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all fencing, which includes dagger, cape, targe, buckler, rondel, two handed swords, and dual-wielding swords with portraitures, that have the weapon in hand for throwing strikes to defend and offend at the same time, both offensively and defensively, which is very useful and advantageous to become a skillful noble and disciples of Mars; written for art, order, and practice.
 
all fencing, which includes dagger, cape, targe, buckler, rondel, two handed swords, and dual-wielding swords with portraitures, that have the weapon in hand for throwing strikes to defend and offend at the same time, both offensively and defensively, which is very useful and advantageous to become a skillful noble and disciples of Mars; written for art, order, and practice.
  
''Composed by Provencal Gentleman Henry de Saint Didier.''
+
''Written by Provencal Gentleman Henry de Saint Didier.''
  
 
DEDICATED TO THE MAJESTY OF THE VERY CHRISTIAN KING CHARLES THE NINTH.
 
DEDICATED TO THE MAJESTY OF THE VERY CHRISTIAN KING CHARLES THE NINTH.
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| LETTER TO THE KING.
 
| LETTER TO THE KING.
  
SIRE, It does not please me to say how many are to be praised for those who strive (as they say) to help or even perfect the nature of reducing the confusion to order, and in such a way that the face of it appeared rough, sick, and inaccessible; was made easy, accessible, and approachable by them. Even though the only harm that results from confusion and disorder, and among other things that are proper to the Gentlemen make them quite recommendable. Why would I turn my pen elsewhere to show you that to restore a battle that is in disarray, to put it back in its previous order, that a leader must be familiar with two things. To make sure decision to save time and the place, where and when to stop the broken ranks and by a feint to divert the enemies, while the remaining troops reform and regroup. That decision cannot be acquired, even the reason for it cannot be believed without the second point that I the leader must make is truly necessary, which is having the experience of things, from which arises the aforementioned decision. (SIRE) whoever wants to put art or doctrine back in order to avoid confusion lest in the end it will be wasted decision is required, arises from the experience seen through the exercise of the said art, which I have from having served in battle, very much for your grandfather as well as for your Majesty, for twenty years in Piedmont and elsewhere. I can justly attribute to myself having used my life to experience such arms, so much so that accumulating such evidence may have allowed me to to perfect the art and the practice of them. So seeing how confused and disordered they have been and are for today by everyone shown and practiced, have in my mind figured some model or idea, according to which as an example, I make sure that the order will not only be good, so the art that consists of it will be completely restored, and will reach closer to perfection, which I have longed for, both because of my powerlessness and extreme poverty (the enemy of good spirits) as well as to be prevented from serving you, kept hidden and buried among my papers in my office, where the Muses after martial efforts made me, and hope that will keep me company. But I now have the desire to give you a most humble and pleasant service, far from the zeal that all my life I have had to fencing and to those who enjoy them and who make a profession of them have allowed little, that in this time (when Mars gives us some respite) I have not been emboldened to present myself to your Majesty, something not worthy of such a great Monarch, but very suitable for the exercise of a common man, both in war and in peace, namely a treatise on the sword alone, mother of all fencing, that I wrote according to my opinions, which contains six points that I declare had never been organized and their proofs, both by reason and by effect attached to the end. Here (SIRE) will contain this little work, which is like a summary or collection of the first book that I still have beside me. If your Majesty appreciates this, by God giving me the grace to live, I hope by means of your Majesty to later enlighten others. Therefore (who is the first and foremost to extricate the nobility) I thought worthy of you, who is the protector and support of fencing, of this treatise, begging you most humbly, where and when it would be reputed by other, to please take my ardent affection, which for a long time has been dedicated to offer you most humble and pleasant service, in payment for employing me for something which this concerns, and I will be more than happy with endless opportunity and will, more than great to pray to the Sovereign Rector of the Universe to give you a long, and happy life. And for the boundary of your Empire to only be the Sea.
+
SIRE, It does not please me to say how many are to be praised for those who strive, as they say, to help or even perfect the nature of reducing confusion to order, and in such a way that the face of it appeared rough, sick, and inaccessible; was made easy, accessible, and approachable by them. Even though the only harm that results from confusion and disorder, and among other things that are proper to the Gentlemen make them quite recommendable. Why would I turn my pen elsewhere to show you that to restore a battle that is in disarray, to put it back in its previous order, that a leader must be familiar with two things. To make certain decisions to save time and the place, where and when to stop the broken ranks and by a feint to divert the enemies, while the remaining troops reform and regroup. That decision cannot be acquired, even the reason for it cannot be believed without the second point that I the leader must make is truly necessary, which is having the experience of things, from which arises the aforementioned decision. SIRE, whoever wants to put art or doctrine back in order to avoid confusion lest in the end it will be wasted, decision is required, arising from the experience seen through the exercise of the said art which I have from having served in battle, very much for your grandfather as well as for your Majesty, for twenty years in Piedmont and elsewhere. I can justly attribute to myself having used my life to experience such arms, so much so that accumulating such evidence may have allowed me to to perfect the art and the practice of them. So seeing how confused and disordered they have been and are for today by everyone shown and practiced, have in my mind figured some model or idea, which as an example, I make sure that the order will not only be good so the art that consists of it will be completely restored, and will reach closer to perfection which I have longed for, both because of my powerlessness and extreme poverty (the enemy of good spirits) as well as to be prevented from serving you, kept hidden and buried among my papers in my office where the Muses after martial efforts made me, and hope that will keep me company. But I now have the desire to give you a most humble and pleasant service, far from the zeal that all my life I have had to fencing and to those who enjoy them and who make a profession of them have allowed little, that in this time, when Mars gives us some respite, I have not been emboldened to present myself to your Majesty, something not worthy of such a great Monarch, but very suitable for the exercise of a common man, both in war and in peace, namely a treatise on the sword alone, mother of all fencing, that I wrote according to my opinions, which contains six points that I declare had never been organized and their proofs, both by reason and by effect attached to the end. SIRE, this here will contain this little work, which is like a summary or collection of the first book that I still have beside me. If your Majesty appreciates this, with God giving me the grace to live, I hope by means of your Majesty to later enlighten others. Therefore, you who is the first and foremost to extricate the nobility, I thought worthy of you, who is the protector and support of fencing, of this treatise, begging you most humbly, where and when it would be reputed by other, to please take my ardent affection, which for a long time has been dedicated to offer you most humble and pleasant service, in payment for employing me for something which this concerns, and I will be more than happy with endless opportunity and will, more than great to pray to the Sovereign Rector of the Universe to give you a long, and happy life. And for the boundary of your Empire to only be the Sea.
  
 
   
 
   
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|-  
 
|-  
 
|  
 
|  
| As for me I favor with experience and proof that the step which is done by standing on the left foot initially in putting sword in hand is better and more effective, both for attacking and for defending. How little that our past teachers keep to either on one or the other, give very little reason. For this reason I will conclude that there are no more than two steps in all the art to start this off.
+
| As for me I favor with experience and proof that the step which is done by standing on the left foot initially in putting sword in hand is better and more effective, both for attacking and for defending. How little that our past demonstrators keep to either on one or the other, give very little reason. For this reason I will conclude that there are no more than two steps in all the art to start this off.
 
   
 
   
 
| Quant à moy je soustiens avec l’esperience & preuve la desmarche qui se faict, soy tenant sur le pied gauche, pour la premiere foys, en mettant l’espée au poing, est la plus certaine & meilleure, tant pour l’assaillant que pour le deffendant. Combien que peu de noz encestres demonstrateurs s’y tiennent, & soy y tenant, tant sur l’un que sur l’autre, en donnent bien peu de raison. À ceste cause je concluray qu’il n’y a que deux desmarches en tout l’art, pour bien commencer iceluy.
 
| Quant à moy je soustiens avec l’esperience & preuve la desmarche qui se faict, soy tenant sur le pied gauche, pour la premiere foys, en mettant l’espée au poing, est la plus certaine & meilleure, tant pour l’assaillant que pour le deffendant. Combien que peu de noz encestres demonstrateurs s’y tiennent, & soy y tenant, tant sur l’un que sur l’autre, en donnent bien peu de raison. À ceste cause je concluray qu’il n’y a que deux desmarches en tout l’art, pour bien commencer iceluy.
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|-  
 
|-  
 
|  
 
|  
| 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 advanced level sciences; 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.
+
| Some demonstrators, 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 advanced level sciences; 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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| '''To the King.'''
 
| '''To the King.'''
  
'''By the gentleman Stephen of Guette.'''
+
'''By the Gentleman Stephen of Guette.'''
 
<poem>SIRE, it is all but certain that men are made
 
<poem>SIRE, it is all but certain that men are made
 
And created from nature ignorant and imperfect
 
And created from nature ignorant and imperfect
 
Crude in understnading and of earthly essence,
 
Crude in understnading and of earthly essence,
 
And that at first they had no knowledge,
 
And that at first they had no knowledge,
As we today do today with arts so marvelous,
+
As we today do with arts so marvelous,
 
Used by the world. Thereby heavy and sleepy,
 
Used by the world. Thereby heavy and sleepy,
 
And driven solely by natural instinct,
 
And driven solely by natural instinct,
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At their convenience, arousing them on purpose
 
At their convenience, arousing them on purpose
 
I know not desire, I know not envy,  
 
I know not desire, I know not envy,  
To change my manner and live another life.  
+
To change my manner and live another life.
 +
If awakened spirit and no longer accompany
 +
He planted vines and gathered wine,
 +
He sowed the fields, Dug the ground,
 +
And with force extracted metals and stone,
 +
Which he used to flank walls and built houses;
 +
The beasts he tamed and their fleeces softened,
 +
Flocks dressed in long, relentless iron
 +
A dreadful sword was made and polished.
 +
 
 
</poem>
 
</poem>
  
Line 2,355: Line 2,364:
  
  
''The following is everything that the said Prevost must do to defend and offend at the same time, of the said low right-hand at the knee thrown by the said Lieutenant against the said Prevost.''
+
''The following is everything that the said Prevost must do to defend and offend at the same time, with the said low right-hand at the knee thrown by the said Lieutenant against the said Prevost.''
  
 
And to do this, the Prevost being in high guard as shown above at the other said portraiture marked number 118 that the said Prevost has now seen, the said Lieutenant having thrown a low right-hand at his knee, the said Prevost recognizing this strike that he had done wrong to beat down the sword, and that only the step enough to guarantee himself from the right-hand, and so at this strike the said Prevost pulls the left foot back, and at the same time while defending, throws the said right-hand coming from the said high guard at the sword arm of the Lieutenant and presents again a thrust at the braies of the said Lieutenant, keeping the sword hilt high enough and the nails up, and the left hand right of the left nipple, as shown above at the portraiture marked number 120.
 
And to do this, the Prevost being in high guard as shown above at the other said portraiture marked number 118 that the said Prevost has now seen, the said Lieutenant having thrown a low right-hand at his knee, the said Prevost recognizing this strike that he had done wrong to beat down the sword, and that only the step enough to guarantee himself from the right-hand, and so at this strike the said Prevost pulls the left foot back, and at the same time while defending, throws the said right-hand coming from the said high guard at the sword arm of the Lieutenant and presents again a thrust at the braies of the said Lieutenant, keeping the sword hilt high enough and the nails up, and the left hand right of the left nipple, as shown above at the portraiture marked number 120.
Line 2,375: Line 2,384:
 
|-  
 
|-  
 
| [[File:Sainct Didier 121-122.png|400x400px|center]]
 
| [[File:Sainct Didier 121-122.png|400x400px|center]]
| ''The low guard and position to execute the second strike of the said subtlety, which is a low backhand, being on the right foot, which will serve to gather information to report whether ignorant or knowledgeable, both for the attacking Lieutenant as well as for the defending Prevost.''
+
| ''The low guard and position to execute the second strike of the said subtlety, which is a low backhand, being on the right foot, will serve to gather information to report whether ignorant or knowledgeable, both for the attacking Lieutenant as well as for the defending Prevost.''
  
 
To skillfully and effectively execute the said second subtlety for the said Lieutenant, he must have made one of the said drawings and to throw the second strike the said Lieutenant must be on the right foot in low guard, the cutting edge of the sword down, the sword hilt upon the right lap, placing the sword point straight at the right thigh of the Prevost, keeping the left hand right of his braies as shown above at the portraiture marked number 121.
 
To skillfully and effectively execute the said second subtlety for the said Lieutenant, he must have made one of the said drawings and to throw the second strike the said Lieutenant must be on the right foot in low guard, the cutting edge of the sword down, the sword hilt upon the right lap, placing the sword point straight at the right thigh of the Prevost, keeping the left hand right of his braies as shown above at the portraiture marked number 121.
Line 2,401: Line 2,410:
 
|-  
 
|-  
 
| [[File:Sainct Didier 123-124.png|400x400px|center]]
 
| [[File:Sainct Didier 123-124.png|400x400px|center]]
| ''The second strike which is a low backhand, which will serve to gather information to better execute the second subtlety for the Lieutenant against the Prevost.''
+
| ''The second strike which is a low backhand will serve to gather information to better execute the second subtlety for the Lieutenant against the Prevost.''
  
 
And to do this, the Lieutenant must be on the right foot in low guard as shown above at the other portraitures marked at the said Lieutenant in number 121. And being on this step and guard, he pretends to throw a thrust at the face of the Prevost and at the same instant advances the left foot and throws a back-hand at the right knee of the Prevost, keeping the sword hilt a bit high and keeping the left hand below the sword arm as shown above at the portraiture marked number 123 behind his bonnet.
 
And to do this, the Lieutenant must be on the right foot in low guard as shown above at the other portraitures marked at the said Lieutenant in number 121. And being on this step and guard, he pretends to throw a thrust at the face of the Prevost and at the same instant advances the left foot and throws a back-hand at the right knee of the Prevost, keeping the sword hilt a bit high and keeping the left hand below the sword arm as shown above at the portraiture marked number 123 behind his bonnet.
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|-  
 
|-  
 
| [[File:Sainct Didier 125-126.png|400x400px|center]]
 
| [[File:Sainct Didier 125-126.png|400x400px|center]]
| ''The second strike which is a backhand at the arms of the Prevost thrown and executed by this Lieutenant against the Prevost, showing that he could do so, and without beating down on the sword, as he has done above at the next portraitures.''
+
| ''The second strike which is a backhand at the arms of the Prevost thrown and executed by this Lieutenant against the Prevost, showing that he could do so, and without beating down on the sword, as he has does at the coming portraitures.''
  
 
And to do this, the said Lieutenant being on the right foot in low guard as stated and shown above marked number 121. And the said Lieutenant being on the right foot having pretended to throw a thrust at the face of the said Prevost, advances the left foot to pretend to throw a back-hand at the knee, the Prevost would want to beat down sword against sword as he normally does. The Lieutenant seeing this, winds back his sword and throws a back-hand at the elbow of the sword arm, keeping the left hand below the sword arm, as shown above at the portraiture marked 125 behind his bonnet.
 
And to do this, the said Lieutenant being on the right foot in low guard as stated and shown above marked number 121. And the said Lieutenant being on the right foot having pretended to throw a thrust at the face of the said Prevost, advances the left foot to pretend to throw a back-hand at the knee, the Prevost would want to beat down sword against sword as he normally does. The Lieutenant seeing this, winds back his sword and throws a back-hand at the elbow of the sword arm, keeping the left hand below the sword arm, as shown above at the portraiture marked 125 behind his bonnet.
Line 2,469: Line 2,478:
 
''Made and written by Henry de Saint Didier, Squire, Provencal Gentleman.''
 
''Made and written by Henry de Saint Didier, Squire, Provencal Gentleman.''
  
''Next is written by the Author, which is about tennis and fencing, with the points and reasons that will be declare afterwards.''
+
''Next thing written by the Author is about tennis and fencing with the points and reasons that will be declared afterwards.''
  
 
| ''Autre fort bon, & subtil coup pour le Lieutenent contre le Prevost, laissant ledit arrieremain sur le coude & tirer un estoc au ventre, comme est monstré icy.''
 
| ''Autre fort bon, & subtil coup pour le Lieutenent contre le Prevost, laissant ledit arrieremain sur le coude & tirer un estoc au ventre, comme est monstré icy.''

Revision as of 07:14, 13 February 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. The triangle represented here is not correct. The one marked 65 seems to better reflect the proposed movement.
  39. Proposition de correction pour « le ongles ».
  40. Le triangle représenté ici n'est pas correct, celui cotté 65 paraît rendre mieux compte du déplacement proposé.
  41. Dupuis thinks 75 represents this correct and that 73 is incorrect.
  42. Proposition de correction pour « Lieutent ». La marque indiquant une contraction a probablement été omise.
  43. 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.
  44. The Prevost shown at the portraiture does not correspond to the text since he is on the right foot
  45. Proposition de correction pour « dh’aut »
  46. Sic.
  47. Le prévôt représenté ici ne correspond pas au texte puisqu'il se tient sur le pied droit.
  48. The Prevost of 80 isn't on the left foot as written but is coherent with 78.
  49. Le prévôt de la figure 80 n’est pas sur le pied gauche comme écrit et mais reste cohérent avec la figure 78.
  50. It is meant to read as Prevost here.
  51. Il faut évidemment lire ici « Prevost ».
  52. Proposition de correction pour « suprint »
  53. Sic.
  54. Suppression du doublement de l'esperluette dans « sa cuisse gauche, & & tous ».
  55. Sic. Au XVIe siècle, le genre des mots était encore indécis.
  56. The author is announcing here another edition to augment his book which has never has been written.
  57. L’auteur annonce ici une prochaine édition augmentée de son oeuvre qui n’a a priori jamais eu lieu.
  58. Proposition de correction pour « ou ».
  59. Proposition de correction pour « mostré »
  60. Du latin médiéval « inquinatum » signifiant « pour combien »
  61. lit. bark or shell, outer layer. Idiom similar to "Don't judge a book by its cover.
  62. Dilection : attachement, amour pur.
  63. Un vidimus est la copie certifiée d'un acte antérieur.
  64. Il doit s'agit de Pierre ou Jean Brûlart (tout deux avait une charge au Parlement) qui signe pour le roi.