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Difference between revisions of "Henry de Sainct Didier"

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m (→‎Treatise: Readability, replaced draw for drawing)
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| And to follow from the experienced and to imitate them, it is necessary to choose the best of two good things, and of two bad things, to avoid both if possible and if not at least avoid the worse, and in doing so, I advise all said adherents to take the better of the said two steps, which is the one you stand on the left foot for the first time with weapons in hand to make one of the said three draws.
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| And to follow from the experienced and to imitate them, it is necessary to choose the best of two good things, and of two bad things, to avoid both if possible and if not at least avoid the worse, and in doing so, I advise all said adherents to take the better of the said two steps, which is the one you stand on the left foot for the first time with weapons in hand to make one of the said three drawings.
  
 
| Et pour bien suivre les doctes, & les immiter, faut de deux choses bonnes choisir la meilleure, & de deux mauvaises, eviter les deux, si faire se peut, sinon la pire, & en ce faisant, je conseille à tous lesdits suppots de prendre la meilleure desdites deux desmarches, qui est celle qu’on se tient sur le pied gauche pour la premiere fois, en mettant les armes au poing, faisant un desdits trois desgainements.
 
| Et pour bien suivre les doctes, & les immiter, faut de deux choses bonnes choisir la meilleure, & de deux mauvaises, eviter les deux, si faire se peut, sinon la pire, & en ce faisant, je conseille à tous lesdits suppots de prendre la meilleure desdites deux desmarches, qui est celle qu’on se tient sur le pied gauche pour la premiere fois, en mettant les armes au poing, faisant un desdits trois desgainements.
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| The following below is how one must be planted to put the sword in hand, both in time of peace and in times of war, with the steps, guards, draws, and placements required in this art, which is very necessary to those who wish to practice the said fencing.
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| The following below is how one must be planted to put the sword in hand, both in time of peace and in times of war, with the steps, guards, drawings placements required in this art, which is very necessary to those who wish to practice the said fencing.
  
Four footprints are placed under the feet of the Lieutenant and Prevost, which is listed in number 1, and another in 2, and another in 3, and another in 4, which serves the Lieutenant and Prevost and everyone else, to teach how one must skillfully make all the steps, draws, guards, and placement of the weapons well as imagined in this rectangle. <br>
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Four footprints are placed under the feet of the Lieutenant and Prevost, which is listed in number 1, and another in 2, and another in 3, and another in 4, which serves the Lieutenant and Prevost and everyone else, to teach how one must skillfully make all the steps, drawings, guards, and placement of the weapons well as imagined in this rectangle. <br>
 
1      2 <br>
 
1      2 <br>
 
4      3
 
4      3
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''Here then is the declaration of this position and plan for the Lieutenant.''
 
''Here then is the declaration of this position and plan for the Lieutenant.''
  
And to do this it is necessary that the Lieutenant first has the feet together thus placed, holding the left foot in the foot print where it is marked near number 1, and the right foot in the other footprint, where it is marked in number 2, holding the right hand at the guard of the sword, and the left hand on the scabbard of the sword, showing that he wants to teach the Pervost how one must face it: as is shown above here at the portrait of the said Lieutenant marked in number 1 behind the hat.
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And to do this it is necessary that the Lieutenant first has the feet together thus placed, holding the left foot in the foot print where it is marked near number 1, and the right foot in the other footprint, where it is marked in number 2, holding the right hand at the guard of the sword, and the left hand on the scabbard of the sword, showing that he wants to teach the Prevost how one must be faced: as is shown above here at the portrait of the said Lieutenant marked number 1 behind the hat.
  
 
''The end of what the said Leiutenant must do.''
 
''The end of what the said Leiutenant must do.''
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''The declaration of the plan and position of the said Prevost.''
 
''The declaration of the plan and position of the said Prevost.''
  
And to do this the said Prevost needs to have the feet together, holding the left foot in the footprint where it is marked above here in number 1, and the right foot in the other footprint marked above in number 2, holding theright hand at the guard of the sword, and the left hand at the scabbard, showing that he is ready to make the necessary first step, as shown by the said Lieutenant, which is the first, second, and third draws, as is marked above at its portrait and figure in number 2.
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And to do this the said Prevost needs to have the feet together, holding the left foot in the footprint where it is marked above here in number 1, and the right foot in the other footprint marked above in number 2, holding theright hand at the guard of the sword, and the left hand at the scabbard, showing that he is ready to make the necessary first step, as shown by the said Lieutenant, which is the first, second, and third drawings, as is marked above at its portrait and figure in number 2.
  
 
''Here is the end and declaration of the said first plan for the said Prevost.''
 
''Here is the end and declaration of the said first plan for the said Prevost.''
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| [[File:Sainct Didier 3-4.png|400x400px|center]]
 
| [[File:Sainct Didier 3-4.png|400x400px|center]]
| ''Guard to make, and execute the said first step, first and second draws, for the Lieutenant and Prevost.''
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| ''Guard to make, and execute the said first step, first and second drawings, for the Lieutenant and Prevost.''
  
And to do the said first step for the Lieutenant, he must have the feet together, as shown above at the first portraiture, marked in number 1, and being there, he must keep the right foot back on the footprint where it is marked number 3 above, which is for the first step. And at the same time, put the sword in hand, for the said first draw carry the guard of the sword also higher than the right shoulder, placing the point of the sword straight at the left nipple, content 1, holding the left hand right of the face, as shown above at the portraiture of the said Lieutenant, marked in number 3 behind the collar.
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And to do the said first step for the Lieutenant, he must have the feet together, as shown above at the first portraiture, marked in number 1, and being there, he must keep the right foot back on the footprint where it is marked number 3 above, which is for the first step. And at the same time, put the sword in hand, for the said first drawing carry the guard of the sword also higher than the right shoulder, placing the point of the sword straight at the left nipple, content 1, holding the left hand right of the face, as shown above at the portraiture of the said Lieutenant, marked in number 3 behind the collar.
  
''Here is the end of the first draw for the said Lieutenant.''
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''Here is the end of the first drawing for the said Lieutenant.''
  
''Following is the second draw for the said Lieutenant.''
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''Following is the second drawing for the said Lieutenant.''
  
For the second draw for the Lieutenant, he must have have the feet together like so, as shown above at the first portraiture marked number 1. And to execute this said draw, he must keep the right foot a bit in the air, removing from the footprint which is marked 2, carrying the hilt of the sword, the draw is also higher than the shoulder and the placement of this as above content 1. And in an instant pass the sword by the head, exetnding strong the arms, going to hold the guard of the sword higher than the right shoulder, placing the point of the sword at the left nipples of the Prevost, as shown in the said portraiture in number 3.
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For the second drawing for the Lieutenant, he must have have the feet together like so, as shown above at the first portraiture marked number 1. And to execute this said , he must keep the right foot a bit in the air, removing from the footprint which is marked 2, carrying the hilt of the sword, the drawing is also higher than the shoulder and the placement of this as above content 1. And in an instant pass the sword by the head, exetnding strong the arms, going to hold the guard of the sword higher than the right shoulder, placing the point of the sword at the left nipples of the Prevost, as shown in the said portraiture in number 3.
  
''The end of the second draw for the said Lieutenant.''
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''The end of the second drawing for the said Lieutenant.''
  
''Here is the declaration for the first and second draw for the said Prevost, which is to know how to put the sword in hand, as taught by the said Lieutenant.''
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''Here is the declaration for the first and second drawing for the said Prevost, which is to know how to put the sword in hand, as taught by the said Lieutenant.''
  
And to do this, the said Prevost has to remember how he placed his said first plan as shown above in number 2, which is with the feet together, and being there, the said Prevost must make the said first draw by pulling the right foot he has on footprint 2 behind to the footprint which is marked number 3, which is also for the first step, and at the same time put the sword in hand, carrying the guard of the sword higher and a bit above the right shoulder, placing the point of the sword being on this high guard, straight at the left eye, holding the left hand right of the left nipple to deflect the point of the sword of the said Lietenant, if by fortune he wants to advance further, as is shown above in the portraiture marked in number 4.
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And to do this, the said Prevost has to remember how he placed his said first plan as shown above in number 2, which is with the feet together, and being there, the said Prevost must make the said first drawing by pulling the right foot he has on footprint 2 behind to the footprint which is marked number 3, which is also for the first step, and at the same time put the sword in hand, carrying the guard of the sword higher and a bit above the right shoulder, placing the point of the sword being on this high guard, straight at the left eye, holding the left hand right of the left nipple to deflect the point of the sword of the said Lietenant, if by fortune he wants to advance further, as is shown above in the portraiture marked in number 4.
  
''Here is the end of the first draw of the said Prevost.''
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''Here is the end of the first drawing of the said Prevost.''
  
''The following is the second draw for the Prevost.''
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''The following is the second drawing for the Prevost.''
  
 
And to execute the second draw well, the Prevost must have the feet together, as shown in the said portraiture, marked at number 2, and being there, the said Prevost must pull the right foot out of the footprint where it was, which was in number 2, putting it down a bit, making the said second draw, which is that he must carry the guard of the sword in the middle guard, and the point straight at the left nipple. And to begin the third draw, he must pass the sword above the head, extending strongly the arms, and carrying the guard of the sword higher and a bit farther than the right shoulder, placing at the same time the point of the sword straight at the left eye of the said Lieutenant, and the left hand is holding right of the left nipple, as shown above in the first draw, as is shown at the said portraiture marked behind the back of the person marked number 4.
 
And to execute the second draw well, the Prevost must have the feet together, as shown in the said portraiture, marked at number 2, and being there, the said Prevost must pull the right foot out of the footprint where it was, which was in number 2, putting it down a bit, making the said second draw, which is that he must carry the guard of the sword in the middle guard, and the point straight at the left nipple. And to begin the third draw, he must pass the sword above the head, extending strongly the arms, and carrying the guard of the sword higher and a bit farther than the right shoulder, placing at the same time the point of the sword straight at the left eye of the said Lieutenant, and the left hand is holding right of the left nipple, as shown above in the first draw, as is shown at the said portraiture marked behind the back of the person marked number 4.

Revision as of 06:03, 15 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. 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.
  19. 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.
  20. Correction du texte d’origine donnant « Leiutenent ».
  21. Correction de l'édition originale qui omet lors d'un changement de page le début du mot « haute »
  22. La position de la main illustrée a les doigts au-dessus, en opposition avec le texte.
  23. Proposition de correction pour « bessoin »
  24. Proposition de correction pour « avan-main »
  25. Proposition de correction pour « couté »
  26. Proposition de correction pour « Vola ».
  27. Proposition de correction pour « ongle »
  28. Sens inconnu.
  29. La tuition est un synonyme de « garde », « défense », très souvent employé à cette époque pour appuyer le mot « défense ».
  30. Proposition de correction pour « Provost »
  31. Proposition de correction de « du–sixiesme »
  32. Proposition de correction pour « persent ».
  33. Proposition de correction pour « le ongles ».
  34. Le triangle représenté ici n'est pas correct, celui cotté 65 paraît rendre mieux compte du déplacement proposé.
  35. Proposition de correction pour « Lieutent ». La marque indiquant une contraction a probablement été omise.
  36. 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.
  37. Proposition de correction pour « dh’aut »
  38. Sic.
  39. Le prévôt représenté ici ne correspond pas au texte puisqu'il se tient sur le pied droit.
  40. Le prévôt de la figure 80 n’est pas sur le pied gauche comme écrit et mais reste cohérent avec la figure 78.
  41. Il faut évidemment lire ici « Prevost ».
  42. Proposition de correction pour « suprint »
  43. Sic.
  44. Suppression du doublement de l'esperluette dans « sa cuisse gauche, & & tous ».
  45. Sic. Au XVIe siècle, le genre des mots était encore indécis.
  46. L’auteur annonce ici une prochaine édition augmentée de son oeuvre qui n’a a priori jamais eu lieu.
  47. Proposition de correction pour « ou ».
  48. Proposition de correction pour « mostré »
  49. Du latin médiéval « inquinatum » signifiant « pour combien »
  50. Dilection : attachement, amour pur.
  51. Un vidimus est la copie certifiée d'un acte antérieur.
  52. Il doit s'agit de Pierre ou Jean Brûlart (tout deux avait une charge au Parlement) qui signe pour le roi.