https://wiktenauer.com/api.php?action=feedcontributions&user=Jonathan+Allen&feedformat=atomWiktenauer - User contributions [en]2024-03-28T14:00:40ZUser contributionsMediaWiki 1.34.2https://wiktenauer.com/index.php?title=Johann_Daniel_Lange&diff=140905Johann Daniel Lange2023-01-03T20:06:56Z<p>Jonathan Allen: Added link to Darmstadt</p>
<hr />
<div>{{infobox writer<br />
| name = Johann Daniel Lange<br />
| image = File:Johann Daniel Lange.jpg<br />
| imagesize = 200px<br />
| caption = <br />
<br />
| pseudonym = Jéann Daniel L'Ange<br />
| birthname = <br />
| birthdate = 17th century<br />
| birthplace = Darmstadt, France (?)<br />
| deathdate = after 1682<br />
| deathplace = Heidelberg, Germany<br />
| occupation = [[Fencing master]]{{#set: occupation=Fencing master }}<br />
| nationality = <br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = [[Universitätsbibliothek Heidelberg|Heidelberg University]]<br />
| patron = <br />
<br />
| spouse = <br />
| children = <br />
| relatives = <br />
| period = <br />
| movement = [[Freifechter]]<br />
| influences = <br />
| influenced = <br />
<br />
| genre = [[Fencing manual]]<br />
| language = [[language::Early New High German]]<br />
| notableworks = ''[[Deutliche Erklårung der Fechtkunst (Johann Daniel Lange)|Deutliche Erklårung der Fechtkunst]]'' (1664)<br />
| archetype = <br />
| manuscript(s) = <br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| signature = <br />
| below = <br />
}}<br />
'''Johann Daniel Lange''' (Jéann Daniel L'Ange) was a [[century::17th century]] [[nationality::German]] [[fencing master]]. He was born in [https://en.wikipedia.org/wiki/Darmstadt Darmstadt] in the early 17th century. He seems to have been an initiate of the tradition of [[Salvator Fabris]], and served as master to both the Electoral Palatinate court at Castle Heidelberg and the [[Universitätsbibliothek Heidelberg|University of Heidelberg]].<ref>"L'Ange, Jean Daniel (1664 - 1682)". ''[http://thesaurus.cerl.org/record/cnp00994528 CERL Thesaurus]''. Accessed 9 November 2011.</ref><br />
<br />
In 1664, Lange published a [[fencing manual]] entitled ''[[Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange)|Deutliche und grůndliche Erklårung der Adelichen und Ritterlichen freyen Fecht-Kunst]]'' ("A Clear and Thorough Explanation of the Noble, Chivalric, and Free Art of Fencing"), a relatively brief illustrated treatise on the use of the single [[rapier]].<br />
<br />
== Treatise ==<br />
<br />
{{master begin<br />
| title = Preface<br />
| width = 90em<br />
}}<br />
{| class="master"<br />
|- <br />
! <p>Illustrations</p><br />
! <p>{{rating}}</p><br />
! <p>Transcription (1664){{edit index|Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf}}<br/>by [[Reinier van Noort]]</p><br />
<br />
|- <br />
| [[File:L'Ange 1664 title.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|8|lbl=i}}<br />
<br />
|- <br />
| [[File:L'Ange 1664 portrait.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|10|lbl=iii}}<br />
<br />
|- <br />
| <br />
| <br />
| <br />
{{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|12|lbl=v|p=1}} {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/13|1|lbl=vi|p=1}}<br />
<br />
|- <br />
| <br />
| <br />
| <br />
{{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/13|2|lbl=-|p=1}} {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|14|vii|p=1}}<br />
<br />
|- <br />
| <br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|15|viii}}<br />
<br />
<br />
|- <br />
| <br />
| <br />
| <br />
{{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|16|ix|p=1}}<br/>{{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|17|x|p=1}}<br/>{{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|18|xi|p=1}}<br />
<br />
|- <br />
| class="noline" | <br />
| class="noline" | <br />
| class="noline" | {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|19|xii}}<br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Rapier<br />
| width = 90em<br />
}}<br />
{| class="master"<br />
|- <br />
! <p>Illustrations</p><br />
! <p>{{rating}}</p><br />
! <p>Transcription (1664){{edit index|Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf}}<br/>by [[Reinier van Noort]]</p><br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/20|1|lbl=1}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/20|2|lbl=-}}<br />
<br />
|- <br />
| [[File:L'Ange 1664 01.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|21|lbl=2}}<br />
<br />
|- <br />
| [[File:L'Ange 1664 02.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|23|lbl=4}}<br />
<br />
|- <br />
| [[File:L'Ange 1664 03.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/25|1|lbl=6}}<br />
<br />
|- <br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/25|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/27|1|lbl=8}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/27|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/27|3|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 04.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|28|lbl=9}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/29|1|lbl=10}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/29|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 05.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|30|lbl=11}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 06.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/31|1|lbl=12}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 07.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/31|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/33|1|lbl=14}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/33|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 08.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/35|1|lbl=16}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 53.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/35|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 09.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|37|lbl=18}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 13.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 10.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/39|1|lbl=20}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 53.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/39|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/39|3|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 11.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|41|lbl=22}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 12.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 09.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 08.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|43|lbl=24}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 13.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|45|lbl=26}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 14.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 10.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/47|1|lbl=28}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/47|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/49|1|lbl=30}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 15.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/49|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 16.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|51|lbl=32}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 17.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/53|1|lbl=34}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 28.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/53|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 18.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|55|lbl=36}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 19.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 08.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|57|lbl=38}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 20.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 52.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 38.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|59|lbl=40}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 21.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|61|lbl=42}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 22.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|63|lbl=44}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 23.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 52.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/65|1|lbl=46}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/65|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 24.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|67|lbl=48}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 25.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|69|lbl=50}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 26.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/71|1|lbl=52}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/71|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 27.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/73|1|lbl=54}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 09.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/73|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 28.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/75|1|lbl=56}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 52.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/75|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 29.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 53.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 54.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|77|lbl=58}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 30.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 10.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/79|1|lbl=60}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 13.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/79|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 20.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 10.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/79|3|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 09.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 30.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 08.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|80|lbl=61}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 31.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/81|1|lbl=62}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 45.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/81|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 06.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 32.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/83|1|lbl=64}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 28.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/83|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|85|lbl=66}}<br />
<br />
|-<br />
| <br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|86|lbl=67}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 33.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 54.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|87|lbl=68}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 34.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|89|lbl=70}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 35.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|91|lbl=72}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 36.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|93|lbl=74}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/95|1|lbl=76}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 37.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 45.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/95|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 38.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 41.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 43.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|97|lbl=78}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 39.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 45.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|99|lbl=80}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 40.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|101|lbl=82}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 41.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|103|lbl=84}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 42.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|105|lbl=86}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 43.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 50.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|107|lbl=88}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 44.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/109|1|lbl=90}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 53.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/109|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 45.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|111|lbl=92}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 46.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/113|1|lbl=94}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/113|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 42.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/113|3|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 47.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|115|lbl=96}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 47.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 48.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|117|lbl=98}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 49.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|119|lbl=100}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 50.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/121|1|lbl=102}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/121|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 51.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 08.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/123|1|lbl=104}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/123|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/123|3|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/123|4|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 52.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 45.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/125|1|lbl=106}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/125|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 53.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 54.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|127|lbl=108}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 53.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 54.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|129|lbl=110}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 55.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|131|lbl=112}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 54.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 59.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/133|1|lbl=114}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 51.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/133|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 57.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/135|1|lbl=116}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/135|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 58.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 34.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|137|lbl=118}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 59.png|400px|center]]<br />
| <br />
| {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|139|lbl=120}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 60.png|400px|center]]<br />
<br />
[[File:L'Ange 1664 54.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/141|1|lbl=122}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 53.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/141|2|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 34.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/141|3|lbl=-}}<br />
<br />
|-<br />
| [[File:L'Ange 1664 61.png|400px|center]]<br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/143|1|lbl=124}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/143|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/143|3|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/145|1|lbl=126}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/145|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/145|3|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/145|4|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/146|1|lbl=127}}<br />
<br />
|-<br />
| <br />
| <br />
| <br />
{{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/146|2|lbl=-|p=1}} {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/147|1|lbl=128|p=1}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/147|2|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/147|3|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/147|4|lbl=-}}<br />
<br />
|-<br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/148|1|lbl=129}}<br />
<br />
|-<br />
| <br />
| <br />
| <br />
{{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/148|2|lbl=-|p=1}} {{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|149|lbl=130|p=1}}<br />
<br />
|- <br />
| <br />
| <br />
| <br />
{{pagetb|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|150|lbl=131|p=1}}<br/>{{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/151|1|lbl=132|p=1}}<br />
<br />
|- <br />
| <br />
| <br />
| {{section|Page:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf/151|2|lbl=-}}<br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Illustrations<br />
| authors = <br />
| source link = http://resolver.sub.uni-goettingen.de/purl?PPN577777033<br />
| source title= Universitätsbibliothek Göttingen<br />
| license = public domain<br />
}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = <br />
| source link = <br />
| source title= <br />
| license = <br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = [[Reinier van Noort]]<br />
| source link = <br />
| source title= [[Index:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange) 1664.pdf|Index:Deutliche Erklårung der Fechtkunst (Jean Daniel L'Ange)]]<br />
| license = copyrighted<br />
}}<br />
{{sourcebox footer}}<br />
{{sourcebox footer}}<br />
<br />
'''Additional Transcription Note:''' Copyright 2013 by Reinier van Noort. Subject to Fair Use. Users may, without further permission, display, save, and print this work for personal, non commercial use, provided that the copyright notice is not severed from the work. Libraries may store this material and non-commercially redistribute it to their patrons in electronic or printed form for personal, non-commercial use, provided that the copyright notice is not severed from the work. School voor Historische Schermkunsten - www.bruchius.com<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Additional Resources ==<br />
<br />
* [[Johann Daniel Lange|L'Ange, Jéann Daniel]]. ''Lessons on the Thrust''. Trans. [[Reinier van Noort]]. [[Fallen Rook Publishing]], 2014. ISBN 978-0-9926735-4-3<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
__FORCETOC__<br />
{{DEFAULTSORT:Lange, Johann Daniel}}<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Translation]]<br />
<br />
[[Category:Rapier]]<br />
<br />
[[Category:New format]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Talk:Johann_Daniel_Lange&diff=104117Talk:Johann Daniel Lange2019-12-15T17:28:53Z<p>Jonathan Allen: /* Links to process */</p>
<hr />
<div>{{TOC right}}<br />
{{#lst:{{BASEPAGENAME}}|sourcebox}}<br />
<br />
== Links to process ==<br />
<br />
http://fencingclassics.wordpress.com/2011/11/01/location-location-location-what-to-keep-in-mind-when-choosing-a-place-to-fight/#more-1528</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Talk:Johann_Daniel_Lange&diff=104116Talk:Johann Daniel Lange2019-12-15T06:30:35Z<p>Jonathan Allen: /* Links to process */</p>
<hr />
<div>{{TOC right}}<br />
{{#lst:{{BASEPAGENAME}}|sourcebox}}<br />
<br />
== Links to process ==<br />
<br />
http://fencingclassics.wordpress.com/2011/11/01/location-location-location-what-to-keep-in-mind-when-choosing-a-place-to-fight/#more-1528<br />
<br />
Images to copy: https://www.dropbox.com/sh/itbdqldn94vht1a/AACMcO8ENJYbVWCFXHuCHPema?dl=0<br />
<br />
Don't forget to include the license.txt file.</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Simple_Rule_I&diff=76212Simple Rule I2015-04-02T20:41:12Z<p>Jonathan Allen: Changes as per Michael Chidester</p>
<hr />
<div>== Technique ==<br />
<br />
=== [[Diogo Gomes de Figueyredo]] ===<br />
<br />
This first rule is the one which most reveals the elegance of the montante, and whoever performs it well will be able to perform them all. You will place your body straight with the left foot in front, the montante with the point on the ground, taken by the cross in the right hand with the thumb down, and you will tap it forward with the right foot, turning the montante to set it in place. Then you will give a talho from behind, from low to high, moving the right foot forward at the same time, and stopping with the montante in right angle in front of the face. From there you will remove the montante to give a revez cutting from behind with the other edge of the montante, also from low to high, and at the same time moving the left foot forward, and stopping also with the montante in front of the face. You will undo the rule removing backward the left foot with a talho equal to the first, and the right foot with a revez, and take heed that the body must always turn toward where the montante cuts. At the end of the rule, while standing still, you will give a talho to the left shoulder and return the montante to again place the point on the ground as at the beginning, and all the rules having to do with the montante negro will have this ending. <br />
<br />
== Written Interpretations ==<br />
<br />
== Video Interpretations ==<br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|qZokVz7AvBw|Sam Scheideman, Dec 28, 2014|left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|QAVHT1TL24s|John Partika, Apr 17, 2014|left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|WERRCNYBQt8|Dakao Do, Dec 2, 2009|left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|Mr3H2Zynesc|Collegium In Armis, Feb 1, 2013|left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|mWZbu4om1oE|Modern Swordsman, Aug 22, 2014|left}}<br />
</div><br />
== Related Forum Discussions ==<br />
<br />
[http://www.swordforum.com/forums/showthread.php?98627-Montante-rules-of-Dom-Diogo-Gomes-de-Figueiredo Montante, rules of Dom Diogo Gomes de Figueiredo ]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Simple_Rule_I&diff=76210Simple Rule I2015-04-02T20:36:15Z<p>Jonathan Allen: Jonathan Allen moved page Figueyredo Greatsword Simple Rule 1 to Simple Rule I</p>
<hr />
<div>This Interpretation page refers to the works of [[Diogo Gomes de Figueyredo]].<br />
<br />
== Written Interpretations ==<br />
<br />
== Video Interpretations ==<br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|qZokVz7AvBw||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|QAVHT1TL24s||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|WERRCNYBQt8||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|Mr3H2Zynesc||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|mWZbu4om1oE||left}}<br />
</div><br />
== Related Forum Discussions ==<br />
<br />
[http://www.swordforum.com/forums/showthread.php?98627-Montante-rules-of-Dom-Diogo-Gomes-de-Figueiredo Montante, rules of Dom Diogo Gomes de Figueiredo ]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Figueyredo_Greatsword_Simple_Rule_1&diff=76211Figueyredo Greatsword Simple Rule 12015-04-02T20:36:15Z<p>Jonathan Allen: Jonathan Allen moved page Figueyredo Greatsword Simple Rule 1 to Simple Rule I</p>
<hr />
<div>#REDIRECT [[Simple Rule I]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Diogo_Gomes_de_Figueyredo&diff=76142Diogo Gomes de Figueyredo2015-04-01T21:01:20Z<p>Jonathan Allen: Add link to interpretation page</p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Diogo Gomes de Figueyredo]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = ca. 1600<br />
| birthplace = <br />
| deathdate = 30 September 1685<br />
| deathplace = <br />
| resting_place = <br />
| occupation = {{plainlist | [[Fencing master]]{{#set:occupation=Fencing master}} | [[occupation::Field Marshall]] }}<br />
| language = [[language::Portugese]]<br />
| nationality = <br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = <br />
| patron = Prince Theodoszio<br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notableworks = {{plainlist | ''Oplosophia e Verdadeira Destreza das Armas'' (1628) | ''Memorial Da Prattica do Montante'' (1651) }}<br />
| manuscript(s) = {{plainlist | [[Oplosophia e Verdadeira Destreza das Armas (MS Vermelho.nº.91)|MS Vermelho.nº.91]] (1628) | [[Memorial Da Prattica do Montante (MS 49.III.20.nº.21)|MS 49.III.20.nº.21]] (1651) }}<br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = {{plainlist | João Gomes Quaresma (father) | Diogo Gomes de Figueyredo (son) }}<br />
| influences = {{plainlist | [[Jerónimo Sánchez de Carranza]] | [[Gonçalo Barbosa]] }}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| below = <br />
}}<br />
'''Dom Diogo Gomes de Figueyredo''' (d. 1685) was a [[century::17th century]] [[nationality::Portugese]] soldier, diplomat, and [[fencing master]]. Little is known about his early life, but it seems likely that he studied fencing from a young age. He notes in his first treatise that he studied under a Diestro named [[Gonçalo Barbosa]]. His military career started in 1626, when he embarked from Lisbon with the royal armada and shipwrecked in Gascony. Figueyredo continued in the military through the Portuguese War of Restoration (1640 - 1665). He commanded in at least three of the five major battles in that war, and was credited for the victories at Montijo and Linhas de Elvas; he was also involved in many of the smaller encounters in the war, including the defense of the town of Almeida. Figueyredo also served the crown as master at arms, including instructing the young Prince Theodoszio in fencing.<ref name="Edition">[[Eric Myers|Myers, Eric]], and [[Steve Hick|Hick, Steve]]. ''[http://oakeshott.org/Figueiredo_Montante_Translation_Myers_and_Hick.pdf Memorial of the Practice of the Montante].'' The Oakeshott Institute, 2009. Retrieved 24 November 2010.</ref><br />
<br />
Aside from his martial pursuits, Figueyredo was a renowned writer and poet. In ''Templo da Memoria'', Manuel do Galhegos applauds him as such to celebrate the Dukes of Bragança. Barbosa Machado cites one ode that comes from ''Memorias Funebres'' dedicated to D. Maria de Athaide and a song in ''Panegyrico'' which pays tribute to the death of Field Marshall André de Albuquerque.<ref name="Edition"/><br />
<br />
Perhaps it is no surprise, then, that Figueyredo is the author of at least two fencing manuals. He composed the first in 1628, titled ''[[Oplosophia e Verdadeira Destreza das Armas (MS Vermelho.nº.91)|Oplosophia e Verdadeira Destreza das Armas]]'' ("Philosophy and the True Skill of Arms", MS Vermelho.nº.91). This is a [[rapier]] text following the [[Jerónimo Sánchez de Carranza|Carrancista]] tradition of [[la Verdadera Destreza]]. His second treatise, written in 1653, was ''[[Memorial Da Prattica do Montante (MS 49.III.20.nº.21)|Memorial Da Prattica do Montante]]'' ("Memorial of the Practice of the Montante", MS 49.III.20.nº.21). In contrast to his earlier work, this treatise focuses on the [[montante]] (greatsword), a weapon that was the centerpiece of the older [[esgrima antigua]] ("ancient fencing") tradition which the Destreza supplanted. This abandonment of the new Spanish art in favor of traditional Iberian fencing is thought to be symbolic of Figueyredo's loyalty to the cause of Portuguese independence.<ref name="Edition"/><br />
<br />
Figueyredo's activities after the war are unknown; ultimately, he died on 30 September 1685 and was buried in the convent at Trinidade.<br />
<br />
== Treatise ==<br />
<br />
In ''Memorial Da Prattica do Montante'', the text is arranged in two columns with the ''regras simplez'' (simple rules) and ''regras compostas'' (compound rules) placed side by side. Unfortunately, Wiktenauer's format can't accommodate this layout, so each compound rule instead follows immediately after its simple counterpart.<br />
<br />
{{master begin<br />
| title = [[Rapier]]<br />
| width = 56em<br />
}}<br />
{| class="wikitable floated master"<br />
|- <br />
! <p>{{rating}}<br/></p><br />
! <p>[[Oplosophia e Verdadeira Destreza das Armas (MS Vermelho.nº.91)|Transcription]]<br/></p><br />
<br />
|- <br />
| &nbsp;<br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = [[Greatsword]]<br />
| width = 56em<br />
}}<br />
{| class="wikitable floated master"<br />
|- <br />
! <p>{{rating|B}}<br/>by [[Eric Myers]] and [[Steve Hick]]</p><br />
! <p>[[Memorial Da Prattica do Montante (MS 49.III.20.nº.21)|Transcription]]<br/>by [[Eric Myers]] and [[Steve Hick]]</p><br />
<br />
|- <br />
| '''Memorial / Of the Practice of the Montante / Including sixteen simple rules, and sixteen composed / Given in Alcantara / To the Most Serene Prince Dom Thodozio (May God Protect Him) / By Field Marshall / Diogo Gomes de Figueyredo, his Master / In the Science of Arms. / On May 10th, 1651.'''<br />
| '''Memorial / Da Prattica do Montante / Que inclue dezaseis regras simples, e dezaseis compostas / Dado em Alcantara / Ao Serenissimo Principe Dom Theodozio q. Ds. G.de / Pello Mestre de Campo / Diogo Gomes de Figueyredo, seu Mestre / Na ciencia das Armas / Em 10 de Mayo de 1651'''<br />
<br />
|- <br />
| '''Simple Rules'''<br />
'''I'''<br />
<br />
This first rule is the one which most reveals the elegance of the ''montante'', and whoever performs it well will be able to perform them all. You will place your body straight with the left foot in front, the ''montante'' with the point on the ground, taken by the cross in the right hand with the thumb down, and you will tap it forward with the right foot, turning the ''montante'' to set it in place. Then you will give a ''talho'' from behind, from low to high, moving the right foot forward at the same time, and stopping with the ''montante'' in right angle in front of the face. From there you will remove the ''montante'' to give a ''revez'' cutting from behind with the other edge of the ''montante'', also from low to high, and at the same time moving the left foot forward, and stopping also with the ''montante'' in front of the face. You will undo the rule removing backward the left foot with a ''talho'' equal to the first, and the right foot with a ''revez'', and take heed that the body must always turn toward where the ''montante'' cuts. At the end of the rule, while standing still, you will give a ''talho'' to the left shoulder and return the ''montante'' to again place the point on the ground as at the beginning, and all the rules having to do with the ''montante negro'' will have this ending.<br />
<br />
[[Figueyredo Greatsword Simple Rule 1 | Interpretation]]<br />
| '''Regras Simplez'''<br />
'''I'''<br />
<br />
Esta primeyra regra he a que mais descobre o ayroso do Montante, e quem bem a obrar se pode prometer conseguir os termos de todas, e assy se porá o corpo direyto com o pé esquerdo diante, o Montante com a ponta no chão, tomado na cruz com a mão dereyta com o dedo polegar para baxo e se tocará para diante com o pé dereyto, tornando o a assentar, e se dará hũ talho por detras, de baxo para sima, metendo no mesmo ser para diante o pé dereyto, e parando com o montante em postura recta defronte do rosto. E dali se tirará para dar hũ revez cortanto por detras com o outro gume do Montante, e de baxo para sima, e no mesmo ser metendo o pé esquerdo diante, e parando tambem com o montante defronte do rosto. E desfazerseha a regra tirando para tras o pé esquerdo com hũ talho igual ao primeyro, e o pé direyto com hũ revez, e advirtasse que se ha o corpo de virar sempre para a parte por onde corta o Montante, no fim da regra se dá a pé quedo hũ talho para o hombro esquerdo e hua volta ao Montante para o tornar a por com a ponta no chão como ao principo, e este rematte terão todas as regras fazendosse com o montante negro.<br />
<br />
|- <br />
| '''Composed Rules'''<br />
'''I'''<br />
<br />
All the composed rules are counterpoint to the simple, and these the basis of the composed. And thus, planting the body with the left foot forward, you will give a ''talho'' from low to high, which will be accompanied forward by the right foot, stopping with the ''montante'' in font of the face. Then you will let fall the ''montante'' to the right to give an ''altibaxo'' putting in the left foot, and from where the ''montante'' comes to a stop you will give a ''talho'' from low to high accompanied by the right foot which you will move forward, stopping with the ''montante'' in front of the face. And then you will give a ''revez'' from low to high accompanied by the left foot which you will move forward, stopping with the ''montante'' in front of the face. Then you will let fall the ''montante'' to the left crossing the right arm over the left, and you will give an ''altibaxo revez'' moving the right foot forward, and from where the ''montante'' comes to a stop you will give a ''revez'' from low to high accompanied by the left foot which you will move forward, and stop with the ''montante'' in front of the face. Next, you will undo this rule with the same blows, actions, and steps, retreating backward until you place your body as it began the rule.<br />
| '''Regras Compostas'''<br />
'''I'''<br />
<br />
Todas as regras brigadas são contraponto das simplez e estas o fundamento das compostas, e assi plantado o corpo com o pé esquerdo diante se dará hũ talho de baxo para sima, a que acompanhará o pe dereyto diante, parando com o montante defronte do rosto, e logo se deyxará cair o Montante pela parte dereyta para dar hũ altabaxo metendo o pé esquerdo, e da parte donde veo o Montante a parar se dará hũ talho de baxo para sima acompanhandoo o pé direyto, que se meterá para diante parando com o montante defronte da cara. E logo se dará hũ revez debaxo para sima acompanhando o com o pé esquerdo, que se meterá para diante parando com o Montante defronte da cara, e logo se deyxará cair o montante pella parte esquerda cruzando o braço deryeto sobre o esquerdo, e se dará hũ altabaxo de revez metendo para diante o pé dereyto, e da parte donde ficou o montante se dará hũ revez de baxo para sima, acompanhado do pé esquerdo que se meterá diante, e parando com o Montante defronte da cara. E logo se desfará a regra com os mesmos golpes, acções, e compaços, saindo para traz até por o corpo como se principiou a regra.<br />
<br />
|- <br />
| '''II [Simple]'''<br />
You will place the body with the left foot forward, and putting in the right foot you will give a ''talho'', such that the ''montante'' ends up with the point forward and the hands high in front of the eyes. Then first putting in the left foot you will give a ''revez'', and pulling backward the same left foot you will give a ''talho'', stopping again with the ''montante'' high, and removing the right foot you will give a ''revez'', and a ''talho'' to the shoulder, and return the ''montante''.<br />
| '''II'''<br />
Porseha o corpo com o pé esquerdo diante, e metendo o pé direyto se dará hũ talho, desorte que fique o montante com a ponta para diante com as mãos altas defronte dos olhos, e logo metendo primeyro o pé esquerdo se dará hũ revez; e tirando para tras o mesmo pé esquerdo se dara hũ talho, parando tambem com o Montante alto, e tirando o pé direyto se dará hũ revez, e hũ talho ao hombro, e volta ao Montante.<br />
<br />
|- <br />
| '''II [Composed]'''<br />
You will raise the ''montante'' with the point forward in front of the right ear, with the left foot forward. Then you will move the right foot forward, and at the same time you will give a ''talho'' forward, bringing the ''montante'' high in front of the face in order to pass it over the head and behind the shoulders, such that it falls over the left arm to give a circling ''revez'', and then a ''talho'' in a manner that you return the ''montante'' to its position high in front of the face. And from there, first moving the left foot forward, you will give a ''revez'' forward, ending with the ''montante'' high with the point forward, and passing it over head you will give a circling ''talho'' and a ''revez'', returning the ''montante'' to the position in which you began the rule, which you will undo in the following manner: You will first remove the left foot and give a ''talho'' forward, ending with the ''montante'' point forward in front of the face, and then a ''talho'',<ref name="talho">This is the order of the original, but they are likely transposed, and should be ''revez'' and ''talho'' instead.</ref> and a circling ''revez'',<ref name="talho"/> and ending with the ''montante'' in the same place. Then you will remove the right foot backward with a ''revez'' forward that will stop with the ''montante'' high, and then a ''talho'' and a circling ''revez'', replacing the ''montante'' how it started the rule.<br />
| '''II'''<br />
Levantarseha o Montante com a ponta para diante defronte da orelha direyta com o pé esquerdo diante; e logo se meterá diante o pé direyto, e no mesmo tempo se dará hũ talho por diante trazendo a situar o Montante alto de fronte do rosto para o passar por sima da cabeça as espaldas de sorte que caya sobre o braço esquerdo para dar hũ revez cingido, e logo hũ talho de maneyra que se torne a situar o montante alto defronte do rosto, e dali, metendo primeyro diante o pé esquerdo, se dará hũ revez por diante situando o montante alto com a ponta para diante, e passandoo por sima da cabeça se dará hũ talho cingido e hũ revez tornando a situar o montante como se começou a regra, que se desfará na maneyra seguinte: tirarseha primeyro o pé esquerdo e se dará hũ talho por diante, a situar o Montante com a ponta para diante defronte do rosto, e logo hũ talho, e hũ revez cingido, e tornar a situar o montante na mesma parte, e logo se tirará o pé direyto para tras com hũ revez por diante que parará situando o montante alto, e logo hũ talho e hũ revez cingido, tornando a por o montante como se começou a regra.<br />
<br />
|- <br />
| '''III [Simple]'''<br />
You will place the body with the left foot forward, and give a ''talho'' from behind while standing still, and another forward putting in the right foot; then a ''revez'' from behind while standing still, and another forward putting in the left foot. You will undo the rule with a ''talho'' from behind while standing still, and another forward removing the same left foot, and then a ''revez'' from behind while standing still, and another forward removing the right foot, to end how you began the rule.<br />
| '''III'''<br />
Plantarseha o corpo com o pé esquerdo diante, e se dará hũ talho por detraz a pé quedo, e outro por diante metendo o pé direyto; logo hũ revez por detraz a pé quedo, o outro por diante metendo o pe esquerdo, e desfazerseha a regra com hũ talho por detras a pé quedo, e outro por diante tirando o mesmo pé esquerdo, e logo hũ revez por detraz a pé quedo, e outro por diante tirando o pé direyto, para ficar como se principiou a regra.<br />
<br />
|- <br />
| '''III [Composed]'''<br />
This rule serves to drive your adversaries before you. You will start by giving a ''talho'' from behind while standing still, and another forward putting in the right foot and making ready the thrust over the right arm, which you will give forward while standing still, then putting in the left foot with a ''revez'', and one and another successive ''talhos'' to the right side, putting in the left foot, and then the right. Proceed in the rule readying the same thrust again, going forward as necessary until you finish with your adversaries.<br />
| '''III'''<br />
Serve esta regra para levar os contrarios por diante. Principiasse dando hũ talho a pé quedo por detras e outro por diante metendo o pé direyto armando a estocada sobre o braço dereyto, que ser dará para diante a pé quedo, metendosse logo o pé esquerdo com hũ revez, e hũm e outro talhos sucessivos para a parte dereyta, metendo o pé esquerdo, e logo o dereyto, e proseguir a regra tornando a armar a mesma estocada, indo para diante o que for necessario até acabar com os contrarios.<br />
<br />
|- <br />
| '''IV [Simple]'''<br />
You will place the body with the left foot forward, and give a ''talho'' from behind while standing still and another forwards putting in the right foot, readying a thrust over the right arm, which you will give while standing still. Then you will put in the left foot with a ''revez'', and removing backward this same left foot with a ''talho'', you will ready another thrust that you will give while standing still, and removing backward the right foot you will give a ''revez'' to end in the state in<br />
which you began the rule.<br />
| '''IV'''<br />
Porseha o corpo com o pé esquerdo diante, e se dará a pé quedo hum talho por detras, e outro por diante metendo o pé dereyto, armando hũa estocada sobre o braço dereyto, que se dará a pé quedo, e logo se meterá o pé esquerdo com hũ revez, e tirando para tras este mesmo pé esquerdo com hũ talho, se armará outra estocada que se dará a pé quedo, e tirando para tras o pé dereyto se dará hũ revez para ficar no estado em que se começou a regra.<br />
<br />
|- <br />
| '''IV [Composed]'''<br />
This rule is for fighting with people in front and behind; do it by giving a ''talho'' from behind with the opposite foot which is the left, and another forward putting in the right foot, readying a thrust over the right arm which you will give to the rear, removing again the right foot. Then the left foot will go with a ''revez'', turning the body towards where you gave the thrust. Next you will give a ''talho'' forward with the same opposite foot, and another putting in the right foot readying the same thrust, which you will give with the right foot to the rear, and successively a ''revez'' entering with the left foot, and then the two ''talhos'' starting again with the opposite foot, all corresponding to the opposition against you.<br />
| '''IV'''<br />
He esta regra para brigar com gente por detraz e por diante, obrasse dando hũ talho por detras com o pé contrario que he o esquerdo, e outro por diante metendo o pé direyto, armando a estocada sobre o braço direyto que se dará para tras tornando a tirar o pé diretyo, e irá logo o pé esquerdo com hũ revez virando o corpo para onde se deu a estocada e logo se dará hũ talho por diante com o mesmo pé contrario, e outro metendo o pé dereyto armando a mesmo estocada, que se dará com o pé dereyto para traz, e sucessivamente hum revez entrando com o pé esquerdo, e então os dous talhos começando outra vez com o pé contrario, conforme a oposição que se fizer ao que tras o Montante.<br />
<br />
|- <br />
| '''V [Simple]'''<br />
You will ready a thrust over the left arm planting the body with the right foot behind, and after removing it while standing still, moving the right foot forward you will give a ''talho'', forming at the end of it another thrust over the right arm. Then you will put in the left foot with a ''revez'', and while standing still you will give another thrust readying it over the left arm (for that is where all those that originate from ''revezes'' are formed). You will exit backward with the left foot with a ''talho'', ending it with another thrust, that you will give while standing still (and all those that are formed from ''talhos'' are readied over the right arm), and exiting with the right foot you will give a ''revez'', to end with your body as it was at the beginning of the rule.<br />
| '''V'''<br />
Armarseha hũa estocada sobre a braço esquerdo plantado o corpo com o pé direyto de tras, e depois de retirar a pé quedo, metendo o pé direyto diante se dará hũ talho formando do fim d’elle outra estocada sobre o braço dereyto; e logo se meterá o pé esquerdo com hũ revez, e a pé quedo se dará outra estocada armandoa sobre o braço esquerdo (que nelle se formão todas as que nacem dos revezes) e sairseha com o pé esquerdo para tras com hũ talho, nascendo delle outra estocada que se dará a pé quedo (e todas as que se formarem dos talhos se armão sobre o braço dereyto) e saindo com o pé dereyto se dará hũ revez, para ficar o corpo como no principio da regra.<br />
<br />
|- <br />
| '''V [Composed]'''<br />
Placing the body almost profiled with the left foot forward, you will ready a thrust over the left arm, which you will give without taking a step. Then a ''talho'' from behind while standing still, and another forward putting in the right foot, readying a thrust over the right arm, which you will give while standing still. Then in the same manner a ''revez'' from behind and another forward putting in the left foot, readying the thrust to exit with a ''talho'' from behind and another forward removing the left foot, from which will originate another thrust. You will finish with a ''revez'' from behind, and another forward removing the right foot.<br />
| '''V'''<br />
Posto o corpo quazi profilado com o pé esquerdo diante, se armará hũa estocada sobre o braço esquerdo, que se dará estando firme com o compaço, e hũ talho por detras a pé quedo, e outro por diante metendo o pé dereyto, armando a estocada sobre o braço dereyto, que se dará a pé quedo, e assi hũ revez por detras e outro por diante metendo o pé esquerdo, armando a estocada para sair com hũ talho por detras e outro por diante tirando o pé esquerdo de que nacerá outra estocada e acabarseha com hũ revez por detras, e outro por diante tirando o pé dereyto.<br />
<br />
|- <br />
| '''VI [Simple]'''<br />
This rule is called the Battle of the ''Montante'', and is just one entry that you can use when encountering another ''montante''. You will give a ''talho'' from behind while standing still, and another putting in the right foot to end in position, and with this stance you will always move towards the adversary, deflecting the opposing ''montante'' with a ''revez'' to the outside, assisted by a step that you will give forward, you will give a ''talho'' to the closest leg, recovering once again the stance. And thus advancing, you will again deflect to the same side to give a ''talho'' blow on the right arm of the adversary recovering again the stance of the feet, taking heed that all these ''revez'' deflections are done with the false edge.<br />
| '''VI'''<br />
Esta regra se chama a Batalha do Montante; e he só hũa entrada do que se pode obrar topandosse com outro, para o que se dará hũ talho por detras a pé quedo, e outro metendo o pé dereyto para ficar em postura, e com ella se irá sempre partindo para o contrario, e desviando de revez o montante contrario pela parte de fora ajudado de hũ compaço que se dará para diante se dará de talho, na perna mais chegada recolhendo outra vez o compaço, e indo assi partindo se tornará a desviar pela mesma parte para dar hũ golpe de talho no braço dereyto do contrario recolhendo outra vez o compaco dos pés, advertindo que todos estes desvios de revez se fazem com o fio falso.<br />
<br />
|- <br />
| '''VI [Composed]'''<br />
Although rarely does one ''montante'' meet with another, when it happens, you should value your knowledge about the nature of all movements, both the steps of the feet as well as the blows of the ''montante'', all of which are derived from the movements of the sword. Based upon those of the sword, you can know the qualities of those for the ''montante'', their weakness or their strength, with the single difference that all the deflections, parries and attacks of the ''montante'' must be helped by the movements of the body. In responding to the adversary, you must be prepared to act in accordance with the greater force required by the blows of the ''montante''. This generalization will suffice for those who have the knowledge of the true skill of the sword, which is the foundation of all the arms that have been invented.<br />
| '''VI'''<br />
Ainda que raras vezes se encontra hũ montante com outro, para quando succeda, se deve valer o que tiver o montante do conhecimento da natureza de todos os movimentos, assi dos compaços dos pés como dos golpes do montante, que se alcanção pella subordinação que tem a todos os movimentos da espada, para conhecer por estes a calidade daquelles, sua fraqueza ou mayoria, só com hũa diferença que todos os desvios, atalhos e acometimentos do montante hão de ser ajudados com os movimentos do corpo, conforme o contrario se dispuzer para obrar, em razão do mayor impulso, que pedem os golpes do montante, e esta generalidade basta para quem tiver conhecimento da verdadeyra destreza da espada, que he o fundamento de todas as armas inventadas.<br />
<br />
|- <br />
| '''VII [Simple]'''<br />
This rule serves to deter people in a street and impede them moving from one end to another. Give a ''talho'' forwards in the direction where the people are, with a step forwards, in such a manner that you cross the road, and walking forth, when moving the same foot forward you will give another ''talho'' like the first. Turning to cross back over the road, you will face the same direction again, giving a ''revez'' with the right foot, and with the same foot following it with another. If the road is wide, in order to take it all, you will give more ''revezes'' or more ''talhos'' in the same manner.<br />
| '''VII'''<br />
Serve esta regra para deter gente em hũa rua e impeder que não passe de hũa parte para a outra. Dasse hũ talho por diante para a parte donde está a gente, com hũ compaço para diante de modo que se atravesse a rua, e indo andando ao lancar o mesmo pé se dará outro talho na conformidade do primeyro, e para a mesma parte se virará tornando a atravessar a rua dando hũ revez com o pé dereyto, e com o mesmo pé segundando com outro; e se a rua for larga para a aver de tomar toda, se darão pelo mesmo modo, mais revezes, ou mais talhos.<br />
<br />
|- <br />
| '''VII [Composed]'''<br />
You will give a ''talho'' with the left foot from low to high, and a ''revez'' also towards the same end of the street, and from low to high putting in the right foot, and then another ''talho'' and ''revez'' in the same manner, and always you will stop the ''montante'' in front of the face. And if you want to turn about to the same place from where you started the rule, you will (after giving the last ''talho'') give in the same direction a ''revez'' with the right foot, and then a ''talho'' with the left foot, and in each step you must give a blow, always from low to high, alternating ''talho'' and ''revez'', until the people stop.<br />
| '''VII'''<br />
Darseha hũ talho com o pé esquerdo debaxo para sima, e hũ revez tambem para a mesma parte e debaxo para sima metendo o pé dereyto, e logo outro talho e revez da mesma maneyra, e sempre parará o montante defronte do rosto; e se se quizer virar para a mesma parte donde se começou a regra terá (depois de dar o ultimo talho) de dar para a mesma parte hũ revez com o pé deryto, e logo o talho com o pé esquerdo, e em cada compaço se ha de dar hũ golpe, sempre debaxo para sima alternativamente talho e revez, até que a gente se detenha.<br />
<br />
|- <br />
| '''VIII [Simple]'''<br />
This rule serves against shieldsmen. While standing still, you will give a ''talho'' from behind leaning the body, and another forward putting in the right foot and circling with the ''montante'' such that the face ends up turned towards where you gave the first ''talho'', and then giving a ''revez'' while standing still and another putting in the left foot, circling around to the right side with the ''montante'', and with the face towards where it was at the beginning. You will undo the rule exiting with a ''talho'' and another removing the left foot, circling again, then with a ''revez'' and another removing the right foot. Next you will give a ''talho'' from behind while standing still, and another putting in the right foot, and another removing backward the left foot and a ''revez'' while standing still, and another putting in the right foot and another removing the same right foot in return backward. These final blows are of the sixteenth composed rule, which after given, you can also insert into this rule the fourteenth simple rule.<br />
| '''VIII'''<br />
Esta regra serve para contra Rodelyeros; e assi se dará a pé quedo hũ talho por detras quebrando o corpo, e outro por diante metendo o pé dereyto e cingindo com o montante de maneyra que fique o rosto virado para a parte donde se deu o primeyro talho, e logo dando hũ revez a pé quedo e outro metendo o pé esquerdo cingindosse para a parte dereyta com o montante, e com o rosto para onde ficou a primeyra vez. E desfazerseha saindo com hũ talho e outro tirando o pé esquerdo e tornando a cingir, e com hũ revez e outro tirando o pé dereyto, e logo se dará hũ talho por detras a pé quedo, e outro metendo o pé dereyto, e outro tirando pellas costas o pé esquerdo, e hũ revez a pé quedo e outro metendo o pé dereyto, e outra tirando o mesmo pé dereyto em volta por detras, cujos ultimos golpes são da regra decima sexta brigada, que despois de dados se pode tambem meter nesta regra a decima quarta singella.<br />
<br />
|- <br />
| '''VIII [Composed]'''<br />
You will give a ''talho'' forward putting in the left foot, and another putting in the right foot, and circling, then a ''revez'' putting in the right foot, and another putting in the same right foot and circling also. Next a ''talho'' putting in the left foot, and another putting in the right foot and circling, then a ''revez'' putting in the right foot and another putting in the left foot and circling, then a ''talho'' putting in the left foot, and another putting in the right foot, and successively another putting in the same right foot to turn around when you want to return to the other direction, starting the rule again, with the steps wide and fast.<br />
| '''VIII'''<br />
Darseha hũ talho por diante metendo o pé esquerdo, e outro metendo o pé dereyto, e cingindo, e hũ revez metendo o pé dereyto, e outro metendo o mesmo pé dereyto e cingir; Hum talho metendo o pé esquerdo, e outro metendo o pé dereyto e cingir, hũ revez metendo o pé dereyto, e outro metendo o pé esquerdo, e cingir, hũ talho metendo o pé esquerdo, e outro metendo o pé dereyto, e outro succescivo metendo o mesmo pé dereyto para virar quando se querya voltar para a outra parte, começando de novo a regra com os compaços largos, e apreçados.<br />
<br />
|- <br />
| '''IX [Simple]'''<br />
This rule serves to fight in a narrow street. You will do it by giving a ''talho'' from low to high moving the right foot forward, and then letting the ''montante'' fall to the same right side you will give on that side an ''altibaxo'', coming to situate a thrust with the pommel of the ''montante'' on the right shoulder, which you will give putting in the right foot, and you will commence the rule again, facing the other direction, with the same blows until it becomes necessary to turn about.<br />
| '''IX'''<br />
Serve esta regra para brigar em rua estreyta, Dispoem se dando hũ talho debaxo para sima metendo diante o pé dereyto, e logo deyxando cair o montante pella mesma parte deryeta se dará por ella hũ altibaxo, para vir a situar hũa estocada com a maçãm do montante no hombro dereyto que se dará metendo o pé dereyto, e começarseha de novo a regra com o rosto para a outra parte, com os mesmos golpes até tornar a virar se for necessario.<br />
<br />
|- <br />
| '''IX [Composed]'''<br />
Placing the body profiled with the left foot forward you will give a ''talho'' from low to high putting in the opposite foot which is the right, and next, with the opposite foot which will then be the left, a ''revez''. Then with the right foot you will make a ''talho'' attack from low to high, coming to ready a thrust over the right arm, which you will give removing the right foot backward towards where you started the rule, and next you will ready a thrust such that the pommel is on the right shoulder, which you will give moving the right foot forward. And with the face turned you will start the rule again in the other direction if necessary, with the same postures, blows, steps, and thrusts that have been shown.<br />
| '''IX'''<br />
Darsehá pondo o corpo perfilado com o pé esquerdo diante hũ talho de baixo para sima metendo o pé contrario que he o dereyto, e logo com pé contrario que então será o esquerdo hũ revez, e com o pé dereyto se fará debaxo para sima hũ acometimento de talho, para vir a situar hũa estocada sobre o braço dereyto, que se dará tirandosse para tras o pé dereyto para donde se começou a regra, e despois se armará hũa estocada de modo que fique a maçam do montante no hombro dereyto, que se dará metendo o pé dereyto para diante, e com o rosto virado se tornará a principiar a regra para a outra parte se necessario for, com as mesmas posturas, golpes, compaços, e estocadas que se tem mostrado.<br />
<br />
|- <br />
| '''X [Simple]'''<br />
This rule is called Guarding a Lady, presuming that she hides behind your shoulders, and you wish to defend her. You will place the body square with the compass of the feet a little wide, and you will give a ''talho'' moving the left foot one palm width forward, looking in the direction the ''montante'' goes, and stopping with in front of the face; and you will give a ''revez'' moving the right foot the same way, and a ''talho'' moving the left foot, and then a ''revez'' moving the right foot according to the same theory. Then you will give a ''talho'' while standing still and a ''revez'' removing the right foot, and a ''talho'' removing the left foot, and another ''revez'' removing the right foot. Here could come into play the two ''talhos'' and two ''revezes'' that are given while standing still and with the left arm held firmly against the body, which are commonly called Fly-Swatter and belong to the thirteenth composed rule.<br />
| '''X'''<br />
Esta regra se chama a guarda Dama, supondosse que anda pegada ás espaldas de quem tem o montante, e a quer defender. Se porá o corpo em coadro com o compaço dos pés hũ pouco largo, e se dara hũ talho metendo para diante hũ palmo o pé esquerdo, vendo por donde vay o montante, e parando com elle diante do rosto, e darseha hũ revez metendo na mesma forma o pé dereyto, e hũ talho metendo o pé esquerdo, e logo hũ revez metendo pello mesmo teor o pé dereyto; e então se dará hũ talho a pé quedo, e hũ revez tirando o pé dereyto, e hum talho tirando o pé esquerdo, e outro revez tirando o pé dereyto. Aqui podem entrar os dous talhos e dous revezes que se dão a pé quedo, com o braço esquerdo firme ao corpo, e junto delle os quaes vulgarmente chamão dabanamosca e pertencem a regra decima terceyra composta.<br />
<br />
|- <br />
| '''X [Composed]'''<br />
You will plant the body square and you will give a ''talho'' forward moving the left foot forward and angled to the left side, and from there you will turn to ready a thrust over the right arm that you will give with a step of the right foot towards the right side along the diagonal of the square. From there you will give a ''talho'' like the first moving the left foot along the left diagonal, and you will give a ''revez'' from low to high, moving the right foot along the right diagonal, and in a manner that from it you prepare a thrust over the left arm, which you will give it to the left side moving the left foot along the left diagonal, then you will turn to give a ''revez'' from low to high moving the right foot along the right diagonal. You will undo this rule removing the right foot with a ''talho'' readying a thrust over the right arm, that you will give while standing still, and while standing still another ''talho'', and then a ''revez'' launching outwards the left foot to ready a thrust over the left arm which you will give while standing still, and then also while standing still a ''revez'', and a ''talho'' launching outwards the right foot, and a ''revez'' removing the left foot.<br />
| '''X'''<br />
Plantarsehá o corpo em coadrado e se dará hũ talho por diante metendo o pé esquerdo para diante inclinado à parte esquerda, e delle se virá a armar hũa estocada sobre o braço dereyto, que se dará com hũ compaço com o pé dereyto para a parte dereyta pella diagonal do coadrado, e della se dará hũ talho como o primeyro metendo o pé esquerdo pella diagonal esquerda, e se dará hũ revez de baxo para sima, metendo o pé dereyto pella diagonal dereyta, e de maneyra que delle se situe hũa estocada sobre o braço esquerdo, e se dê para a parte esquerda metendo o pé esquerdo pella diagonal esquerda, e se tornará a dar hũ revez de baxo para sima metendo o pé dereyto pella diagonal dereyta, E se desfará a regra tirando o pé dereyto com hũ talho armando a estocada sobre o braço dereyto, que se dará a pé quedo, e a pé quedo outro talho, e logo hũ revez lançando fora o pé esquerdo para armar a estocada sobre o braço esquerdo que se dará a pé quedo, e logo tambem a pé quedo hũ revez e hũ talho lançando fora o pé dereyto, e hũ revez tirando o pé esquerdo.<br />
<br />
|- <br />
| '''XI [Simple]'''<br />
This rule is called Galley Gangway, and you do it giving forward a horizontal ''talho'' while standing still, and another putting in the right foot stopping with the ''montante'' in front of the face with the feet in the same position as at the start of the rule. Next you will give a horizontal ''revez'' while standing still, and another putting in the right foot. Then with the left foot forward, you will ready a thrust on the right shoulder, that you will have to give moving the right foot along the gangway, such that you end up facing the other direction, and you will start the rule in the opposite direction.<br />
| '''XI'''<br />
A esta regra se chama coxia de galé, e fasse dandosse por diante hũ talho orizontal a pé quedo, e outro metendo o pé dereyto parando com o montante defronte do rosto ficando com os pés como se começou a regra, e então se dará hũ revez a pé quedo tambem orizontal, e outro metendo o pé dereyto e que fique o esquerdo diante, e armarseha hũa estocada no hombro dereyto, que se ha de dar metendo o pé dereyto pella coxia, para se ficar virando o rosto para a outra parte, e principiarseha a regra pello outro lado.<br />
<br />
|- <br />
| '''XI [Composed]'''<br />
You will place the right foot forward, and you will give a horizontal ''talho'' towards the left side, moving the left foot forward, and you will come to ready a thrust over the right arm, which you will give moving forward the right foot; then you will give another horizontal ''talho'' like the first moving the left foot forward and another thrust like the first moving the right foot forward with it. Then you will put in the left foot with a circling horizontal ''revez'', which you will give while standing still, and from it you will give a ''talho'' moving the left foot, and starting the rule in the other direction, with the same movements already mentioned.<br />
| '''XI'''<br />
Porsehá o pé dereyto diante, e darseha hũ talho orizontal para a parte esquerda, metendo o pé esquerdo para diante, e virseha a armar a estocada sobre o braço dereyto, que se dará metendo para diante o pé dereyto, e logo se dará outro talho orizontal como o primeyro metendo o pé esquerdo para diante, e outra estocada semelhante á primeyra metendo com ella para diante o pé dereyto, e logo metendo o pé esquerdo com hũ revez orizontal cingido, que se dará a pé quedo, e delle hũ talho metendo o pé esquerdo, e começando a regra para a outra parte, com os mesmos movimentos que estão ditos.<br />
<br />
|- <br />
| '''XII [Simple]'''<br />
This rule serves to fight with people in front and behind, and thus you will give a ''talho'' with the contrary foot, which is the left, readying a thrust over the right arm, which you will give while standing still. Then you will put in the left foot with a ''revez'', and after circling through the right side with it, you will give a ''talho'' while standing still, readying in the same manner as the first another thrust, and after giving it while standing still, you will again put in the left foot with a ''revez'', and you will follow the rule starting with the ''talho'', moving always over the right foot when turning around.<br />
| '''XII'''<br />
Serve esta regra para brigar com gente por detras e por diante, e assi se dará hũ talho com o pé contrario que he o esquerdo armando hũa estocada sobre o braço dereyto, que se dará a pé quedo, e metendo o pé esquerdo com hũ revez despois de cingir com elle a parte dereyta se dará a pé quedo hũ talho, armando na mesma conformidade que a primeyra outra estocada, que despois de se dar a pé quedo, se meterá outra vez o pé esquerdo com hũ revez, e seguirseha a regra principiandosse com o talho, andando sempre sobre o pé dereyto ao redor.<br />
<br />
|- <br />
| '''XII [Composed]'''<br />
You will place the body square, and you will give a ''talho'' moving the left foot a little forward, accompanied by the right foot such that the stance is moderate, and you will ready a thrust over the right arm, which you will give moving the right foot along the line of infinity on the right side, accompanying it with the left. Then you will put in the left foot with a circling ''revez'', and you will give a ''talho'' while standing still, and another removing the left foot backward, and another moving forward the right foot. Then you will ready a thrust over the right arm, which you will give moving forward the left foot, and a circling ''revez'' removing backward the right foot; and when circling always move forward the left foot, and if necessary you can start the rule again as described.<br />
| '''XII'''<br />
Porseha o corpo em coadro, e se dará hũ talho metendo para diante hũ pouco o pé esquerdo, o que acompanhará o pé dereyto, para que o compaço seja moderado, e armarseha hũa estocada sobre o braço dereyto, que se dará metendo o pé dereyto pella linha infinita do lado dereyto, acompanhandoo o esquerdo, e logo se meterá o pé esquerdo, com hũ revez cingido, e se dará hũ talho a pé quedo, e outro tirando o pé esquerdo para tras, e outro metendo para diante o pé dereyto, e se armará hũa estocada sobre o braço dereyto, que se dará metendo para diante o pé esquerdo com hũ revez cingido, tirando por detras o pé dereyto, e cingindo sempre metendo para diante o pé esquerdo, e se poderá sendo necessario tornar a começar a regra como se disse.<br />
<br />
|- <br />
| '''XIII [Simple]'''<br />
This rule is called Guarding a Cloak, because it is used to defend one which has fallen to the ground, or which was deliberately dropped at your feet so as not to hinder you. You will plant the body in a wide stance, and give a ''talho'' while standing still, then another putting in the right foot, and another again putting in the same right foot, walking like a screw over the left. You will undo the rule by giving a ''revez'' while standing still, another putting in the left foot and another also putting in the same left foot. For the ''revezes'' you will move always over the right foot, which you will not remove from its place, likewise with the left when you give the ''talhos'', which then serves as an axis for the body.<br />
| '''XIII'''<br />
Chamasse esta regra a guarda capa, por que se faz para defender a que acazo se lança no chão, ou de proposito por não embaraçar se poem aos pés. Plantasse o corpo com o compaço largo, e dasse hũ talho a pé quedo, outro metendo o pé dereyto, e outro tornando a meter o mesmo pé dereyto andando como em parafuzo sobre o esquerdo, e desfasse dandosse hũ revez a pé quedo, outro metendo o pé esquerdo, e outro metendo tambem o mesmo pé esquerdo. Para os revezes se andará sempre sobre o pé dereyto que não tirará de hũ lugar, como o dereyto quando se derem os talhos que então serve de eixo ao corpo.<br />
<br />
|- <br />
| '''XIII [Composed]'''<br />
This composed rule is done in the same manner as the simple, only after you give the first three ''talhos'' turning about the left foot, with the body stopped and firm, you must add a circling ''revez'' and a circling ''talho'', and successively another ''revez'' and ''talho'' also circling like Fly-Swatter. And at the end of the three ''revezes'' that you give turning about the right foot, add again a circling ''talho'' and a circling ''revez'', and successively another ''talho'' and another ''revez'', with the left hand low and against the body to be more firm, and so the blows will be executed with more force.<br />
| '''XIII'''<br />
Esta regra brigada he da mesmo maneyra que a singella, só se lhe ha de acrecentar despois de se darem os tres primeyros talhos ao redor do pé esquerdo, com o corpo parado e firme hũ revez e hũ talho cingidos, e sucecivamente outro revez e outro talho tambem cingidos como dabanamosca; e no fim dos tres revezes que se darão ao redor do pé dereyto, acresentar outra vez cingidos hũ talho e hũ revez, e sucesivamente outro talho, e outro revez, com a mão esquerda baxa e junto ao corpo para estar mais firme, e serem os golpes executados com mais forsa.<br />
<br />
|- <br />
| '''XIV [Simple]'''<br />
This rule serves against thrown weapons, or against hafted weapons for two hands. Planting the body firm with the ''montante'' in obtuse posture, the body a little inclined, and ready to give a ''talho'' on the weapon that is hurled at you or that is thrust at you, you will deflect it to the left side. Then giving a large jump while turning around, another ''talho'' that reaches the person who threw it; or else deflect with a ''revez'', according to which side the opposing weapon is aimed, to give another ''revez'' with another jump with the body turning around and making a circle, in such a manner that you offend the adversary with a blow.<br />
| '''XIV'''<br />
Serve esta regra contra armas de arremesso, ou contra as de duas mãos que tem hasteas. E assim plantando o corpo firme com o montante em postura obtuza, o corpo hũ pouco inclinado, e pronto para dar hũ talho na arma que se arremessa, ou que vem a dar o bote, desviandoo para o lado esquerdo, e dando hũ salto largo em volta outro talho que alcance na pessoa que atirou ou desviar de revez conforme o lado a que se dirigir a armas contraria para se dar outro revez com outro salto com o corpo em redondo e fazendo come elle circulo, e de maneyra que se offenda o contrario com golpe.<br />
<br />
|- <br />
| '''XIV [Composed]'''<br />
This rule has two universal postures, the first is to place the body square with the right foot in front, the ''montante'' in obtuse angle along the right diagonal, such that the right hand rests in front of the belt to deflect the thrust aimed at the left breast with a ''talho'', and immediately another with a jump, as described in the simple rule, and finish with a ''revez''; or after you deflect with the first ''talho'', ready the thrust over the right arm and give it moving the left foot forward and then the right, and finish putting in the left foot with a ''revez''. The second posture is to place the right foot forward, and the ''montante'' in obtuse angle along the left diagonal to deflect by ''revez'' the thrusts aimed at the right side, and successively give another ''revez'' with the jump as described in the simple rule; or else after deflecting the thrust with the ''revez'', to ready the thrust with the pommel on the right shoulder, which you will give moving the left foot forward followed by the right, and then finish putting in the left foot with the ''revez''. In the first posture, if the adversary’s blow is aimed below the belt, you will deflect it with the ''montante'' moving in acute angle along the left diagonal, shifting the body with a moderate step along the line of infinity towards the right side, and letting fall the ''montante'' to the left side with the hands exchanged, you will put in successively the left foot, and following it the right foot with an ''altibaxo'' to ready the thrust over the right arm, and give it moving the left foot forward, to finish giving an ''altibaxo revez''.<br />
| '''XIV'''<br />
Duas posturas universaes tem esta regra, seja a primeyra, pôr o corpo em coadro com o pé dereyto diante o montante em angulo obtuso na diagonal dereyta desorte que fique a mão dereyta defronte da sintura para desviar o bote que se tirar ao peyto esquerdo com hũ talho, e logo outro com o salto como se disse na regra simples, e acabar com hũ revez; ou despois de se desviar com o primeyro talho, armar a estocada sobre o braço dereyto e dalla metendo diante o pé esquerdo, e sucessivamente o dereyto, e acabar metendo o pé esquerdo com o revez; e a segunda postura seja pôr o pé dereyto diante, e o montante em angulo obtuso pella diagonal esquerda para desviar de revez os botes que se tirarem ao lado dereyto, e successivamente dar outro revez com o salto como fica dito na regra simples, ou despois de desviar o bote com o revez armar a estocada com a maçam no hombro dereyto, que se dará metendo o pé esquerdo diante, seguindoo com outro compaço o pé dereyto, e logo acabar metendo o pé esquerdo com o revez. Na primeyra postura se o golpe contrario for tirado da sintura para baxo, se desviará com o montante metendoo em angulo agudo pella diagonal esquerda, recurrando o corpo com hũ compasso moderado pella infinita do lado dereyto, e deixando cair o montante para a parte esquerda trocadas as mãos se meterá seccessivamente o pé esquerdo, e tras delle o dereyto com hum altibaxo para armar a estocada sobre o braço dereyto, e dalla metendo diante o pé esquerdo, para acabar dando hũ altibaxo de revez.<br />
<br />
|- <br />
| '''XV [Simple]'''<br />
This rule serves to separate people who are fighting. You will place the body almost square with the left foot a little forward, and you will give a ''talho'' to the left side from low to high, ending with the ''montante'' extended in front of the face, and moving the right foot forward; then you will give a ''revez'' from low to high, to the right side putting in the left foot, such that the ''montante'' again ends in front of the face. You will proceed giving a ''talho'' in the same manner as the first, and a ''revez'' in the same method as the first, and then a ''talho'' moving the right foot, such that the body ends up facing towards the left side, and successively another ''talho'' turning the body to where you started the rule putting in the right foot, and ending with the ''montante'' in front of the face on the left side. You will continue in the same way you began, if necessary.<br />
| '''XV'''<br />
Serve esta regra para apartar gente que anda brigando, para o que se porá o corpo quazi em coadro cõ o pé esquerdo hũ pouco diante, e se dará hũ talho para a parte esquerda debaxo para sima, ficando o montante defronte do rosto tendido, e metendo o pé dereyto diante, e logo se dará hũ revez debayxo para sima, para a parte dereyta metendo o pé esquerdo de sorte que tambem fique o montante defronte do rosto, e proseguirseha dando hũ talho da mesma maneyra que o primeyro, e hũ revez do mesmo modo que o primeyro, e logo hũ talho metendo o pé dereyto, de maneyra que fique o corpo virado para a parte esquerda, e sucessivamente outro talho virando o corpo para onde se principiou a regra metendo o pé dereyto, e ficando o montante defronte de rosto para a parte esquerda, e se proseguirá na mesma conformidade que se começou se for necessario.<br />
<br />
|- <br />
| '''XV [Composed]'''<br />
You will place the body with the left foot forward, and you will give a ''talho'' from low to high moving the right foot forward, bringing the ''montante'' to stop high in front of the head on the left side, in obtuse line along the diagonal, and from there you will give an ''altibaxo'' along the same left side circling the ''montante'' by the left shoulder; from there you will give a ''revez'' from low to high to the right side moving the left foot forward and ending with the ''montante'' high along the right diagonal in an obtuse line, then from there you will give an ''altibaxo'' circling the ''montante'' with the right arm. Then you will again give a ''talho'' like the first with your ''altibaxo'' in the same form, and a ''revez'' like the first with your ''altibaxo'' of the same method, and moving the feet in the same manner as the first steps; and wanting to turn about you will give a ''talho'' putting in the right foot, and another ''talho'' again putting in the right foot towards the side from which you began the rule, and begin it again with the face turned as at the beginning.<br />
| '''XV'''<br />
Porseha o corpo com o pé esquerdo diante, e se dará hũ talho debaxo para sima metendo o pé dereyto diante, levando o montante a parar alto defronte da cabeça para a parte esquerda, em linha obtusa pella diagonal, e dali se dará hũ altibaxo pella mesma parte esquerda cingindo o montante ao hombro esquerdo, donde se dará hũ revez debaxo para sima para a parte dereyta metendo diante o pé esquerdo e ficando o montante alto na diagonal dereyta em angulo obtuso, para dali dar hũ altibaxo para vir a cingir o montante com o braço dereyto, e se tornará a dar hũ talho como o primeyro com seu altibaxo na mesma forma, e hum revez como o primeyro com seu altibaxo do mesmo modo, e metendo o pés na propria conformidade dos primeyros compaços, e querendo virarse dará hũ talho metendo o pé dereyto, e outro talho tornando a meter o pé dereyto para a parte donde se começou a regra, e começalla com o rosto virado como no principio.<br />
<br />
|- <br />
| '''XVI [Simple]'''<br />
This rule is for fighting in a wide road with people in front and behind. You will give a ''talho'' from behind while standing still and another forward putting in the right foot, readying the thrust over the right arm, which you will give forward while standing still. Then sensing people behind, you will ready from the thrust that you gave another with the pommel of the ''montante'' on the right shoulder, which you will give putting in the right foot toward the direction from where you started the rule. This gives rise to a ''revez'' which you will give putting in the left foot, and circling with the ''montante'' you will remove the right foot, and you will start the rule again.<br />
| '''XVI'''<br />
Serve esta regra para brigar em hũa rua larga com gente por detras o por diante, para o que se dará hũ talho por detras a pé quedo e outro por diante metendo o pé dereyto armando a estocada sobre o braço dereyto que se dará para diante a pé quedo, e logo sentindo gente por detras se armará da estocada que se deu outra com a maçam do montante no hombro dereyto que se dará metendo o pé dereyto para a parte donde se começou a regra de que nacerá hũ revez metendo o pé esquerdo, e cingindo com o montante tirandosse fora o pé dereyto e se começará outra vez a regra.<br />
<br />
|- <br />
| '''XVI [Composed]'''<br />
You will plant your left foot forward and you will give a ''talho'' raising the ''montante'' over the head to come to circle on the right side and you will give it while standing still; and then another ''talho'' putting in the right foot and another removing backward the left foot. Then you will ready a thrust over the right arm, which you will give while standing still, and another thrust with the pommel on the right shoulder which you will give moving the right foot forward. Then the left foot will go with the ''revez'', which you will give removing backward the right foot, and another ''revez'' moving the left foot forward, from which will originate a thrust over the left arm which you will give while standing still, and from that a ''revez'' removing backward the right foot, ending in the first state in which you began the rule, and so you may proceed again, if necessary.<br />
| '''XVI'''<br />
Plantarseha o pé esquerdo diante e se dará hũ talho levantando o montante por sima da cabeça para vir a cingir pello lado dereyto e se dará a pé quedo, e logo outro talho metendo o pé dereyto e outro tirando por detras o pé esquerdo, e armarseha a estocada sobre o braço dereyto, que se dará a pé quedo, e outra estocada posta a maçam no hombro dereyto que se dará metendo para diante o pé dereyto, e logo irá o pé esquerdo com o revez, que se dará tirando para tras o pé dereyto, e outro revez metendo para diante o pé esquerdo, de que nacerá hũa estocada sobre o braço esquerdo que se dará a pé quedo, e della hũ revez tirando para tras o pe dereyto ficando no primeyro estado em que se começou a regra para se tornar a proseguir, se necessario for.<br />
<br />
|- <br />
| These Practices of the ''Montante'' are training for the real thing, for these thirty-two rules will not only facilitate all the movements of the body, but in a manner they will cultivate an agility equal to a natural one in all fights. One who is well exercised in them could never find strange the place of the fight or the opposing arms, or even less the number of adversaries, assuming he has valor, skill, and fitting strength for the ''montante''. With the admonition that no swordsman necessarily should do this or that rule, but rather he should take from them all what he best understands and that serves him to defeat his adversaries, linking one rule to another with such prudence that neither haste will confuse the memory he should have of them, nor lack of vigor reduce the activity with which he should perform them.<br />
| Ensayo são estas Pratticas do Montante para as veras, porque nesta trinta e duas regras não só se facilitão todos os movimentos do corpo, mas de maneyra lhe habituão hũa como natural agelidade em todas as batalhas, que não poderá nunca o que for bem exercitado nellas, estranhar nem os lugares da pelleja, nem as armas oppostas, e menos o numero dos contrarios tendo valor, destreza, e forsas convinientes ao Montante. Com advertencia que nemhum destro precizamente deve fazer esta, ou aquella regra, senão, tirar de todas o que mais entender que lhe serve para vencer os contrarios, com tal prudencia, encadeando hũas nas outras, que nem a pressa confunda a memoria, que se deve ter dellas, nem a remissão desmaye a actividade com que se devem obrar.<br />
<br />
|- <br />
| And to better achieve this perfection in practice, it is necessary that the swordsman knows (as a universal rule) that all the blows of the ''montante'' have to be given such that the body is steady at the end of the natural movement, which is the one used for offense, and the means of execution, because if the body is moved (since this weapon is used with two hands, and thus requires you to apply a certain force because of its weight) you could dangerously fall, either for not being well and firmly planted, or by missing, due to a deflection, the object to which you directed the effect.<br />
| E para melhor se conseguir esta perfeyção prattica, convem que o destro sayba (como regra universal) que todos os golpes do montante se hão de dar, achando o corpo firme no fim do movimento natural, que he o da offensa, e o termo da execução, porque se o corpo for movido (como esta arma he de duas mãos, e se lhe aplica naquelle ponto particular forsa por sua gravidade) pode perigosamente cair, ou por não estar bem, e firmemente plantado, ou por lhe faltar com qualquer desvio, o objeto aonde se dirigio o effeyto.<br />
<br />
|- <br />
| Also you should know that all the thrusts which are readied over the right arm originate from the end of ''talhos''; and from ''revezes'' all that are readied over the left arm, and also from ''revezes'' all those that are formed with the pommel on the right shoulder<br />
| Tambem se deve conhecer que todas as estocadas que se armão sobre o braço dereyto nacem do fim do talhos; e do revezes todas as que se armão sobre o braço esquerdo, e dos revezes tambem todas as que se quizerem formar com a maçam no hombro dereyto.<br />
<br />
|- <br />
| And that from the thrusts readied over the right arm can also originate those that are readied on the right shoulder, and originate the ''revezes'' putting in the left foot or the ''talhos'' removing it. And from the thrusts that are readied over the left arm can originate those that are readied over the right arm, or the ''talhos'' putting in the right foot, or the same ''talhos'' removing the left foot, and also the ''revezes'' from low to high removing the same left foot. And that ultimately from ''talhos'' are born other ''talhos'', and from ''revezes'' other ''revezes'', and from these, ''talhos''; and from ''talhos'', ''revezes''. All of this is helped by the steps made with the feet, so as not to create mishap during the transition from one rule to another when it matters, initiating at the end of any rule, be it simple or composed, the one you wish to perform next. And with these admonitions which you should keep in mind, from all these thirty-two rules you can weave together one as general proof of the perfection of so excellent, graceful, and superior a weapon as the ''montante''.<br />
| E que das estocadas que se armão sobre o braço dereyto podem tambem nacer as que se armão no hombro dereyto, e nacer os revezes metendo o pé esquerdo ou os talhos tirando o. E das estocadas que se armão sobre o braço esquerdo podem nacer as que se armão sobre o braço dereyto, ou os talhos metendo o pé dereyto, ou os mesmos talhos tirando o pé esquerdo, e tambem nacer os revezes de bayxo para sima tirando o mesmo pé esquerdo. E que ultimamente do talhos nacem outros talhos, e dos revezes outros revezes, e destes, talhos; e dos talhos, revezes; tudo isto ajudado dos compaços dos pés, para não fazer novidade o entrar de hũas regras em outras quando importe, procreandosse do fim de qualquer, ou seja simples, ou composta aquella que se quizer proseguir. E com estas advertencias que se devem ter na memoria, de todas estas trinta e duas regras se pode tecer huã que seja geral para exame de perfeyçaõ de tam excellente, ayrosa, e superior arma como he o Montante.<br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Eric Myers]] and [[Steve Hick]]<br />
| source link = http://oakeshott.org/Figueiredo_Montante_Translation_Myers_and_Hick_v2.pdf<br />
| source title= The Oakeshott Institute<br />
| license = noncommercial<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = [[Eric Myers]] and [[Steve Hick]]<br />
| source link = http://oakeshott.org/Figueiredo_Montante_Translation_Myers_and_Hick_v2.pdf<br />
| source title= The Oakeshott Institute<br />
| license = noncommercial<br />
}}<br />
{{sourcebox footer}}<br />
<br />
'''Additional Transcription and Translation Notes:''' Users may, without further permission, display, save, and print this work for personal, non commercial use, provided that the copyright notice is not severed from the work. Libraries may store this material and non commercially redistribute it to their patrons in electronic or printed form for personal, non commercial use, provided that the copyright notice is not severed from the work.<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Additional Resources ==<br />
<br />
* [[Diogo Gomes de Figueyredo|Figueyredo, Diogo Gomes de]]. ''Oplosophia e Verdadeira Destreza das Armas.'' Ed. Manuel Valley Ortiz, Francisco Campo Nieto. Santiago de Compostela: AGEA Editora, 2013. ISBN 978-84-941648-4-2<br />
* Sousa Viterbo, Francisco Marquez de; [[Diogo Gomes de Figueyredo|Figueiredo, Diogo Gomes de]]; and [[Thomás Luís|Luiz, Thomaz]]. {{google books|UJFCAQAAMAAJ|A esgrima em Portugal: subsidios para a sua historia}}. Lisbon: Manoel Gomes, 1899.<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Figueyredo, Diogo Gomes de}}<br />
{{early Iberian masters}}<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Portuguese]]<br />
<br />
[[Category:Translation]]<br />
<br />
[[Category:Greatsword]]<br />
[[Category:Rapier]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Simple_Rule_I&diff=76141Simple Rule I2015-04-01T21:00:43Z<p>Jonathan Allen: Created page with "This Interpretation page refers to the works of Diogo Gomes de Figueyredo. == Written Interpretations == == Video Interpretations == <div style="float:left;"> {{#evp:yo..."</p>
<hr />
<div>This Interpretation page refers to the works of [[Diogo Gomes de Figueyredo]].<br />
<br />
== Written Interpretations ==<br />
<br />
== Video Interpretations ==<br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|qZokVz7AvBw||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|QAVHT1TL24s||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|WERRCNYBQt8||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|Mr3H2Zynesc||left}}<br />
</div><br />
<br />
<div style="float:left;"><br />
{{#evp:youtube|mWZbu4om1oE||left}}<br />
</div><br />
== Related Forum Discussions ==<br />
<br />
[http://www.swordforum.com/forums/showthread.php?98627-Montante-rules-of-Dom-Diogo-Gomes-de-Figueiredo Montante, rules of Dom Diogo Gomes de Figueiredo ]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Diogo_Gomes_de_Figueyredo&diff=76128Diogo Gomes de Figueyredo2015-03-30T17:29:31Z<p>Jonathan Allen: Headings were reversed</p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Diogo Gomes de Figueyredo]]<br />
| image = <br />
| imagesize = <br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = ca. 1600<br />
| birthplace = <br />
| deathdate = 30 September 1685<br />
| deathplace = <br />
| resting_place = <br />
| occupation = {{plainlist | [[Fencing master]]{{#set:occupation=Fencing master}} | [[occupation::Field Marshall]] }}<br />
| language = [[language::Portugese]]<br />
| nationality = <br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = <br />
| patron = Prince Theodoszio<br />
<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notableworks = {{plainlist | ''Oplosophia e Verdadeira Destreza das Armas'' (1628) | ''Memorial Da Prattica do Montante'' (1651) }}<br />
| manuscript(s) = {{plainlist | [[Oplosophia e Verdadeira Destreza das Armas (MS Vermelho.nº.91)|MS Vermelho.nº.91]] (1628) | [[Memorial Da Prattica do Montante (MS 49.III.20.nº.21)|MS 49.III.20.nº.21]] (1651) }}<br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = {{plainlist | João Gomes Quaresma (father) | Diogo Gomes de Figueyredo (son) }}<br />
| influences = {{plainlist | [[Jerónimo Sánchez de Carranza]] | [[Gonçalo Barbosa]] }}<br />
| influenced = <br />
| awards = <br />
| signature = <br />
| website = <br />
| below = <br />
}}<br />
'''Dom Diogo Gomes de Figueyredo''' (d. 1685) was a [[century::17th century]] [[nationality::Portugese]] soldier, diplomat, and [[fencing master]]. Little is known about his early life, but it seems likely that he studied fencing from a young age. He notes in his first treatise that he studied under a Diestro named [[Gonçalo Barbosa]]. His military career started in 1626, when he embarked from Lisbon with the royal armada and shipwrecked in Gascony. Figueyredo continued in the military through the Portuguese War of Restoration (1640 - 1665). He commanded in at least three of the five major battles in that war, and was credited for the victories at Montijo and Linhas de Elvas; he was also involved in many of the smaller encounters in the war, including the defense of the town of Almeida. Figueyredo also served the crown as master at arms, including instructing the young Prince Theodoszio in fencing.<ref name="Edition">[[Eric Myers|Myers, Eric]], and [[Steve Hick|Hick, Steve]]. ''[http://oakeshott.org/Figueiredo_Montante_Translation_Myers_and_Hick.pdf Memorial of the Practice of the Montante].'' The Oakeshott Institute, 2009. Retrieved 24 November 2010.</ref><br />
<br />
Aside from his martial pursuits, Figueyredo was a renowned writer and poet. In ''Templo da Memoria'', Manuel do Galhegos applauds him as such to celebrate the Dukes of Bragança. Barbosa Machado cites one ode that comes from ''Memorias Funebres'' dedicated to D. Maria de Athaide and a song in ''Panegyrico'' which pays tribute to the death of Field Marshall André de Albuquerque.<ref name="Edition"/><br />
<br />
Perhaps it is no surprise, then, that Figueyredo is the author of at least two fencing manuals. He composed the first in 1628, titled ''[[Oplosophia e Verdadeira Destreza das Armas (MS Vermelho.nº.91)|Oplosophia e Verdadeira Destreza das Armas]]'' ("Philosophy and the True Skill of Arms", MS Vermelho.nº.91). This is a [[rapier]] text following the [[Jerónimo Sánchez de Carranza|Carrancista]] tradition of [[la Verdadera Destreza]]. His second treatise, written in 1653, was ''[[Memorial Da Prattica do Montante (MS 49.III.20.nº.21)|Memorial Da Prattica do Montante]]'' ("Memorial of the Practice of the Montante", MS 49.III.20.nº.21). In contrast to his earlier work, this treatise focuses on the [[montante]] (greatsword), a weapon that was the centerpiece of the older [[esgrima antigua]] ("ancient fencing") tradition which the Destreza supplanted. This abandonment of the new Spanish art in favor of traditional Iberian fencing is thought to be symbolic of Figueyredo's loyalty to the cause of Portuguese independence.<ref name="Edition"/><br />
<br />
Figueyredo's activities after the war are unknown; ultimately, he died on 30 September 1685 and was buried in the convent at Trinidade.<br />
<br />
== Treatise ==<br />
<br />
In ''Memorial Da Prattica do Montante'', the text is arranged in two columns with the ''regras simplez'' (simple rules) and ''regras compostas'' (compound rules) placed side by side. Unfortunately, Wiktenauer's format can't accommodate this layout, so each compound rule instead follows immediately after its simple counterpart.<br />
<br />
{{master begin<br />
| title = [[Rapier]]<br />
| width = 56em<br />
}}<br />
{| class="wikitable floated master"<br />
|- <br />
! <p>{{rating}}<br/></p><br />
! <p>[[Oplosophia e Verdadeira Destreza das Armas (MS Vermelho.nº.91)|Transcription]]<br/></p><br />
<br />
|- <br />
| &nbsp;<br />
| <br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = [[Greatsword]]<br />
| width = 56em<br />
}}<br />
{| class="wikitable floated master"<br />
|- <br />
! <p>{{rating|B}}<br/>by [[Eric Myers]] and [[Steve Hick]]</p><br />
! <p>[[Memorial Da Prattica do Montante (MS 49.III.20.nº.21)|Transcription]]<br/>by [[Eric Myers]] and [[Steve Hick]]</p><br />
<br />
|- <br />
| '''Memorial / Of the Practice of the Montante / Including sixteen simple rules, and sixteen composed / Given in Alcantara / To the Most Serene Prince Dom Thodozio (May God Protect Him) / By Field Marshall / Diogo Gomes de Figueyredo, his Master / In the Science of Arms. / On May 10th, 1651.'''<br />
| '''Memorial / Da Prattica do Montante / Que inclue dezaseis regras simples, e dezaseis compostas / Dado em Alcantara / Ao Serenissimo Principe Dom Theodozio q. Ds. G.de / Pello Mestre de Campo / Diogo Gomes de Figueyredo, seu Mestre / Na ciencia das Armas / Em 10 de Mayo de 1651'''<br />
<br />
|- <br />
| '''Simple Rules'''<br />
'''I'''<br />
<br />
This first rule is the one which most reveals the elegance of the ''montante'', and whoever performs it well will be able to perform them all. You will place your body straight with the left foot in front, the ''montante'' with the point on the ground, taken by the cross in the right hand with the thumb down, and you will tap it forward with the right foot, turning the ''montante'' to set it in place. Then you will give a ''talho'' from behind, from low to high, moving the right foot forward at the same time, and stopping with the ''montante'' in right angle in front of the face. From there you will remove the ''montante'' to give a ''revez'' cutting from behind with the other edge of the ''montante'', also from low to high, and at the same time moving the left foot forward, and stopping also with the ''montante'' in front of the face. You will undo the rule removing backward the left foot with a ''talho'' equal to the first, and the right foot with a ''revez'', and take heed that the body must always turn toward where the ''montante'' cuts. At the end of the rule, while standing still, you will give a ''talho'' to the left shoulder and return the ''montante'' to again place the point on the ground as at the beginning, and all the rules having to do with the ''montante negro'' will have this ending.<br />
| '''Regras Simplez'''<br />
'''I'''<br />
<br />
Esta primeyra regra he a que mais descobre o ayroso do Montante, e quem bem a obrar se pode prometer conseguir os termos de todas, e assy se porá o corpo direyto com o pé esquerdo diante, o Montante com a ponta no chão, tomado na cruz com a mão dereyta com o dedo polegar para baxo e se tocará para diante com o pé dereyto, tornando o a assentar, e se dará hũ talho por detras, de baxo para sima, metendo no mesmo ser para diante o pé dereyto, e parando com o montante em postura recta defronte do rosto. E dali se tirará para dar hũ revez cortanto por detras com o outro gume do Montante, e de baxo para sima, e no mesmo ser metendo o pé esquerdo diante, e parando tambem com o montante defronte do rosto. E desfazerseha a regra tirando para tras o pé esquerdo com hũ talho igual ao primeyro, e o pé direyto com hũ revez, e advirtasse que se ha o corpo de virar sempre para a parte por onde corta o Montante, no fim da regra se dá a pé quedo hũ talho para o hombro esquerdo e hua volta ao Montante para o tornar a por com a ponta no chão como ao principo, e este rematte terão todas as regras fazendosse com o montante negro.<br />
<br />
|- <br />
| '''Composed Rules'''<br />
'''I'''<br />
<br />
All the composed rules are counterpoint to the simple, and these the basis of the composed. And thus, planting the body with the left foot forward, you will give a ''talho'' from low to high, which will be accompanied forward by the right foot, stopping with the ''montante'' in font of the face. Then you will let fall the ''montante'' to the right to give an ''altibaxo'' putting in the left foot, and from where the ''montante'' comes to a stop you will give a ''talho'' from low to high accompanied by the right foot which you will move forward, stopping with the ''montante'' in front of the face. And then you will give a ''revez'' from low to high accompanied by the left foot which you will move forward, stopping with the ''montante'' in front of the face. Then you will let fall the ''montante'' to the left crossing the right arm over the left, and you will give an ''altibaxo revez'' moving the right foot forward, and from where the ''montante'' comes to a stop you will give a ''revez'' from low to high accompanied by the left foot which you will move forward, and stop with the ''montante'' in front of the face. Next, you will undo this rule with the same blows, actions, and steps, retreating backward until you place your body as it began the rule.<br />
| '''Regras Compostas'''<br />
'''I'''<br />
<br />
Todas as regras brigadas são contraponto das simplez e estas o fundamento das compostas, e assi plantado o corpo com o pé esquerdo diante se dará hũ talho de baxo para sima, a que acompanhará o pe dereyto diante, parando com o montante defronte do rosto, e logo se deyxará cair o Montante pela parte dereyta para dar hũ altabaxo metendo o pé esquerdo, e da parte donde veo o Montante a parar se dará hũ talho de baxo para sima acompanhandoo o pé direyto, que se meterá para diante parando com o montante defronte da cara. E logo se dará hũ revez debaxo para sima acompanhando o com o pé esquerdo, que se meterá para diante parando com o Montante defronte da cara, e logo se deyxará cair o montante pella parte esquerda cruzando o braço deryeto sobre o esquerdo, e se dará hũ altabaxo de revez metendo para diante o pé dereyto, e da parte donde ficou o montante se dará hũ revez de baxo para sima, acompanhado do pé esquerdo que se meterá diante, e parando com o Montante defronte da cara. E logo se desfará a regra com os mesmos golpes, acções, e compaços, saindo para traz até por o corpo como se principiou a regra.<br />
<br />
|- <br />
| '''II [Simple]'''<br />
You will place the body with the left foot forward, and putting in the right foot you will give a ''talho'', such that the ''montante'' ends up with the point forward and the hands high in front of the eyes. Then first putting in the left foot you will give a ''revez'', and pulling backward the same left foot you will give a ''talho'', stopping again with the ''montante'' high, and removing the right foot you will give a ''revez'', and a ''talho'' to the shoulder, and return the ''montante''.<br />
| '''II'''<br />
Porseha o corpo com o pé esquerdo diante, e metendo o pé direyto se dará hũ talho, desorte que fique o montante com a ponta para diante com as mãos altas defronte dos olhos, e logo metendo primeyro o pé esquerdo se dará hũ revez; e tirando para tras o mesmo pé esquerdo se dara hũ talho, parando tambem com o Montante alto, e tirando o pé direyto se dará hũ revez, e hũ talho ao hombro, e volta ao Montante.<br />
<br />
|- <br />
| '''II [Composed]'''<br />
You will raise the ''montante'' with the point forward in front of the right ear, with the left foot forward. Then you will move the right foot forward, and at the same time you will give a ''talho'' forward, bringing the ''montante'' high in front of the face in order to pass it over the head and behind the shoulders, such that it falls over the left arm to give a circling ''revez'', and then a ''talho'' in a manner that you return the ''montante'' to its position high in front of the face. And from there, first moving the left foot forward, you will give a ''revez'' forward, ending with the ''montante'' high with the point forward, and passing it over head you will give a circling ''talho'' and a ''revez'', returning the ''montante'' to the position in which you began the rule, which you will undo in the following manner: You will first remove the left foot and give a ''talho'' forward, ending with the ''montante'' point forward in front of the face, and then a ''talho'',<ref name="talho">This is the order of the original, but they are likely transposed, and should be ''revez'' and ''talho'' instead.</ref> and a circling ''revez'',<ref name="talho"/> and ending with the ''montante'' in the same place. Then you will remove the right foot backward with a ''revez'' forward that will stop with the ''montante'' high, and then a ''talho'' and a circling ''revez'', replacing the ''montante'' how it started the rule.<br />
| '''II'''<br />
Levantarseha o Montante com a ponta para diante defronte da orelha direyta com o pé esquerdo diante; e logo se meterá diante o pé direyto, e no mesmo tempo se dará hũ talho por diante trazendo a situar o Montante alto de fronte do rosto para o passar por sima da cabeça as espaldas de sorte que caya sobre o braço esquerdo para dar hũ revez cingido, e logo hũ talho de maneyra que se torne a situar o montante alto defronte do rosto, e dali, metendo primeyro diante o pé esquerdo, se dará hũ revez por diante situando o montante alto com a ponta para diante, e passandoo por sima da cabeça se dará hũ talho cingido e hũ revez tornando a situar o montante como se começou a regra, que se desfará na maneyra seguinte: tirarseha primeyro o pé esquerdo e se dará hũ talho por diante, a situar o Montante com a ponta para diante defronte do rosto, e logo hũ talho, e hũ revez cingido, e tornar a situar o montante na mesma parte, e logo se tirará o pé direyto para tras com hũ revez por diante que parará situando o montante alto, e logo hũ talho e hũ revez cingido, tornando a por o montante como se começou a regra.<br />
<br />
|- <br />
| '''III [Simple]'''<br />
You will place the body with the left foot forward, and give a ''talho'' from behind while standing still, and another forward putting in the right foot; then a ''revez'' from behind while standing still, and another forward putting in the left foot. You will undo the rule with a ''talho'' from behind while standing still, and another forward removing the same left foot, and then a ''revez'' from behind while standing still, and another forward removing the right foot, to end how you began the rule.<br />
| '''III'''<br />
Plantarseha o corpo com o pé esquerdo diante, e se dará hũ talho por detraz a pé quedo, e outro por diante metendo o pé direyto; logo hũ revez por detraz a pé quedo, o outro por diante metendo o pe esquerdo, e desfazerseha a regra com hũ talho por detras a pé quedo, e outro por diante tirando o mesmo pé esquerdo, e logo hũ revez por detraz a pé quedo, e outro por diante tirando o pé direyto, para ficar como se principiou a regra.<br />
<br />
|- <br />
| '''III [Composed]'''<br />
This rule serves to drive your adversaries before you. You will start by giving a ''talho'' from behind while standing still, and another forward putting in the right foot and making ready the thrust over the right arm, which you will give forward while standing still, then putting in the left foot with a ''revez'', and one and another successive ''talhos'' to the right side, putting in the left foot, and then the right. Proceed in the rule readying the same thrust again, going forward as necessary until you finish with your adversaries.<br />
| '''III'''<br />
Serve esta regra para levar os contrarios por diante. Principiasse dando hũ talho a pé quedo por detras e outro por diante metendo o pé direyto armando a estocada sobre o braço dereyto, que ser dará para diante a pé quedo, metendosse logo o pé esquerdo com hũ revez, e hũm e outro talhos sucessivos para a parte dereyta, metendo o pé esquerdo, e logo o dereyto, e proseguir a regra tornando a armar a mesma estocada, indo para diante o que for necessario até acabar com os contrarios.<br />
<br />
|- <br />
| '''IV [Simple]'''<br />
You will place the body with the left foot forward, and give a ''talho'' from behind while standing still and another forwards putting in the right foot, readying a thrust over the right arm, which you will give while standing still. Then you will put in the left foot with a ''revez'', and removing backward this same left foot with a ''talho'', you will ready another thrust that you will give while standing still, and removing backward the right foot you will give a ''revez'' to end in the state in<br />
which you began the rule.<br />
| '''IV'''<br />
Porseha o corpo com o pé esquerdo diante, e se dará a pé quedo hum talho por detras, e outro por diante metendo o pé dereyto, armando hũa estocada sobre o braço dereyto, que se dará a pé quedo, e logo se meterá o pé esquerdo com hũ revez, e tirando para tras este mesmo pé esquerdo com hũ talho, se armará outra estocada que se dará a pé quedo, e tirando para tras o pé dereyto se dará hũ revez para ficar no estado em que se começou a regra.<br />
<br />
|- <br />
| '''IV [Composed]'''<br />
This rule is for fighting with people in front and behind; do it by giving a ''talho'' from behind with the opposite foot which is the left, and another forward putting in the right foot, readying a thrust over the right arm which you will give to the rear, removing again the right foot. Then the left foot will go with a ''revez'', turning the body towards where you gave the thrust. Next you will give a ''talho'' forward with the same opposite foot, and another putting in the right foot readying the same thrust, which you will give with the right foot to the rear, and successively a ''revez'' entering with the left foot, and then the two ''talhos'' starting again with the opposite foot, all corresponding to the opposition against you.<br />
| '''IV'''<br />
He esta regra para brigar com gente por detraz e por diante, obrasse dando hũ talho por detras com o pé contrario que he o esquerdo, e outro por diante metendo o pé direyto, armando a estocada sobre o braço direyto que se dará para tras tornando a tirar o pé diretyo, e irá logo o pé esquerdo com hũ revez virando o corpo para onde se deu a estocada e logo se dará hũ talho por diante com o mesmo pé contrario, e outro metendo o pé dereyto armando a mesmo estocada, que se dará com o pé dereyto para traz, e sucessivamente hum revez entrando com o pé esquerdo, e então os dous talhos começando outra vez com o pé contrario, conforme a oposição que se fizer ao que tras o Montante.<br />
<br />
|- <br />
| '''V [Simple]'''<br />
You will ready a thrust over the left arm planting the body with the right foot behind, and after removing it while standing still, moving the right foot forward you will give a ''talho'', forming at the end of it another thrust over the right arm. Then you will put in the left foot with a ''revez'', and while standing still you will give another thrust readying it over the left arm (for that is where all those that originate from ''revezes'' are formed). You will exit backward with the left foot with a ''talho'', ending it with another thrust, that you will give while standing still (and all those that are formed from ''talhos'' are readied over the right arm), and exiting with the right foot you will give a ''revez'', to end with your body as it was at the beginning of the rule.<br />
| '''V'''<br />
Armarseha hũa estocada sobre a braço esquerdo plantado o corpo com o pé direyto de tras, e depois de retirar a pé quedo, metendo o pé direyto diante se dará hũ talho formando do fim d’elle outra estocada sobre o braço dereyto; e logo se meterá o pé esquerdo com hũ revez, e a pé quedo se dará outra estocada armandoa sobre o braço esquerdo (que nelle se formão todas as que nacem dos revezes) e sairseha com o pé esquerdo para tras com hũ talho, nascendo delle outra estocada que se dará a pé quedo (e todas as que se formarem dos talhos se armão sobre o braço dereyto) e saindo com o pé dereyto se dará hũ revez, para ficar o corpo como no principio da regra.<br />
<br />
|- <br />
| '''V [Composed]'''<br />
Placing the body almost profiled with the left foot forward, you will ready a thrust over the left arm, which you will give without taking a step. Then a ''talho'' from behind while standing still, and another forward putting in the right foot, readying a thrust over the right arm, which you will give while standing still. Then in the same manner a ''revez'' from behind and another forward putting in the left foot, readying the thrust to exit with a ''talho'' from behind and another forward removing the left foot, from which will originate another thrust. You will finish with a ''revez'' from behind, and another forward removing the right foot.<br />
| '''V'''<br />
Posto o corpo quazi profilado com o pé esquerdo diante, se armará hũa estocada sobre o braço esquerdo, que se dará estando firme com o compaço, e hũ talho por detras a pé quedo, e outro por diante metendo o pé dereyto, armando a estocada sobre o braço dereyto, que se dará a pé quedo, e assi hũ revez por detras e outro por diante metendo o pé esquerdo, armando a estocada para sair com hũ talho por detras e outro por diante tirando o pé esquerdo de que nacerá outra estocada e acabarseha com hũ revez por detras, e outro por diante tirando o pé dereyto.<br />
<br />
|- <br />
| '''VI [Simple]'''<br />
This rule is called the Battle of the ''Montante'', and is just one entry that you can use when encountering another ''montante''. You will give a ''talho'' from behind while standing still, and another putting in the right foot to end in position, and with this stance you will always move towards the adversary, deflecting the opposing ''montante'' with a ''revez'' to the outside, assisted by a step that you will give forward, you will give a ''talho'' to the closest leg, recovering once again the stance. And thus advancing, you will again deflect to the same side to give a ''talho'' blow on the right arm of the adversary recovering again the stance of the feet, taking heed that all these ''revez'' deflections are done with the false edge.<br />
| '''VI'''<br />
Esta regra se chama a Batalha do Montante; e he só hũa entrada do que se pode obrar topandosse com outro, para o que se dará hũ talho por detras a pé quedo, e outro metendo o pé dereyto para ficar em postura, e com ella se irá sempre partindo para o contrario, e desviando de revez o montante contrario pela parte de fora ajudado de hũ compaço que se dará para diante se dará de talho, na perna mais chegada recolhendo outra vez o compaço, e indo assi partindo se tornará a desviar pela mesma parte para dar hũ golpe de talho no braço dereyto do contrario recolhendo outra vez o compaco dos pés, advertindo que todos estes desvios de revez se fazem com o fio falso.<br />
<br />
|- <br />
| '''VI [Composed]'''<br />
Although rarely does one ''montante'' meet with another, when it happens, you should value your knowledge about the nature of all movements, both the steps of the feet as well as the blows of the ''montante'', all of which are derived from the movements of the sword. Based upon those of the sword, you can know the qualities of those for the ''montante'', their weakness or their strength, with the single difference that all the deflections, parries and attacks of the ''montante'' must be helped by the movements of the body. In responding to the adversary, you must be prepared to act in accordance with the greater force required by the blows of the ''montante''. This generalization will suffice for those who have the knowledge of the true skill of the sword, which is the foundation of all the arms that have been invented.<br />
| '''VI'''<br />
Ainda que raras vezes se encontra hũ montante com outro, para quando succeda, se deve valer o que tiver o montante do conhecimento da natureza de todos os movimentos, assi dos compaços dos pés como dos golpes do montante, que se alcanção pella subordinação que tem a todos os movimentos da espada, para conhecer por estes a calidade daquelles, sua fraqueza ou mayoria, só com hũa diferença que todos os desvios, atalhos e acometimentos do montante hão de ser ajudados com os movimentos do corpo, conforme o contrario se dispuzer para obrar, em razão do mayor impulso, que pedem os golpes do montante, e esta generalidade basta para quem tiver conhecimento da verdadeyra destreza da espada, que he o fundamento de todas as armas inventadas.<br />
<br />
|- <br />
| '''VII [Simple]'''<br />
This rule serves to deter people in a street and impede them moving from one end to another. Give a ''talho'' forwards in the direction where the people are, with a step forwards, in such a manner that you cross the road, and walking forth, when moving the same foot forward you will give another ''talho'' like the first. Turning to cross back over the road, you will face the same direction again, giving a ''revez'' with the right foot, and with the same foot following it with another. If the road is wide, in order to take it all, you will give more ''revezes'' or more ''talhos'' in the same manner.<br />
| '''VII'''<br />
Serve esta regra para deter gente em hũa rua e impeder que não passe de hũa parte para a outra. Dasse hũ talho por diante para a parte donde está a gente, com hũ compaço para diante de modo que se atravesse a rua, e indo andando ao lancar o mesmo pé se dará outro talho na conformidade do primeyro, e para a mesma parte se virará tornando a atravessar a rua dando hũ revez com o pé dereyto, e com o mesmo pé segundando com outro; e se a rua for larga para a aver de tomar toda, se darão pelo mesmo modo, mais revezes, ou mais talhos.<br />
<br />
|- <br />
| '''VII [Composed]'''<br />
You will give a ''talho'' with the left foot from low to high, and a ''revez'' also towards the same end of the street, and from low to high putting in the right foot, and then another ''talho'' and ''revez'' in the same manner, and always you will stop the ''montante'' in front of the face. And if you want to turn about to the same place from where you started the rule, you will (after giving the last ''talho'') give in the same direction a ''revez'' with the right foot, and then a ''talho'' with the left foot, and in each step you must give a blow, always from low to high, alternating ''talho'' and ''revez'', until the people stop.<br />
| '''VII'''<br />
Darseha hũ talho com o pé esquerdo debaxo para sima, e hũ revez tambem para a mesma parte e debaxo para sima metendo o pé dereyto, e logo outro talho e revez da mesma maneyra, e sempre parará o montante defronte do rosto; e se se quizer virar para a mesma parte donde se começou a regra terá (depois de dar o ultimo talho) de dar para a mesma parte hũ revez com o pé deryto, e logo o talho com o pé esquerdo, e em cada compaço se ha de dar hũ golpe, sempre debaxo para sima alternativamente talho e revez, até que a gente se detenha.<br />
<br />
|- <br />
| '''VIII [Simple]'''<br />
This rule serves against shieldsmen. While standing still, you will give a ''talho'' from behind leaning the body, and another forward putting in the right foot and circling with the ''montante'' such that the face ends up turned towards where you gave the first ''talho'', and then giving a ''revez'' while standing still and another putting in the left foot, circling around to the right side with the ''montante'', and with the face towards where it was at the beginning. You will undo the rule exiting with a ''talho'' and another removing the left foot, circling again, then with a ''revez'' and another removing the right foot. Next you will give a ''talho'' from behind while standing still, and another putting in the right foot, and another removing backward the left foot and a ''revez'' while standing still, and another putting in the right foot and another removing the same right foot in return backward. These final blows are of the sixteenth composed rule, which after given, you can also insert into this rule the fourteenth simple rule.<br />
| '''VIII'''<br />
Esta regra serve para contra Rodelyeros; e assi se dará a pé quedo hũ talho por detras quebrando o corpo, e outro por diante metendo o pé dereyto e cingindo com o montante de maneyra que fique o rosto virado para a parte donde se deu o primeyro talho, e logo dando hũ revez a pé quedo e outro metendo o pé esquerdo cingindosse para a parte dereyta com o montante, e com o rosto para onde ficou a primeyra vez. E desfazerseha saindo com hũ talho e outro tirando o pé esquerdo e tornando a cingir, e com hũ revez e outro tirando o pé dereyto, e logo se dará hũ talho por detras a pé quedo, e outro metendo o pé dereyto, e outro tirando pellas costas o pé esquerdo, e hũ revez a pé quedo e outro metendo o pé dereyto, e outra tirando o mesmo pé dereyto em volta por detras, cujos ultimos golpes são da regra decima sexta brigada, que despois de dados se pode tambem meter nesta regra a decima quarta singella.<br />
<br />
|- <br />
| '''VIII [Composed]'''<br />
You will give a ''talho'' forward putting in the left foot, and another putting in the right foot, and circling, then a ''revez'' putting in the right foot, and another putting in the same right foot and circling also. Next a ''talho'' putting in the left foot, and another putting in the right foot and circling, then a ''revez'' putting in the right foot and another putting in the left foot and circling, then a ''talho'' putting in the left foot, and another putting in the right foot, and successively another putting in the same right foot to turn around when you want to return to the other direction, starting the rule again, with the steps wide and fast.<br />
| '''VIII'''<br />
Darseha hũ talho por diante metendo o pé esquerdo, e outro metendo o pé dereyto, e cingindo, e hũ revez metendo o pé dereyto, e outro metendo o mesmo pé dereyto e cingir; Hum talho metendo o pé esquerdo, e outro metendo o pé dereyto e cingir, hũ revez metendo o pé dereyto, e outro metendo o pé esquerdo, e cingir, hũ talho metendo o pé esquerdo, e outro metendo o pé dereyto, e outro succescivo metendo o mesmo pé dereyto para virar quando se querya voltar para a outra parte, começando de novo a regra com os compaços largos, e apreçados.<br />
<br />
|- <br />
| '''IX [Simple]'''<br />
This rule serves to fight in a narrow street. You will do it by giving a ''talho'' from low to high moving the right foot forward, and then letting the ''montante'' fall to the same right side you will give on that side an ''altibaxo'', coming to situate a thrust with the pommel of the ''montante'' on the right shoulder, which you will give putting in the right foot, and you will commence the rule again, facing the other direction, with the same blows until it becomes necessary to turn about.<br />
| '''IX'''<br />
Serve esta regra para brigar em rua estreyta, Dispoem se dando hũ talho debaxo para sima metendo diante o pé dereyto, e logo deyxando cair o montante pella mesma parte deryeta se dará por ella hũ altibaxo, para vir a situar hũa estocada com a maçãm do montante no hombro dereyto que se dará metendo o pé dereyto, e começarseha de novo a regra com o rosto para a outra parte, com os mesmos golpes até tornar a virar se for necessario.<br />
<br />
|- <br />
| '''IX [Composed]'''<br />
Placing the body profiled with the left foot forward you will give a ''talho'' from low to high putting in the opposite foot which is the right, and next, with the opposite foot which will then be the left, a ''revez''. Then with the right foot you will make a ''talho'' attack from low to high, coming to ready a thrust over the right arm, which you will give removing the right foot backward towards where you started the rule, and next you will ready a thrust such that the pommel is on the right shoulder, which you will give moving the right foot forward. And with the face turned you will start the rule again in the other direction if necessary, with the same postures, blows, steps, and thrusts that have been shown.<br />
| '''IX'''<br />
Darsehá pondo o corpo perfilado com o pé esquerdo diante hũ talho de baixo para sima metendo o pé contrario que he o dereyto, e logo com pé contrario que então será o esquerdo hũ revez, e com o pé dereyto se fará debaxo para sima hũ acometimento de talho, para vir a situar hũa estocada sobre o braço dereyto, que se dará tirandosse para tras o pé dereyto para donde se começou a regra, e despois se armará hũa estocada de modo que fique a maçam do montante no hombro dereyto, que se dará metendo o pé dereyto para diante, e com o rosto virado se tornará a principiar a regra para a outra parte se necessario for, com as mesmas posturas, golpes, compaços, e estocadas que se tem mostrado.<br />
<br />
|- <br />
| '''X [Simple]'''<br />
This rule is called Guarding a Lady, presuming that she hides behind your shoulders, and you wish to defend her. You will place the body square with the compass of the feet a little wide, and you will give a ''talho'' moving the left foot one palm width forward, looking in the direction the ''montante'' goes, and stopping with in front of the face; and you will give a ''revez'' moving the right foot the same way, and a ''talho'' moving the left foot, and then a ''revez'' moving the right foot according to the same theory. Then you will give a ''talho'' while standing still and a ''revez'' removing the right foot, and a ''talho'' removing the left foot, and another ''revez'' removing the right foot. Here could come into play the two ''talhos'' and two ''revezes'' that are given while standing still and with the left arm held firmly against the body, which are commonly called Fly-Swatter and belong to the thirteenth composed rule.<br />
| '''X'''<br />
Esta regra se chama a guarda Dama, supondosse que anda pegada ás espaldas de quem tem o montante, e a quer defender. Se porá o corpo em coadro com o compaço dos pés hũ pouco largo, e se dara hũ talho metendo para diante hũ palmo o pé esquerdo, vendo por donde vay o montante, e parando com elle diante do rosto, e darseha hũ revez metendo na mesma forma o pé dereyto, e hũ talho metendo o pé esquerdo, e logo hũ revez metendo pello mesmo teor o pé dereyto; e então se dará hũ talho a pé quedo, e hũ revez tirando o pé dereyto, e hum talho tirando o pé esquerdo, e outro revez tirando o pé dereyto. Aqui podem entrar os dous talhos e dous revezes que se dão a pé quedo, com o braço esquerdo firme ao corpo, e junto delle os quaes vulgarmente chamão dabanamosca e pertencem a regra decima terceyra composta.<br />
<br />
|- <br />
| '''X [Composed]'''<br />
You will plant the body square and you will give a ''talho'' forward moving the left foot forward and angled to the left side, and from there you will turn to ready a thrust over the right arm that you will give with a step of the right foot towards the right side along the diagonal of the square. From there you will give a ''talho'' like the first moving the left foot along the left diagonal, and you will give a ''revez'' from low to high, moving the right foot along the right diagonal, and in a manner that from it you prepare a thrust over the left arm, which you will give it to the left side moving the left foot along the left diagonal, then you will turn to give a ''revez'' from low to high moving the right foot along the right diagonal. You will undo this rule removing the right foot with a ''talho'' readying a thrust over the right arm, that you will give while standing still, and while standing still another ''talho'', and then a ''revez'' launching outwards the left foot to ready a thrust over the left arm which you will give while standing still, and then also while standing still a ''revez'', and a ''talho'' launching outwards the right foot, and a ''revez'' removing the left foot.<br />
| '''X'''<br />
Plantarsehá o corpo em coadrado e se dará hũ talho por diante metendo o pé esquerdo para diante inclinado à parte esquerda, e delle se virá a armar hũa estocada sobre o braço dereyto, que se dará com hũ compaço com o pé dereyto para a parte dereyta pella diagonal do coadrado, e della se dará hũ talho como o primeyro metendo o pé esquerdo pella diagonal esquerda, e se dará hũ revez de baxo para sima, metendo o pé dereyto pella diagonal dereyta, e de maneyra que delle se situe hũa estocada sobre o braço esquerdo, e se dê para a parte esquerda metendo o pé esquerdo pella diagonal esquerda, e se tornará a dar hũ revez de baxo para sima metendo o pé dereyto pella diagonal dereyta, E se desfará a regra tirando o pé dereyto com hũ talho armando a estocada sobre o braço dereyto, que se dará a pé quedo, e a pé quedo outro talho, e logo hũ revez lançando fora o pé esquerdo para armar a estocada sobre o braço esquerdo que se dará a pé quedo, e logo tambem a pé quedo hũ revez e hũ talho lançando fora o pé dereyto, e hũ revez tirando o pé esquerdo.<br />
<br />
|- <br />
| '''XI [Simple]'''<br />
This rule is called Galley Gangway, and you do it giving forward a horizontal ''talho'' while standing still, and another putting in the right foot stopping with the ''montante'' in front of the face with the feet in the same position as at the start of the rule. Next you will give a horizontal ''revez'' while standing still, and another putting in the right foot. Then with the left foot forward, you will ready a thrust on the right shoulder, that you will have to give moving the right foot along the gangway, such that you end up facing the other direction, and you will start the rule in the opposite direction.<br />
| '''XI'''<br />
A esta regra se chama coxia de galé, e fasse dandosse por diante hũ talho orizontal a pé quedo, e outro metendo o pé dereyto parando com o montante defronte do rosto ficando com os pés como se começou a regra, e então se dará hũ revez a pé quedo tambem orizontal, e outro metendo o pé dereyto e que fique o esquerdo diante, e armarseha hũa estocada no hombro dereyto, que se ha de dar metendo o pé dereyto pella coxia, para se ficar virando o rosto para a outra parte, e principiarseha a regra pello outro lado.<br />
<br />
|- <br />
| '''XI [Composed]'''<br />
You will place the right foot forward, and you will give a horizontal ''talho'' towards the left side, moving the left foot forward, and you will come to ready a thrust over the right arm, which you will give moving forward the right foot; then you will give another horizontal ''talho'' like the first moving the left foot forward and another thrust like the first moving the right foot forward with it. Then you will put in the left foot with a circling horizontal ''revez'', which you will give while standing still, and from it you will give a ''talho'' moving the left foot, and starting the rule in the other direction, with the same movements already mentioned.<br />
| '''XI'''<br />
Porsehá o pé dereyto diante, e darseha hũ talho orizontal para a parte esquerda, metendo o pé esquerdo para diante, e virseha a armar a estocada sobre o braço dereyto, que se dará metendo para diante o pé dereyto, e logo se dará outro talho orizontal como o primeyro metendo o pé esquerdo para diante, e outra estocada semelhante á primeyra metendo com ella para diante o pé dereyto, e logo metendo o pé esquerdo com hũ revez orizontal cingido, que se dará a pé quedo, e delle hũ talho metendo o pé esquerdo, e começando a regra para a outra parte, com os mesmos movimentos que estão ditos.<br />
<br />
|- <br />
| '''XII [Simple]'''<br />
This rule serves to fight with people in front and behind, and thus you will give a ''talho'' with the contrary foot, which is the left, readying a thrust over the right arm, which you will give while standing still. Then you will put in the left foot with a ''revez'', and after circling through the right side with it, you will give a ''talho'' while standing still, readying in the same manner as the first another thrust, and after giving it while standing still, you will again put in the left foot with a ''revez'', and you will follow the rule starting with the ''talho'', moving always over the right foot when turning around.<br />
| '''XII'''<br />
Serve esta regra para brigar com gente por detras e por diante, e assi se dará hũ talho com o pé contrario que he o esquerdo armando hũa estocada sobre o braço dereyto, que se dará a pé quedo, e metendo o pé esquerdo com hũ revez despois de cingir com elle a parte dereyta se dará a pé quedo hũ talho, armando na mesma conformidade que a primeyra outra estocada, que despois de se dar a pé quedo, se meterá outra vez o pé esquerdo com hũ revez, e seguirseha a regra principiandosse com o talho, andando sempre sobre o pé dereyto ao redor.<br />
<br />
|- <br />
| '''XII [Composed]'''<br />
You will place the body square, and you will give a ''talho'' moving the left foot a little forward, accompanied by the right foot such that the stance is moderate, and you will ready a thrust over the right arm, which you will give moving the right foot along the line of infinity on the right side, accompanying it with the left. Then you will put in the left foot with a circling ''revez'', and you will give a ''talho'' while standing still, and another removing the left foot backward, and another moving forward the right foot. Then you will ready a thrust over the right arm, which you will give moving forward the left foot, and a circling ''revez'' removing backward the right foot; and when circling always move forward the left foot, and if necessary you can start the rule again as described.<br />
| '''XII'''<br />
Porseha o corpo em coadro, e se dará hũ talho metendo para diante hũ pouco o pé esquerdo, o que acompanhará o pé dereyto, para que o compaço seja moderado, e armarseha hũa estocada sobre o braço dereyto, que se dará metendo o pé dereyto pella linha infinita do lado dereyto, acompanhandoo o esquerdo, e logo se meterá o pé esquerdo, com hũ revez cingido, e se dará hũ talho a pé quedo, e outro tirando o pé esquerdo para tras, e outro metendo para diante o pé dereyto, e se armará hũa estocada sobre o braço dereyto, que se dará metendo para diante o pé esquerdo com hũ revez cingido, tirando por detras o pé dereyto, e cingindo sempre metendo para diante o pé esquerdo, e se poderá sendo necessario tornar a começar a regra como se disse.<br />
<br />
|- <br />
| '''XIII [Simple]'''<br />
This rule is called Guarding a Cloak, because it is used to defend one which has fallen to the ground, or which was deliberately dropped at your feet so as not to hinder you. You will plant the body in a wide stance, and give a ''talho'' while standing still, then another putting in the right foot, and another again putting in the same right foot, walking like a screw over the left. You will undo the rule by giving a ''revez'' while standing still, another putting in the left foot and another also putting in the same left foot. For the ''revezes'' you will move always over the right foot, which you will not remove from its place, likewise with the left when you give the ''talhos'', which then serves as an axis for the body.<br />
| '''XIII'''<br />
Chamasse esta regra a guarda capa, por que se faz para defender a que acazo se lança no chão, ou de proposito por não embaraçar se poem aos pés. Plantasse o corpo com o compaço largo, e dasse hũ talho a pé quedo, outro metendo o pé dereyto, e outro tornando a meter o mesmo pé dereyto andando como em parafuzo sobre o esquerdo, e desfasse dandosse hũ revez a pé quedo, outro metendo o pé esquerdo, e outro metendo tambem o mesmo pé esquerdo. Para os revezes se andará sempre sobre o pé dereyto que não tirará de hũ lugar, como o dereyto quando se derem os talhos que então serve de eixo ao corpo.<br />
<br />
|- <br />
| '''XIII [Composed]'''<br />
This composed rule is done in the same manner as the simple, only after you give the first three ''talhos'' turning about the left foot, with the body stopped and firm, you must add a circling ''revez'' and a circling ''talho'', and successively another ''revez'' and ''talho'' also circling like Fly-Swatter. And at the end of the three ''revezes'' that you give turning about the right foot, add again a circling ''talho'' and a circling ''revez'', and successively another ''talho'' and another ''revez'', with the left hand low and against the body to be more firm, and so the blows will be executed with more force.<br />
| '''XIII'''<br />
Esta regra brigada he da mesmo maneyra que a singella, só se lhe ha de acrecentar despois de se darem os tres primeyros talhos ao redor do pé esquerdo, com o corpo parado e firme hũ revez e hũ talho cingidos, e sucecivamente outro revez e outro talho tambem cingidos como dabanamosca; e no fim dos tres revezes que se darão ao redor do pé dereyto, acresentar outra vez cingidos hũ talho e hũ revez, e sucesivamente outro talho, e outro revez, com a mão esquerda baxa e junto ao corpo para estar mais firme, e serem os golpes executados com mais forsa.<br />
<br />
|- <br />
| '''XIV [Simple]'''<br />
This rule serves against thrown weapons, or against hafted weapons for two hands. Planting the body firm with the ''montante'' in obtuse posture, the body a little inclined, and ready to give a ''talho'' on the weapon that is hurled at you or that is thrust at you, you will deflect it to the left side. Then giving a large jump while turning around, another ''talho'' that reaches the person who threw it; or else deflect with a ''revez'', according to which side the opposing weapon is aimed, to give another ''revez'' with another jump with the body turning around and making a circle, in such a manner that you offend the adversary with a blow.<br />
| '''XIV'''<br />
Serve esta regra contra armas de arremesso, ou contra as de duas mãos que tem hasteas. E assim plantando o corpo firme com o montante em postura obtuza, o corpo hũ pouco inclinado, e pronto para dar hũ talho na arma que se arremessa, ou que vem a dar o bote, desviandoo para o lado esquerdo, e dando hũ salto largo em volta outro talho que alcance na pessoa que atirou ou desviar de revez conforme o lado a que se dirigir a armas contraria para se dar outro revez com outro salto com o corpo em redondo e fazendo come elle circulo, e de maneyra que se offenda o contrario com golpe.<br />
<br />
|- <br />
| '''XIV [Composed]'''<br />
This rule has two universal postures, the first is to place the body square with the right foot in front, the ''montante'' in obtuse angle along the right diagonal, such that the right hand rests in front of the belt to deflect the thrust aimed at the left breast with a ''talho'', and immediately another with a jump, as described in the simple rule, and finish with a ''revez''; or after you deflect with the first ''talho'', ready the thrust over the right arm and give it moving the left foot forward and then the right, and finish putting in the left foot with a ''revez''. The second posture is to place the right foot forward, and the ''montante'' in obtuse angle along the left diagonal to deflect by ''revez'' the thrusts aimed at the right side, and successively give another ''revez'' with the jump as described in the simple rule; or else after deflecting the thrust with the ''revez'', to ready the thrust with the pommel on the right shoulder, which you will give moving the left foot forward followed by the right, and then finish putting in the left foot with the ''revez''. In the first posture, if the adversary’s blow is aimed below the belt, you will deflect it with the ''montante'' moving in acute angle along the left diagonal, shifting the body with a moderate step along the line of infinity towards the right side, and letting fall the ''montante'' to the left side with the hands exchanged, you will put in successively the left foot, and following it the right foot with an ''altibaxo'' to ready the thrust over the right arm, and give it moving the left foot forward, to finish giving an ''altibaxo revez''.<br />
| '''XIV'''<br />
Duas posturas universaes tem esta regra, seja a primeyra, pôr o corpo em coadro com o pé dereyto diante o montante em angulo obtuso na diagonal dereyta desorte que fique a mão dereyta defronte da sintura para desviar o bote que se tirar ao peyto esquerdo com hũ talho, e logo outro com o salto como se disse na regra simples, e acabar com hũ revez; ou despois de se desviar com o primeyro talho, armar a estocada sobre o braço dereyto e dalla metendo diante o pé esquerdo, e sucessivamente o dereyto, e acabar metendo o pé esquerdo com o revez; e a segunda postura seja pôr o pé dereyto diante, e o montante em angulo obtuso pella diagonal esquerda para desviar de revez os botes que se tirarem ao lado dereyto, e successivamente dar outro revez com o salto como fica dito na regra simples, ou despois de desviar o bote com o revez armar a estocada com a maçam no hombro dereyto, que se dará metendo o pé esquerdo diante, seguindoo com outro compaço o pé dereyto, e logo acabar metendo o pé esquerdo com o revez. Na primeyra postura se o golpe contrario for tirado da sintura para baxo, se desviará com o montante metendoo em angulo agudo pella diagonal esquerda, recurrando o corpo com hũ compasso moderado pella infinita do lado dereyto, e deixando cair o montante para a parte esquerda trocadas as mãos se meterá seccessivamente o pé esquerdo, e tras delle o dereyto com hum altibaxo para armar a estocada sobre o braço dereyto, e dalla metendo diante o pé esquerdo, para acabar dando hũ altibaxo de revez.<br />
<br />
|- <br />
| '''XV [Simple]'''<br />
This rule serves to separate people who are fighting. You will place the body almost square with the left foot a little forward, and you will give a ''talho'' to the left side from low to high, ending with the ''montante'' extended in front of the face, and moving the right foot forward; then you will give a ''revez'' from low to high, to the right side putting in the left foot, such that the ''montante'' again ends in front of the face. You will proceed giving a ''talho'' in the same manner as the first, and a ''revez'' in the same method as the first, and then a ''talho'' moving the right foot, such that the body ends up facing towards the left side, and successively another ''talho'' turning the body to where you started the rule putting in the right foot, and ending with the ''montante'' in front of the face on the left side. You will continue in the same way you began, if necessary.<br />
| '''XV'''<br />
Serve esta regra para apartar gente que anda brigando, para o que se porá o corpo quazi em coadro cõ o pé esquerdo hũ pouco diante, e se dará hũ talho para a parte esquerda debaxo para sima, ficando o montante defronte do rosto tendido, e metendo o pé dereyto diante, e logo se dará hũ revez debayxo para sima, para a parte dereyta metendo o pé esquerdo de sorte que tambem fique o montante defronte do rosto, e proseguirseha dando hũ talho da mesma maneyra que o primeyro, e hũ revez do mesmo modo que o primeyro, e logo hũ talho metendo o pé dereyto, de maneyra que fique o corpo virado para a parte esquerda, e sucessivamente outro talho virando o corpo para onde se principiou a regra metendo o pé dereyto, e ficando o montante defronte de rosto para a parte esquerda, e se proseguirá na mesma conformidade que se começou se for necessario.<br />
<br />
|- <br />
| '''XV [Composed]'''<br />
You will place the body with the left foot forward, and you will give a ''talho'' from low to high moving the right foot forward, bringing the ''montante'' to stop high in front of the head on the left side, in obtuse line along the diagonal, and from there you will give an ''altibaxo'' along the same left side circling the ''montante'' by the left shoulder; from there you will give a ''revez'' from low to high to the right side moving the left foot forward and ending with the ''montante'' high along the right diagonal in an obtuse line, then from there you will give an ''altibaxo'' circling the ''montante'' with the right arm. Then you will again give a ''talho'' like the first with your ''altibaxo'' in the same form, and a ''revez'' like the first with your ''altibaxo'' of the same method, and moving the feet in the same manner as the first steps; and wanting to turn about you will give a ''talho'' putting in the right foot, and another ''talho'' again putting in the right foot towards the side from which you began the rule, and begin it again with the face turned as at the beginning.<br />
| '''XV'''<br />
Porseha o corpo com o pé esquerdo diante, e se dará hũ talho debaxo para sima metendo o pé dereyto diante, levando o montante a parar alto defronte da cabeça para a parte esquerda, em linha obtusa pella diagonal, e dali se dará hũ altibaxo pella mesma parte esquerda cingindo o montante ao hombro esquerdo, donde se dará hũ revez debaxo para sima para a parte dereyta metendo diante o pé esquerdo e ficando o montante alto na diagonal dereyta em angulo obtuso, para dali dar hũ altibaxo para vir a cingir o montante com o braço dereyto, e se tornará a dar hũ talho como o primeyro com seu altibaxo na mesma forma, e hum revez como o primeyro com seu altibaxo do mesmo modo, e metendo o pés na propria conformidade dos primeyros compaços, e querendo virarse dará hũ talho metendo o pé dereyto, e outro talho tornando a meter o pé dereyto para a parte donde se começou a regra, e começalla com o rosto virado como no principio.<br />
<br />
|- <br />
| '''XVI [Simple]'''<br />
This rule is for fighting in a wide road with people in front and behind. You will give a ''talho'' from behind while standing still and another forward putting in the right foot, readying the thrust over the right arm, which you will give forward while standing still. Then sensing people behind, you will ready from the thrust that you gave another with the pommel of the ''montante'' on the right shoulder, which you will give putting in the right foot toward the direction from where you started the rule. This gives rise to a ''revez'' which you will give putting in the left foot, and circling with the ''montante'' you will remove the right foot, and you will start the rule again.<br />
| '''XVI'''<br />
Serve esta regra para brigar em hũa rua larga com gente por detras o por diante, para o que se dará hũ talho por detras a pé quedo e outro por diante metendo o pé dereyto armando a estocada sobre o braço dereyto que se dará para diante a pé quedo, e logo sentindo gente por detras se armará da estocada que se deu outra com a maçam do montante no hombro dereyto que se dará metendo o pé dereyto para a parte donde se começou a regra de que nacerá hũ revez metendo o pé esquerdo, e cingindo com o montante tirandosse fora o pé dereyto e se começará outra vez a regra.<br />
<br />
|- <br />
| '''XVI [Composed]'''<br />
You will plant your left foot forward and you will give a ''talho'' raising the ''montante'' over the head to come to circle on the right side and you will give it while standing still; and then another ''talho'' putting in the right foot and another removing backward the left foot. Then you will ready a thrust over the right arm, which you will give while standing still, and another thrust with the pommel on the right shoulder which you will give moving the right foot forward. Then the left foot will go with the ''revez'', which you will give removing backward the right foot, and another ''revez'' moving the left foot forward, from which will originate a thrust over the left arm which you will give while standing still, and from that a ''revez'' removing backward the right foot, ending in the first state in which you began the rule, and so you may proceed again, if necessary.<br />
| '''XVI'''<br />
Plantarseha o pé esquerdo diante e se dará hũ talho levantando o montante por sima da cabeça para vir a cingir pello lado dereyto e se dará a pé quedo, e logo outro talho metendo o pé dereyto e outro tirando por detras o pé esquerdo, e armarseha a estocada sobre o braço dereyto, que se dará a pé quedo, e outra estocada posta a maçam no hombro dereyto que se dará metendo para diante o pé dereyto, e logo irá o pé esquerdo com o revez, que se dará tirando para tras o pé dereyto, e outro revez metendo para diante o pé esquerdo, de que nacerá hũa estocada sobre o braço esquerdo que se dará a pé quedo, e della hũ revez tirando para tras o pe dereyto ficando no primeyro estado em que se começou a regra para se tornar a proseguir, se necessario for.<br />
<br />
|- <br />
| These Practices of the ''Montante'' are training for the real thing, for these thirty-two rules will not only facilitate all the movements of the body, but in a manner they will cultivate an agility equal to a natural one in all fights. One who is well exercised in them could never find strange the place of the fight or the opposing arms, or even less the number of adversaries, assuming he has valor, skill, and fitting strength for the ''montante''. With the admonition that no swordsman necessarily should do this or that rule, but rather he should take from them all what he best understands and that serves him to defeat his adversaries, linking one rule to another with such prudence that neither haste will confuse the memory he should have of them, nor lack of vigor reduce the activity with which he should perform them.<br />
| Ensayo são estas Pratticas do Montante para as veras, porque nesta trinta e duas regras não só se facilitão todos os movimentos do corpo, mas de maneyra lhe habituão hũa como natural agelidade em todas as batalhas, que não poderá nunca o que for bem exercitado nellas, estranhar nem os lugares da pelleja, nem as armas oppostas, e menos o numero dos contrarios tendo valor, destreza, e forsas convinientes ao Montante. Com advertencia que nemhum destro precizamente deve fazer esta, ou aquella regra, senão, tirar de todas o que mais entender que lhe serve para vencer os contrarios, com tal prudencia, encadeando hũas nas outras, que nem a pressa confunda a memoria, que se deve ter dellas, nem a remissão desmaye a actividade com que se devem obrar.<br />
<br />
|- <br />
| And to better achieve this perfection in practice, it is necessary that the swordsman knows (as a universal rule) that all the blows of the ''montante'' have to be given such that the body is steady at the end of the natural movement, which is the one used for offense, and the means of execution, because if the body is moved (since this weapon is used with two hands, and thus requires you to apply a certain force because of its weight) you could dangerously fall, either for not being well and firmly planted, or by missing, due to a deflection, the object to which you directed the effect.<br />
| E para melhor se conseguir esta perfeyção prattica, convem que o destro sayba (como regra universal) que todos os golpes do montante se hão de dar, achando o corpo firme no fim do movimento natural, que he o da offensa, e o termo da execução, porque se o corpo for movido (como esta arma he de duas mãos, e se lhe aplica naquelle ponto particular forsa por sua gravidade) pode perigosamente cair, ou por não estar bem, e firmemente plantado, ou por lhe faltar com qualquer desvio, o objeto aonde se dirigio o effeyto.<br />
<br />
|- <br />
| Also you should know that all the thrusts which are readied over the right arm originate from the end of ''talhos''; and from ''revezes'' all that are readied over the left arm, and also from ''revezes'' all those that are formed with the pommel on the right shoulder<br />
| Tambem se deve conhecer que todas as estocadas que se armão sobre o braço dereyto nacem do fim do talhos; e do revezes todas as que se armão sobre o braço esquerdo, e dos revezes tambem todas as que se quizerem formar com a maçam no hombro dereyto.<br />
<br />
|- <br />
| And that from the thrusts readied over the right arm can also originate those that are readied on the right shoulder, and originate the ''revezes'' putting in the left foot or the ''talhos'' removing it. And from the thrusts that are readied over the left arm can originate those that are readied over the right arm, or the ''talhos'' putting in the right foot, or the same ''talhos'' removing the left foot, and also the ''revezes'' from low to high removing the same left foot. And that ultimately from ''talhos'' are born other ''talhos'', and from ''revezes'' other ''revezes'', and from these, ''talhos''; and from ''talhos'', ''revezes''. All of this is helped by the steps made with the feet, so as not to create mishap during the transition from one rule to another when it matters, initiating at the end of any rule, be it simple or composed, the one you wish to perform next. And with these admonitions which you should keep in mind, from all these thirty-two rules you can weave together one as general proof of the perfection of so excellent, graceful, and superior a weapon as the ''montante''.<br />
| E que das estocadas que se armão sobre o braço dereyto podem tambem nacer as que se armão no hombro dereyto, e nacer os revezes metendo o pé esquerdo ou os talhos tirando o. E das estocadas que se armão sobre o braço esquerdo podem nacer as que se armão sobre o braço dereyto, ou os talhos metendo o pé dereyto, ou os mesmos talhos tirando o pé esquerdo, e tambem nacer os revezes de bayxo para sima tirando o mesmo pé esquerdo. E que ultimamente do talhos nacem outros talhos, e dos revezes outros revezes, e destes, talhos; e dos talhos, revezes; tudo isto ajudado dos compaços dos pés, para não fazer novidade o entrar de hũas regras em outras quando importe, procreandosse do fim de qualquer, ou seja simples, ou composta aquella que se quizer proseguir. E com estas advertencias que se devem ter na memoria, de todas estas trinta e duas regras se pode tecer huã que seja geral para exame de perfeyçaõ de tam excellente, ayrosa, e superior arma como he o Montante.<br />
<br />
|}<br />
{{master end}}<br />
<br />
{{master begin<br />
| title = Copyright and License Summary<br />
| width = 100%<br />
}}<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[Eric Myers]] and [[Steve Hick]]<br />
| source link = http://oakeshott.org/Figueiredo_Montante_Translation_Myers_and_Hick_v2.pdf<br />
| source title= The Oakeshott Institute<br />
| license = noncommercial<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = [[Eric Myers]] and [[Steve Hick]]<br />
| source link = http://oakeshott.org/Figueiredo_Montante_Translation_Myers_and_Hick_v2.pdf<br />
| source title= The Oakeshott Institute<br />
| license = noncommercial<br />
}}<br />
{{sourcebox footer}}<br />
<br />
'''Additional Transcription and Translation Notes:''' Users may, without further permission, display, save, and print this work for personal, non commercial use, provided that the copyright notice is not severed from the work. Libraries may store this material and non commercially redistribute it to their patrons in electronic or printed form for personal, non commercial use, provided that the copyright notice is not severed from the work.<section end="sourcebox"/><br />
{{master end}}<br />
<br />
== Additional Resources ==<br />
<br />
* [[Diogo Gomes de Figueyredo|Figueyredo, Diogo Gomes de]]. ''Oplosophia e Verdadeira Destreza das Armas.'' Ed. Manuel Valley Ortiz, Francisco Campo Nieto. Santiago de Compostela: AGEA Editora, 2013. ISBN 978-84-941648-4-2<br />
* Sousa Viterbo, Francisco Marquez de; [[Diogo Gomes de Figueyredo|Figueiredo, Diogo Gomes de]]; and [[Thomás Luís|Luiz, Thomaz]]. {{google books|UJFCAQAAMAAJ|A esgrima em Portugal: subsidios para a sua historia}}. Lisbon: Manoel Gomes, 1899.<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Figueyredo, Diogo Gomes de}}<br />
{{early Iberian masters}}<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Portuguese]]<br />
<br />
[[Category:Translation]]<br />
<br />
[[Category:Greatsword]]<br />
[[Category:Rapier]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Joachim_Meyer&diff=58848Joachim Meyer2014-01-30T05:11:53Z<p>Jonathan Allen: Added Luis Pacheco de Narvaez quote</p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Joachim Meÿer]]<br />
| image = file:Joachim Meyer.png<br />
| imagesize = 250px<br />
| caption = <br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = ca. 1537<br />
| birthplace = Basel, Germany<br />
| deathdate = 24 February 1571 (aged 34)<br />
| deathplace = Schwerin, Germany<br />
| resting_place = <br />
| occupation = [[occupation::Freifechter| ]][[Freifechter]]<br/>[[occupation::Knife smith]]<br />
| language = [[language::Early New High German]]<br />
| nationality = <br />
| ethnicity = <br />
| citizenship = Strasbourg<br />
| education = <br />
| alma_mater = <br />
| patron = <br />
{{Collapsible list<br />
| title = List of patrons<br />
| 1 = Heinrich Graf von Eberst<br />
| 2 = Duke Johann Albrecht<br />
| 3 = Count Johann Casimir<br />
| 4 = Otto Graf von Sulms<br />
}}<br />
| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = [[Freifechter]]<br />
| notableworks = ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer)|Gründtliche Beschreibung der<br/>Kunst des Fechtens]]'' (1570)<br />
| manuscript(s) = {{plainlist | [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (1560) | [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Varia 82]] (1570-71) }}<br />
| principal manuscript(s)=<br />
| first printed edition= [[Jeffrey L. Forgeng|Forgeng]], 2006<br />
| wiktenauer compilation by=[[Michael Chidester]]<br />
<br />
| spouse = Appolonia Ruhlman<br />
| partner = <br />
| children = <br />
| relatives = <br />
| influences = <br />
{{Collapsible list<br />
| title = List of influences<br />
| 1 = [[Johannes Liechtenauer]]<br />
| 2 = [[Achille Marozzo]]<br />
| 3 = [[Andre Paurñfeyndt]]<br />
| 4 = [[Sigmund Schining ein Ringeck]]<br />
| 5 = [[Martin Syber]]<br />
}}<br />
| influenced = {{plainlist | [[Jakob Sutor von Baden]] | [[Theodori Verolini]] }}<br />
| awards = <br />
| signature = [[File:Joachim Meyer sig.jpg|150px]]<br />
| website = <br />
| translations = {{plainlist | {{Dutch translation|http://wiktenauer.com/wiki/Joachim_Me%C3%BFer/Dutch|1}} | {{French translation|http://fightweb.files.wordpress.com/2008/03/bases-de-lescrime-a-lepee-longue-de-joachim-meyer.pdf|1}} }}<br />
| below = <br />
}}<br />
{{foreignchar|Joachim Meyer|ÿ}}<br />
'''Joachim Meÿer''' (ca. 1537 - 1571)<ref name="Dupuis">[[Olivier Dupuis|Dupuis, Olivier]]. ''Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat.'' Dijon: AEDEH, 2006.</ref> was a [[century::16th century]] [[nationality::German]] [[Freifechter]] and [[fencing master]]. In addition to his fencing practice, he was knife smith (''Messerschmidt'') and a member of the German middle class (''Bürger'').<ref name="Naumann">Naumann, Robert. ''Serapeum.'' Vol. 5. T.O. Weigel, 1844. pp 53-59.</ref> In his life he devised at least three distinct and quite extensive [[fencing manual]]s, and his writings clearly show that he stood in the tradition of the German grand master [[Johannes Liechtenauer]]. His writings also reflect other contemporary systems that he encountered in his travels, including the Italian school of [[side sword]] fencing.<ref name="Castle 74">[[Egerton Castle|Castle, Egerton]]. {{Google books|XgYHAAAAQAAJ|Schools and Masters of Fencing: From the Middle Ages to the Eighteenth Century|page=74}}. London: George Bell and Sons, 1885. pp 74 - 76.</ref><br />
<br />
Meÿer was born in Basel,<ref>According to his wedding certificate.</ref> and he writes in his books that he traveled widely in his youth. The details of these travels are unknown, but records show that on 4 June 1560 he was living in Strasbourg, where he married Appolonia Ruhlman (Ruelman).<ref name="Dupuis"/> In 1561, Meÿer petitioned the City Council of Strasbourg for the right to organize a fencing event, and again in 1563, 1566, 1567 and 1568.<ref name="Van Slambrouck">Van Slambrouck, Christopher. "[http://freifechter.com/joachim_meyer.cfm The Life and Work of Joachim Meyer.]" ''Meyer Frei Fechter Guild.''</ref> Presumably this sort of petition required at least some explanation of his teaching status and his sources, proven by documents or letters or at least detailed in some manner by Meÿer himself.<br />
<br />
Meÿer wrote his [[Joachim Meyers Fäktbok (MS A.4º.2)|first manuscript]] in 1560 for his private student Otto Graf von Sulms, Minzenberg and Sonnenwaldt. Its contents seem to be a series of lessons on training with [[longsword]], [[dussack]], and [[side sword]]. His [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|second manuscript]], written in 1570-71 for Heinrich Graf von Eberst, is of a decidedly different nature. Like most fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent masters including [[Sigmund Schining ein Ringeck]] and [[Martin Syber]], and also includes a brief treatise on side sword that he wrote which is quite distinct from his prior teachings. In 1570, Meÿer also published an enormous multiweapon treatise entitled ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer)|Gründtliche Beschreibung der Kunst des Fechtens]]'' ("A Thorough Description of the Art of Combat"). It was dedicated to Johann Casimir, Count Palatine of the Rhine, and illustrated at the workshop of [[Tobias Stimmer]].<ref>Whose members included Christoph Maurer and Hans Christoffel Stimmer.</ref><br />
<br />
Unfortunately, Meÿer's writing and publication efforts incurred significant debts (about 1300 crowns), which Meÿer pledged to repay by Christmas of 1571.<ref name="Dupuis"/> Late in 1570, Meÿer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meÿer hoped to sell his book for a better price than was offered locally (30 florins). Meÿer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 500 miles to Schwerin in the dead of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meÿer died; the cause of his death is unknown, possibly disease or pneumonia. The Duke sent a letter to the City of Strasbourg announcing Meÿer’s death.<ref name="Van Slambrouck"/><br />
<br />
Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meÿer’s guardian; it politely reminded the Duke who Joachim Meÿer was, Meÿer’s publishing efforts and considerable debt, requested that the Duke send Meÿer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.<ref name="Dupuis"/><br />
<br />
Appolonia remarried in April 1572 to another Messerschmidt named Hans Kuele, bestowing upon him the status of Burgher and Meÿer's substantial debts. Joachim Meÿer and Hans Kuele are both mentioned in the minutes of Messerschmidt Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Meÿer’s widow and possibly her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.<ref>Schaer, Alfred. {{Google books|0egSAAAAYAAJ|Die altdeutschen fechter und spielleute: Ein beitrag zur deutschen culturgeschichte|page=76}}. K.J. Trübner, 1901. p 76.</ref><ref>Pollock, W. H., Grove, F. C., and Prévost, C. {{Google books|OXSZ8FjBfhkC|Fencing|page=267}}. London and Bombay: Longmans, Green, and co, 1897. pp 267-268.</ref><br />
<br />
The Fechtschule of Joachim Meÿer in Strasbourg, a thriving school of fence equal to many others in Germany at the time, was taken over during the Acquisition of Strasbourg by Louis XIV in 1681; it was turned into the "Academie de Arms" and essentially absorbed into the French school of Fence.<ref name="Castle 147">Castle, Egerton. {{Google books|XgYHAAAAQAAJ|Schools and Masters of Fencing: From the Middle Ages to the Eighteenth Century|page=147}}. London: George Bell and Sons, 1885. p 147.</ref><br />
<br />
== Criticism ==<br />
<br />
Luis Pacheco de Narvaez wrote, <br />
<blockquote><br />
Greater fondness showed having it Achille Marozzo, as in thirteen pages and nineteen figures, in guard in several positions, and with exquisite names the guards in which they are, did not think to stop relating it's excellencies. The same did his translator Joachim Meÿer in twenty prints, and in each one even three or four demonstrations, and in fifty eight pages dilated tiresomely this doctrine, without in all that being anything substantial.<br />
</blockquote><br />
<br />
<br />
== Treatises ==<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">Forward</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%<br />
}}<br />
{| class="wikitable" width="60%"<br />
|- valign="top"<br />
| <br/>{{main|Joachim Meÿer/Forward}}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Longsword]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%<br />
}}<br />
{| class="wikitable" width="60%"<br />
|- valign="top"<br />
| <br/>{{main|Joachim Meÿer/Longsword}}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Dussack]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%<br />
}}<br />
{| class="wikitable" width="60%"<br />
|- valign="top"<br />
| <br/>{{main|Joachim Meÿer/Dussack}}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Side Sword]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%<br />
}}<br />
{| class="wikitable" width="60%"<br />
|- valign="top"<br />
| <br/>{{main|Joachim Meÿer/Side Sword}}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Dagger]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%<br />
}}<br />
{| class="wikitable" width="60%"<br />
|- valign="top"<br />
| <br/>{{main|Joachim Meÿer/Dagger}}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Pole Weapons]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%<br />
}}<br />
{| class="wikitable" width="60%"<br />
|- valign="top"<br />
| <br/>{{main|Joachim Meÿer/Pole Weapons}}<br />
|}<br />
{{hidden end}}<br />
<br />
== Additional Resources ==<br />
<br />
* [[Alexander Kiermayer|Kiermayer, Alexander]]. ''Joachim Meyers Kunst Des Fechtens. Gründtliche Beschreibung des Fechtens, 1570''. Arts Of Mars Books, 2012. ISBN 978-3981162738<br />
* '''Meyer, Joachim'''. ''The Art of Combat: A German Martial Arts Treatise of 1570''. Translated by [[Jeffrey L. Forgeng]]. New York: Palgrave Macmillan, 2006.<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
{{DEFAULTSORT:Meÿer, Joachim}}<br />
{{Liechtenauer tradition}}<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Translation]]<br />
<br />
[[Category:German]]<br />
<br />
[[Category:Dagger]]<br />
[[Category:Dussack]]<br />
[[Category:Greatsword]]<br />
[[Category:Longsword]]<br />
[[Category:Pole Weapons]]<br />
[[Category:Side Sword]]<br />
[[Category:Sword and Cloak]]<br />
[[Category:Sword and Dagger]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=User_talk:Jonathan_Allen&diff=51759User talk:Jonathan Allen2013-12-02T00:56:32Z<p>Jonathan Allen: </p>
<hr />
<div>The additional resources section of a page is only for published works that contain transcriptions, translations, or scans. Links for digital scans are listed on the individual treatise pages in the appropriate section. Thanks. ~ [[user:Michael Chidester|Michael Chidester]] <sup>([[user talk:Michael Chidester|Contact]])</sup> 15:39, 1 December 2013 (UTC)<br />
<br />
Ok, I see what you are talking about now. It would be nice if it were a bit more prominent, but I don't know what that would look like. [[User:Jonathan Allen|Jonathan Allen]] ([[User talk:Jonathan Allen|talk]]) 00:56, 2 December 2013 (UTC)</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Fiore_de%27i_Liberi&diff=51755Fiore de'i Liberi2013-12-01T09:23:21Z<p>Jonathan Allen: /* Additional Resources */ Added link to the Getty High-Res Scans</p>
<hr />
<div>{{Infobox writer<br />
| name = [[name::Fiore Furlano de’i Liberi]]<br />
| image = File:Fiore delli Liberi.jpg<br />
| imagesize = 250px<br />
| caption = This master with a forked bear appears sporadically throughout both the Getty and Pisani Dossi mss., and may be a representation of Fiore himself.<br />
<br />
| pseudonym = <br />
| birthname = <br />
| birthdate = 1340s<br />
| birthplace = Cividale del Friuli, Friuli<br />
| deathdate = after 1420<br />
| deathplace = France (?)<br />
| resting_place = <br />
| occupation = {{plainlist | [[occupation::Diplomat]] | [[occupation::Fencing master| ]][[Fencing master]] | [[occupation::Mercenary]] }}<br />
| language = {{plainlist | [[language::Middle Italian]] | [[language::Renaissance Latin]] }}<br />
| nationality = Friulian<br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = <br />
| patron = {{plainlist | Gian Galeazzo Visconti (?) | Niccolò III d’Este (?) }}<br />
<br />
| period = <br />
| genre = {{plainlist | [[Fencing manual]] | [[Wrestling manual]] }}<br />
| subject = <br />
| movement = <br />
| notableworks = ''The Flower of Battle''<br />
| manuscript(s) = {{Collapsible list<br />
| title = List of manuscripts<br />
| 1 = [[Fior di Battaglia (MS M.383)|MS M.383]] (1400s)<br />
| 2 = [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig.XV.13]] (1400s)<br />
| 3 = [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] (1409)<br />
| 4 = [[Florius de Arte Luctandi (MS Latin 11269)|MS Latin.11269]] (1410s?)<br />
| 5 = Codex LXXXIV (before 1436)<br />
| 6 = Codex CX (before 1436)<br />
| 7 = [[Fior di Battaglia (MS XXIV)|MS XXIV]] (1699)<br />
}}<br />
| principal manuscript(s)=<br />
| first printed edition= <br />
| wiktenauer compilation by=[[Michael Chidester]]<br />
<br />
| spouse = <br />
| partner = <br />
| children = <br />
| relatives = Benedetto de’i Liberi<br />
| influences = {{plainlist | [[Johannes Suvenus|Johane Suveno]] | [[Nicholai de Toblem]] }}<br />
| influenced = [[Philippo di Vadi]]<br />
| awards = <br />
| signature = <br />
| website = <br />
| translations = {{plainlist | {{French translation|{{fullurl:{{PAGENAMEE}}/French}}|1}} | {{Hungarian translation|http://www.middleages.hu/magyar/harcmuveszet/vivokonyvek/liberi.php|1}} | {{Spanish translation|http://www.salafenix.eu/docs/biblio/tratados/Fiore_Dei_Liberi.Flos_Duellatorum.1410.es.pdf|1}} }}<br />
| below = [[File:Concordance.jpg|link=http://freifechter.com/article7.cfm]]<br />
}}<br />
'''Fiore Furlano de’i Liberi de Cividale d’Austria''' (Fiore delli Liberi, Fiore Furlano, Fiore de Cividale d’Austria; ca. 1340s - 1420s<ref>This estimated birth date is derived from Fiore's statement that in 1409 he had been studying the art of arms for 50 years, based on the fact that nobility generally began instruction in the martial arts around the age of ten. See [[Ken Mondschein|Mondschein]], p 11. The death date listed assumes that the story about his activities in Paris is correct; see note 27, below.</ref>) was a late [[century::14th century]] knight, diplomat, and itinerant [[fencing master]]. He was born in Cividale del Friuli, a town in the Patriarchal State of Aquileia (in the Friuli region of modern-day Italy), the son of Benedetto and scion of a Liberi house of Premariacco.<ref name="de’i Liberi Morgan">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS M.383)|MS M.383]]. New York City: [[Morgan Library & Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Getty">[[Fiore de'i Liberi]]. ''Fior di Battaglia'' [manuscript]. [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig XV 13]] (ACNO 83.MR.183). Las Angeles: [[J. Paul Getty Museum]], ca. 1400. ff 1r-2r.</ref><ref name="de’i Liberi Pisani Dossi">[[Fiore de'i Liberi]]. ''Flos Duellatorum'' [manuscript]. [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]]. Italy: Private Collection, 1409. f 1rv.</ref> The term ''Liberi'', while potentially merely a surname, more probably indicates that his family had Imperial immediacy (''Reichsfreiheit''), either as part of the ''nobili liberi'' (''Edelfrei'', "free nobles"), the Germanic unindentured knightly class which formed the lower tier of nobility in the Middle Ages, or possibly of the rising class of Imperial Free Knights.<ref>He is never given such a surname in any contemporary records of his life, and the term only appears when introducing his family in his own treatises.</ref><ref name="Mondschein 11">Mondschein, p 11.</ref><ref>Howe, Russ. “[http://ejmas.com/jwma/articles/2008/jwmaart_howe_0808.htm Fiore dei Liberi: Origins and Motivations]”. [[Journal of Western Martial Art]]. Electronic Journals of Martial Arts and Sciences, 2008. Retrieved 2012-02-08.</ref> It has been suggested by various historians that Fiore and Benedetto were descended from Cristallo dei Liberi of Premariacco, who was granted immediacy in 1110 by Holy Roman Emperor Henry V,<ref>Giusto Fontanini. {{Google books|929Oruf2qScC|Della Eloquenza italiana di monsignor Giusto Fontanini|page=274}}, vol. 3 (in Italian). R. Bernabò, 1736. pp 274-276.</ref><ref>Gian Guiseppe Liruti. {{Google books|swCiIpD6UeIC|Notizie delle vite ed opere scritte da' letterati del Friuli|page=27}}, vol. 4 (in Italian). Alvisopoli, 1830. p 27.</ref><ref>Novati, pp 15-16.</ref> but this has yet to be confirmed.<ref>Malipiero, p 80.</ref><br />
<br />
Fiore wrote that he had a natural inclination to the martial arts and began training at a young age, ultimately studying with “countless” masters from both Italic and Germanic lands.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><ref name="de’i Liberi Pisani Dossi"/> He had ample opportunity to interact with both, being born in the Holy Roman Empire and later traveling widely in the northern Italian states. Unfortunately, not all of these encounters were friendly: Fiore wrote of meeting many “false” or unworthy masters in his travels, most of whom lacked even the limited skill he'd expect in a good student.<ref name="de’i Liberi Pisani Dossi"/> He further mentions that on five separate occasions he was forced to fight [[duel]]s for his honor against certain of these masters who he described as envious because he refused to teach them his art; the duels were all fought with sharp [[longsword]]s, unarmored except for gambesons and chamois gloves, and he won each without injury.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><br />
<br />
Writing very little on his own career as a commander and master at arms, Fiore laid out his credentials for his readers in other ways. He stated that foremost among the masters who trained him was one [[Johannes Suvenus|Johane dicto Suueno]], who he notes was a disciple of [[Nicholai de Toblem]];<ref name="de’i Liberi Pisani Dossi"/> unfortunately, both names are given in Latin so there is little we can conclude about them other than that they were probably among the Italians and Germans he alludes to, and that one or both were well-known in Fiore's time. He further offered an extensive list of the famous ''condottieri'' that he trained, including Piero Paolo del Verde (Peter von Grünen),<ref>[http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Niccolo Unricilino (Nikolo von Urslingen),<ref>Leoni, p 7.</ref> Galeazzo Cattaneo dei Grumelli (Galeazzo Gonzaga da Mantova),<ref name="Galeazzo">[http://www.condottieridiventura.it/index.php/lettera-m/1450-galeazzo-da-mantova “GALEAZZO DA MANTOVA (Galeazzo Cattaneo dei Grumelli, Galeazzo Gonzaga) Di Mantova. Secondo alcune fonti, di Grumello nel pavese.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Lancillotto Beccaria di Pavia,<ref>[http://www.condottieridiventura.it/index.php/lettera-b/630-lancillotto-beccaria “LANCILLOTTO BECCARIA (Lanciarotto Beccaria) Di Pavia. Ghibellino. Signore di Serravalle Scrivia, Casei Gerola, Bassignana, Novi Ligure, Voghera, Broni.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. Retrieved 2012-02-08.</ref> Giovannino da Baggio di Milano,<ref name="Malipiero 9496">Malipiero, pp 94-96.</ref> and Azzone di Castelbarco,<ref name="Jens">[https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' Retrieved 2013-05-08.</ref> and also highlights some of their martial exploits.<ref name="de’i Liberi Morgan"/><ref name="de’i Liberi Getty"/><br />
<br />
Based on Fiore's autobiographical account, he can tentatively be placed in Perosa (Perugia) in 1381 when Piero del Verde likely fought a duel with Pietro della Corona (Peter Kornwald).<ref>This is the only point when both men are known to have been in Perugia at the same time; Verde died soon after this in 1385. See [https://talhoffer.wordpress.com/2013/04/24/fiore-his-master-and-his-students/ Fiore his masters and his students]. ''Hans Talhoffer ~ as seen by Jens P. Kleinau.'' in English and [http://www.condottieridiventura.it/index.php/lettera-v/2660-piero-del-verde “PIERO DEL VERDE (Paolo del Verde) Tedesco. Signore di Colle di Val d’Elsa.”]. and [http://www.condottieridiventura.it/index.php/lettera-c/971-pietro-della-corona “PIETRO DELLA CORONA (Pietro Cornuald) Tedesco. Signore di Angri.”]. ''Note biografiche di Capitani di Guerra e di Condottieri di Ventura operanti in Italia nel 1330 - 1550''. in Italian. Retrieved 2013-05-08.</ref> That same year, the Aquileian War of Succession erupted as a coalition of secular nobles from Udine and surrounding cities sought to remove the newly-appointed Patriarch, Philippe II d'Alençon. Fiore seems to have sided with the secular nobility against the Cardinal as in 1383 there is record of him being tasked by the grand council with inspection and maintenance on the [[artillery]] pieces defending Udine (including large crossbows and catapults).<ref name="Mondschein 11"/><ref>Malipiero, p 85.</ref><ref name="Easton">[[Matt Easton|Easton, Matt]]. “[http://www.fioredeiliberi.org/fiore/ Fiore dei Liberi - Fiore di Battaglia - Flos Duellatorum]”. London: Schola Gladiatoria, 2009. Retrieved 2012-02-08.</ref> There are also records of him working variously as a magistrate, peace officer, and agent of the grand council during the course of 1384, but after that the historical record is silent. The war continued until a new Patriarch was appointed in 1389 and a peace settlement was reached, but it's unclear if Fiore remained involved for the duration. Given that he appears in council records five times in 1384, it would be quite odd for him to be completely unmentioned over the subsequent five years,<ref name="Mondschein 11"/><ref>Malipiero, pp 85-88.</ref> and since his absence after May of 1384 coincides with a proclamation in July of that year demanding that Udine cease hostilities or face harsh repercussions, it seems more likely that he moved on.<br />
<br />
After the war, Fiore seems to have traveled a good deal in northern Italy, teaching fencing and training men for duels. In 1395, he can be placed in Padua training the mercenary captain Galeazzo Gonzaga of Mantua for a duel with the French marshal Jean II le Maingre (who went by the war name “Boucicaut”). Galeazzo made the challenge when Boucicaut called into question the valor of Italians at the royal court of France, and the duel was ultimately set for Padua on 15 August. Both Francesco Novello da Carrara, Lord of Padua, and Francesco Gonzaga, Lord of Mantua, were in attendance. The duel was to begin with [[spear]]s on [[:category:Mounted Fencing|horseback]], but Boucicaut became impatient and dismounted, attacking Galeazzo before he could mount his own horse. Galeazzo landed a solid blow on the Frenchman’s helmet, but was subsequently disarmed. At this point, Boucicaut called for his poleaxe but the lords intervened to end the duel.<ref>Malipiero, pp 55-58.</ref><ref name="Easton"/><ref name="Galeazzo"/><br />
<br />
Fiore surfaces again in Pavia in 1399, this time training Giovannino da Baggio for a duel with a German squire named Sirano. It was fought on the 24th of June and attended by Gian Galeazzo Visconti, Duke of Milan, as well as the Duchess and other nobles. The duel was to consist of three bouts each of mounted lance, [[poleaxe]], [[estoc]], and [[dagger]] (accounts vary on whether the weapons were sharp or blunted). They ultimately rode two additional passes and on the fifth, Baggio impaled Sirano’s horse through the chest, slaying the horse but losing his lance in the process. They fought the other nine bouts as scheduled, and due to the strength of their armor, both combatants reportedly emerged from these exchanges unharmed.<ref name="Malipiero 9496"/><ref name="Mondschein 12">[[Ken Mondschein|Mondschein]], p 12.</ref><br />
<br />
Fiore was likely involved in at least one other duel that year, that of his final student Azzone di Castelbarco and Giovanni degli Ordelaffi, as the latter is known to have died in 1399.<ref>Malipiero, p 97.</ref> After Castelbarco’s duel, Fiore’s activities are unclear. Based on the allegiances of the nobles that he trained in the 1390s, he seems to have been associated with the ducal court of Milan in the latter part of his career.<ref name="Easton"/> Some time in the first years of the 1400s, Fiore composed a fencing treatise in Italian and Latin called "The Flower of Battle" (rendered variously as ''Fior di Battaglia'', ''Florius de Arte Luctandi'', and ''Flos Duellatorum''). The briefest version of the text is dated to 1409 and indicates that it was a labor of six months and great personal effort;<ref name="de’i Liberi Pisani Dossi"/> as evidence suggests that two longer versions were composed some time before this,<ref>Fiore states in the preface to the [[Flos Duellatorum (Pisani Dossi MS)|Pisani Dossi MS]] that he had studied combat for fifty years, whereas the comparable statement in the [[Fior di Battaglia (MS M.383)|MS M.383]] and [[Fior di Battaglia (MS Ludwig XV 13)|MS Ludwig.XV.13]] mention the slightly shorter "forty years and more".</ref> we may assume that he devoted a considerable amount of time to writing during this decade.<br />
<br />
Beyond this, nothing certain is known of Fiore's activities in the 15th century. [[Francesco Novati]] and [[D. Luigi Zanutto]] both assume that some time before 1409 he accepted an appointment as court fencing master to Niccolò III d’Este, Marquis of Ferrara, Modena, and Parma; presumably he would have made this change when Milan fell into disarray in 1402, though Zanutto went so far as to speculate that he trained Niccolò for his 1399 passage at arms.<ref>Zanutto, pp 211-212.</ref> However, while two surviving copies of "the Flower of Battle" are dedicated to the marquis, it seems more likely that the manuscripts were written as a diplomatic gift to Ferrara from Milan when they made peace in 1404.<ref name="Mondschein 12"/><ref name="Easton"/> C. A. Blengini di Torricella stated that late in life he made his way to Paris, France, where he could be placed teaching fencing in 1418 and creating a copy of a [[fencing manual]] located there in 1420. Though he attributes these facts to Novati, no publication verifying them has yet been located.<ref>In 1907, fencing master C. A. Blengini di Torricella mentioned that “In 1904, a historical work by [[Francesco Novati]], Director of the Academy in Milano and Gaffuri, Director of the graphical institute in Bergamo was published… These two prominent scholars uncovered documents, found in different archives, …''Rules for Fencing'' were printed by Fiore dei Liberi in 1420… And how could then dei Liberi have taught fencing lessons in Paris in 1418?” (translated from Norwegian by [[Roger Norling]]). See Blengini, di Torricella C. A. ''Haandbog i Fægtning med Floret, Kaarde, Sabel, Forsvar med Sabel mod Bajonet og Sabelhugning tilhest: Med forklarende Tegninger og en Oversigt over Fægtekunstens Historie og Udvikling.'' 1907. p 28.{{full}}</ref> The time and place of Fiore's death remain unknown.<br />
<br />
Despite the depth and complexity of his writings, Fiore de’i Liberi does not seem to have been a very significant master in the development of Italian fencing. That field was instead dominated by the tradition of his near-contemporary the Bolognese master [[Filippo di Bartolomeo Dardi]]. Even so, there are a number of later treatises which bear strong resemblance to his work, including the writings of [[Philippo di Vadi]] and [[Ludwig VI von Eyb]]. This may be due to the direct influence of Fiore or his writings, or it may instead indicate that the older tradition of Johane and Nicholai survived and spread outside of his direct line.<br />
<br />
== Treatise ==<br />
<br />
Four [[illuminated manuscript]] copies of this treatise are currently known to exist (as well as a 17th century fragment), and there are records of at least two others whose current locations are unknown.<ref>The Codex LXXXIV (or MS 84) consisted of 58 folia bound in leather with a clasp, and whose first page showed a white eagle and two helmets; the Codex CX (or MS 110) was a small, unbound volume consisting of only 15 folia. See Novati, pp 29-30. It is conceivable that one of the four extant versions is the MS 84, but no evidence in support of this proposition has yet surfaced.</ref> The MS Ludwig XV 13 and the Pisani Dossi MS are both dedicated to Niccolò III d'Este and state that they were written at his request and according to his design. The MS M.383, on the other hand, lacks a dedication and claims to have been laid out according to his own intelligence while the MSS Latin 11269 lost any dedication it might have had along with its prologue. Each of the extant copies of ''the Flower of Battle'' follows a distinct order, though both of these pairs contain strong similarities to each other in order of presentation. In addition, Philippo di Vadi's manuscript from the 1480s, whose second half is essentially a redaction of ''the Flower of Battle'', provides a valuable fifth point of reference when considering Fiore's teachings.<br />
<br />
The major sections of the work include: ''abrazare'' or [[grappling]]; ''[[dagger|daga]]'', including both unarmed defenses against the dagger and plays of dagger against dagger; ''spada a un mano'', the use of the [[longsword]] in one hand (also called "the sword without the buckler"); ''spada a dui mani'', the use of the longsword in two hands; ''spada en arme'', the use of the longsword in [[armor]] (primarily techniques from the [[halfsword|shortened sword]]); ''azza'', plays of the [[poleaxe]] in armor; ''lancia'', [[spear]] and staff plays; and mounted combat (including the spear, the longsword, and mounted grappling). Brief bridging sections serve to connect each of these, covering such topics as ''bastoncello'', or plays of a [[club (weapon)|small stick or baton]] against unarmed and dagger-wielding opponents; plays of longsword vs. dagger; plays of staff and dagger and of two clubs and a dagger; and the use of the [[spear|chiavarina]] against a man on horseback.<br />
<br />
The format of instruction is largely consistent across all copies of the treatise. Each section begins with a group of Masters or Teachers, figures in golden crowns each of whom demonstrates a particular guards or stance for use with a particular weapon. These are followed by a Master Rememdy who demonstrates a defensive technique against a basic attack (usually how to use a particular guard to defend), and then by his various Scholars or Students, figures wearing golden garters on their legs who demonstrate iterations and variations of the Remedy. After the Scholars there is a Master Contrario or Counter, a figure wearing both crown and garter, who demonstrates how to defeat the Master Remedy's defense (and the techniques of his Scholars). In rare cases, a fourth type of Master appears called Contra-Contrario (counter-counter), who likewise wears the crown and garter and demonstrates how to defeat the Master Contrario. Some sections feature multiple Masters Remedy or Masters Contrario, while some have only one. There are also many cases in which an image in one manuscript will only feature a scholar's garter where the corresponding image in another also features a Master Contrario's crown. Depending on the instance, this may either be intentional or merely an error in the art.<br />
<br />
The concordance below includes Zeno's transcription of the Getty preface for reference, and then drops the (thereafter empty) column in favor of a second image column for the main body of the treatise. Generally only the right-side image column will contain illustrations—the left-side column will only contain additional content when when the text describes an image that spans the width of the page in the manuscripts, or when there are significant discrepancies between the available illustrations (in such cases, they sometimes display two stages of the same technique and will be placed in "chronological" order if possible). There are likewise two translation columns, with the the two manuscripts dedicated to Niccolò on the left and the two undedicated manuscripts on the right; in both columns, the short text of the PD and Paris will come first, followed by the longer paragraphs of the Getty and Morgan.<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">First Italian Preface</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/First Italian Preface}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">Latin Preface</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Latin Preface}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">Second Italian Preface</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Second Italian Preface}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">Seven Swords</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Seven Swords}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Grappling]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Grappling}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">Baton</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Baton}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Dagger]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">1st Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/1st master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">2nd Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/2nd master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">3rd Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/3rd master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">4th Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/4th master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">5th Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/5th master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">6th Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/6th master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">7th Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/7th master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">8th Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/8th master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">9th Master</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Dagger/9th master}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Longsword]] vs. Dagger</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Longsword vs. Dagger}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">Longsword in One Hand</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Longsword in One Hand}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">Longsword in Two Hands</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Longsword in Two Hands}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">Wide Plays</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Longsword in Two Hands/Wide Plays}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">Close Plays</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Longsword in Two Hands/Close Plays}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">Longsword vs. Spear</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Longsword vs. Spear}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Armored Fencing|Armored Longsword]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Armored Longsword}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Poleaxe|Armored Poleaxe]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Poleaxe}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Spear]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Spear}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:120%;">Spear vs. Other Weapons</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Spear vs. Other Weapons}}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Mounted Fencing]]</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = display:block; width:224em;<br />
}}<br />
{{:Fiore de'i Liberi/Mounted Fencing}}<br />
{{hidden end}}<br />
<br />
== Additional Resources ==<br />
<br />
* Charrette, Robert N. ''Fiore dei Liberi’s Armizare: The Chivalric Martial Arts System of Il Fior di Battaglia''. Wheaton, IL: [[Freelance Academy Press]], 2011. ISBN 978-0-9825911-7-8<br />
* [[Fiore de'i Liberi|dei Liberi, Fiore]]; Leoni, Tommaso. ''Fiore de’ Liberi’s Fior di Battaglia''. 1st ed. [http://www.lulu.com/product/paperback/fiore-de-liberis-fior-di-battaglia/5364635 Lulu.com], 2009. 2nd ed. Wheaton, IL: [[Freelance Academy Press]], 2012.<br />
* [[Fiore de'i Liberi|dei Liberi, Fiore]]; [[Marco Rubboli|Rubboli, Marco]]; [[Luca Cesari|Cesari, Luca]]. ''Flos Duellatorum. Manuale di Arte del Combattimento del XV secolo''. Rome: [[Il Cerchio Iniziative Editoriali]], 2002. ISBN 88-8474-023-1<br />
* Malipiero, Massimo. ''Il Fior di battaglia di Fiore dei Liberi da Cividale: Il Codice Ludwing XV 13 del J. Paul Getty Museum''. Udine: Ribis, 2006. ISBN 887-44503-5-4<br />
* [[Ken Mondschein|Mondschein, Ken]]. ''The Knightly Art of Battle''. Los Angeles: [[J. Paul Getty Museum]], 2011. ISBN 978-160-60607-6-6<br />
* [[Francesco Novati|Novati, Francesco]]. ''[http://www.fioredeiliberi.org/manuscripts/novati/ Flos Duellatorum, Il Fior di Battaglia di Maestro Fiore dei Liberi da Premariacco]''. Bergamo: Instituto Italiano d'Arte Grafiche, 1902.<br />
* Rapisardi, Giovanni. ''Fiore de’ Liberi Flos Duellatorum - in armis, sine armis equester et pedesta''. Gladitoria Press, 1998. ISBN 978-888-94041-6-4<br />
* Richards, Colin. ''Fiore dei Liberi, 1409: Wrestling & Dagger''. [[Arts of Mars Books]], 2007. ISBN 398-11627-0-6<br />
* [[Philippo di Vadi|Vadi, Filippo]]. ''Arte Gladiatoria Dimicandi: 15th Century Swordsmanship of Master Filippo Vadi''. Trans. Luca Porzio and Gregory Mele. Union City, CA: [[Chivalry Bookshelf]], 2002. ISBN 1-891448-18-8<br />
* [[Philippo di Vadi|Vadi, Filippo]]; [[Marco Rubboli|Rubboli, Marco]]; [[Luca Cesari|Cesari, Luca]]. ''L’arte Cavalleresca del Combattimento''. Rome: [[Il Cerchio Iniziative Editoriali]], 2005. ISBN 88-8474-079-7<br />
* [[D. Luigi Zanutto|Zanutto, D. Luigi]]. ''[http://www.historicalfencing.org/PDF/Zanutto-Fiore%20da%20Premariacco.pdf Fiore di Premariacco ed I Ludi e Le Feste Marziali e Civili in Friuli]''. Udine: D. Del Bianco, 1907.<br />
* [http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=1706 The Flower of Battle, Getty Edition, High Resolution Scans]<br />
<br />
== References ==<br />
<br />
{{reflist|2}}<br />
{{DEFAULTSORT:Liberi, Fiore de’i}}<br />
{{Early Italian masters}}<br />
__FORCETOC__<br />
<br />
[[Category:Masters]]<br />
<br />
[[Category:Italian]]<br />
[[Category:Latin]]<br />
<br />
[[Category:Armored Fencing]]<br />
[[Category:Dagger]]<br />
[[Category:Grappling]]<br />
[[Category:Longsword]]<br />
[[Category:Mounted Fencing]]<br />
[[Category:Pole Weapons]]<br />
[[Category:Staff Weapons]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Altibaxo&diff=51725Altibaxo2013-11-27T06:23:45Z<p>Jonathan Allen: Created page with "A vertical, downward blow. == Primary Sources == == Also Mentioned By == * Diogo Gomes de Figueyredo == Video Interpretations == == References == {{reflist}} Cat..."</p>
<hr />
<div>A vertical, downward blow.<br />
<br />
== Primary Sources ==<br />
<br />
== Also Mentioned By ==<br />
<br />
* [[Diogo Gomes de Figueyredo ]]<br />
<br />
== Video Interpretations ==<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
[[Category:Strikes]]<br />
[[Category:Portugese Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Alber_(Strike)&diff=51724Alber (Strike)2013-11-27T06:21:35Z<p>Jonathan Allen: Created page with "One of the five false-edge blows. == Primary Sources == == Also Mentioned By == * Jobst von Württemberg == Video Interpretations == == References == {{reflist}} ..."</p>
<hr />
<div>One of the five false-edge blows.<br />
<br />
== Primary Sources ==<br />
<br />
== Also Mentioned By ==<br />
<br />
* [[Jobst von Württemberg]]<br />
<br />
== Video Interpretations ==<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
[[Category:Strikes]]<br />
[[Category:German Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Category:Italian_Strikes&diff=51723Category:Italian Strikes2013-11-27T06:18:45Z<p>Jonathan Allen: </p>
<hr />
<div>The pages are the areas for the specific strike in the Italian traditions. Categories are for a specific tradition.<br />
<br />
[[Category:Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Category:Agrippa_Strikes&diff=51722Category:Agrippa Strikes2013-11-27T06:17:45Z<p>Jonathan Allen: Created page with "The pages are the areas for the specific strike in the Agrippa Tradition. Category:Agrippa Tradition Category:Italian Strikes Category:Strikes"</p>
<hr />
<div>The pages are the areas for the specific strike in the Agrippa Tradition.<br />
<br />
<br />
[[Category:Agrippa Tradition]]<br />
[[Category:Italian Strikes]]<br />
[[Category:Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Category:Italian_Strikes&diff=51721Category:Italian Strikes2013-11-27T06:17:02Z<p>Jonathan Allen: Created page with "The pages are the areas for the specific strike in the Italian traditions. Categories are for a specific tradition."</p>
<hr />
<div>The pages are the areas for the specific strike in the Italian traditions. Categories are for a specific tradition.</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Category:Bolognese_Strikes&diff=51720Category:Bolognese Strikes2013-11-27T06:16:05Z<p>Jonathan Allen: </p>
<hr />
<div>The pages are the areas for the specific strike in the Bolognese Tradition.<br />
<br />
<br />
[[Category:Bolognese Tradition]]<br />
[[Category:Italian Strikes]]<br />
[[Category:Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Category:Imperial_Strikes&diff=51719Category:Imperial Strikes2013-11-27T06:15:32Z<p>Jonathan Allen: Created page with "The pages are for strikes in the Imperial Tradition (e.g. Fiore). Category:Imperial Tradition Category:Italian Strikes Category:Strikes"</p>
<hr />
<div>The pages are for strikes in the Imperial Tradition (e.g. Fiore). <br />
<br />
[[Category:Imperial Tradition]]<br />
[[Category:Italian Strikes]]<br />
[[Category:Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Category:Bolognese_Strikes&diff=51718Category:Bolognese Strikes2013-11-27T06:11:41Z<p>Jonathan Allen: Created page with "The pages are the areas for the specific strike in the Bolognese Tradition. Category:Bolognese Tradition Category:Strikes"</p>
<hr />
<div>The pages are the areas for the specific strike in the Bolognese Tradition.<br />
<br />
<br />
[[Category:Bolognese Tradition]]<br />
[[Category:Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Fendente&diff=51717Fendente2013-11-27T06:11:29Z<p>Jonathan Allen: Created page with "A vertical, downward blow. == Primary Sources == == Also Mentioned By == * Marozzo * Antonio Manciolino * Fiore de%27i Liberi * Philippo di Vadi * Ridolfo..."</p>
<hr />
<div>A vertical, downward blow.<br />
<br />
== Primary Sources ==<br />
<br />
== Also Mentioned By ==<br />
<br />
* [[Marozzo]]<br />
* [[Antonio Manciolino]]<br />
* [[Fiore de%27i Liberi]]<br />
* [[Philippo di Vadi]]<br />
* [[Ridolfo Capo Ferro da Cagli]]<br />
* [[Salvator Fabris]]<br />
<br />
== Video Interpretations ==<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
[[Category:Strikes]]<br />
[[Category:Bolognese Strikes]]<br />
[[Category:Imperial Strikes]]<br />
[[Category:Agrippa Strikes]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Zwerch&diff=51713Zwerch2013-11-26T19:55:49Z<p>Jonathan Allen: </p>
<hr />
<div>[The '''''Zwerch''''' (''Zerchhau'', ''Zwerhau'', ''Zwirch''; "Thwart") is one of the several [[hidden strike]]s mentioned in [[Johannes Liechtenauer]]'s Record of unarmored [[longsword]] fencing.]<br />
<br />
== Primary Sources ==<br />
<br />
<br />
== Video Interpretations ==<br />
* [http://www.youtube.com/watch?v=ln94E9AGYTc&feature=player_detailpage Anton Kohutovič]<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=Tx2cbelLe6o Hugh Knight]<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=JLO7rFkyseo Philippe Willaume]<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
[[Category:Strikes]]<br />
[[Category:German Strikes]]<br />
[[Category:Hauptstucke]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Zwerch&diff=51712Zwerch2013-11-26T19:55:35Z<p>Jonathan Allen: Created page with "[The '''''Zwerch''''' (''Zerchhau'', ''Zwerhau'', ''Zwirch'; "Thwart") is one of the several hidden strikes mentioned in Johannes Liechtenauer's Record of unarmored ..."</p>
<hr />
<div>[The '''''Zwerch''''' (''Zerchhau'', ''Zwerhau'', ''Zwirch'; "Thwart") is one of the several [[hidden strike]]s mentioned in [[Johannes Liechtenauer]]'s Record of unarmored [[longsword]] fencing.]<br />
<br />
== Primary Sources ==<br />
<br />
<br />
== Video Interpretations ==<br />
* [http://www.youtube.com/watch?v=ln94E9AGYTc&feature=player_detailpage Anton Kohutovič]<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=Tx2cbelLe6o Hugh Knight]<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=JLO7rFkyseo Philippe Willaume]<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
[[Category:Strikes]]<br />
[[Category:German Strikes]]<br />
[[Category:Hauptstucke]]</div>Jonathan Allenhttps://wiktenauer.com/index.php?title=Zornhaw&diff=51674Zornhaw2013-11-21T23:33:23Z<p>Jonathan Allen: /* Video Interpretations */ Added videos</p>
<hr />
<div>[The '''''Zornhaw''''' (''Czornhaw'', ''Tzoharn''; "Wrath-Hew") is one of the several [[hidden strike]]s mentioned in [[Johannes Liechtenauer]]'s Record of unarmored [[longsword]] fencing.]<br />
<br />
== Primary Sources ==<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Johannes Liechtenauer]]'s Record (1300s)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:619em;<br />
}}<br />
{{#lst: Johannes Liechtenauer | credits }}<br />
{{#lst: Johannes Liechtenauer | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Codex Döbringer (MS 3227a)|Anonymous Gloss]] of the Record I (ca. 1389)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:56em;<br />
}}<br />
{{#lst: Codex Döbringer (MS 3227a)/18r - 40r | credits }}<br />
{{#lst: Codex Döbringer (MS 3227a)/18r - 40r | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Pseudo-Peter von Danzig]]'s Gloss of the Record (before 1452)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:420em;<br />
}}<br />
{{#lst: Pseudo-Peter von Danzig | credits1 }}<br />
{{#lst: Pseudo-Peter von Danzig | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Sigmund Schining ein Ringeck]]'s Gloss of the Record (before 1508)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:160em;<br />
}}<br />
{{#lst: Sigmund Schining ein Ringeck | credits1 }}<br />
{{#lst: Sigmund Schining ein Ringeck | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Codex Ringeck (MS Dresd.C.487)|Anonymous Gloss]] of the Record II (ca. 1500)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:56em;<br />
}}<br />
{{#lst: Codex Ringeck (MS Dresd.C.487) | credits1 }}<br />
{{#lst: Codex Ringeck (MS Dresd.C.487) | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Paulus Kal]]'s Illustrations of the Record (1458-1467)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:180em;<br />
}}<br />
{{#lst: Paulus Kal | credits8 }}<br />
{{#lst: Paulus Kal | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Hans Talhoffer]]'s Illustrations of the Record (1467)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:196em;<br />
}}<br />
{{#lst: Hans Talhoffer/Württemberg | credits1 }}<br />
{{#lst: Hans Talhoffer/Württemberg | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Peter Falkner]]'s Illustrations of the Record (ca. 1495)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:76em;<br />
}}<br />
{{#lst: Peter Falkner | credits1 }}<br />
{{#lst: Peter Falkner | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Andre Paurñfeyndt]]'s Treatise (1516)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:224em;<br />
}}<br />
{{#lst: Andre Paurñfeyndt | credits3 }}<br />
{{#lst: Andre Paurñfeyndt | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{| class="wikitable collapsible collapsed" width=3850<br />
! width=700 colspan=2 | <br />
=== [[Jörg Wilhalm Hutter]]'s Treatise ===<br />
! width=3150 colspan=9 | <br><br />
<br />
|-valign=top<br />
! width=350 | Images<br />
from the [[Jörg Wilhalm Hutters kunst zu Augspurg (CGM 3711)|Munich Version]]<br />
! width=350 | Images<br />
from [[Opus Amplissimum de Arte Athletica (Cod.Icon.393)|Mair's Munich Version]]<br />
! width=350 | English Translation<br />
<br />
! width=350 | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2°.2)|Archetype]] (1523)<br />
by Dierk Hagedorn<br />
! width=350 | [[Jörg Wilhalm Hutters kunst zu Augspurg (CGM 3711)|Munich Version I]] (1523)<br />
by [[Filip Lampart]] and [[Martin Fabian]]<br />
! width=350 | [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Version]] (1533)<br />
<br />
! width=350 | [[Lienhart Sollinger Fechtbuch (CGM 3712)|Munich Version II]] (1556)<br />
<br />
! width=350 | [[Opus Amplissimum de Arte Athletica (MS Dresd.C.93/C.94)|Mair's Dresden Version]] (1542)<br />
<br />
! width=350 | [[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Mair's Vienna Version]] (1550s) [German]<br />
<br />
! width=350 | [[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Mair's Vienna Version]] (1550s) [Latin]<br />
<br />
! width=350 | [[Opus Amplissimum de Arte Athletica (Cod.Icon.393)|Mair's Munich Version]] (1550s)<br />
<br />
<br />
|-valign="top"<br />
| [[File:CGM 3711 3r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_45]]<br />
| [[Image:Cod.Icon.393 37r.jpg|200px|center]]<br />
| <br><br />
| '''[6r]''' Der statt im oberhaw<br />
:Das ist der zornhaw von der Rechten achseln<br />
<br />
Das ist vom zornhaw wer dir oberhawet so nim den zornhaw starckh auff dein achseln vnd haw in schlecht hinein vber d[ie] versatzung vnd verheng vnd wind mit dem schwert als welte [?] dich zwerchen vnd lass obfallen zu baiden seÿtten mit hal[b] vellern vnd schlag in mit der langen schneid nach dem Rechten orr zu dem kopff hinweg<br />
| '''[3r]''' Der stat im oberhaw<br />
:Das ist der Zornhaw von der Rechten achseln <br />
<br />
Das ist vom Zornhaw wer dir oberhawt so nim den Zornhaw starckh auff dein achseln und haw in schlecht hinein uber die versatsung und vorheng und wind mit dem schwert als welttestu dich Zwerchen und lass abfallen zu baiden seiten mit halben [voliern] und schlag in mit der langen schneid nach Dem Rechten Or zu dem Koppf [hinerg]<br />
| '''[5v]''' <br />
| '''[98r]''' <br />
| '''[41r] Ein verkerter schnit mit anem [sic] ansetzen.'''<br />
'''Item wann du Inn dem''' zufechten bist vnnd Ir baid zusamen kompt. das dein Linncke fuosz vorstat. so nimb der plosse. seinnes Linncken arms. mit deinnem schnidt war. vnnd setz Im mit der lanngen schneidin an. das Im das Kreitz an dem Elennpogen stee. vnnd scheub In also von dir. scheubt er dich dann also von Im. so nimb deinnen Linncken schennckel. vnnd vertrew dich auf deinnem Rechten. so gastu Im ausz dem schnidt. haw darmit zu seinner rechten seiten oben zu seinem kopf. so kumpt dein Linncker schennckel Inn dem haw wider hinfur. In dem volg mit dem rechten fuosz wider hinnach. vnnd haw In ausz der hut vom tag. mit Lannger schneid. zu seinem köpff. versetzt er dir das so haw. Im mit ainnem fligel haw zu seinnem rechten Arm. von vnnden ein. fert er dem haw. nach vnd will In verschieben. so haw Im mit kurtzer schneid zu der obern plosse. hawt er dir also ein. so stee mit deinnem Lincken fuosz vor vnnd zwirch Im zu seinner rechten seiten seinnes kopffs.<br />
| '''[20r]Ein verkerter Schnit mit ainem ansetzen.'''<br />
Item wann du in dem zufechten bist, und Ir baid zusamen kombt, das dein lingge fuß vorsteet. So nimb der plösse seines linggen arms mit deinem schnit war, und setz Im mit der lang schneid an, das Im das Creutz an dem elnbog stee, und scheub In also von dir. Scheubt er dich dann also von Im, so nimb deinen linggen schenckel, und vertree dich auff deinem rechten, so geest du Im aus dem schnit, haw darmit zu seiner rechten seitten oben zu seinem kopff, so kombt dein lingger schenckl in dem haw wider hinfür. In dem volg mit dem rechten fuß wider hinnach, und haw In aus der hut vom tag mit langer schneid zu seinem kopff. Versetzt er dir das, so haw Im mit ainem fligelhaw zu seinem rechten arm von unden ein, fert er dem haw nach, und will In verschieben, so haw Im mit kurtzer schneid zu der oberen plösse. Hawt er dir also ein, so stee mit deinem linggen fuß vor, und zwirch Im zu seiner rechten seitten seines kopffs.<br />
| '''[20r]''' <br />
| '''[37r]''' <br />
<br />
|-valign="top"<br />
| [[File:CGM 3711 3v.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_46]]<br />
| <br />
| <br><br />
| '''[6v]''' Der stett im oberhaw<br />
:Das ist der zornhaw von der glingken achseln<br />
<br />
[D]as ist der zornhaw auff der lingken <del>achseln</del> seitten vnd den [se]lben nim von der lingken achseln vnd haw im schnel hinein [l]ang zu dem kopff vnd verheng vnd wind damit vnd las aber [d]ie veller laffen vnd schlag aber wie vorgschriben stat [v]nd hindersich hinweg<br />
| '''[3v]''' Der stat im oberhaw<br />
:Das ist der Zornhaw von der glingkn achseln <br />
<br />
Das ist der Zornhaw auff der lingken Seitenn und den selben nim von der lingken achseln und haw im schnel hinein lang zu dem kopff und vorheng und wind damit und lass aber dir [velld] läuffen und schlag aber wie vor gschriben stat hnd hindersich hinweg<br />
| '''[6v]''' <br />
| '''[98v]'''<br />
| <br />
| <br />
| <br />
| <br />
<br />
|-valign="top"<br />
| [[File:CGM 3711 4r.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_47]]<br />
| <br />
| <br><br />
| '''[3r]''' Das ist der zorn ortt<br />
:Der stat im oberhaw<br />
<br />
Das ist die ausrichtung vnd merckh wer dir oberhawet das du im mitt dem zorn ortt eindringest vnd wirtt er des gewa[r] so nim es oben ab on gfar vnd bis starckh herwider wind haw vnd stich sicht ers so nim es nider das eben merkch haw stich schwech vnd sterckh vnd nims mit halben vellern vnd schlag aber hinein wie vor vnd hindersich hinweg<br />
| '''[4r]''' Das ist der Zornortt<br />
:Der statt im oberhaw <br />
<br />
Das ist die ausrichtung und merckh wer dir oberhawt das du im mit dem Zornortt eindringest und wirtt er des gwar so ni es oben ab an gfar und bis starckh he[ ]wider wind haw und stich sicht ers so nim es und das eben merckh haw stich schwerth und starckh und win[ ] (wins, nims) mit halben vellern und schlag aber hinein wie vor und hindersich hinweg<br />
| '''[7v]''' <br />
| '''[99r]'''<br />
| <br />
| <br />
| <br />
| <br />
<br />
|-valign="top"<br />
| [[File:CGM 3711 4v.jpg|200px|center|link=http://daten.digitale-sammlungen.de/bsb00064546/image_48]]<br />
| <br />
| <br><br />
| '''[3v]''' Der stett im oberhaw<br />
:Das ist der ander zornortt<br />
<br />
Das ist der ander zorn ortt auff der andern seÿtten den nim auch also wen sy gand baid wie der zornhaw von der achsel vn[d] mus ainer auss einem haw ain stich machen vnd mus den haw ver werffen vnd das nim auch flux hinweg wie das ober<br />
| '''[4v]''' Der stat im oberhaw<br />
:Das ist der ander Zornortt <br />
<br />
Das ist der ander Zornortt auff der andern seitten den nim auch alss (also) wen sÿ gand baid wie der Zornhaw von der achsel und můs einer auf einem haw ain[ ]s[ ]ch machen und můss den haw verwerffen und das nim auch flu[ ] hinweg wÿe das obd<br />
| '''[8v]''' <br />
| '''[99v]'''<br />
| <br />
| <br />
| <br />
| <br />
<br />
|}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Jobst von Württemberg]]'s Record (before 1533)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:76em;<br />
}}<br />
{{#lst: Jobst von Württemberg | credits1 }}<br />
{{#lst: Jobst von Württemberg | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
{| class="wikitable collapsible collapsed" width=2450pt<br />
! width=700pt colspan=2 | <br />
=== [[Paulus Hector Mair]]'s Treatise ===<br />
! width=1750pt colspan=5 | <br><br />
<br />
|-valign=top<br />
! width=350pt | Images<br />
<br />
! width=350pt | English Translation<br />
by [[Keith Myers|Kieth P. Myers]]<br />
! width=350pt | [[Opus Amplissimum de Arte Athletica (MS Dresd.C.93/C.94)|Dresden Version I]]<br />
by [[Pierre-Henry Bas]]<br />
! width=350pt | [[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna Version I]] (German)<br />
by [[Anton Kohutovič]]<br />
! width=350pt | [[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna Version I]] (Latin)<br />
<br />
! width=350pt | [[Opus Amplissimum de Arte Athletica (Cod.Icon.393)|Munich Version I]]<br />
by [[Dieter Bachmann]]<br />
! width=350pt | [[Jörg Breu Sketchbook (Cod.I.6.2°.4)|Jörg Breu's Sketchbook]]<br />
<br />
<br />
|-valign=top<br />
| rowspan=4 | [[Image:Cod.I.6.2°.4 17v.png|300x300px|center]]<br />
| '''The Zornhau against the Point'''<br />
<br>Item: It happens that you stand with the Zornhau with the left foot forward. Follow after with the right after the strike and strike him strongly from above to the left side. If he deflects this, strike nimbly to the next opening.<br />
| '''[22r] Der zorenhaw gögen dem Ort.'''<br />
<br>Item schickh dich AllsoMit dem zorenhaw. stannd mit dem lincken fuosz vor. Volg mit dem rechten dem haw nach vnnd haw Im starckh. von oben ein. zu der Lincken seiten. versetzt er dir das. so haw behenndiglich zu der nechsten Plosse.<br />
| '''[16r] Der Zornhaw gegen dem ort.'''<br />
<br>Item schick dich also mit dem Zornhaw. Stand mit dem linggen fuß vor, volg mit dem rechten dem haw nach, und haw Im starck von oben ein zu der linggen seitten. Versetzt er dir das, so haw behendigclich zu der nechsten plösse.<br />
| '''[16r]''' <br />
| '''[18r] De ictu qui ex ira nomen fortitur contra mucronem.'''<br />
Hac ratione te ad hunc ictum adaptabis: sinistrum dextro pedi prepones, inque ipso ictu dextro sequere, feriasque fortiter superius latus sinistrum versus. Verum si se opposuerit, ictuque tuo restiterit, tum quam celerimme proximam nuditatem peto. <br />
| rowspan=4 | '''[17v, 19r, 28v]'''<br />
<br>[[Image:Cod.I.6.2°.4 19r.png|200px|center]]<br />
<br />
|-valign=top<br />
| If he strikes you hence wrathfully, wind against the Zornhau in the Hanging Point and let your point properly go forward shooting down (einschiessen) to the face or chest.<br />
| hawt er dir also zornigclich einn. so wind dich gogen dem zornhaw Inn das hanngend Ortt. vnnd lass Im den ort gerichts fursich einschiessen zu dem gesicht. oder der Prust. <br />
| Haut er dir also Zornigclich ein, so wind dich gegen dem Zornhaw in das hangend ort, und laß Im den ort gerichts fürsich einschiessen zu dem gesicht, oder der prust.<br />
| <br />
| Si vero referiat iratus, tum ad ictum eum qui ex ira fit, te prepara in mucronem pendentem et eum converte recta in faciem vel pectus adversarii. <br />
<br />
|-valign=top<br />
| If it turns out that he perceives the thrust, drive with the sword well over your head, spring with your right foot on his left side and cut him with the Zwerchhau to the head.<br />
| wirt er dann des orts gewar. so far mit dem schwert wol auf Vber dein kopff. sprinng mit deinnem Rechten fuosz auf seinn linncke seiten vnnd haw Im mit der zwirch zu dem kopff. <br />
| Wirt er dann des orts gewar, so far mit dem schwert wol auff über dein kopff, spring mit deinem rechten fuß auf ein lingke seitten, unnd haw In mit der zwirch zu dem kopff.<br />
| <br />
| Sin autem animadverterit id, gladium supra caput elevabis, assiliesque pede dextro in latus eius sinistrum et petas ictu transversario caput eius.<br />
<br />
|-valign=top<br />
| If he then strikes the Zwerchhau like this to your head with crossed arms, displace that with your long edge, at the same time pull back (Zucken) your sword and wind your point from your left side to his face or chest.<br />
| hawt er dann also die zwirch zu deinnem kopf. mit gecreitzigten Armen. so versetz Im die mit deiner Lanngen schneid Indes zuckh deinn schwert. vnnd wind Im deinnen Ort von deiner lincken seiten zu seinnem gesicht oder der Prust.<br />
| Hawt er dann also die Zwirch zu deinen kopff mit gecreutzgiten armen, so versetz Im die mit deiner langen schneid. In dem zuck dein schwert und wind Im deinen ort, von deiner linggen seitten zu seinem gesicht oder der prust.<br />
| <br />
| Si vero is hoc usus fuerit contra te, brachiis crucis instar consituto, tum ictum longa acie excipe, et statim gladium averte, tuumque mucronem ex sinistro latere contra ipsius faciem flecte seu pectus <br />
<br />
|-valign=top<br />
| rowspan=2 | [[Image:Cod.Icon.393 65r.jpg|200px|center]]<br />
| '''An Oberhau with a Groin Thrust'''<br />
When you come together at the closing and the other strikes strongly with the Zornhau, determine whether he is soft or hard at his sword. If he is soft against you, then cut to his head.<br />
| '''[69r] Ainn oberhaw mit ainnem gmecht stich.'''<br />
Item wann Ir mit dem zufechten zusamen kument. vnnd ainannder Inn dem zornhaw starckh einnhawent. so entpfinnd ober waich oder hert Ist an seinem schwert. Ist er dann waich gogen dir. so schneid Im nach seinnem haupt.<br />
| '''[48r] Ein Oberhaw mit einem Gmechtstich.'''<br />
Item wann Ir mit dem zufechten zusamen komend, und einander in dem Zornhaw starck einhawend, So empfind ob er waich oder hert ist an seinem schwert. Ist er dann waich gegen dir, So schneid Im nach seinem haubt.<br />
| '''[48r]''' <br />
| '''[65r]''' <br />
| rowspan=2 | <br />
<br />
|-valign=top<br />
| If he intends to cut you like this, then hang on your right side so that his cut is deflected around. Then immediately set your left leg between his feet and release your left hand from your sword. Then thrust between his arms at the chin with your left hand so that he goes into a fall. As he is falling grip with your left hand to your sword’s blade and stab with that to his groin or wherever you want.<br />
| Begert er dich also zuschneiden. so henng auf dein rechte seiten. so ist sein schnit umb sunst. In des setz deinnen Linncken schennckel zwischen seinne baid fuosz. vnnd lasz dein linncke hannd von deinnem schwert. stosz In damit zwischen baiden Armen an das kin mit deinner Linncken hannd. so gibt er sich Inn den fall. vnnd Inn dem fallen. so greiff mit deinner linncken hand Inn dein schwerts klinngen. stosz Im den Ort damit zu seinen gemechten. oder wo du wildt.<br />
| Begert er dich also zuschneiden, so heng auff dein rechte seitten, so ist sein schnit umb sonst. In des setz deinen linggen schenckel zwischen seine baid fuoß, unnd laß dein lingge hand von deinem schwert, stoß In damit zwischen baiden armen an das kin mit deiner linggen hand, so gibt er sich in den fall. Und in dem fallen, so greiff mit deiner linggen hannd in dein schwertsklingen, stoß im den ort damit zu seinen gemechten, oder wa du wilt. <br />
| <br />
| <br />
<br />
|-valign=top<br />
| [[Image:Cod.Icon.393 68v.jpg|200px|center]]<br />
| <br />
| '''[72v] Ainn wurff Inn dem Schwert.'''<br />
'''Item wann Ir Inn''' dem zornhaw ainnannder Starck oben einhawent vnnd ain Jeglicher seinnen kopff hoch zuuersetzen begert. so empfind ob er waich oder hert sey ann seinnem schwert. Ist er waich vnnd helt dir nit starckh wider. so winnd Im mit deinner kurtzen schneid an sein linnck Ohr. versetzt er dir das. So lasz Indes behenndigclich dein schwert fallen. vnnd buckh dich mit deinnem kopff zwischen seinne gemecht. Umb greiff Im mit deinnen armen seinne baide kniepug. heb damit vbersich. so wirfstu In. oder magst In tragen wa du hinhaben wildt. hat er dich also zu dem wurff gefafft oder zu dem hintragen. so lasz dein schwert fallen. vnnd greiff Im mit deinner linncken hannd nach seinnem Lincken fuosz. vnnd mit der rechten Innwenndig zu den gmechten. so erheltstu dich des wurffs. vnd schleusst dich Inn In. so kan er dich on schaden nnit vonn Im werffen.<br />
| '''[51v] Ein wurff in dem Schwert.'''<br />
Item wann Ir in dem zornhaw einander starck oben einhawent, und ein Jegklicher seinen kopff hoch zuversetzen begert, So empfind ob er waich oder hert sey an seinem schwert. Ist er waich, und helt dir nit starck wider, so wind Im mit deiner kurtzen schneid an sein lingk or. Versetzt er dir das. So laß in des behendig elich dein schwert fallen, und buck dich mit deinem knopf zwischen seine gemecht, umbgreiff Im mitt deinen armen seine baid kniebug, heb damit übersich, so wurfst du In, oder magst In tragen wa du hin haben wilt. Hat er dich also zu dem wurff gefaßt, oder zu dem hintragen, So laß dein schwertt fallen, und greiff Im mit deiner linggen hand nach seinem lingken fuß, und mit der rechten Inwendig zu den gemechten, so erheltst du dich des wurffs, und scheuß dich in In, so kan er dich on schadenn nit von Im werffen.<br />
| '''[51v]''' <br />
| '''[68v]''' <br />
| <br />
<br />
|}<br />
<br />
{| class="wikitable collapsible collapsed" width=1400<br />
! width=700 colspan=2 | <br />
=== [[Joachim Meÿer]]'s Treatise ===<br />
! width=700 colspan=2 | <br><br />
<br />
|-valign=top<br />
! width=350 | Images<br />
<br />
! width=350 | English Translation<br />
by [[Mike Rasmusson]]<br />
! width=350 | 1560 Edtition<br />
<br />
! width=350 | 1570 Edition<br />
by [[Alex Kiermayer]]<br />
<br />
|-valign=top<br />
| rowspan=2 | [[File:Meyer 1570 Longsword Cuts.JPG|200x200px|center]]<br />
| ...Firstly or initially move into the Wrathful Guard, from which also comes the strike’s name, that is the Wrathful Strike, which is named for its wrathful bearing and intent, then midway through the strike move into the Long Point, and at the end move into the Changer...<br />
| <br />
| '''[IXv]''' ...so kommestu erstlich oder anfangs in die Zornhut / von welcher auch der Hauw den Namen bekommet / das er '''[Xr]''' der Zornhauw / umb zornigs geberdt willen genennet / auff halben weg des Hauwes ins Langort / und am endt in den Wechsel.<br />
<br />
|-valign=top<br />
| '''Wrathful Strike'''<br />
The Wrathful Strike is a serious strike from your Right Shoulder, against your opponent’s left ear, or through his face or chest, consider how it’s done through two lines, with the lines drawn through the upper right and crosswise overtop one another. This is the strongest beyond all others in that all one’s strength and manliness is laid against one’s opponent in fighting and fencing, therefore the ancients also named it Straight Strike or Father Strike. Along the considered lines you can move onwards, etc. <br />
| <br />
| '''[XIr] Zornhauw.'''<br />
DEr Zornhauw ist ein Schlimmer hauw von deiner Rechte Achsel / gegen deines widerparts lincken ohrs / oder durch sein gesicht und Brust / Schlims durch wie die zwo Linien / so durch die auffrecht Linien kreutzweiß uber einander sich schrencken anzeigen. Diß ist der sterckest under allen andern / als darinen alle krafft unnd manligkeit des des Mans gegen seinem feindt im Kempffen unnd Fechten gelegen / darumb er auch von den Alten Streithauw oder Vatterstreich genant und geheissen wirt. Von gedachten Lini findestu hernach / etc.<br />
<br />
|-valign=top<br />
| [[Image:Meyer 1570 Longsword E.JPG|300x300px|center]]<br />
| '''Wrath Guard'''<br />
When at the onset you come into the Wrath Guard, then step as soon as you can reach him and strike a quick Wrath Strike, which he must defend from, to his left ear. Nimbly follow the strike over with an Under Strike against his lower right opening, thus you have now attacked. Under this as and when he is reached for work and the arms show he will strike, then fall low with your sword onto his arm and behind his charge so that he can not come to work, as he will then not be able to rightly defend from this, then thrust to him with an incomplete shove from yourself, that he likewise shows that he would fall, and meanwhile slash to the next opening that you know you have, but if he reaches this and strikes you off, then be there again with the cut or displacement, and fall against his strike on the blade, if he goes off the blade again, then cut him on the arm again, but if he stays on your sword then thrust his sword aside with your hilt and nimbly let your sword fly again to the next opening and swing to him after your need. Thus now you shall fight with all elements of the sword to the body, and from the body to the sword, but where he would twitch or flow off from you, then always use the cut for help, and where you can’t cut, then there can be no useful fencing, but where you can do it rightly, then swing to him as you will. He who can break the cut himself, you will find less, but he who cannot rightly lead the cut will soon be broken. <br />
| <br />
| '''[XXXIIIIrv] Zornhut.'''<br />
KOmpstu im zugang in die Zornhut / so trit als bald du jhn erlangen kanst / unnd hauw zu seinem Lincken ohr / ein geschwinden Zornhauw / welches er dann wehren mus / folgend hauw behend gegen uber zu seiner Rechten undern Blöß ein Underhauw / also hastu nun angriffen / under des ehe und dann er sich erholt zu arbeiten / und die Arm zum streich ansich zeucht / so fall jhm mit dem Schwerdt unden an sein arm / und hindere jhm also seinen lauff das er nicht arbeiten kann / ehe denn er aber dis recht gewahr wirt / so stoß jhn mit einem unversehenen ruck von dir / das er gleich dummelt als wolt er fallen / unnd schlag jhn dieweil zur nechsten Blös / die du denn gewiß hast / erholt er sich aber und hauwet auff dich her / so sey du mit dem absatz oder Schnit wider da / und fall jhm gegen seinem streich an die kling / gehet er wider von der klingen ab / so schneidestu jhm wider auff die arm / bleibt er aber an deinem Schwerdt / so stoß jhm sein Schwerdt mit deinem schildt beyseits aus / und laß dein Schwerdt behendt wider der nechsten Blös zufliegen / und von dannen behendt wider an sein Schwerdt / will er das Schwert nicht fangen lassen / so volg mit deinem Schwerdt aber nach auff seine Arm / damit zwingstu jhn nach deinem gefallen / Also soltu nun in allen stucken vom Schwerdt zum leib / und von dem leib zum Schwerdt / aber wo er dir zucken oder verfliegen wolt / so nim den Schnit alweg zuhilff / denn wer den Schnit nit kann / wirt das auch mit nutz nicht Fechten / wo du jhn aber recht machen kanst / so zwingestu jhn wie du wilt / es were dann das er den Schnit selbst brechen könde / deren wirstu wenig finden / wer aber den Schnit nit recht führen kann dem ist er bald gebrochen.<br />
<br />
|-valign=top<br />
| [[Image:Meyer 1570 Longsword K.JPG|300x300px|center]]<br />
| In the pre-fencing when you have come into the guard of the Ox through a plunge, then strike (as soon as you can reach him) a serious and forceful Wrath Strike from your right to his left ear with a long right foot step, as soon as the strike touches or hits, then almost twitch off again and strike over against his left arm, also with the long edge, but with this strike step with your left foot to his right and take your head out to the side behind your blade, just then he may be ready either to strike or otherwise with his sword stretched out ahead to displace, so at first let your blade hang behind you from your right arm, and meanwhile twitch your grip over your head to your right and take his blade (he is stretched out from striking or displacing) with your long edge or flat and strongly and forcefully high traverse out from your right to his left so that you break out fully with your blade, and in this outward stride let your blade fly above again in a traverse over your head against his left ear, from there twitch your sword over your head again and strike a strong strike swinging in to his right ear with the flat outward, in a flat strike as shown by the larger figure on the right hand side of illustration K, also mark diligently that you step fully out with the left foot to his right side in this strike, from this flatstrike or Bounce Strike twitch your sword high over your head, keeping your hands high, and let the blade fly over with the long edge to his right arm, and yet don’t impact, but traverse nimbly to his left ear while stepping back with the right foot, and sign off. This play, when you have arranged it thus, gives you thus the cut held (as taught above) in reserve, with which you can make more room, either in fencing the full play, or onward in taking another part. <br />
| <br />
| '''[XXXVIr]''' Wann du im zufechten durch den Sturtz in die Hut des Ochsens kommest / so hauwe (als bald du jhn erlangen kanst) einen gewaltigen Zornhauw von deiner Rechten schlims gegen seinem Lincken ohr / mit einem weiten zutrit deines Rechten fußes / als bald der Hauw immer rühret oder trifft / so bald zucke wider umb und hauwe dar'''[XXXVIv]'''gegen uber zu seinem lincken Arm / auch mit Langer schneide / zu solchem Hauw aber trit wol mit deinem Lincken gegen seiner Rechten / und nim dein Kopff wol mit beiseits aus / hinder dein klingen / in dem wirt er villeicht fertig sein / eintweders zuhauwen oder sonst sein Schwerdt fürsich ausstrecken zu versetzen / Derhalben so laß dein klingen von seinem rechten Arm hinder dir abhangen / und zucke dieweil gleichwol dein Heft umb dein Kopff gegen deiner Rechten / und nime jhm sein klingen (er führe die im herhauwen / oder zu versatzung ausgestreckt) mit deiner Langen schneide oder flech / gewaltig und starck von deiner Rechten gegen seiner Lincken uberzwerch aus / also das du mit deiner klingen gantz durch brechest / unnd laß also dein klingen in solchem außnehmenden lauff / in einem flug mit einer Zwirch wider Oben umb deinen Kopff gegen seinem lincken ohr fliegen / von dannen zuck dein Schwerdt wider umb dein Kopff / und hauwe mit außwendiger fleche / einen starcken eingeschwungenen streich / außwendig zu seinem rechten ohr / Wie du solchen flechstreich an dem grossern Bild zur Rechten hand in der Figur K. fürgemalt sihest / auch merck fleissig das du mit dem lincken Fuß in solchem streich wol auß / auff sein rechte seiten trettest / von solchen flechstreich oder Brellhauw zucke dein Schwerdt hoch über dein Kopff / behalt also die hendt in solcher höhe / und laß die klingen umbfliegen mit Langer schneid zu seinem rechten Arm / und doch nicht rühren / sonder Zwirch behendt mit einem abtrit deines rechten Fuß / gegen seinem lincken Ohr / und zeich ab. Dises stuck wann es dir schon gesteckt würde / so hast du doch (wie oben gelehrt) den Schnit im vorraht / mit welchem du dir wider blatz machen kanst / eintweder das stuck vollen auß zufechten / oder ein ander stuck für zu nehmen.<br />
<br />
|}<br />
<br />
{{hidden begin<br />
| title = <span style="font-size:130%;">[[Theodori Verolini]]'s Treatise (1679)</span><br />
| titlestyle= background:#f2f2f2; border:1px solid #aaaaaa; padding:10px; text-align:center; vertical-align:middle; width:60%;<br />
| bodystyle = font-size:100%; min-width:76em;<br />
}}<br />
{{#lst: Theodori Verolini | credits1 }}<br />
{{#lst: Theodori Verolini | Zornhaw }}<br />
|}<br />
{{hidden end}}<br />
<br />
== Video Interpretations ==<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=zJL7FC_HYXY Sébastien Le Gaillard]<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=mjT4JepA-Vc Anton Kohutovič]<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=TdTdRGdKAcA Hugh Knight]<br />
* [http://www.youtube.com/watch?feature=player_detailpage&v=DdLFXsptzhg Colin Richards]<br />
* [http://www.youtube.com/watch?v=FbyI9-JeNsA&feature=player_detailpage#t=17 Lukas Žehart]<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
[[Category:Strikes]]<br />
[[Category:German Strikes]]<br />
[[Category:Hauptstucke]]</div>Jonathan Allen