the timing and form as described above, in Circle No 4. Alexander prevents this another way, by stepping further in during the circular disengage, taking the Direct Line and thrusting through the head.''
 
 
 
|''Zacharie faiſant derechef le cavation, & conſequement l’eſtocade au temps & en la forme que deſſus, Cercle N.4. Alexandre le previent en une autre ſorte, ſe mettant durant le temps de la cavation dedans l’angle, en prennant la droite ligne, & luy perçant en rigueur la teſte.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This action also follows on from Circle No 1. As Alexander moved carefully to the Second Instance, keeping his opponent’s sword away, off the line, with a sensitive, light touch, enough to hold it, but not more. Then Zachary again makes his circular disengage to the outside, coming in, with his arm extended, along the diameter, stepping between the letters V & R.
 
 
 
|C’eſt operation procede auſſi de l’avantage repreſenté au Cercle 1. Car <font style="font-variant:small-caps">Alexandre</font> a eſté planté preallablement à la Seconde Inſtance, tenant l’eſpee contraire aſſujettie, avec un ſentiment mediocre & temperé des deux coſtez. Lors <font style="font-variant:small-caps">Zacharie</font> luy a fait une cavation pour le bleſſer derechef au viſage par dehors l’eſpee, en entrant ſur luy avec le bras eſtendu ſur le Diametre, au milieu des lettres V. & R.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|While it is true this situation resembles that of Circle No 4, in any case this is different. Because as soon as Alexander feels Zachary’s blade fall away, which it must to perform the circular disengage around his arm, which opens up an angle and uncovers his face before he can thrust, at that moment Alexander lengthens his arm in the Direct Line, moving into this angle, and stepping straight towards the enemy along the collateral, from where he had his right foot held stopped before, to the letter L, and delivers a thrust to his opponent’s uncovered face at the same time, in the same way and with the follow-through as has been described above, by putting weight on the forward knee while leaning, and drawing the left foot up behind, almost to G, as is shown in the figure, where he has executed a powerful blow.
 
 
 
|Il eſt vray que l’occaſion eſt toute ſemblable à celle du Cercle 4. toutefois la rencontre en eſt differente. Car dés qu’<font style="font-variant:small-caps">Alexandre</font> s’apperçoit par le ſentiment, que la lame de <font style="font-variant:small-caps">Zacharie</font> s’affoiblit pour ſe deſtacher, dont elle ſera forcee (pour faire la cavation) d’aller circulairement à l’entour de ſon bras, & d’ouvrir un angle avec deſcouvrement du viſage, avant qu’il puiſſe donner l’atteinte; au meſme temps <font style="font-variant:small-caps">Alexandre</font> allonge le bras avec l’eſpee en ligne droite, ſe mettant dedans l’angle ſuſdit, & cheminant droitement ſur l’ennemi au long de la collaterale; ou il tenoit paravant le pied droit arreſté; le bleſſant au deſcouvert du viſage, & poſant le pied à terre à la lettre L. avec pourſuite & execution du meſme coup, à faire ainſi qu’il a eſté dit à pluſieurs fois cy deſſus, en chargeant le corps avec un panchement ſur le genouil de devant, & trainant le pied gauche proproionnellement derriere bien pres juſqu’au G. ainſi qu’il ſe voit en la figure, ou il s’en fait l’execution par rigueur.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 7'''
 
|'''Cercle N.7'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary makes his circular disengagement, and tries his thrust to the face from the outside with a bent arm at the moment when Alexander begins to overbalance and step back to the ground. As Alexander put his foot down and straightened his tip, he changed direction and diverted his opponent’s sword, forcing it away to the outside, and putting himself into the open angle.''
 
 
 
|''La cavitation eſtant fait par Zacharie, l’eſtocade tirée devers le viſage en dehors du bras en ligne courbé, au temps que le pied d’Alexandre commence à tresbucher en terre; ledit Alexandre ayant planté le pied & dreſſé ſa poinćte il en modere la courſe, & en divertiſſant l’eſpee contraire il l’aſſujettit en dehors, en ſe mettant dedans les angles.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|We again find our two opponents in the First Instance, and Alexander begins to work the same way, to sweep his opponent’s blade aside at the Second, having raised and moved his right foot, as per the instructions in Circle No 1, having carried the sword over to the point of over balancing. At this instant, Zachary makes his circular disengagement, and gives him a bent-arm thrust from outside the arm and above the sword, to the face, stepping with his right foot along the Diameter to the letter V.
 
 
 
|S’eſtant derechef trouvez les deux contraires à la Premiere Inſtance, <font style="font-variant:small-caps">Alexandre</font> a commencé à travailler encor de meſme, pour faire l’aſſujetiſſement à la Seconde, ayant hauſſé & avancé le pied droit, ſuivant les inſtrućtions du Cercle 1. & emporté l’eſpee, juſqu’à ce qu’il vient ſur le point de tresbucher: auquel inſtant <font style="font-variant:small-caps">Zacharie</font> fait la cavation, & luy porte une eſtocade courbe, en dehors du bras & par deſſus l’eſpee devers le viſage, entrant du pied droit ſur le Diametre à la lettre V.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander again feels the lower blade begin to disengage, at that instant he extends his arm and sword, but deliberately towards his opponent’s face, setting his right foot down at the letter G. He swiftly picks up his left. Upon percieving the bent-arm, and how his enemy is bending his arm to the inside, with the interior branch of the crosspiece turned diagonally upwards, and the tip of his adversary’s sword coming at his face. He interrupts the thrust of the tip of his sword towards his opponent’s face mid-way and turns it to his own defence, crossing swords to the outside, his tip raised up and his guard lowered with his arm extended, which he does while he is moving forward and stepping in with his left side, pivoting around on his right foot, all the while putting the 5th Span of his blade against the 8th Span of his opponent. He supports his arm with the weight of his body, holding his elbow against his side, and moves beyond the Perpendicular Diameter into the open angle that he creates as he forces his opponent’s sword aside, putting his left foot down beyond the Diameter at the letter Q. Then holding his opponent’s sword down with carefully applied force, he aims his tip upwards against his opponent, with his body leaning slightly forwards, and his forward knee bent, as is shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> s’appercevant derechef par le ſentiment, que la lame inferieure ſe commence à deſtacher, tout au meſme inſtant il allonge le bras & l’eſpee, mais lentement en ligne droite devers le viſage d’iceluy, abaiſſant le pied droit à la lettre G. & eſlevant fort haſtivement le gauche: lors s’appercevant de la courbe, & comment ſon ennemi ſe plie le bras en dedans, avec la branche interieure de la garde tournée diagonalement en haut, & la pointe venante vers ſon viſage; il arreſte la courſe de ſa pointe, qui eſtoit en train & à my-chemin de donner au viſage du contraire, dont il la deſtourne en faiſant ſa defenſe, & accouplant les eſpees par dehors le bras en croiſant, ſa pointe dreſſée en haut, & ſa garde deſcendante avec le bras eſtendu (ce qu’il fait durant l’avancement & l’entree du coſté gauche) tournant le corps ſur le pied droit en forme circulaire, de façon qu’il aſſemble durant ce meſme temps ſon Nombre 5. avec le Nombre 8. peu plus ou moins de ſa partie; & aſſiſte le bras de l’aide du corps, l’affermiſſant contre le flanc, & ſe met au dedans de la perpendiculaire & des angles qu’il s’ouvre luy meſme en deſtournant l’eſpee contraire, poſant le pied gauche à terre par deça le Diametre à la lettre Q. & tenant l’eſpee contraire en devoir avec un ſentiment temperé, ſa pointe dreſſée contremont, avec le corps un bien peu panchant, & le genouil de la jambe anterieure plié; comme il ſe voit en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|It is worthwhile to make a few points about this last action, because it frequently happens that we are presented with a bent-line attack.
 
 
 
|Il vaut la peine de faire quelques annotations ſur ceſte derniere operation, à cauſe qu’elle vient ſouvent à propos, quaſi en toutes occurrences, où on nous preſente la courbe.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To begin, take the first case where the enemy makes his circular disengagement and thrust, as soon as you have attacked his sword at the First Instance and raised your right foot. The remedy to this is to advance your raised foot with a short step in a direct line, in the Circle, a little beside the Diameter, while keeping the rest of the precepts.
 
 
 
|Et premierement poſé le cas, que l’ennemi vous en tire une en faiſant la cavation, dés que vous avez levé le pied droit, & attaqué ſon eſpee à la Premiere Inſtance. Le remede ſera d’avancer le pied, qui eſt eſlevé, d’un pas mediocre en ligne droite, en dedans du Cercle, un peu par deça le Diametre, en obſervant au reſte les meſmes præceptes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|For the second case, he makes his circular disengagement while you are moving your right foot towards the Second Instance, while you can still respond. The remedy will again be to move the foot directly towards him, with a short step, and putting it down on the Exterior Transverse between the letters G and E.
 
 
 
|Pour le ſecond, qu’il face la cavation durant l’avancement du pied droit, allant devers la Seconde Inſtance, tandis que vous l’avez encore à commandement. Le remede ſera derechef de porter le pied droitement ſur luy, en faiſant un pas mediocre, & le plantant ſur la traverſante exterieure entre les deux lettres G. E.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|If he waits until you are just at the point of overbalancing, again, you must step to the side, as much as possible, and straighten directly against the enemy on the Collateral line before the letter G.
 
 
 
|s’Il attend juſqu’à tant, que vous ſoyez ſur le point de tresbucher, encores faudra il deſtourner la demarche, tant qu’il ſera poſſible & la dreſſer tout droitement contre l’ennemi ſur la ligne collaterale plus avant que la lettre G.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|He might also make his circular disengagement at the instant when the body and foot are in the middle of overbalancing, in such as way that it is impossible for you to put your foot anywhere but at the letter G, as intended. This is the most dangerous moment of all. For as you overbalance with your body and your blade, they are that much more difficult to control, and to use for your defence. This is why we chose this moment to illustrate the Plate, as being the most advantageous for the lower blade.
 
 
 
|Il pourra auſſi faire ſa cavation, à l’inſtant que le corps & le pied ſont deſia en aćte de tresbucher, de façon qu’il vous eſt impoſſible de divertir le pied, qu’il ne tombe à la lettre G. Selon voſtre premiere intention: que eſt le temps le plus dangereux de touts. Car d’autant que vous tresbuchez du corps & de la lame, auſſi ſont ils plus difficiles à gouverner, & à vous en ſervir pour la defenſe. C’eſt pourquoy nous avons propoſé au Tableau ce temps pour un exemple, comme eſtant le plus avantageux pour la lame inferieure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Sometimes he will do his circular disengagement after his sword is forced aside as it appears in Circle No 1. Then you should once again move in a little with the right foot, and raise the left foot, at the same time moving it forward in a circular motion, by pivoting on the right, and following on as previously described.
 
 
 
|Il fera quelquefois ſa cavation apres l’aſſujettiſſement de ſon eſpee accompli en la forme du Cercle 1. Lors il vous conviendra derechef entrer quelque peu avec le pied droit, en eſlevant quant & quant le gauche, & le portant circulirement en avant, avec un tour du corps pour faire ſur le pied droit, & enſuivant au reſte la deſcription, qui en a eſté donnée.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Note this last one is the safest for Alexander. In this case, he is best served by the instructions for Circle No 6. Because after he reaches the Second Instance, there is no significant difference in whether Zachary comes at him with a direct line thrust or a bent-arm thrust. Because in either case, he must pass his sword in a circular move underneath the guard before he can raise the tip up to point at the face. The way in which Alexander has a good regard for the feel of the blade, and if he begins his work as soon as the enemy begins, by extending the arm and sword, moving his body forward, and stepping in with the right foot, he will have wounded his enemy, by putting himself into the angles, before his opponent’s sword has finished its circular disengagement.
 
 
 
|Or ce dernier temps c’eſt le plus ſeur de tous pour <font style="font-variant:small-caps">Ale</font>xandre. Et vaut mieux qu’en telle rencontre il ſe ſerve des inſtrućtions du Cercle 6. Car apres qu’il eſt venu ſi avant, que de s’eſtre mis à la Seconde Inſtance, ſoit que <font style="font-variant:small-caps">Za</font>charie luy tire ceſte eſtocade en ligne droite, ou en ligne courbe, il n’y a pas grand differēce. Car auſſi bien faut il neceſſairement, qu’il paſſe l’eſpee circulairement par deſſoubs, avant que de la remonter en haut pour vous tirer vers le viſage. De maniere que ſi <font style="font-variant:small-caps">Ale</font>xandre prend bon eſgard au ſentiment, & qu’il commence à travailler dés que l’ennemi commence, en allongeant le bras & l’eſpee, avançant le corps, & entrant du pied droit, il aura bleſſé l’ennemi, en ſe logeant dedans les angles, avant que l’eſpee contraire ait accompli ſa cavation.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Furthermore, questions and doubts will frequently present themselves for debate when performing this exercise, which occur when moving from the Second to the Third Instance. To examine them, they must necessarily be put to the test. In that case, to come to the point in question, which occurs between the Second and Third Instance, one usually dispenses with the process of carefully moving to the Second. In the event your partner decides to be rude and try, during the initial steps (which ought to be done without any real threat, in a purely perfunctory way, because otherwise the point in question cannot be explored if the stage of forcing aside the sword is not easily and quickly reached) to do a circular disengagement to try and hit us in the face in the direct line, you cannot respond as you otherwise would, since you are not watching out while stepping. (ed. op.: Get a new partner.) You can quickly respond with this current action, by turning the left side forward. That way your face, which is the target he was aiming at, will be out of the way, and you will gain the advantage of timing and ease of execution to follow the rest of the examples of bent-arm strikes described in Circles No 7 & 8.
 
 
 
|En outre comme il ſe preſentera ſouventesfois en faiſant l’Exercice, des doubtes à debattre touchant operations, qui ont leur uſage en allant de la Seconde Inſtance à la Troiſieme. Pour leſquelles examiner il eſt neceſſaire d’en faire l’eſpreuve: & qu’en tel cas, pour venir au poinćt de la diſpute, qui giſt entre la Seconde & la Troiſieme Inſtance, on ſe diſpenſe ordinairement d’aller juſqu’à la Seconde avec moins de circonſpećtion. s’Il advient donc, que la partie adverſe nous abuſe durant ce premier temps (qui devroit eſtre exempt de toutes traverſes, à cauſe que le debat ne ſe peut vuider, qu’apres l’aſſujettiſſement de l’eſpee deuement & librement accompli:) s’il nous donne donc en ce temps la quelque traverſe de cavation, pour nous toucher le viſage en droite ligne, on ne pourra faire ſi bien la rencontre en ligne droite, comme il  ſeroit requis, pour n’avoir aſſez bien commené la beſogne. Vous pourrez amender ceſte inadvertence par le moyen & à l’exemple de ceſte operation preſente, en faiſant avec le coſté gauche du corps tourné en devant; dont le viſage, qui eſt le poinćt où il avoit deſtiné l’atteinte ſortira de preſence, & ſi en gaignerez vous le temps & la commodité de pourſuivre le reſte à l’exemple des courbes, ſuivant la deſcription de ces Cercles 7. & 8.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Likewise, it sometimes happens that you make too much effort moving the opponent’s sword in order to force it aside, or move your right foot too quickly, and your opponent chooses that moment to perform his circular disengagement. You cannot make use of the Direct Line because you are already committed to the move and would become unbalanced. Nevertheless, you can recover by using this counter against bent-arm attacks.
 
 
 
|Pareillement s’il advient, que vous ayez fait trop d’effort en emportant l’eſpee contraire pour l’aller aſſujettir, ou que le pied droit ait cheminé trop viſtement; & que la deſſus la partie adverſe face la cavation; ne vous pouvant ſervir aſſez juſtement de la ligne droite, à cauſe du tresbuchement inevitable, pour la faute qui eſt deſia commiſe: elle pourra neantmoins eſtre amandée par la meſme operation de la rencontre des courbes.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|If you find yourself overbalanced, as mentioned above, through carelessness or in error, nothing is keeping you from turning it into a stratagem, to assault your opponent, either stepping forward vigorously, or harshly attacking opponents swords to make him bend over, to try and strike your face from the outside. If this occurs, it is very easy to counter with the actions shown in Circle No 7. Because the swifter the motion you make when attacking his sword, the more you have the momentum and control to vault the left side forward, entering in with the left foot, and so regain control over the opponent’s sword attacking from the outside and following on as in the example, above.
 
 
 
|Or ſi le tresbuchement dernierement dit, vous eſt arrivé par nonchalence our par meſgarde, auſſi rien n’empeſche que il ne vous puiſſe aucunefois ſervir comme d’un ſtratageme, pour abuſer le contraire; en cheminant furieuſement en avant, ou en attaquant bien rudement les eſpees, afin qu’il ait occaſion de caver, avec apparance de vous toucher par dehors au viſage. En ceſte occurrence il ſera fort facile de le rencontrer avec ceſt operation du Cercle 7. Car d’autant plus de courſe, qu’on ſe donne en attaquant les eſpees, d’autant plus a on le corps prompt & à commandement, pour ſe volter le coſté gauche devant, en faiſant l’entrade avec le pied ſeneſtre; & pour reprendre tant plus viſtement la ſuperiorité ſur l’eſpee contraire en l’affrontant par dehors, & pourſuivant à l’exemple de ce que deſſus.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 8'''
 
|'''Cercle N.8.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander maintains his advantage, ensuring it through a light push against his opponent’s blade, then he raises his left foot and dropping the contact, gives him a thrust under the arm.''
 
 
 
|''Alexandre pourſuit ſon avantage, moyennant l’aſſeurance d’un petit pouſſement ſur la lame Contraire, dont il leve le pied gauche & en deſtachant les eſpees, il luy donne l’atteinte deſſous le bras.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This shows the action that follows on from the previous one, in which Alexander, sensing only a light pressure from his opponent’s sword, raises his left foot while giving a small push downwards. Usually, the enemy will react by increasing the strength and force of his blade. At that instant, Alexander disengages contact with his sword, he leans back with his shoulders, brings his blade in a counterclockwise circular motion around his opponent’s arm and down, with his elbow and guard held in against his side. At the same time that he moves his left foot forward, bends the left knee, shifts his weight onto that leg, he aims the tip of his sword at the enemy’s side underneath the arm, as clearly shown in the figure.
 
 
 
|Cecy contient la purſuite de l’operation dernierement precedente, en laquelle s’appercevāt Alexandre par l’attouchement d’un ſentimēt mediocre en l’eſpee contraire il pourſuit l’operation faiſant une petite eſlevation du pied gauche enſemble avec un petit pouſſement vers le bas. Dont il advient ordinairement que l’Ennemy en augmente la vigueur & le ſentiment de ſa lame. Auquel inſtant, deſtachant les eſpees il va pancher des eſpaules un peu à l’envers, & mener ſa pointe circulairement par maniere de jetter de haut vers le bas, s’affermiſſant le bras avec la garde de l’eſpee contre le coſté droit; avançant quand & quand un peu le pied gauche qui eſtoit eſlevé, en pliant le meſme genoil, ſur lequel il va faire la charge, enſemblement dreſſant la pointe de ſon eſpee au coſté de l’Ennemy deſſoubs le bras droićt; comme il ſe voit clairement en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To finish executing the movement, he again moves his left foot further forward in towards his opponent, and moves his right side forwards, drawing the right foot behind, and likewise moving his arm and sword forward in such as way as to pierce his enemy’s body through: as shown previously in Plate V, Circle No 8.
 
 
 
|Pour en continuer l’execution, il porte derechef le pied gauche plus avant dedans vers ſon Contraire, & avance enſemblement le coſté droićt du corps, trainant le meſme pied apres, & avançant pareillement le bras avec l’eſpee en ſorte qu’il en perce le corps de ſon Ennemy tout outre: ce qui a eſté repreſenté au Tableau V. Sur le  Cercle 8.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As much as we have divided this action into two parts, one should not make too much of this, or keep it as a clearly-defined two-step sequence as the figures shown in Circles No 7 & 8 would seem to imply. You must understand that this was divided into two parts to facilitate student’s learning the action, by breaking it down. For those who are more advanced in our training, and particularly in this action, they can execute these in a single, continuous, flowing sequence, without any noticeable break or pause between them. They must, however, be careful to disengage the sword then bring the tip down in a circular motion while they begin to move forward and while the right foot is raised. And when the move forward to step, at the same instant that they thrust, as explained above, with an extended arm, that the right foot follows behind.
 
 
 
|Or de ce que nous avons diviſé ceſte execution en deux operations, in n’en faut pas tirer de grandes conſequences, comme ſi les temps fuſſent touſiours ſi notablement diſtinguez, ainſi que les figures des Cercles 7. & 8. ſemblent de premiere face donner à entendre. Car il faut ſcavoir, que la diviſion en a eſté faite en faveur des Diſciples, aux quels il eſt neceſſaire de donner des inſtrućtions, à chaſqun mouvement à part. Mais ceux qui ſeront un peu avancez en l’exercice, & notamment en la preſente operation, ils en pourront tirer l’execution ſans nulle pauſe entremoyenne, par la ſeule continuation des meſmes mouvements; à condition qu’ils deſtachent les eſpees, en menant la poinćte circulairement de haut vers le bas, durant qu’ils commencent à advancer le corps, & que le pied droit eſt encore eſlevé; & quand ils l’avancent pour le planter, au meſme inſtant ſera donné & achevé le coup, en la maniere que deſſus, avec extenſion du bras & de l’eſpee, le pied droićt trainant apres l’autre.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 9'''
 
|'''Cercle N.9.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''At the very instant that Alexander begins to overbalance, Zachary disengages his sword and aims an acute angle thrust at his stomach, with his hand slightly raised. So Alexander draws his foot back, turning the right side outwards, with his arm and guard dropping down onto his adversary’s blade, his left foot going as far around as needed.''
 
 
 
|''A l’inſtant que le corps d’Alexandre commence à tresbucher; Zacharie deſtache les eſpees, & luy tire en angle aigu devers le ventre avec la main un peu haute. Dont Alexandre retire le pied, en ſe deſtournant le coſté droit en dehors, avec le bras & la garde deſcendant ſur la lame contraire, le pied gauche allant cependant en rond à meſure que la proportion le requiert.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The two begin in the First Instance. Alexander has begun his attack the same as before, that is, he has crossed his opponent’s blade to the inside of the arm, while raising and moving his right foot to force his opponents blade aside at the Second Instance  before the Diameter. While doing this, at the very instant that his body begins to overbalance, Zachary steps forward with his right foot, and disengages his sword. At the same time that he sets his foot down, a little beside the Diameter near R, he bends his knee and puts his weight on it, straightens his arm, and aims his thrust at an acute angle downwards at his opponent’s lower body. He keeps his shoulder protected by his sword-guard, but his face is open. Alexander recognizes what is happening, partly by sight, seeing his opponent’s body begins to move forward, and partly by feel that he is about to disengage his sword. He does not complete his step with his right foot, which should go as far as the Second Instance, but in place of this, because his body is still enough in balance that he can change where his foot is going, he draws his foot back, putting his toes down on the Oblique Diameter G-I and his heel on the Circumference. At the same time that he moves his left foot circularly around to bring it up into place, he also turns his right foot, pointing his right toes towards his opponent, and by this same motion withdraws his lower right side a little to the outside, leaning his upper body forward, straightening and lowering his arm, so that the guard of his sword is pressing down on top of his opponent’s sword. As his opponent’s tip continues to move towards his body, he continues to withdraw the lower part of his body, while sliding the point of contact up the two blades, so that they become almost parallel, with the lower one underneath the exterior branch of the crossguard. This is what is shown by the figures.
 
 
 
|Les deux parties s’eſtants premierement tenu ſur la Premiere Inſtance; <font style="font-variant:small-caps">Alexandre</font> a commencé à travailler tout de meſme qu’auparavant, ſçavoir eſt, qu’il a touché la lame contraire avec la ſienne en dedans du bras, en eſlevant & avançant le pied droit pour faire l’aſſujettiſſement à la Seconde Inſtance par deſſoubs le Diametre. Ce que faiſant, au meſme Inſtant que le corps luy commence à tresbucher, <font style="font-variant:small-caps">Zacharie</font> s’avance le corps avec le pied droićt en deſtachant ſon eſpee, & plante le pied quand & quand un peu deça le Diametre aupres de R, pliant le genouil, & panchant le corps deſſus, tirant ſon eſtocade en angle aigu avec le bras roide vers la partie inferieure du corps de ſa partie adverſe; demeurant ſon eſpaule droite couverte par la garde de l’eſpee, mais le viſage à deſcouvert. <font style="font-variant:small-caps">Alexandre</font> recognoiſſant en partie à veuë d’œil, que le corps de ſon Contraire ſe commence à avancer, en partie auſſi par le ſentiment qu’il va deſtacher ſon eſpee, il ne pourſuit pas la demarche du pied droit, qui devoit aller juſqu’à la Seconde Inſtance, mais au lieu de ce faire (puis que le corps eſt encor en balance, en ſorte qu’il en peut divertir le pas) il retire le pied arriere le plantant ſur la Circonference & ſur le Diametre oblicq G I; tournoyant quand & quand le pied gauche circulairement, & le plantant en diſtance proportionelle derriere l’autre, tournant enſemblement auſſi les deux pieds, les orteils devant direćtement contre ſa partie, & au meſme moyen auſſi retirant un peu en dehors la partie inferieure du coſté droit, avec panchement de la partie ſuperieure, fait avec le bras roide en deſcendant en ſorte, qu’il vient à mettre ſon eſpee avec la garde ſur l’eſpee contraire. Et à meſure que la pointe contraire s’avance vers la partie inferieure de ſon corps, ainſi à l’advenant il s’eſloigne avec ladite partie inferieure, deſgraduant cependant les deux lames, en ſorte qu’elles viennent à ſe rendre quaſi paralleles l’une à l’autre, & celle de deſſoubs à ſe retrouver ſoubs la branche exterieure de ſa garde. C’eſt ce qui eſt repreſenté par les figures.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In performing this action, sometimes, because the underside of the guard is round, Zachary’s blade will slide underneath the interior branch of the crossguard. This makes no difference to this action, but to the subsequent one, which will be entirely different from that shown in Circle No 10.
 
 
 
|Or en faiſant ceſte operation, il adviendra quelqus fois, parce que le bas de la garde d’<font style="font-variant:small-caps">Ale</font>xandre eſt rond, que la lame de <font style="font-variant:small-caps">Za</font>charie en gliſſera deſſoubs ſa branche interieure; ce qui ne fait pas de difference en l’operation, mais bien en l’execution qui en depend, laquelle il faudra faire en tel cas tout autrement; comme il ſera monſtré au Cercle 10.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Furthermore, this action can be performed at three other moments. First, when Alexander is just raising his foot and is ready to cross swords, or they are already in contact and he is about to move it towards the Second Instance, in order to force it aside like before. If Zachary moves at this moment by stepping with his right foot forward to the letter R, as above, Alexander will again meet his low thrust with this same action, that is, withdrawing his right foot, leaning forward, and lowering his arm, the only difference being that at this time, having not yet moved, he draws his foot straight back, and sets it back down on the Diameter in the Quadrangle, otherwise performing the rest of the movement the same as above.
 
 
 
|Au reſte cette meſme operation peut encore eſtre pratiquée en trois autres temps; Premierement lors qu’<font style="font-variant:small-caps">Alexandre</font> en eſlevant le pied s’appreſte d’accoupler les eſpees, ou qu’il les a deſia accoupleées pour les emmener & aſſujettir à la Seconde Inſtance, ainſi qu’auparavant. Car ſi <font style="font-variant:small-caps">Zacharie</font> s’avance la deſſus avec le pied droit, comme il eſt dit, juſqu’à la lettre R: <font style="font-variant:small-caps">Alexandre</font> rencontrera derechef ſon eſtocade avec ceſte meſme operation, aſſavoir avec le retirement du pied droit, panchement de la partie ſuperieure du corps, & abaiſſement du bras avec l’eſpee; n’y ayant que ceſte difference, que en ceſte preſente occaſion il retirera le pied eſlevé droitement arriere, & le plantera ſur le Diametre du quadrangle, procedant en tout le reſte ainſi que devant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The second moment occurs when Alexander is already in the act of moving his right foot towards the Second Instance, at which point he is yet still in balance. That is when Zachary tries a thrust in the same way as before. At this time, Alexander withdraws his foot and puts it down on the Circumference where the Collateral GM crosses it, then he turns and, at the same time, draws his left foot up into place behind the other, with the same considerations as above.
 
 
 
|Le ſecond temps ſera lors qu’<font style="font-variant:small-caps">Alexandre</font> ſera deſia en aćte d’avancer le pied droit vers la Seconde Inſtance, durant qu’ils tient le corps encore en balance; & que <font style="font-variant:small-caps">Zacharie</font> luy tire là deſſus une eſtocade en la meſme maniere que devant. En ceſte occaſion <font style="font-variant:small-caps">Alexandre</font> retirera le pied eſlevé droićtement en arriere, le plantant ſur l’entrecoupure de la Circonference & de la Collaterale G M, en tournoyant & plantant quant & quand le pied gauche proportionnellement derriere l’autre, avec les meſmes opſervations que deſſus.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The third moment is the one usually used and best choice for Zachary, which is the one shown in the Circle. That is, the moment when Alexander’s weight is shifting onto his right foot and begins to overbalance. Thus, it is much more difficult for him to control his foot at that instant, than at earlier moments.
 
 
 
|Le troiſieme temps qui eſt le plus ordinaire & le plus avantageux pour <font style="font-variant:small-caps">Za</font>charie, c’eſt celuy que la figure du Cercle nous repreſente; aſſavoir quand le pied droit d’<font style="font-variant:small-caps">Ale</font>xandre commence à tresbucher par la charge du corps; en ſorte qu’il luy eſt plus difficile de ſe bien gouverner en ceſt inſtant là, qu’és deux autres occaſions precedentes, où il avoit le pied plus à commandement.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|When performing this action, one must, above all, take care to contact and force the opponent’s blade aside by means of leaning the upper body, by which means the arm can be lowered without making any particular move of its own. Otherwise, nothing would stop the adversary from hitting from the outside over the arm at the instant it descends, because it is not possible to make two contrary motions at the same time, that is, descending and rising, or advancing and withdrawing. This can, however, be done when the body is used to lower the arm, without making any particular motion with the arm. Because even as the body leans forward, the arm remains free to move and can instantly respond to any situation, whether it be to raise it up and move it forward, or to lower it, or otherwise. As such, if the enemy tries a circular disengage to strike over the arm, one can maintain the superior position over the other sword, and not only interrupt his attack, but, what is more, wound him in the process. The reason behind this observation was explained in Plate V in the final annotation to Circle No 12. I know that action was different from this one, being done at a greater distance, nonetheless, one can make good use of the explanation of that other move.
 
 
 
|En ceſte operation il faut ſur tout prendre garde pour deuement rencontrer & aſſujettir la lame contraire, de le faire avec & moyennant le panchement de la partie ſuperieure du corps, par lequel le bras vienne à deſcendre par compagnie ſans faire aucun mouvement particulier. Car autrement il n’y aura rien qui puiſſe empeſcher la partie adverſe de nous donner une atteinte en dehors par deſſus le bras à l’inſtant qu’il deſcend, pource qu’il ne luy eſt poſſible de faire en un meſme inſtant deux mouvements contraires, ſçavoir eſt, deſcendre & monter ou avancer & reculer enſemble. ce qu’on peut toutesfois faire quand on fait deſcendre le bras avec le corps, ſans mouvement particulier; car encores que le corps ſe panche, toutesfois le bras demeure libre pour s’accommoder au meſme inſtant à toutes occaſions, tant à monter & à avancer, qu’à deſcendre ou autrement. En ſorte que ſi l’Ennemy vient à caver & à avancer l’eſpee pour nous en frapper par deſſus le bras, on en conſervera la ſuperiorité des eſpees, que non ſeulement on luy rompra ſon entreprinſe, mais qui plus eſt, on le bleſſera luy meſme. la raiſon de ceſte obſervation eſt auſſi expliquée au Tableau V. en la derniere annotation du Cercle 12. jaçoit que l’operation en ſoit differente de celle cy, comme eſtant pratiquée de plus loing; toutesfois l’une peut grandement ſervir à l’explication de l’autre.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 10'''
 
|'''Cercle N.10.'''
 
 
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander takes a step towards his opponent’s sword, and hits him in the face, executing the blow by sliding up the sword and leaning forward with his arm held straight out in front.''
 
 
 
|''Alexandre marche devers l’eſpee contraire, & luy donne l’atteinte au viſage, en faiſant l’execution, en graduant & panchant du corps ſur le devant avec le bras roide & avancé.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This is the follow-up and final execution of the previous action. Alexander steps with his right foot towards his right side, setting his foot down on the Diameter at E, quickly followed by his left foot, which he moves in a circular motion to the middle of the Quadrangle, he slides the point of contact from the centre of his blade up his opponent’s, while straightening his arm and moving his body forward, leaning in, and shifting his weight onto his bent right knee, at the same instant wounding his adversary in the face.
 
 
 
|Voicy maintenant la pourſuite & execution de l’operation precedente: pratiquée par <font style="font-variant:small-caps">Alexandre</font> en avançant le pied droit contre ſa partie à main droite, le plantant ſur le Diametre au poinćt E, avec une ſoudaine pourſuite du pied gauche, à trainer circulairement juſqu’au milieu du quadrangle, graduant enſemblement la lame contraire du centre de la ſienne, avec roidiſſement du bras & avancement du corps, panchant ſur le devant, & ſe pliant ſur le genouil droit, & ainſi bleſſant au meſme inſtant ſa partie adverſe au viſage.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This Alexander executes this move stepping with his right foot to the right, as long as his opponent’s blade was underneath the outside branch of his crossguard. But if, on the contrary, (which happens often enough, as noted in Circle No 9) it is the case that the opponent’s sword crosses underneath and is to the inside, the execution has to be done by stepping to the left side with his right foot, allowing his left foot to follow on with a circular motion.
 
 
 
|Ceſte execution a eſté faite, en entrant du pied droit vers le coſté droit, pour autant que l’eſpee contraire eſtoit revenue deſſous la branche exterieure d’<font style="font-variant:small-caps">Ale</font>xandre: mais s’il advient au contraire (ainſi qu’il advient aſſez ſouvent, comme nous avons remarque au Cercle 9.) qu’elle ſe retrouve deſſoubs la branche interieure, il en faudra faire l’execution en marchant du pied droit vers le coſté gauche, laiſſant ſuivre & trainer le pied gauche circulairement à l’advenant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|In summary, we wish, in this and in all other time when one practices actions sideways against an opponent’s blade, whether to the left side or the right, that it be forced aside there. Because the more you can work against it, the greater the angle you will open up, that you can move inside, out of danger, and make certain of your action.
 
 
 
|En ſomme nous voulons, qu’en ceſte & en toutes autres occaſions on pratique les executions du coſté de l’eſpee contraire, tant à droite, comme à gauche, là ou elle ſera aſſujettie: pource que d’autant plus qu’on travaillera alencontre, d’autant en fera on une plus grande ouverture d’angle, ou on ſe pourra mettre dedans hors du danger, & en aſſeurer l’execution.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 11'''
 
|'''Cercle N.11.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''At the instant that Alexander’s body begins to overbalance, Zachary tries again to hit the stomach from an acute angle, covering his face with the guard. So Alexander, moves back and again turning, as in Circle No 9, crossing, and forcing his opponent’s blade aside by leaning forward with his upper body.''
 
 
 
|''A l’inſtant que le corps d’Alexandre commence à tresbucher, Zacharie luy tire derechef en angle aigu devers le ventre, ſe couvrant luy meſme le viſage par l’entremiſe de la garde: dont Alexandre en retirant & deſtournant derechef comme au Cercle 9. va croiſer & aſſujettir la lame contraire par le moyen de la partie ſuperieure du corps à pancher ſur le devant.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The two adversaries begin at the First Instance with their swords held in the Direct Line position. Alexander begins to work with the intention of forcing aside his opponent’s blade, as in Circle No 1. He has raised his right foot, and crossed swords with his 3rd Span against his opponent’s 8th Span and so begins to step towards the Second Instance beside the Oblique Diameter. Zachary becomes aware that Alexander’s foot is falling back to the ground as he overbalances. At that instant, he steps in, covering his face by raising and interposing his guard, moving his right foot forward to the letter V along the Diameter, at the same time making his thrust by bending his knee and leaning his body forward towards the lower part of his adversary’s body.
 
 
 
|Les deux parties ayants, preallablement mis à la Premiere Inſtance leurs eſpees en lignes droites; <font style="font-variant:small-caps">Alexandre</font> commence à travailler en intention d’aſſujettir l’eſpee contraire, tout de meſme comme au Cercle 1. Ayant donc levé le pied droit, & aſſemblé les Nombres des lames 3. contre 8. & ainſi marchant vers la Seconde Inſtance par deça le Diametre; <font style="font-variant:small-caps">Zacharie</font> aguette que le pied luy viene à tomber par le tresbuchement du corps, & au meſme inſtant il entre dedans, ſe couvrant le viſage par le hauſſement & entremiſe de ſa garde, en avançant le pied droit juſques outre la lettre V ſur le Diametre, tirant egallement l’eſtocade avec pliement du genouil & panchement du corps vers la partie inferieure du corps contraire.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander quickly perceives by his sense of  feel that the blades are disengaged and sees that Zachary is protecting his face, continues to follow the blade, crossing it from above with his own and pressing down, together with quickly withdrawing his right side, he sets his right foot down in the middle of the line G-D. He quickly follows with his left foot, bringing it into position behind and a little to the side, while leaning forward with his body, turning the exterior branch of the crossguard diagonally upwards, and sliding the point of contact up his opponent’s sword, until his 9th Span is in contact with Zachary’s 6th or 7th Span, and raising the tip of his sword, so that he is forcing the tip of his opponent’s blade down so far that his right side is uncovered, as shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> donc s’appercevant à temps du deſtachement des eſpees par le moyen du ſentiment, & recognoiſſant par la veuë la protećtion du viſage contraire, il continue à pourſuivre la lame, la croiſſant avec ſuperiorité de la ſienne, & enſemble retirant viſtement à coſté droit, plantant au meſme inſtant le pied droit à terre au milieu de la ligne G D; avec une ſoudaine pourſuite du pied gauche, à planter une bonne proportion, derriere l’autre un peu à coſté, panchant cependant du corps ſur le devant, & deſgraduant l’eſpee contraire, en tournant ſa branche exterieure diagonalement en haut avec la pointe de la lame en peu hauſſée, & le Nombre 9. d’icelle accouplé avec le 6.ou 7. de l’eſpee contraire, de façon qu’en aſſujettiſſant il en abaiſſe tellement la pointe, qu’il luy en deſcouvre le coſté droit du corps; comme on le voit repreſenté en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|His adversary could try the same thrust at three [four] other times while Alexander is in the act of stepping with his right foot from the First Instance to the Second to force the blade aside.
 
 
 
|La meſme eſtocade pourra auſſi eſtre attentée par l’adverſaire en trois autres occaſions, durant qu’<font style="font-variant:small-caps">Ale</font>xandre ſera en aćte de marcher du pied droit de la Premiere Inſtance à la deuxieſme, pour faire l’aſſujettiſſement.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The first one is when he begins to move his raised foot towards his left side, at the instant when his foot is over the midway point, at the intersection of the two lines C-G and D-E. To parry and counter his adversary’s action, he has to let his foot drop while withdrawing it straight back to the Circumference, turning his right side outwards and quickly drawing his left foot into place to recover his balance.
 
 
 
|Premierement lors qu’il commence à avancer le pied eſlevé vers ſon coſté gauche, à l’inſtant qu’il arrive au mitan du chemin au deſſus de l’entrecoupure des lignes CG & DE. Pour donc rencontrer & parvenir en ceſt inſtant l’operation de l’adverſaire, il faut laiſſer tomber le pied en le retirant droitement arriere juſques à la Circonference, avec un deſtournement du coſté droit en dehors; & avec ſoudaine pourſuit du pied gauche à gouverner à l’advenant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Likewise, this could be performed at the instant that Alexander’s toes pass the aforesaid intersection of the lines C-G and D-E, which is a little beyond half the distance of the step, and a little before the weight of the body affects the movement of the foot. To defend against the thrust at this moment, Alexander again withdraws his foot, setting it down on the Circumference, following through with the same motion of the left foot as above.
 
 
 
|Semblablement elle pourra eſtre pratiquée à l’inſtant que les orteils du pied d’<font style="font-variant:small-caps">Ale</font>xandre ſeront paſſez entre ladite entrecoupure des lignes C G, & D E, qui eſt un peu outre la moitié du chemin, & le plus avant que le pied peut aller ſans eſtre incommodé de la charge du corps. Pour ſe defendre de l’eſtocade tirée en cedit dernier inſtant, il convient à <font style="font-variant:small-caps">Alexandre</font> retirer le pied eſlevé droitement en arriere, en le plantant derechef ſur la Circonference, avec la meſme pourſuite du pied gauche, que devant.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The third moment to again try the same move is after Alexander has moved his foot and weight over far enough that he is just about to overbalance. At this instant, Alexander must, once again, withdraw his foot to the Circumference, and follow on consequently with his left foot.
 
 
 
|Le troiſieme inſtant pour pratiquer encore le meſme, ſera apres qu’<font style="font-variant:small-caps">Ale</font>xandre aura porté le pied encore plus outre ſi avant qu’il commence à tresbucher avec le tranſportement du corps: auquel inſtant <font style="font-variant:small-caps">Alexandre</font> doibt derechef retirer le pied eſlevé ſur la meſme Circonference, & conſequemment pourſuivre avec le pied gauche.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The last possible time would be when Alexander has moved his foot so far forward as to be overbalancing, which is the most difficult time of all to respond, since he cannot withdraw his foot, but rather only turn on it. For this reason, we treat it with special attention giving it its own sequence in the Plate to show its importance.
 
 
 
|Le dernier inſtant ſera lors qu’<font style="font-variant:small-caps">Ale</font>xandre aura porté le pied ſi avant, qu’il ſera venu à tresbucher tout à fait enſemble avec le corps; qui eſt l’occaſion la plus difficie de toutes à bien rencontrer, n’eſtant poſſible de retirer le pied, ains ſeulement de le tourner. Pour laquelle cauſe il nous à ſemblé expedient de la repreſenter au Tableau meſme, comme eſtant de plus grande importance.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 12'''
 
|'''Cercle N.12.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander trains his point at his adversary’s side, by simply turning his hand, and executes the thrust by sliding the point of contact up the blades, and stepping in with his right foot.''
 
 
 
|''Alexandre dreſſe ſa poinćte au coſté de l’Adverſaire, en tournant ſeulement la main, & en fait l’execution en graduant les lames, & entrant avec le pied droit dedans.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander follows the preceding action. He raises his right foot while he turns his wrist so the exterior branch of his crossguard goes outwards and down from the vertical to contact and hold his opponent’s blade in place, which brings the tip of his own blade near to his adversary’s right side. And at the same time as he slides his blade along his opponent’s so the two guards meet, he moves his foot forward and in to the letter I. He wounds his adversary under the right armpit, by bending his right knee and leaning his body, helped by his left foot following along, and increasing the force of his thrust, so that he goes right through the body. His guard meets his opponent’s, and dominates it so much that his opponent’s tip drops to the ground, as it is shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation precedente; en eſlevant le pied droit, & enſemblement tournant du poignet de la main ſa branche exterieure, de verticale qu’elle eſtoit, en dehors juſques à trouver & ſerrer la lame contraire, menant auſſi par ce meſme moyen ſa pointe en la preſence du coſté droit de l’adverſaire: & quand & quand graduant ſon eſpee, durant que le pied s’avance & entre juſqu’à la letre I. bleſſant ſa partie adverſe deſſoubs l’aixelle droite, avec pliement du genouil, & panchement du corps, aſſiſté du pied gauche en trainant apres, & augmentant la vigueur de l’eſtocade, en ſorte qu’il luy en donne à travers du corps; rencontrant la garde contraire de la ſienne, & la maiſtriſe tellement que la pointe en decline vers terre; ainſi qu’il ſe foit au pourtrait de la figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 13'''
 
|'''Cercle N.13.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary aims at an acute angle towards his adversary’s stomach. Alexander, by turning on his toes and leaning forward, hits him with the Direct Line in his uncovered torso.''
 
 
 
|''Zacharie tirant en angle aigu vers le ventre de ſon Adverſaire au temps qu ſon eſpce eſt aſſujettie; Alexandre en ſe tournant ſur ſes orteils en panchant ſur le devant, luy donne l’atteinte en droite ligne au deſcouvert de a poitrine.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This action proceeds from that shown in Circle No 1. At the instant that Alexander forces the blade aside at the Second Instance, Zachary comes in on Alexander, stepping forward with his right foot to just beyond the letter V beside the Diameter, aiming an acutely angled thrust with a straight arm at his lower body. Alexander feels the blade disengage and sees that his opponent’s right shoulder is uncovered. He does nothing more than withdraw the lower right side of his body (the target of the thrust) away by turning on his toes and leaning his upper body forward towards his opponent, and attacking him from the Direct Line, by straightening and extending his arm, hitting him at the nearest point, which is the uncovered shoulder. One point to consider is that Zachary’s reach is shortened to the degree that his sword is pointed off the Direct Line, aiming at an acute angle. Whereas Alexander’s lengthens because he is working along the Direct Line, increased by leaning forward, while withdrawing his lower body. This gives him enough of an advantage that he can wound his opponent without the tip of his opponent’s blade getting to him. This is also demonstrated in Plate V, where it is more fully explained and mathematically verified.
 
 
 
|Ceſte operation procede de celle qui eſt repreſentée au Cercle 1. Car à l’inſtant qu’<font style="font-variant:small-caps">Alexandre</font> accomplit l’aſſujettiſſement à la Seconde Inſtance: <font style="font-variant:small-caps">Zacharie</font> luy vient entrer deſſus, en avançant le pied droit un peu outre le point V au deça du Diametre, luy tirant d’un bras roide une eſtocade en angle aigu vers la partie inferieure du corps. <font style="font-variant:small-caps">Alexandre</font> qui s’apperçoit par le ſentiment du deſtachement des eſpees, & par la veue, que l’eſpaule droite du contraire ſe deſcouvre; il ne fait rien que deſtourner le coſté droit de la partie inferieure du corps (qui eſtoit la bute de l’eſtocade) en ſe tournoyant ſur ſes orteils, & enſemblement ſe panchant ſur le devant devers ſon contraire, & luy aſſenant en ligne droite, moyennant l’extenſion & roidiſſement du bras, un coup de pointe au plus prochain point d’attouchement, qui eſt en la dite deſcouverture de l’eſpaule droite. Eſtant à conſiderer que l’eſpee de <font style="font-variant:small-caps">Za</font>charie ſe racourcit à meſure qu’elle ſe depart de la droite ligne, tirant à l’angle aigu: là où celle d’<font style="font-variant:small-caps">Ale</font>xandre au contraire s’allonge, à raiſon qu’il en travaile en ligne droite, l’aſſiſtant meſme d’un panchement de corps, avec retirement de la partie inferieure. ce qui luy porte ſi grand avantage, qu’il atteint & bleſſe ſon Contraire, ſans que la pointe contraire puiſſe arriver juſques à luy. Ceſte demonſtration eſt auſſi repreſentée au Tableau V, où elle eſt auſſi plus amplement expliquée & verifiée par raiſons de Mathematique.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|There are some doubts which some might raise against this, which can be resolved here and now. That is, whether the wound Alexander makes could be done against an acutely angled tip. This seems impossible, since this tip moves to the opponent’s body in the blink of an eye without stopping, the two bodies are approaching, and will immediately be so close that the lower sword will have an inevitable opportunity to wound the opponent. The answer appears in the description of the action in the following Circle.
 
 
 
|Il faut icy reſoudre une doubte, qui pourroit eſtre propoſée alencontre; aſſavoir ſi ceſte bleſſure d’<font style="font-variant:small-caps">Ale</font>xandre, ſe faiſant ainſi avec panchement du corps, pourroit eſtre pratiquée avec une pointe aiguë. Ce qui ſemble ne pouvoir eſtre, à cauſe que ladite pointe paſſant en un clin d’œil le corps contraire ſans nul arreſt, les deux corps s’approcheroyent & viendroyent incontinent ſi fort en preſence que l’eſpee de deſſoubs en acquerroit l’opportunité de contrebleſſer infalliblement ſa partie contraire. La reſponce en paroiſtra d’elle meſme par la deſcription de l’operation du Cercle ſuivant.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 14'''
 
|'''Cercle N.14.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander makes sure his blade is above his opponent’s and holds it there, as he executes his thrust, stepping into the enemy with his left side leading.''
 
 
 
|''Alexandre s’aſſeure deſſus la lame contraire, & la tenant en devoir, il fait l’execution de ſon eſtocade, en entrant deſſus l’ennemy avec le coſté gauche devant.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander thus follows through the action he began, he steps in towards his adversary with his left foot and side forward, by only turning on his right foot to make his approach. In this way, the upper body moves down with the arm as it moves forward, which moves the guard over top of the opponent’s blade, in a way which pushes the other tip down further the closer he moves in. As he continues to close together with the effect of leaning, at the same time he slides the point of contact up the opponent’s sword, when he puts his foot down beyond the Diameter in the middle of the line M-S, drawing up the right foot, he reinforces the force of the thrust so much that the shock of striking his opponent’s sword with his guard drives the point down almost into the ground, while pushing his tip through his opponent’s body.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> donc pourſuivant l’operation encommencée, il entre ſur ſa partie adverſe avec le pied & le coſté gauche, en ſe tournant le corps ſur le pied droit, ſans aucun autre approchement: & comme ainſi ſoit, que la partie ſuperieure du corps deſcende auſſi à l’advenant avec le bras, il conduit ſa garde deſſus la lame contraire, en ſorte que la poinćte d’icelle en eſt pouſſée vers le bas à meſure que le corps entre: dont en continuant à s’approcher davantage, & enſemblement à ſe pancher ſur le devant, au meſme temps il fait la graduation ſur l’eſpee, & plante le pied eſlevé en deça le Diametre, ſur le milieu de la ligne M S, avec pourſuite du pied droit, renforçant par ce moyen tellement la vigueur de l’execution, qu’il emporte du chocq de ſa garde le bras & l’eſpee contraire, en ſorte que la pointe en tombe quaſi à terre, en luy pouſſant l’eſtocade à travers le corps.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|These last two actions after Circle No 13 must be done very exactly in practice. Alexandre hits his opponent right at the start of his movement, as soon as he feels the disengagement of the swords, before Zachary has the ability to lean or step forward to within striking distance. This is absolutely necessary to observe. If one does not move at the exact time, and if Zachary has moved his sword and body forward however small an amount, then in that case one can no longer use the lesson of Circle No 13, since one will recieve as much as one gives. Therefore, to avoid this danger, it will be necessary to defend as in Circle No 9, turning to the right side while drawing the feet back as the turn, and following at the same time the execution of the action of Circle No 10, as previous described.
 
 
 
|If faut tres-exaćtement obſerver en la pratique de ces deux derniers operations, qu’au Cercle 13. <font style="font-variant:small-caps">Ale</font>xandre à donne l’atteinte à ſon contraire tout au commencement de ſon mouvement, ſi toſt qu’il s’eſt apperceu par le ſentiment du deſtachement des eſpees, avant que le corps de <font style="font-variant:small-caps">Za</font>charie ait eu la commodité de ſe pancher ou de s’avancer pour trouver la meſure d’atteindre. Ce qui eſt du tout neceſſaire à obſerver. Car ſi on ne prend le temps juſte, & que <font style="font-variant:small-caps">Za</font>charie ait avancé l’eſpee avec le corps pour peu que ce ſoit, en ce cas on ne ſe pourra pas aider de ceſte meſme leçon du Cercle 13. car encore qu’on donnaſt, auſſi on recevroit. Pour donc eviter & prevenir le danger qu’il nous avoit appreſté, il ſera beſoing de s’en defendre à l’exemple du Cercle 9. en deſtournant le coſté droit avec retirement & tournement des pieds; en pourſuivant quand & quand l’execution du Cercle 10. ſuivant les obſervations qui en dependent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|
 
|
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The principle to which every student must aspire in performing the actions in the Plate, is to have exact timing. This is one of the most important points of the entire system, and without this, nothing can be performed either gracefully or surely. For if Hypocrites, that Prince of Doctors, dared pronounce only with care on matters of medicine, which was difficult to observe and diagnose, even when the sypmtoms endured for days, or, at the least, hours, we have even more reason to say, how fast and difficult is the Practice of Arms, wherein we have often a moment of time, and often are presented with but an instant to decide, which is a point of time, indivisible, and without any duration. As such, there are times wherein we can find an opportunity, but few opportunities wherein we find much time. Which is why those who strive to reach this high goal to comprehend correct feel and timing, I shall warn them now, that they must not assume this is an easy thing and they must not be bored with spending a long time practising these exercises presented in this Plate VII. For beyond the confidence that they will provide in the prefection of the Theory and Practice of Arms, they may also be, in and of themselves alone, enough to become competent to enter into a fight against the greatest and toughest fighters they may find, as long as they do not know how to play with feeling. For they are not accustomed to having their swords crossed in contact and even when they are closely embroiled, they always do their best to detach before they can be forced aside. Thus they do not usually present any other action than those which you see represented in this Plate, so that the time spent on these exercises could not be better used.
 
 
 
|Le principal que le Diſciple doibt pretendre en la Pratique de ce Tableau preſent, c’eſt de prendre exaćtement le temps: qui eſt l’un des plus importants points de tout l’Exercice, & ſans lequel il n’y a rien qui puiſſe eſtre pratiqué ny avec bonne grace ny avec aſſurance. Car ſi Hippocras le Prince des Medecins a oſé prononcer que l’occaſion en medicine eſt difficile à obſerver & à prendre, laquelle y dure cependant des jours ou à tout le moins des heures entieres, à plus forte raiſon pourrons nous dire, qu’elle eſt tresſoudaine & difficile en l’Exercice des Armes, où elle ne dure ſouvent qu’un moment de temps, & ſouvent qu’elle ne s’y preſente qu’en un ſimple Inſtant, qui eſt un poinćt de temps indiviſible & ſans duree quelconque. En ſorte qu’il y a temps auquel on trouve de l’occaſion, mais bien peu d’occaſions où il ſe trouve du temps. Parquoy ceux qui taſcheront de parvenir à ce haut but de cognoiſtre & prendre juſtement les temps, je les avertis, qu’il ne l’eſtiment pas pour choſe facile, & qu’il ne leur ennuye pas de mettre un long Exercice en l’uſage des preſentes leçons de ce Tableau VII. car outre l’aſſeurance qu’elles leur donneront en la parfaite Theorie & Pratique des Armes, auſsi pourront elles eſtre quaſi ſeules tenues pour ſuffiſantes dentrer en la lice avec les plus grands & hardis tireurs d’Armes qu’ils puiſſent trouver, moyennant qu’ils ne jouent pas ſur le ſentiment. Car puis qu’ils ne ſont pas accouſtumez d’avoir les eſpees accouplées, & meſmes qu’ils s’en trouvent incontinent embrouillez, ils font touſiours leur devoir de les deſtacher avant qu’on les puiſſe aſſujettir. dont il ne ſe preſente ordinairement quaſi nulle autre operation que celles que vous voyez repreſentées en ce Tableau. de façon que le temps qu’on y mettra, ne pourra eſtre que tresbien employé.
 
 
 
|}
 
{{master end}}
 
 
 
{{master begin
 
| title = Book 1 - Tableau / Plate VIII
 
| width = 60em
 
}}
 
{| class="floated master"
 
 
 
! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 
! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 
 
 
|-
 
 
 
|Colspan="2"|[[file:Thibault L1 Tab 08.jpg|600px]]
 
 
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
 
 
|EXPLANATION OF THE ACTIONS IN THE EIGHTH PLATE
 
 
 
 
 
|DECLARATION DES OPERATIONS DV TABLEAV HUICTIEME
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Up to now we have clearly shown how to guard the right side against dangers arising from circular disengagements, we now follow with the dangers and counters to outside thrusts which could be aimed at the left side. Those who wish to keep the attacking sword at a distance, will be obliged to either withdraw in retreat or attack their opponents first, either with the Direct Line, or with a bent arm, as is shown by the examples in this Plate. The first thrusts which are made from the Direct Line will always need to use a circular disengagement to move outside the sword, but the rest require no preparations whatsoever. But as one moves the opponent’s sword to the side, so he can aim outside thrusts by merely following the movement. The former are aimed at the right side, whereas the latter are aimed at the left. Those attacks made with the Direct Line are met by closing down the opening by using the same Direct Line against it to counter the opponent, while those attacks made with a bent arm are countered by taking the sword and moving it off-target with a counter-bend, so that the harder the opponent pushes, the further his tip moves from his intended target. So, let us see some examples.
 
 
 
|Puis que iuſques icy il a eſté monſtré aſſez clairement comment il faut garantir le coſté droit du danger de la cavation, il ſemble que l’ordre nous convie à traitter preſentement du danger & du remede des Imbroccades, qui pourroyent eſtre tirées vers le coſté gauche. Car ceux qui ne veulent ſouffrir qu’on leur attaque l’eſpee de loing, ſont neceſſairement obligez ou à ſe retirer en arriere ou bien à tirer les premiers ſur leurs contraires, ſoit en ligne droite, ſoit avec le bras courbe, ainſi qu’on verra par les exemples du preſent Tableau. Les premiers eſtocades qui ſe font en droite ligne, requierent touſiours l’aide de la cavation pour venir au dehors de l’eſpee; les autres n’on beſoing de preparation qui ſoit. Car ainſi qu’on emporte l’eſpee contraire à coſté, auſsi en peut on tirer des Imbroccades par la ſeule pourſuite du meſme mouvement. Celles là ſont portées vers le coſté droit du corps, celles cy vers le gauche: celles de la droite ligne ſe rencontrent pareillement en fermant la meſme droite ligne alencontre pour prevenir le contraire, celles de la courbe, en ſurprenant l’eſpee meſme d’une courbe contraire la faiſant aller à vuide, en ſorte que d’autant plus que le Contraire y employe de force, d’autant plus ſa pointe s’enſuit du poinćt d’attouchement qu’il avoit deſtiné. Or venons en aux Exemples.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 1'''
 
|'''Cercle N.1.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''At the instant Alexander sets his foot down at G, to force his opponent’s sword aside, Zacharie moves in and aims an outside thrust at his stomach.''
 
 
 
|''A l’inſtant qu’Alexandre abaiſſe le pied droit à la lettre G. pour aſſujettir l’eſpee contraire; Zacharie s’avance & luy tire une imbrocade à la poitrine.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The two started from the First Instance with swords parallel in the Direct Line posture. Alexander begins his process to cast his opponents sword aside at the Second Instance along the Oblique Diameter, just the same as in the first Circle of Plate VII. As he does so, at the moment his right foot touches the ground and he draws his left foot up with a circular motion, Zachary moves in stepping with his right foot up to the letter S, along the Oblique Diameter, leaning forward onto the right foot, bending his arm, turning the outside branch of his crosspiece upwards and inwards to deliver an outside thrust to his opponent in the chest, then following with his left foot outside and onto the Quadrangle, as is shown in the picture.
 
 
 
|Les parties y ayant preallablement eſté à la Premiere Inſtance avec les eſpees paralleles en ligne droite; <font style="font-variant:small-caps">Alexandre</font> a commencé à travailler pour aſſujettir l’eſpee contraire à la Seconde Inſtance par deça le Diametre, tout de meſme qu’au Cercle N.1. du Tableau VII. En quoy faiſant, à l’inſtant qu’il abaiſſe le pied droit à la lettre G. & qu’il pourſuit circulairement avec le pied gauche; <font style="font-variant:small-caps">Zacharie</font> entre ſur luy portant lepied droit dedans juſqu’à la lettre S. au deça du Diametre, ſe panchant en avant ſur le pied droit, & courbant par meſme moyen le bras, il tourne ſa branche exterieure en dedans verticalement; & ainſi il donne l’imbrocade à ſa partie adverſe en la poitrine, pourſuivant a mener le pied gauche en dehors par deça le quadrangle, ainſi que il eſt repreſenté en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This action is only described here to more clearly demonstrate what Zachary intends to do, so that it will be easier to understand Alexanders actions that are shown in the following Circle.
 
 
 
|Ceſte operation n’eſt icy exprimée, que pour demonſtrer plus evidement l’intention que Zacharie pretend d’accomplir, afin qu’il ſoit plus facile de comprendre l’operation d’Alexandre, qui eſt repreſentée au Cercle ſuivant.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 2'''
 
|'''Cercle N.2.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander seeing his opponent begin to aim an outside thrust, traps his opponent’s blade while turning his left side away to the outside, and puts his sword-tip in front of his opponent’s eyes.''
 
 
 
|''Alexandre s’appercevant de l’Imbrocade que ſon Contraire luy commence à tirer, au meſme temps il ſurprend la lame contraire, en ſe deſtournant le coſté gauche du corps en dehors, & luy mettant ſa poinćte devant les yeux..''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|We saw the actions of Alexander and Zachary from the start up to the moment when Zachary has begun to step forward with his right foot, bend the arm, turn his crosspiece upwards to send his outside thrust into his opponent’s chest. Alexander clearly perceives his opponent’s attack as much by the feel of the blade as by sight. At the same time that he straightens his arm, he turns the interior branch of his crossguard out and upwards as far as the tip of his head, to trap his opponent’s blade from underneath, raising it up, while, turning on his feet, he moves his left side outwards and away from his opponent’s attack. At the same time, he aims his own blade directly at his opponent’s eyes, carefully stopping his  blade, so that his opponent’s cannot advance without wounding himself in the face. This is shown by the figures.
 
 
 
|Comme donc ces dites operations d’<font style="font-variant:small-caps">Alexandre</font> & de <font style="font-variant:small-caps">Zacharie</font> ſont encommencées & continuées, juſques à ce que <font style="font-variant:small-caps">Zacharie</font> commēce à avancer le pied, courber le bras, mener & tourner ſa branche exterieure en dedans à la hauteur de l’eſpaule pour aſſener ſon Imbrocade en la poitrine de ſa partie adverſe: <font style="font-variant:small-caps">Alexandre</font> s’apperçoit aſſez clairement de l’approche du corps de ſon cōtraire, par le ſentiment & meſmes par la veüe; que fait qu’au meſme temps en roidiſſant le bras, il tourne ſa branche interieure en dehors verticalement juſqu’à la hauteur du ſommet de ſa teſte, en ſorte qu’il en ſurpren la lame contraire par deſſoubs, & la fait monter en haut, destournant au meſme inſtant à l’aide des pieds le coſté gauche, (ou l’atteinte avoit eſté deſtinée,) en dehors, & dreſſant par meſme moyen la pointe de ſa lame droit aux yeux de ſa partie adverſe, l’arreſtant par courtoiſie, en ſorte que ſon contraire ne ſe peut avancer ſans ſe bleſſer luy meſme au viſage: ainſi qu’il eſt repreſenté par les figures.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 3'''
 
|'''Cercle N.3.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Zachary aims an outside thrust at his opponent’s chest, stepping in and bending his arm up as high as his head, at the moment his sword is being forced aside.''
 
 
 
|''Zacharie donne à ſon Contraire un coup d’Imbrocade en la poitrine, en entrant & courbant le bras à la hauteur de ſa teſte, au temps que ſon eſpee eſt aſſujettie.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|The action in Circle No 3 comes a little later than the previous one, that is, after Alexander has stepped to the Second Instance and forced his opponent’s sword aside. At this moment, Zacharay advances on him, stepping in with his right foot into the letter S, bending his arm and turning the outside of his crosspiece upwards, as far as the top of his head, at at the same time. Thus, he gives an outside thrust at his opponent’s chest by leaning his body forward, and drawing his left foot outside near the Quadrangle. Zachary’s actions is shown here for the same reason as Circle No 1. The only difference here is that Alexander has already moved up to the Second Instance, forcing Zachary to raise his arm higher to thrust from high and outside. This is the situation, the counter follows.
 
 
 
|Ceſte operation du Cercle 3. vient un peu plus tard que l’autre, aſſavoir lors qu’<font style="font-variant:small-caps">Alexandre</font> eſt deſia arrivé à la Seconde Inſtance, y ayant aſſujetti l’eſpee contraire: auquel temps <font style="font-variant:small-caps">Zacharie</font> s’avance ſur luy, en entrant du pied droit juſqu’à la lettre S. tournant enſemblement d’un bras courbé la branche exterieure de ſa garde verticalement juſqu’à la hauteur du ſommet de ſa teſte; donnant ainſi à ſa partie adverſe un coup d’Imbrocade en la poitrine panchant le corps, & accomodant le pied gauche pour le trainer en dehors deſoubs le quadrangle. Ceſte operation de <font style="font-variant:small-caps">Zacharie</font> eſt icy repreſentée pour la meſme conſideration que la prededente Cercle 1. Auſſi elle n’en differe pas autrement, ſi ce n’eſt qu’en ce Cercle preſent <font style="font-variant:small-caps">Ale</font>xandre avoit les pieds deſia plantéz ſur la Seconde Inſtance, & que pour ceſte cauſe <font style="font-variant:small-caps">Za</font>charie a eſté obligé de porter la main plus haut pour donner l’Imbrocade de plus haut. Voilà l’occaſion; s’enſuit la rencontre.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 4'''
 
|'''Cercle N.4.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander again perceives his opponent aiming an outside thrust at him after his sword has been forced aside. He turns his left side away, lowering his arm and catching his opponent’s blade, in such a way that he he leans backwards in the process.''
 
 
 
|''Alexandre s’appercevant derechef de l’Imbrocade que l’Adverſaire luy tire apres l’aſſujettiſſement, il ſe deſtourne au meſme temps le coſté gauche du corps en dehors, en baiſſant le bras & ſurprenant la lame contraire, en ſorte qu’il en fait l’execution en plongeant avec le corps panché à l’envers.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Just as soon as Zachary raises his foot and moves it forward, he bends his arm while turning his wrist so the exterior branch of the crossguard moves upwards to about head-height, to thrust from ouside the same way as before. Alexander, who knows his opponent’s intention from the feel and movement of his sword, at once raises his right foot, spins his left side out and away and raises his arm up catching his opponent’s sword with the crossguard, and aiming his tip down towards his opponent’s face, puts his foot down on the line between G and L, puts his weight on it by learning backwards, drawing his left foot up behind into place, and executes his hit by sliding the point of contact along the blades, as is shown in the figure.
 
 
 
|Tout auſſi toſt que <font style="font-variant:small-caps">Zacharie</font> eſleve & avance le pied, courbant en haut le bras, & enſemble tournant ſa brāche exterieure en haut à l’endroit de ſa teſte, pour donner l’Imbrocade en la meſme forme que deſſus: <font style="font-variant:small-caps">Alexandre</font> cognoiſſant ſon intention par le ſentiment & par les mouvements du corps de ſon contraire, eſleve au meſme temps le pied droit en l’air, deſtournant le coſté gauche du corps en dehors, & hauſſant le bras avec la garde, il eſtraint la lame contraire de ſa branche interieure, laquelle il tourne en haut au deſſus de la hauteur de ſa teſte, en dreſſant la pointe vers le bas au viſage du Contraire, & ainſi plantant le pied entre GL ſur la ligne, & ſur iceluy chargeant le corps en panchant à l’envers, meſme avec le pied gauche trainé proportionellement derriere, il pourſuit & execute ſa pointe en plongeant & graduant les eſpees de haut en bas, comme il eſt pourtrait en la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|To correctly counter these outside thrusts, you must take care to move at the same instant that your opponent bends his arm, turning the exterior branch of his crossguard upwards, and thus presenting his left side. Turn your left side away, straighten your right arm, and turn the interior branch of your crossguard upwards, so as to catch your opponent’s blade. While sliding the blades to wound him, make sure to keep your hand slightly above your opponent’s, so his tip will always be above your head, and so you will hit him while certain of his sword being out of the way at an obtuse angle.
 
 
 
|Pour prevenir juſtement ces dites Imbrocades, il faut prendre garde qu’au temps que la partie adverſe courbe le bras en tournant la branche exterieure en haut, & preſentant enſemblement le coſté gauche, de travailler au meſme inſtant juſtement au contraire, en deſtournant le coſté gauche hors de preſence avec le bras droit eſtendu, & la branche interieure de la garde tournée en haut; en ſorte que la lame contraire en ſoit ſurprinſe. Auſſi en graduant les lames durant l’execution de la bleſſure, il faut obſerver de porter tourſiours le bras avec la garde un peu plus haute que la main contraire, afin que ſa pointe vous aille au deſſus de la teſte & qu’ainſi vous luy donniez l’atteinte hors de l’angle obtus avec aſſurance.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 5'''
 
|'''Cercle N.5.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''While Alexander is stepping from the Second Instance to the Third, Zachary moves forward and aims an outside thrust at his face. So Alexander is constrained to move in against him, turning his opponent’s sword aside with his body leaning backwards, and stepping between the perpendicular Diameters, to turn in place.''
 
 
 
|''Au temps qu’Alexandre chemine de la Seconde Inſtance vers la Troiſieme; Zacharie s’avance, & luy tire une Imbrocade devers le viſage: dont Alexandre eſt contraint de s’avancer pareillement alencontre, en deſtournant l’eſpee contraire avec le corps panché à l’envers au dedans des perpendiculaires, pour y faire la volte.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After Alexander arrived at the Second Instance, having forced his opponent’s sword aside and he intends to step to the Third and execute the attack as shown and described up to the 6th Circle of Plate VI, he has just raised his foot to take a step. Zachary again moves forward in the same way as above, moving his right foot up to the letter S, bending his arm, turning his wrist so the exterior branch of his crossguard is vertical and above his head, to give Alexander an outside thrust to the face. Alexander raised his foot and moved it forward, so his body is a bit higher and slightly closer.  At the very instant he realizes it is no longer possible for him to overcome his opponent with a bent arm attack that forces the tip of his opponent’s sword aside so he can deliver a downward strike, he moves likewise against him, holding his sword and arm straight out in front, upwards at an obtuse angle, he steps in front of the two Diameter lines at point I, then turns his left side away, while at the same time raising his left foot and spinning it around the other so far that that his toes land on the line between R and S which helps to lean his body backwards. So his body is in the angel between the perpendicular lines, arm extended, his guard pushing his opponent’s guard and hand higher up, so that while he is in this position, he can do nothing against him. This is the meaning of this figure.
 
 
 
|Apres qu’<font style="font-variant:small-caps">Alexandre</font> en aſſujettiſſant l’eſpee contraire eſt venu à la Seconde Inſtance, & qu’il commence à marcher vers la troiſieſme, en intention d’y toucher & executer en la maniere qui eſt demonſtrée par le Tableau VI. au Cercle 6. dés auſſi toſt qu’il a eſlevé le pied droit pour cheminer; <font style="font-variant:small-caps">Zacharie</font> s’avance derechef en la meſme ſorte que deſſus, en portant le pied droit juſqu’à la lettre S. ſe courbant le bras, & tournant ſa branche exterieure verticalement par deſſus la hauteur de ſa teſte, pour luy donner une Imbrocade au viſage. <font style="font-variant:small-caps">Alexandre</font> s’eſtant un peu hauſſé, & approché par l’eſlevation & l’avancement du pied; tout à l’inſtant il cognoiſt qu’il ne luy eſt plus poſſible de ſe prevaloir de la ligne courbe, en deſtournant la pointe contraire contremont, & aſſenant à meſme temps la ſienne en plongeant de haut en bas, parquoy au meſme inſtant, que l’adverſaire commence, il s’avance pareillemēt alencontre, avec le bras & l’eſpee roidement eſtendus en angle obtus, & plante le pied au deça le Diametre au poinćt I. en deſtournant le coſte gauche en dehors, & quand & quand eſleve le pied gauche, & le volte par derriere l’autre ſi avant, qu’il en plante les orteils ſur la ſećtion de la ligne RS. panchant le corps à l’envers, à l’aide des pieds que ſe tournent en dehors; ſe mettant ainſi le corps au dedans des perpendiculaires, avec le bras eſtendu, rencontrant & pouſſant de ſa garde la garde & le bras contaire plus haut, en ſorte qu’elle l’empeſche durant ce meſme temps, de ne pouvoir rien attenter au contraire. Voila là le ſens de la figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 6'''
 
|'''Cercle N.6.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander quickly spins his left side around while at the same time moving his sword-tip around and down, wrapping his left arm around himself while making a quick step with his left foot so as to hit his opponent in the chest.''
 
 
 
|''Alexandre ſe volte le coſté gauche devant, en menant au meſme temps ſa poinćte de haut en bas, l’entortillant de ſon bras gauche avec eſlevation du pied gauche, pour executer ſa poinćte à travers la pointrine de ſon adverſaire.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander immediately follows on from the previous action,  turning his body around as he turns his feet, with his left side forward and, at the same time, turning his wrist and hand to disengage from his opponent’s blade and bring his sword-tip around and down to point at his opponent’s chest, with his right hand held in close against his chest and his left arm wrapped close across his front. At the same time, he lifts his left foot makes a short step forward to the point S, bending his knee to put his weight on it, drawing his right foot up behind from point I to the letter L on the Perpendicular Diameter, so he can easily drive his opponent backwards, as is shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> pourſuit ſans intermiſſion l’operation precedente, en tournant les pieds & le corps en dedans avec le coſté gauche devant, & au meſme temps, en tournant du poignet de la main la pointe de ſon eſpee de haut en bas, il abandonne la lame contraire, en ſerrant la ſienne contre ſa pointrine, icelle entortillant de ſon bras gauche; eſlevant & avançant quand & quand un bien peu le pied gauche, juſqu’à la lettre S, portant la charge du corps ſur le meſme genouil plié. le pied droit ſuivant proportionellement juſqu’à la lettre L. ſur le Diametre perpendiculaire, & dreſſant ſa pointe ſur le bas de la pointrine de ſon Contraire, en ſorte qu’il ne tient qu’à luy de le jetter à l’envers par terre, ainſi que les ſituations des figures le repreſentant.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 7'''
 
|'''Cercle N.7'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Once again, while Alexander is stepping towards the Third Instance, Zachary confidently aims an outside thrust high up at his face.''
 
 
 
|''Cependant qu’Alexandre chemine avec le pied droit devers la Troiſieme Inſtance; Zacharie luy tire derechef une Imbrocade haute devers le viſage, en prenant l’aſſeurance de la ſuperiorité.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Again, Alexander has reached the Second Instance, and has just raised his right foot from the letter G to step over to the Third Instance at the letter N from where he intends to drive his sword-tip into his opponent’s face. At that moment, Zachary steps forward with his right foot to the letter S, extending forward and drawing his left foot up to the letter X. At the same time he bends his arm, turns it inwards, the guard up above his head and, by moving the contact up his blade and down Alexander’s, gains superiority over his opponent, to hit him with an outside thrust to the face.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> eſtant derechef arrivé à la Seconde Inſtance au poinćt G.& ayant pareillement eſlevé le pied droit pour aller à la troiſeme à la lettre N. en intention d’y donner l’atteinte au viſage de ſon Contraire: au meſme temps <font style="font-variant:small-caps">Zacharie</font> marche avec le pied droit & le corps eſtendu juſqu’à S. le pied gauche revenant avec le talon levé juſqu’à la lettre X. & au meſme temps il courbe & tourne le bras dedans par deſſus la hauteur de ſa teſte, de ſorte qu’il en acquiert par l’augmentation de ſes Nombres la ſuperiorité des lames, pour donner encore à ſon Contraire un coup d’Imbrocade au viſage.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|His sense of feel tells Alexander that his opponent has begun to dominate and is about to attack his face. He immediately redirects his foot down onto the collateral line near L, quickly lifts and moves his left foot forward, while turning his left side, as he turns the interior branch of the crossguard upwards, catching his opponent’s sword from beneath, and extends his right arm up above his head and to the outside, so his guard forces his adversary’s tip upwards past his head, as shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment tant de la ſuperiorité que de l’intention de ſon Contraire, il divertit la demarche en mettant le pied à terre ſur la ligne collaterale pres de la lettre L, hauſſant & avançant enſemblement le pied gauche, & tournant le coſté gauche, & le bras droit eſtendu en dehors par deſſus la hauteur de ſa teſte; avec la branche interieure de ſa garde tournée contremont; dont il ſurprend par en bas la lame contraire, & en mene la poinćte par deſſus la hauteur de ſa teſte, ainſi qu’il ſe voit au pourtrait de figures.
 
 
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 8'''
 
|'''Cercle N.8.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander has set his right foot down and, seeing he has lost the advantage, lets his blade drop, disengages as he jumps with his left foot beside his adversary, and makes a reverse cut to his leg.''
 
 
 
|''Alexandre plantant le pied droit & s’apppercevant de la ſuperiorité perdue, il laiſſe eſcouler ſa lame, & en la deſtachant il ſaute avec le pied gauche à coſté de ſon adverſaire, luy donnant un coup de revers à la jambe.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander can feel that his adversary is still putting force on his blade, pressing it downwards, to aim an outside thrust at his face. He lifts his guard forward, and allows his wrist to flex so the tip of his sword drops away to the right. With his still-raised left foot, he leaps outside the circle, putting all his weight forward onto that foot while at the same time raising his right foot up and, while doing this, disengages his sword, allowing his to swing circularly around and down so that he can aim a diagonal cut backwards across the thick of his opponent’s thigh, as is shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> s’appercevant par le ſentiment, que ſon Adverſaire luy continue le poids de ſa lame, en pouſſant la ſienne vers le bas, pour luy donner l’Imbrocade au viſage; il en hauſſe à l’advenant la garde & en laiſſe deſcendre la pointe à l’aide du poignet de la main; ſautant du pied gauche qui eſt eſlevé vers ſa partie, en dehors au deſſoubs le Cercle, avec pareille eſlevation du pied droit, menant quand & quand la charge du corps en panchant ſur le pied gauche, & durant le meſme temps deſtachant les eſpees, & la ſienne la menant circulairemēt dehaut en bas, en ſorte qu’il en tire un coup de revers diagonal au gras de la jambe droite de ſon Contraire. ainſi qu’il eſt peint en la figure.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 9'''
 
|'''Cercle N.9.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''He follows one with his advantage, pivoting around and siezing his opponent’s guard, while Zachary is trying to turn his sword on him. He puts his sword-tip into Zachary’s right armpit.''
 
 
 
|''Il pouſuit ſon advantage, en voltant le corps & faiſant prinſe de la Garde Contraire, cependant que Zacharie ſe prepare à luy preſenter l’eſpee; en luy aſſenant conſequemment ſa poinćte deſſoubs l’aixelle droite.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This follows from the preceeding circle. Alexander takes his raised right foot quickly around with a circular move well behind his left foot which he raises at the same time off the ground. Zachary, seeing how his adversary is about to get behind him, at the same time moves his left foot, with his heel raised, over the diameter to the letter W, thus turning, so his right arm and sword are towards his opponent. While he does this Alexander grabs his guard from beneath with his left hand, moving it over his head and pulling down towards him as he leans back on his right foot. He closes his left arm against his side to hold the guard firmly in place while aiming the tip of his sword at his adversary as his left foot comes down, so that his adversary is suddenly drawn onto it, as the picture shows.
 
 
 
|C’eſt la pourſuite du preeedent: en laquelle <font style="font-variant:small-caps">Alexandre</font> mene le pied droit eſlevé d’une grande viſteſſe circulairement & fort avant par derriere le gauche, lequel il pourſuit quand & quand à eſlever en l’air: dont <font style="font-variant:small-caps">Zacharie</font> recognoiſſant que ſa partie adverſe luy viendroit à gaigner la crouppe, au meſme temps il porte le pied gauche avec le talon levé au delà du Diametre à l’W, preſentant par ainſi le corps avec les pieds, le bras droit, & l’eſpee devers ſon Cōtraire. Durant lequel mouvemēt <font style="font-variant:small-caps">Alexandre</font> luy empoigne la garde par deſſous, la tournant & tirant à ſoy vers le bas, avec le corps panché à l’envers ſur le pied droit, que eſt planté; s’affermiſſant le bras avec la garde de l’eſpee contre le coſté droit, en aſſenant & executant la poinćte au coſté droit de l’adverſaire avec le planter du pied gauche, en ſorte que ledit adverſaire en eſt ſurmonté tout à fait, ſelon que les figures demonſtrent.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|It often happens, when doing the actions in Circle No 7, that Zachary will cross swords at the 6th or 7th Span with the 7th or 8th Span of his own, in order to force the blade aside and so more easily aim his intended outside thrust. At which point, Alexander will once again bring his guard up, with the interior of his crossguard turned vertically upwards above his head while allowing his sword-tip to drop lower, and bringing his right foot closer to the Diameter, towards the letter N. As in Circle No 8, he follows up with a reverse cut to the leg. So now, with his tip lowered even further, he will most often use a reverse-cut to the head. Likewise, instead of what was shown in Circle No 9, where he took ahold of the guard, it sometimes happens that as his adversary turns towards him, this will not be possible to do. In that case he must execute a thrust to the face with the tip of his sword.
 
 
 
|Or il adviendra ſouventefois en pratiquant l’operation du Cercle 7. que <font style="font-variant:small-caps">Zacharie</font> en donnant la courbe, ira croiſer par en haut la lame contraire aux Nombres 6. ou 7. avec les 7. ou 8. des ſiens, pour l’aſſujettir & tirer plus aiſemēt l’execution de l’Imbrocade pretendue: Sur quoy <font style="font-variant:small-caps">Alexandre</font> menera derechef la garde, avec la branche interieure tournée verticalement par deſſus la hauteur de ſa teſte en laiſſant cependant aller la poinćte plus baſſe, & menant le pied droit plus en deça le Diametre devers la lettre N. Et comme au Cercle 8. il a pourſuivy l’operation avec un coup de revers tiré à la jambe; ainſi maintenant, ſa poinćte eſtant baiſſé d’avantage, il en menera le plus ſouvent un coup de revers à la teſte. Pareillement au lieu de ce qui eſt repreſenté ſur le Cercle 9. qu’il fait prinſe de la garde, au meſme temps que ſon Contraire ſe tourne avec l’eſpee devers luy, il adviendra quelquesfois qu’il luy ſera impoſſible de ce faire; toutesfois il ne laiſſera d’executer ſur ſon Contraire, en luy tirant par le foible de l’eſpee une eſtocade en droite ligne au viſage.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Cercle N.10.'''
 
|'''Circle No 10'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''At the moment Alexander is about to go to the Third Instance, Zachary advances and again aims an outside thrust at his chest, but with his left side leading.''
 
 
 
|''A l’inſtant qu’Alexandre penſe arriver à la Troiſieme Inſtance: Zacharie s’avance, & luy tire derechef une imbrocade à la poitrine, avec le coſté gauche tourné en devant.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|After Alexander has forced his opponent’s blade aside and the Second Instance and is about to move towards the Third, intending to thrust as usual. But as soon as he starts to shift his weight, Zachary again moves in putting his right foot along the Diameter at the point S, drawing his left foot up to the letter X, keeping his heel raised. He moves his left side forward bending his arm up above his head, and turning his wrist so the exterior branch of his crossguard goes upward. In this way his sword-tip is aimed straight at his opponent’s chest, ready for an outside thrust. He is forced to put his foot down on the Transverse by the letter M, drawing his left foot up behind.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> apres avoit aſſujetti la lame contraire à la Seconde Inſtance, il s’acheine vers la troiſieme, en intention d’y tirer l’eſtocade à la mode accouſtumée: Mais auſſi toſt qu’il en approche le pied <font style="font-variant:small-caps">Zacharie</font> vient derechef entrer ſur luy, en portant le pied droit en deça le Diametre juſqu’au poinćt S. Avec pourſuite du pied gauche avec le talon levé juſques à l’X. & enſemblement avançant le coſté gauche du corps, courbant le bras par deſſus la hauteur de ſa teſte, & tournant la branche exterieure de ſa garde en haut; & par ainſi preſentant la point de ſa lame en forme d’imbrocade droit à la poitrine de ſon contraire: iceluy en eſtant forcé de planter le pied eſlevé ſur la traverſante aupres de la lettre M. le pied gauche ſuyvant proportionnellement apres.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|This action is shown to you incomplete so you can better understand Zachary’s intentions and the timing he chose to make his move as the most convenient, and how his move is forseen and countered by Alexander in the actions of the following Circles.
 
 
 
|Ceſte operation vous eſt icy repreſentée imparfaite, pour donner tant mieux à cognoiſtre l’intention de <font style="font-variant:small-caps">Za</font>charie, & le temps qu’il y choiſit pour le plus convenable; & comment elle luy ſera prevenue & annullée par <font style="font-variant:small-caps">Ale</font>xandre en la pourſuite de l’operation demonſtrée par les Cercles ſuivants.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 11'''
 
|'''Cercle N.11.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander has been forced to turn the hit aside using the end of his blade, while stepping inside the angles, to perform his turn.''
 
 
 
|''Alexandre eſt forcé à deſtourner le coup par l’entremiſe de ſa lame, en entrant dedans les angles, & ſe preparer à faire la volte.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Everything that has been said in this last Circle was about moving from one side to the other, the two opponents moving against each other at the same time, until Zachary leans forward, bending his arm and turning hand and sword to attack with his outside thrust. Alexander sees that his opponent has come in so close into range that he cannot hit him with a bent arm, as he did before in Circles No 2 and 4, puts his right foot down at the letter M. He moves his right side forward and his arm and sword against his opponent’s sword, parrying it and pushing it away keeping the guard low and the tip up. At the same time, he sweeps his left foot around behind stepping down on the letter S, along the Inscribed Square, turning his left side outwards towards his opponent, and so stepping in between the perpendiculars and the opponent’s blade, all the while keeping his eye on his opponent until the last possible moment. This is clearly shown by the figures.
 
 
 
|Tout ce qui à eſté dit au Cercle dernier precedent, ſeſtant ainſi paſſé tant d’un coſté que d’autre, les deux Contraires s’avançent à meſme temps l’un contre d’autre, juſqu’à ce que <font style="font-variant:small-caps">Zacharie</font> panche le corps ſur le devāt, courbant & tournant le bras & l’eſpee pour luy donner l’Imbrocade: <font style="font-variant:small-caps">Alexandre</font> s’apperçevant que ſa partie adverſe luy eſt venue ſi avant dedans la meſure, qu’il ne le pourroit toucher avec la courbe contraire (ainſi qu’il avoit fait auparavant aux Cercles 2. & 4.) plante au meſme temps le pied à terre à la lettre M. En avançant le coſté droit du corps enſemble avec le bras & l’eſpee devers l’eſpee contraire, la deſtournant & pouſſant en dehors par l’oppoſition de la ſienne avec ſa garde baſſe & ſa pointe haute: pourſuivant quand & quand à volter le pied gauche, enſemble avec un tournoyement du coſté gauche en dehors par derriere l’autre juſqu’à bien pres de l’S. ſur le coſté du quarré inſcrit, ſe fourrant par ainſi dedans les perpendiculaires de la lame contraire, & continuant encor juſques audit dernier inſtant à regarder ſon contraire au viſage: ainſi qu’il eſt clairement demonſtré par les figures.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 12'''
 
|'''Cercle N.12.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''He continues his turn to the left, making sure of the blades.''
 
 
 
|''Il fait l’aćtion de la volte, en tournant le coſté gauche, avec l’aſſeurance des lames.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander continues the movement he started, swiftly turning his body and particularly his left side outwards, with his feet in place, his back to his opponent, so that he can only look at his face for an instant longer, but still keeping his right arm with the sword pressed against his opponent’s sword, the same as before, as shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> continue le mouvement encommencé, en tournant viſtement le corps, & notamment le coſté gauche plus en dehors à l’aide des pieds, avec le dos devers ſa partie contraire, en ſorte qu’il ne le peut regarder en ceſt inſtant au viſage, laiſſant toutesfois cependant le bras droit avec l’eſpee appuyée contre l’eſpee adverſaire, en la meſme ſituation, qu’ils eſtoyent paravant; ainſi qu’il paroit aux figures.
 
 
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
 
 
|'''Circle No 13'''
 
|'''Cercle N.13.'''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|''Alexander spins around, disengaging his blade, bringing the sword-tip around and down and setting his left foot down at the moment he makes his thrust.''
 
 
 
|''Alexandre luy donne l’atteinte enſuite de la volte, en deſtachant les lames, & conduiſant ſa poinćte de haut en bas avec le pied gauche eſlevé, lequel il plante en faiſant l’execution.''
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Alexander continues the same action, following from the previous, turning his left side and feet towards his opponent, and at the same time using his wrist to move the flat of his blade around and down to put the tip against his opponent’s chest. He brings his left arm and hand in tight against his chest, while stepping forward and outside the circle with his left foot and putting his weight down on it, hitting his opponent in the chest at the same time, so that he delivers the most power behind his thrust through his opponent’s body, enough to knock him backwards as he follows through with his right foot.  This is shown in the figure.
 
 
 
|<font style="font-variant:small-caps">Alexandre</font> pourſuivant encore la meſme operation, tourne le coſté gauche du corps & les pieds devers ſon Contraire, & au meſme temps il conduit avec le poignet de ſa main le plat de ſa lame de haut en bas alencontre de ſa poitrine; l’embraſſant & affermiſſāt avec le bras gauche, portant enſemblement le pied gauche en avant par deça le Cercle, & avançant ſur iceluy la charge du corps, donnant à ſa partie adverſe l’atteinte au bas de la poitrine: en ſorte qu’il eſt  en ſa puiſſance meſme de le jetter à l’envers, en executant ſur luy ſon eſtocade à travers le corps avec pourſuite & aſſiſtance du pied droit. Tel eſt le ſens de la figure.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|As soon as Zachary raised his guard up to head height in Circle No 11 to attack with his outside thrust, Alexander was forced to parry off to the side holding his sword and guard high above the shoulder. Zachary could have tried the same hit lower down, keeping his guard only as high as his shoulder, but he would frequently go even lower, trying to hit in the lower half of the body. In all these situations, Alexander would defend in the same way, by bringing his guard and blade lower, and to meet the opponent’s blade at about the 9th Span, his sword-tip aimed upwards so that he cannot be hit down low along his blade, nor can his opponent go above his blade to hit high up. Following this beginning, I shall show some variations in the continuation and final execution of the hit, in a way that is very easy to understand and will not need much explanation.
 
 
 
|Or tout ainſi que <font style="font-variant:small-caps">Zacharie</font> a hauſſé ſa garde au Cercle 11. à l’egal de ſa teſte, pour tirer ſon Imbrocade; dont <font style="font-variant:small-caps">Alexandre</font> a eſté contraint de la deſtourner avec le bras & la garde haute au parage de l’eſpaule: auſſi ſe pourra il faire que <font style="font-variant:small-caps">Zacharie</font> entreprendra de tirer ſur luy les meſmes Imbrocades, n’allant point plus haut avec le bras & l’eſpee que ſes eſpaules; voire aſſez  ſouvent, il demeurera encore plus bas, en taſchant de donner le coup en la partie inferieure du corps. En toutes leſquelles occaſions <font style="font-variant:small-caps">Alexandre</font> ſe defendra touſiours en la meſme ſorte en menant auſſi ſa garde & ſa lame plus baſſe à l’advenant: & obſervant en toutes occurrences d’Imbrocades tirées ſoit de haut ſoit de bas de mettre le point 9. ou environ contre la lame adverſaire, la poinćte dreſſée contremont afin qu’il ne puiſſe eſtre touché en bas au long de ſa lame, ny en haut par deſſus. Et ſuivant ce commencement la continuation & l’execution du coup en recevront auſſi quelque changement à l’advenant; qui eſt fort facile à comprendre, & ne requiert point d’autre explication.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Finally, note that these three Circles, 11, 12, & 13, are not three separate actions, to be done in three parts, but rather a single sequence of three steps, shown this way for ease of the student to observe and understand the principles he must follow. As the student follows our style of fighting, they will perform these actions one after the other so smoothly that they will come to exist only in the mind, and not easily seen.
 
 
 
|Soit obſervé en ces trois Cercles 11. 12. 13. que ce ne ſont pas trois diverſes aćtions, diſtinguées en trois temps chaſcune à part ſoy: combien que la repreſentation en ſoit ainſi faite par articles en faveur des Diſciples, pour leur demonſtrer les principales obſervations ſelon leſquelles ils ſe doivent regler. Car quand ils y ſeront ſtylez, ils pratiqueront, toute l’operation de bout en bout d’une ſi parfaite promptitude, que les parties icy repreſentées y ſeront pluſtoſt recogneues par imagination que par la veuë.
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
||
 
 
 
|- style="font-family: times, serif; vertical-align:top;"
 
 
 
|Thus, in these two Plates VII & VIII, we have the actions which will typically be used against those whose use weapons crudely. As such, its utility is self-evident. But speaking especially about Plate VIII, I believe I should not be taken to task for the most part for these demonstrations, with these reversals of the arm, raising it up to, or even above, head-height, and making this jump from about the Third Instance to the adversary’s side, and making these spinning moves, both high and low, which are said to be strange and extreme, and, what is worst of all, to be disadvantageous to someone attempting them. To which one must respond that mistakes made while trying to follow these instructions should not be taken as a weakness of an otherwise powerful art. For, insofar as untrained students may not be able to successfully execute these moves, this does not mean the principles are not correct. Which is why, if any would criticize this system, they must show that there is some fault in the action being displayed, such as taking too long to set up, or being too awkward to perform as shown. To say these are extremely difficult moves means nothing if they cannot show an easier one instead, which would be appropriate in the same situations. Because everything we do is forced on us in response to our opponents moves, and no matter how much we must follow the law of doing only natural movements, it is sometimes necessary to stretch that law to its limit. This is a general answer which must suffice, to respond to criticisms that these movements shown here are not natural, which entirely wrong. These may be difficult to put into practice at first, nevertheless, with a little practice, they are very easy to do, so that when and where they are needed, they can be done quite gracefully, and unbelievably quickly, and very successfully, not by chance, but through skillful application of this art, grounded in rational science. These examples should not be taken as in any way unnatural, because Nature herself not only admits them as natural, but, in fact, teaches us that this is what we must do when we can do nothing else. In the same way that Nature instructs a man in the water to swim. I will say that this art does have some apparently strange moves, and is, at first, quite difficult to learn, but after some training, one will find oneself so capable, that there is not one person in the whole world who would not admit that this art is entirely in accordance with natural principles.
 
 
 
|Or voilà donc en ces deux Tableaux VII. & VIII. les operations qui ſe preſentent ordinairement à faire contre ceux qui ſont accouſtumez à tirer des armes ſans l’uſage du ſentiment. En ſorte que l’utilité en eſt evidente d’elle meſme. Mais touchant ſpecialement le VIII. je croy qu’il ne faudra pas d’eſtre reprins en la plus part de ſes demonſtrations en ces renuerſemens du bras à porter en haut à l’egal de la teſte ou encores plus, en ce ſaut à faire depuis environ la Troiſeme Inſtance juſques à coſté de l’adverſaire, & en ces voltes du corps tant hautes que baſſes, qui ſembleront à pluſieures eſtre des mouvements eſtranges, & extremes, & qui eſt le pire de tout, deſavantageus pour celuy qui les voudroit mettre en pratique. Auxquels il faudra reſpondre, que les fautes commiſes a l’encontre des regles ne doivent prejudicier à la certitude de l’art meſme. Car encores que le diſciple malverſé n’en puiſſe venir à bout, toutesfois les preceptes n’en laiſſent pas d’eſtre juſtes. Parquoy s’ils les veulent reprendre il faut qu’il nous demonſtrent, qu’il y a de la faute en la demonſtration meſme, comme n’ayant pas le temps ou la preparation ou la commodité requiſe pour mettre en œuvre ce qu’elle monſtre. Car de dire que ce ſont des mouvements extremes, cela n’importe ſi ce n’eſt qu’ils nous en monſtrent des autres plus faciles, qui ſoyent neantmoins convenables en ces meſmes occaſions. Car tout ce que nous faiſons l’adverſaire nous y force: & partant combien que la loy de ſuivre les mouvements naturels doive eſtre inviolable, toutsfois il faut entendre que la neceſsité n’en a nulle, & qu’elle enfonce toutes loix quelques ſtables qu’elles puiſſent eſtre. Ce que nous alleguons pour une reſponce generalle, qui pourroit eſtre tenue pour ſuffiſante, encores que les mouvements icy repreſentez fuſſent contre la nature, ce qui eſt toutesfois autrement. Car encores qu’il ſoyent difficiles à pratiquer du commencement, ce neantmoins ils nous ſont rendus par l’excercice tres faciles, en ſorte qu’en lieu & temps on s’en ſert avec tres-bonne graçe, voire avec une viſteſſe incroyable, & avec un heureux ſuccés procedant non par hazard mais de la ſevreté de l’art, fondé en raiſon naturelle. Ces exemples ne doivent donc pas eſtre tenues pour choſes contre Nature, puis que c’eſt la nature meſme qui non ſeulement les avoüe, mais meſme les enſeigne, quand elle eſt reduite au point de ne pouvoir autrement; tout ainſi qu’elle monſtre à l’homme eſtant tombe en l’eau l’art de la nage; jaçoit que ledit art conſiſte en des mouvements fort eſtranges, & du commencement fort difficiles à apprendre: deſquels il ſe rend toutesfoit par l’exercice ſi capable, qu’il n’y a perſonne au Monde, qui ne confeſſe que ledit art ne ſoit du tout accordant à la Nature.
 
 
 
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* Howden, Matthew. "[http://matthewhowden.wordpress.com/comparison-of-thibaults-circle-and-the-leiden-circle/ Comparison of Thibault’s Circle and the Leiden Circle]". ''Sworded Contemplations''. April, 2008. Retrieved 08 February 2015.
 
* Howden, Matthew. "[http://matthewhowden.wordpress.com/comparison-of-thibaults-circle-and-the-leiden-circle/ Comparison of Thibault’s Circle and the Leiden Circle]". ''Sworded Contemplations''. April, 2008. Retrieved 08 February 2015.
* Majár, János and Zoltán Várhelyi. ''Thibault and Science I. Measure, Distances and Proportions in the Circle''. ''[[Acta Periodica Duellatorum]]'' '''2'''(1): 67-104. 2014. {{doi|10.1515/apd-2015-0014}}.
+
* 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}}.
* [[Gérard Thibault d'Anvers|Thibault, Gérard]]. ''Academy of the Sword''. Trans. John Michael Greer. Highland Park, TX: [[Chivalry Bookshelf]], 2006. ISBN 978-1891448409
+
* [[Gérard Thibault d'Anvers|Thibault, Gérard]]. ''Academy of the Sword''. Trans. John Michael Greer
 +
** 1st edition. Highland Park, TX: [[Chivalry Bookshelf]], 2006. ISBN 978-1891448409
 +
** 2nd edition. London: Aeon Books, 2017. ISBN-978-1-190465-884-9
  
 
== References ==
 
== References ==
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[[Category:Rapier]]
 
[[Category:Rapier]]
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Revision as of 03:38, 4 June 2020

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

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

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

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

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

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

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

Treatise

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

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

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

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

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

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

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

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

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

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.

Additional Resources

References

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