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(→‎Treatise: Slight modification to Plate VI, added all of Plate VII)
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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''.
 
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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 +
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]]
  
 
{{master begin
 
{{master begin
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|[[File:Academie de l'Espée Title.jpg|200px]]
 
|[[File:Academie de l'Espée Title.jpg|200px]]
  
[[http://www.geheugenvannederland.nl/nl/geheugen/view?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-0| Large Version]]
 
 
|'''''Academy of the Sword''''' by Girard Thibeault of Antwerp, wherein is demonstrated by means of mathematical rules, upon the foundation of the mysterious Circle, the Theory and Practise of the true and, until present, unknown secrets of the handling of arms both on foot and on horseback.
 
|'''''Academy of the Sword''''' by Girard Thibeault of Antwerp, wherein is demonstrated by means of mathematical rules, upon the foundation of the mysterious Circle, the Theory and Practise of the true and, until present, unknown secrets of the handling of arms both on foot and on horseback.
  
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|- style="font-family: times, serif; vertical-align:top"
 
|- style="font-family: times, serif; vertical-align:top"
 
|[[File:Thibault L1 Intro 02.jpg|200px]]
 
|[[File:Thibault L1 Intro 02.jpg|200px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/portret%20girard%20thibault%20delff%20willem%20jacobsz?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-008| Large Version]]
 
  
 
|In tranquil reason, not impatient in his work, leads us courageously along his meandering path.
 
|In tranquil reason, not impatient in his work, leads us courageously along his meandering path.
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|- style="font-family: times, serif; vertical-align:top"
 
|- style="font-family: times, serif; vertical-align:top"
 
|[[File:Thibault L1 Intro 03.jpg|200px]]
 
|[[File:Thibault L1 Intro 03.jpg|200px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/wapen%20georg%20wilhelm%20keurvorst%20brandenburg?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-002| Large Version]]
 
  
 
|To the valliant heart, nothing is impossible.
 
|To the valliant heart, nothing is impossible.
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|[[File:Thibault L1 Intro 04.jpg|200px]]
 
|[[File:Thibault L1 Intro 04.jpg|200px]]
  
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/wapen%20johann%20sigismund%20keurvorst%20brandenburg?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-003| Large Version]]
 
  
 
| Work well without pause, and the hours pass quickly.
 
| Work well without pause, and the hours pass quickly.
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|[[File:Thibault L1 Intro 05.jpg|200px]]
 
|[[File:Thibault L1 Intro 05.jpg|200px]]
  
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/wapen%20christiaan%20hertog%20brunswijk%20nenburg?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-004| Large Version]]
 
  
 
|Everything with God, Nothing without Reason.
 
|Everything with God, Nothing without Reason.
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|[[File:Thibault L1 Intro 06.jpg|200px]]
 
|[[File:Thibault L1 Intro 06.jpg|200px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/wapen%20maurits%20prins%20oranje?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-005| Large Version]]
 
  
 
|(Order of the Garter about the arms – Shame to him who evil thinks)
 
|(Order of the Garter about the arms – Shame to him who evil thinks)
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|[[File:Thibault L1 Intro 07.jpg|200px]]
 
|[[File:Thibault L1 Intro 07.jpg|200px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/wapen%20frederik%20hendrik%20prins%20oranje?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-006| Large Version]]
 
  
 
|Of the homeland. With the homeland.
 
|Of the homeland. With the homeland.
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|[[File:Thibault L1 Intro 10.jpg|200px]]
 
|[[File:Thibault L1 Intro 10.jpg|200px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/wapen%20stephanus%20baron%20lotsitzi?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-007| Large Version]]
 
  
 
|Nothing without God
 
|Nothing without God
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|[[File:Thibault L1 Intro 11.jpg|200px]]
 
|[[File:Thibault L1 Intro 11.jpg|200px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/wapen%20lodewijk%20xiii%20koning%20frankrijk?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-001| Large Version]]
 
  
 
|Arms of Louis XIII
 
|Arms of Louis XIII
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|Colspan="2"| [[file:Thibault L1 Tab 01.jpg|600px]]
 
|Colspan="2"| [[file:Thibault L1 Tab 01.jpg|600px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/proporties%20menselijk%20lichaam%20verhouding%20tot%20cirkel%20lengte%20degen%20gelle%20johann?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-009| Large Version]]
 
  
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
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|Colspan="2"|[[file:Thibault L1 Tab 02.jpg|400px]]
 
|Colspan="2"|[[file:Thibault L1 Tab 02.jpg|400px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/menselijke%20gestalte%20geplaatst%20tegenover%20die%20albrecht%20rer?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-010| Large Version]]
 
  
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|Colspan="2"|[[file:Thibault L1 Tab 03.jpg|600px]]
 
|Colspan="2"|[[file:Thibault L1 Tab 03.jpg|600px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/uiteenzetting%20wijzen%20waarop%20degen%20uit%20schede%20getrokken%20moet%20worden%20lastman%20nicolaes?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-011| Large Version]]
 
 
  
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|Colspan="2"|[[file:Thibault L1 Tab 04.jpg|600px]]
 
|Colspan="2"|[[file:Thibault L1 Tab 04.jpg|600px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/aanduiding%20verschillende%20wijzen%20waarop%20men%20tegenstander%20kan%20benaderen%20passe%20crispijn%20de?query=Girard+Thibault+espee&page=2&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-012| Large Version]]
 
  
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|Colspan="2"|[[file:Thibault L1 Tab 05.jpg|600px]]
 
|Colspan="2"|[[file:Thibault L1 Tab 05.jpg|600px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/dertien%20manieren%20om%20bij%20wijze%20schijnbeweging%20degen%20trekken%20gelle%20johann?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-013| Large Version]]
 
 
  
 
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.
 
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.
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|Colspan="2"|[[file:Thibault L1 Tab 06.jpg|600px]]
 
|Colspan="2"|[[file:Thibault L1 Tab 06.jpg|600px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/drie%20grote%20tien%20kleinere%20schermduo%20%20lastman%20nicolaes?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-014| Large Version]]
 
  
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
 
|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
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|Colspan="2"|[[file:Thibault L1 Tab 07.jpg|600px]]
 
|Colspan="2"|[[file:Thibault L1 Tab 07.jpg|600px]]
 
[[http://www.geheugenvannederland.nl/nl/geheugen/view/drie%20grote%20drie%20kleinere%20schermduo%20%20stock%20andries?query=Girard+Thibault+espee&page=1&maxperpage=36&coll=ngvn&identifier=LEMU01%3A00112044-015| Large Version]]
 
  
 
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.
 
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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
  
|'''Circle no 1'''
+
|'''Circle No 1'''
|'''Cercle n.1.'''
+
|'''Cercle N.1.'''
  
 
|- style="font-family: times, serif; vertical-align:top;"
 
|- style="font-family: times, serif; vertical-align:top;"
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
 
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
  
|'''Circle No 10
+
|'''Circle No 10'''
 +
|'''Cercle N.10.'''
 +
 
  
 
|- style="font-family: times, serif; vertical-align:top;"
 
|- style="font-family: times, serif; vertical-align:top;"
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{{master begin
 
{{master begin
  | title = Copyright and License Summary
+
  | title = Book 1 - Tableau / Plate VIII
  | width = 100%
+
  | width = 60em
 
}}
 
}}
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].
+
{| 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
  
<section begin="sourcebox"/>{{sourcebox header}}
+
 
{{sourcebox
+
|DECLARATION DES OPERATIONS DV TABLEAV HUICTIEME
  | work        = Images
+
 
  | authors    = courtesy of Reinier van Noort
+
|- style="font-family: times, serif; vertical-align:top;"
  | source link = http://www.bruchius.com/img/Thibault.zip
+
 
  | source title= Thibault.zip
+
|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.
  | license    = noncommercial
+
 
}}
+
|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.
{{sourcebox
+
 
  | work        = Translation
+
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
  | authors    = [[User:Bruce Hearns| Bruce G. Hearns]]
+
 
  | source link =  
+
|'''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;"
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 +
|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;"
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 +
|'''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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 4'''
 +
|'''Cercle N.4.'''
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 +
|- 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.''
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 +
|- 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.
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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.
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 +
|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.'''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|''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;"
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 +
|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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 6'''
 +
|'''Cercle N.6.'''
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|''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.''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Circle No 7'''
 +
|'''Cercle N.7'''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|''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;"
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 +
|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.
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 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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.
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 +
|<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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 8'''
 +
|'''Cercle N.8.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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 +
|''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.''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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|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.
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 +
|<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.
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|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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|'''Circle No 9'''
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|'''Cercle N.9.'''
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|- style="font-family: times, serif; vertical-align:top;"
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|''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.''
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|''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.''
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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|- style="font-family: times, serif; vertical-align:top;"
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|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.
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|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.
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 +
|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
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 +
|'''Cercle N.10.'''
 +
|'''Circle No 10'''
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|- style="font-family: times, serif; vertical-align:top;"
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 +
|''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;"
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 +
|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.''
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 +
|- style="font-family: times, serif; vertical-align:top;"
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|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;"
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 +
|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;"
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 +
||
 +
 
 +
|- style="font-family: times, serif; vertical-align:top;"
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 +
|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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{{sourcebox
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  | work        = Images
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  | authors    = courtesy of Reinier van Noort
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  | source link = http://www.bruchius.com/img/Thibault.zip
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  | source title= Thibault.zip
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  | license    = noncommercial
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  | work        = Translation
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  | authors    = [[User:Bruce Hearns| Bruce G. Hearns]]
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  | source link =  
 
  | source title= Wiktenauer
 
  | source title= Wiktenauer
  | license    = copyrighted
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  | license    = noncommercial
 
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Revision as of 00:15, 29 May 2018

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

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

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

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

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

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

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

Treatise

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

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.

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

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.