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Difference between revisions of "Henry de Sainct Didier"

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(→‎Treatise: 49-50 + changes)
(→‎Treatise: top of hand -> back of hand - correcter English, less literal but more clear. + less literal on the preface with Fabrice, 51-52)
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| Some teachers, when they define the said guards, start at the top. As for me, I start on the lowest, since everything begins at the foundations. For example, learned men do not start by teaching science at a high level, neither do masons start on the buildings when they build houses, they start on the foundations. And so I start on the low guard, which is the foundation to guarding well.
+
| Some teachers, when they define the said guards, start at the top. As for me, I start on the bottom, since everything begins at the foundations. For example, learned men do not start by teaching science at a high level; neither do masons start on the buildings when they construct houses, they start on the foundations. And so I start on the low guard which is the foundation to guarding well.
  
 
| Les aucuns demonstrateurs, quand ils definissent lesdites gardes, accommencent à la haute. Quant à moy, je commence à la basse, attendu que toutes choses se commencent aux fondements. Comme pour exemple, les gens doctes ne commencent à monstrer les sciences aux hautes, ne les maçons quand ils viennent à commencer à bastir les maisons, ne commencent pas à la tuille, ains au fondement. Et par ainsi je commence à la basse, qui est le fondement qu’on doit bien garder.
 
| Les aucuns demonstrateurs, quand ils definissent lesdites gardes, accommencent à la haute. Quant à moy, je commence à la basse, attendu que toutes choses se commencent aux fondements. Comme pour exemple, les gens doctes ne commencent à monstrer les sciences aux hautes, ne les maçons quand ils viennent à commencer à bastir les maisons, ne commencent pas à la tuille, ains au fondement. Et par ainsi je commence à la basse, qui est le fondement qu’on doit bien garder.
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| The fifth is that it is necessary to be defending and offending at the same time with the said three strikes, adapting and throwing at the said targets, both in attacking and in defending observing well the time that is required. All of which will then be shown and declared at length in the instruction of the sole sword.
+
| The fifth is that it is necessary to be defending and offending at the same time with the said three strikes, adapting and throwing at the said targets, both in attacking and in defending observing well the time that is required. All of which will then be shown and declared at length in the instruction of the sword alone.
  
 
| Le cinquiesme est, qu’il fault sçavoir soy deffendre & offencer à un mesme temps desdits trois coups, adaptez & tirez aux susdits lieux, tant en assaillant qu’en deffendant observant bien le temps qui est requis. Dont le tout sera cy aprés monstré & declaré au long à l’instruction de ceste espée seule.
 
| Le cinquiesme est, qu’il fault sçavoir soy deffendre & offencer à un mesme temps desdits trois coups, adaptez & tirez aux susdits lieux, tant en assaillant qu’en deffendant observant bien le temps qui est requis. Dont le tout sera cy aprés monstré & declaré au long à l’instruction de ceste espée seule.
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| And to respond and to conclude, to what was said above we need to know how many strikes the enemy can offend us, to know how to remedy and defend our body and honor, like a camp master who has a camp of a hundred or fifty thousand men because it is our specific interest. As for me, I say with the learned that what can be done with little is better than what can be done with a lot. Because of this I will remove two of the said five blows that Fabrice have because I say they are redundant, which is Fendante and Imbronccade, and will remain no more than three, which are defined above, and will be here after.
+
| And to respond and to conclude, to what was said above we need to know how many strikes the enemy can offend us, to know how to remedy and defend our body and honor, like a camp master who has a camp of a hundred or fifty thousand men because it is our specific interest. As for me, I say with the learned that what can be done with little is better than what can be done with a lot. Because of this I will remove two of the said five blows that Fabrice have because I say they are redundant, which is Fendente and Imbrocatta, and will remain no more than three, which are defined above, and will be here after.
  
 
| Et pour respondre & conclure, à ce que dessus est dit nous avons autant de besoin de scavoir de combien de coups l’ennemy nous peut offenser, pour scavoir à iceux remedier & deffendre nostre corps & honneur, comme un Maistre de camps qui a un camp de cent ou cinquante mille hommes car c’est nostre interest particulier. Quant à moy je dis avec les doctes que ce qui ce peut faire avec peu est meilleur que ce qui ce fait avec beaucoup. À ceste cause j’osteray deux desdites cinq bottes que tient le dit Fabrice par ce que je les dy estre superflus, qui sont Fendant, & Imbronccade, & n’en demeurera plus que trois, qui sont cy dessus par moy definis, & seront cy apres.
 
| Et pour respondre & conclure, à ce que dessus est dit nous avons autant de besoin de scavoir de combien de coups l’ennemy nous peut offenser, pour scavoir à iceux remedier & deffendre nostre corps & honneur, comme un Maistre de camps qui a un camp de cent ou cinquante mille hommes car c’est nostre interest particulier. Quant à moy je dis avec les doctes que ce qui ce peut faire avec peu est meilleur que ce qui ce fait avec beaucoup. À ceste cause j’osteray deux desdites cinq bottes que tient le dit Fabrice par ce que je les dy estre superflus, qui sont Fendant, & Imbronccade, & n’en demeurera plus que trois, qui sont cy dessus par moy definis, & seront cy apres.
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| ''The following is the declaration and reason hereafter why the said Author remove the said Fendente, against the opinion of the said Fabrice and Jules and many others, this nevertheless always put them and put in the row of the said strikes.''
+
| ''The following is the declaration and reason why the said Author removes the said Fendente against the opinion of the said Fabrice and Jules and many others, who nevertheless always put them in the list of the said strikes.''
  
The reason why I first removed the said Fedante is because it could not be done properly. Because any Fendente that is proper must hold and must not leave the top and middle of the thing you want to slash. Or is it that I do not know a man, as long as he is practiced in all sciences or arts, that having a sword in hand, cutlass, or another weapons that can properly slash, whatever strikes that he can do, do not participate either side or the other, gives up the middle. And yet if such a strike is thrown in the right side, is not Fedente but is Right-Hand, and if kept on the left side, it is not Fendente but will be Backhand.
+
The reason why I first removed the said Fedante is because it cannot truly be done. Because any Fendente that is true must hold and must not leave the top and middle of the thing you want to slash. I know of no man, as long as he is practiced in all sciences or arts, that having a sword in hand, cutlass, or another weapons that can properly slash, with whatever strikes that he can do, will not participate either on one side or the other, which gives up the middle. And yet if such a strike is thrown in the right side, is not Fedente but is Right-Hand, and if kept on the left side, it is not Fendente but will be Backhand.
  
 
| ''S’ensuit la declaration & raison cy aprés pourquoy ledit Autheur oste ledit Fendant, contre l’opinion desdits Fabrice & Julle, & plusieurs autres, ce neantmoins de tout temps les ont mis & mettent au ranc desdits coups.''
 
| ''S’ensuit la declaration & raison cy aprés pourquoy ledit Autheur oste ledit Fendant, contre l’opinion desdits Fabrice & Julle, & plusieurs autres, ce neantmoins de tout temps les ont mis & mettent au ranc desdits coups.''
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| ''Here is also declared why by the author that he removed the said Imbrocatta from the number of the said five blows.''
 
| ''Here is also declared why by the author that he removed the said Imbrocatta from the number of the said five blows.''
  
The reason is because Stoccata and Imbrocatta are both the same, like grapejuice green and green grapejuice, which are also the same. Because by asking for one or the other, one will never present that they are the same. Also, a Stoccata and an Imbrocatta are the same thing, since it is only the point that makes the difference. And by removing the Fendente and Imbrocatta as stated, there will remain no more than three of the said strikes that are above declared in the said third point.
+
The reason is because Stoccata and Imbrocatta are both the same, like grapejuice green and green grapejuice, which are also the same. Because by asking for one or the other, one will never admit that they are the same. As such, a Stoccata and an Imbrocatta are the same thing since it is only the point that differs. And by removing the Fendente and Imbrocatta as stated, there will remain no more than three of the said strikes that are above declared in the said third point.
  
 
| ''Cy aprés est aussi declaré pourquoy ledit autheur oste ladite Imbronccade du nombre desdites cinq bottes.''
 
| ''Cy aprés est aussi declaré pourquoy ledit autheur oste ladite Imbronccade du nombre desdites cinq bottes.''
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| ''Here is the end of all that is required and necessary to know and to understand, who want to be skillful in the said fencing.''
+
| ''Here is the end of everything that is required and necessary to know and to understand, whoever wants to be skillful in the said fencing.''
  
To truly understand the said fencing, and to discover the art, order and pratice of it, one had to create three personas: the first is the Author, the second the Lieutenant, the third the Prevost. The Author will describe all the orders that the said Lieutenant and Prevost must follow in the art of the sword alone, which follows after this and is now commencing.
+
To truly understand the said fencing and discover the art, order and pratice of it, he must imagine three personas: the first is the Author, the second the Lieutenant, the third the Prevost. The Author will describe all of the orders that the said Lieutenant and Prevost must follow in the art of the sword alone, which follows after this and is now commencing.
  
 
END.
 
END.
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| ''Guard and position for commencing to make the third drawing for the demonstrating Lieutenant at the defending Prevost.''
 
| ''Guard and position for commencing to make the third drawing for the demonstrating Lieutenant at the defending Prevost.''
  
This third drawing for the Lieutenant is to be done with the feet together, as is stated above and shown at the said general plan, keeping the left foot on the footprint where it is marked below number 1, and the right foot at the footprint where it is marked 2, and in order to start well this said third drawing, the said Lieutenant must remove the right foot from the said footprint which is marked 2, and carry it forward in the air, making the first drawing, which can be seen above at its place in content 1, and while keeping the foott in the air, turn the sword guard, the top of the hand low, and the nails high, placing the point of the sword right at the belly, keeping the left hand behind, as shown above at the portraiture marked number 5 behind the hat.
+
This third drawing for the Lieutenant is to be done with the feet together, as is stated above and shown at the said general plan, keeping the left foot on the footprint where it is marked below number 1, and the right foot at the footprint where it is marked 2, and in order to start well this said third drawing, the said Lieutenant must remove the right foot from the said footprint which is marked 2, and carry it forward in the air, making the first drawing, which can be seen above at its place in content 1, and while keeping the foott in the air, turn the sword guard, the back of the hand down and the nails high, placing the point of the sword right at the belly, keeping the left hand behind, as shown above at the portraiture marked number 5 behind the hat.
  
 
''The end of the start of the said third drawing for the Lieutenant.''
 
''The end of the start of the said third drawing for the Lieutenant.''
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''Here is the purpose of this guard for the Lieutenant.''
 
''Here is the purpose of this guard for the Lieutenant.''
  
The said Prevost being such that the feet were together and having pulled the right foot back while having remained on the left foot, having made one of the said three drawings, and having carried the sword guard a little higher than the right shoulder by keeping the top of the sword hand up and the nails down as he should, unlike the said Lieutenant, as expected since the painter made an error with all of the said future Lieutenants because they should be keeping the nails of the sword hand down and keeping them high, but the said Prevost does this better, and also keeping the left hand above the left lap, as is shown above at the portraiture marked number 14.
+
The said Prevost being such that the feet were together and having pulled the right foot back while having remained on the left foot, having made one of the said three drawings, and having carried the sword guard a little higher than the right shoulder by keeping the back of the sword hand up and the nails down as he should, unlike the said Lieutenant, as expected since the painter made an error with all of the said future Lieutenants because they should be keeping the nails of the sword hand down and keeping them high, but the said Prevost does this better, and also keeping the left hand above the left lap, as is shown above at the portraiture marked number 14.
  
 
''Here is the end of the second position, which serves as another one for said defending Prevost.''
 
''Here is the end of the second position, which serves as another one for said defending Prevost.''
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''The following is the guard and position of the said third strike for the said defending Prevost.''
 
''The following is the guard and position of the said third strike for the said defending Prevost.''
  
And to do this, the said Prevost must also be on the left foot having done the said step, and having remained on the left foot on high guard, keeping the sword guard and the top of the hand up, and let the sword be plain so that it can remain high there, otherwise such guard would be imperfect, and it must place the point of the sword straight at the left eye, which is the high guard and keeping the left hand right of the stomach, as shown above at the portraiture and figure marked number 30.
+
And to do this, the said Prevost must also be on the left foot having done the said step, and having remained on the left foot on high guard, keeping the sword guard and the back of the hand up, and let the sword be plain so that it can remain high there, otherwise such guard would be imperfect, and it must place the point of the sword straight at the left eye, which is the high guard and keeping the left hand right of the stomach, as shown above at the portraiture and figure marked number 30.
  
 
''Here is the end of the guard and position for the Prevost in order to execute and defend against the said third strike of the sword alone from the said Lieutenant''
 
''Here is the end of the guard and position for the Prevost in order to execute and defend against the said third strike of the sword alone from the said Lieutenant''
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''Here is the end of the fourth strike for the Lieutenant.''
 
''Here is the end of the fourth strike for the Lieutenant.''
  
Next is the defense of the said fourth strike for the defending Prevost, which is a high backhand thrown by the said agressive Lieutenant. And to do this, the said Prevost is to be on the right foot in middle guard, as shown above at the portraiture and figure number 38, and he must pull his right foot back and cross his sword at the sword of the said Lieutenant, strong on weak, on the said backhand, which is the fourth strike thrown by the said Lieutenant, keeping the nails on the sword hand down and consequently the top of the hand up, and presents a thrust at the said Lieutenant, also keeping the left hand right on his shoulder, as shown above at the portraituremarked number 40 behind the collar.
+
Next is the defense of the said fourth strike for the defending Prevost, which is a high backhand thrown by the said agressive Lieutenant. And to do this, the said Prevost is to be on the right foot in middle guard, as shown above at the portraiture and figure number 38, and he must pull his right foot back and cross his sword at the sword of the said Lieutenant, strong on weak, on the said backhand, which is the fourth strike thrown by the said Lieutenant, keeping the nails on the sword hand down and consequently the back of the hand up, and presents a thrust at the said Lieutenant, also keeping the left hand right on his shoulder, as shown above at the portraituremarked number 40 behind the collar.
  
 
''Here is the end of the said fourth strike for the defending Prevost.''
 
''Here is the end of the said fourth strike for the defending Prevost.''
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''Next is declared the guard and position for this said Prevost to defend himself from the said fifth strike which is the thrust thrown by the Lieutenant.''
 
''Next is declared the guard and position for this said Prevost to defend himself from the said fifth strike which is the thrust thrown by the Lieutenant.''
  
And to di this, the said Prevost is to also have the feet together to do this said guard and position, he then must pull his right foot back and do one of the three drawings, and to carry the sword guard a bit higher than the right shoulder to be in high guard, keeping the top of the sword hand up, placing the point of the sword at the mouth of the said Lieutenant, also keeping the left hand right of the chest as shown and can be seen above at the said portraiture marked number 46.
+
And to di this, the said Prevost is to also have the feet together to do this said guard and position, he then must pull his right foot back and do one of the three drawings, and to carry the sword guard a bit higher than the right shoulder to be in high guard, keeping the back of the sword hand up, placing the point of the sword at the mouth of the said Lieutenant, also keeping the left hand right of the chest as shown and can be seen above at the said portraiture marked number 46.
  
 
''Here is the end of the position and guard for this said Prevost to defend and guard himself from the said thrust, the fifth strike, thrown by the said attacking Lieutenant.''
 
''Here is the end of the position and guard for this said Prevost to defend and guard himself from the said thrust, the fifth strike, thrown by the said attacking Lieutenant.''
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| [[File:Sainct Didier 51-52.png|400x400px|center]]
 
| [[File:Sainct Didier 51-52.png|400x400px|center]]
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| ''The following is the second counter and continuation of the said fifth strike fo the sword alone, which is a high thrust for the attacking Lieutenant and for the defending Prevost.''
 +
 
 +
In order to declare and understand well the said second counter and continuation for this Lieutenant, he must be on the step of the right foot, as he has been when he threw the said fifth strike, the high thrust, passing his sword to steal away on the back-hand below the sword guard of the defending Prevost, keeping the back of the sword hand down, the nails up, and the left hand keeping right of the nipple as shown above at the portraiture and figure marked number 51.
 +
 
 +
''The end of the second counter for the said Lieutenant.''
 +
 
 +
''Hereafter is declared the protection and defense of the second counter of the said fifth strike, which is to guard this said Prevost further against the said Lieutenant.''
 +
 
 +
And to do this, the said Prevost needs to be on the step of the right foot, cross and beat down the sword of the said attacking Lieutenant, strong on weak, on the right-hand otherwise called the fore-hand, and by this means will defend and ward the said Prevost from the said second counter and continuation, thrown by the said Lieutenant, and when all is done the said Prevost will present a thrust at the face of the said Lieutenant, keeping the sword guard and the nails on the hand holding it up, and the left hand right of the left nipple, as shown above at this portraiture marked number 52 behind his hat.
 +
 
 +
''The end of the second counter and continuation of the said fifth strike, which is a high thrust with the right-hand, defended by the said Prevost against the said demonstrating Lieutenant.''
 +
 
 
| ''Sensuit la seconde opposite & suitte dudit cinquiesme coup de ceste espée seule, qui est un estoc d’hault pour le Lieutenent assaillant, & pour le Prevost deffendant.''
 
| ''Sensuit la seconde opposite & suitte dudit cinquiesme coup de ceste espée seule, qui est un estoc d’hault pour le Lieutenent assaillant, & pour le Prevost deffendant.''
  

Revision as of 09:24, 23 January 2021

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

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

Treatise

Additional Resources

  • Hyatt, Robert Preston and Wilson, Devon. "The Single Sword of Henry de Sainct Didier." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3
  • Sainct Didier, Henry de. The Single Sword of Henry de Sainct-Didier (Traicté Contenant Les Secrets Du Premier Livre Sur L'Espée Seule). Trans. Robert Preston Hyatt and Devon Wilson. Boulder, CO: Paladin Press, 2009. ISBN 978-1581607048
  • Slee, Chris. Secrets of the Sword Alone. LongEdge Press, 2014. ISBN 978-0646926353

References

  1. Pristin : ancien, antérieur
  2. Insertion du « a ».
  3. Dupuis describes this as a wooden board placed in the back wall of the tennis court which, if hit by a volley, is scored immediately. In modern tennis, this board is replaced by a grid.
  4. « L'es », habituellement orthographiée « ais », désigne une planche de bois placée dans le mur du fond de la salle de jeu de paume qui, si elle est touchée par un coup de volée, donne le point immédiatement. Dans le jeu de paume moderne, cette planche est remplacée par une grille. Il est possible que cet « ais » ait donné le terme anglais d'« ace » que les étymologies modernes confondent avec l'« as » du jeu de carte. Voir la définition d' « ais » de l'Encyclopédie de Diderot et d'Alembert.
  5. L’esteuf : ancien nom pour la balle.
  6. précéder. « Préaller » subsiste en français sous la forme « préalable ».
  7. Il s’agit très probablement du maître d’arme italien Fabris Salvator de Padoue (1544-1617). Voir la note sur Fabris Salvator de Vigeant p. 162 et aussi les références à ses publications (Vigeant p. 55-56)
  8. Version alimentaire de l’adage « blanc bonnet et bonnet blanc ».
  9. Transcription la plus sûre du texte : « gran d erre »
  10. Serviteur du grand prêtre venu arrêter Jésus au Mont des Olivier et dont l’oreille coupée a été immédiatement guérie. Selon la lecture du passage, il est parfois pris pour celui qui soufflète Jésus.
  11. Un des anciens nom de l’abeille.
  12. Sens incertain ; peut-être s'agit-il d'une mauvaise graphie de « filial ».
  13. drillant : étincellant, brillant (dictionnaire de Nicot).
  14. Correction du texte d’origine donnant « peid ».
  15. Cette correction sur les images d'Henri de Saint-Didier indique que celles-ci ont été réalisées avant la version finale du texte.
  16. Le « o » de troisiesme est curieusement placé en exposant.
  17. Suppression du doublement de l'esperluette.
  18. Dupuis states the original says left but is incompatible with the rest of the text and the engraving.
  19. Proposition de correction de l’édition originale qui donne « gauche », en incohérence avec la gravure et le texte plus bas qui confirme que la posture du Lieutenent est identique à celle de la section précédente où c’était bien le pied droit qui était reculé.
  20. Deuxième remarque de l'auteur sur les gravures montrant que le texte a été retouché après réception des gravures. À comparer avec une remarque similaire faite dans le i.33.
  21. per Dupuis's transcription, it's literally "backhand" as opposed to the technique before named "renver" for whatever reason Didier thought to use a different word this time. I've included a hyphen to differentiate but I think it's supposed to be the same.
  22. Correction du texte d’origine donnant « Leiutenent ».
  23. In modern fencing, dérobement is a fencing term for disengage.
  24. Correction de l'édition originale qui omet lors d'un changement de page le début du mot « haute »
  25. The position of the hand illustrates the fingers down, in opposition to the text.
  26. La position de la main illustrée a les doigts au-dessus, en opposition avec le texte.
  27. Proposition de correction pour « bessoin »
  28. Proposition de correction pour « avan-main »
  29. Proposition de correction pour « couté »
  30. Proposition de correction pour « Vola ».
  31. Proposition de correction pour « ongle »
  32. Sens inconnu.
  33. The technique.
  34. La tuition est un synonyme de « garde », « défense », très souvent employé à cette époque pour appuyer le mot « défense ».
  35. Proposition de correction pour « Provost »
  36. Proposition de correction de « du–sixiesme »
  37. Proposition de correction pour « persent ».
  38. Proposition de correction pour « le ongles ».
  39. Le triangle représenté ici n'est pas correct, celui cotté 65 paraît rendre mieux compte du déplacement proposé.
  40. Proposition de correction pour « Lieutent ». La marque indiquant une contraction a probablement été omise.
  41. On pourrait compléter : « ...et le mettre en 4 ». L'illustration 73 est incorrecte puisque le pied gauche est resté sur la semelle 1 et n'est pas placé sur la semelle 3 (à gauche) comme demandé ; la position des pieds de l'illustration 75 correspond à ce qui aurait dû être représenté.
  42. Proposition de correction pour « dh’aut »
  43. Sic.
  44. Le prévôt représenté ici ne correspond pas au texte puisqu'il se tient sur le pied droit.
  45. Le prévôt de la figure 80 n’est pas sur le pied gauche comme écrit et mais reste cohérent avec la figure 78.
  46. Il faut évidemment lire ici « Prevost ».
  47. Proposition de correction pour « suprint »
  48. Sic.
  49. Suppression du doublement de l'esperluette dans « sa cuisse gauche, & & tous ».
  50. Sic. Au XVIe siècle, le genre des mots était encore indécis.
  51. L’auteur annonce ici une prochaine édition augmentée de son oeuvre qui n’a a priori jamais eu lieu.
  52. Proposition de correction pour « ou ».
  53. Proposition de correction pour « mostré »
  54. Du latin médiéval « inquinatum » signifiant « pour combien »
  55. lit. bark or shell, outer layer. Idiom similar to "Don't judge a book by its cover.
  56. Dilection : attachement, amour pur.
  57. Un vidimus est la copie certifiée d'un acte antérieur.
  58. Il doit s'agit de Pierre ou Jean Brûlart (tout deux avait une charge au Parlement) qui signe pour le roi.