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Difference between revisions of "Pieter Bailly"

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| [[File:KB.72.F.37 01r.png|400px|center]]
| [http://www.bruchius.com/docs/BaillysShortProofbyRvN.pdf Translation]
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| <p>Short proof of the single Rapier. What changes can take place from the parry of the outside thrust, with the counter-changes of them. For the first part.<p>
| [http://www.bruchius.com/docs/BaillysShortProofbyRvN.pdf Transcription]
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<p>By P[ieter] Bailly, accepted fencing master of Amsterdam.</p>
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| {{paget|page:KB.72.F.37|01r|png}}
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| [[File:KB.72.F.37 01v.png|400px|center]]
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| <p>First Introduction to the Art</p>
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| {{paget|page:KB.72.F.37|01v|png}}
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| [[File:KB.72.F.37 02r.png|400px|center]]
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| <p>Second Introduction</p>
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| {{paget|page:KB.72.F.37|02r|png}}
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| [[File:KB.72.F.37 03v.png|400px|center]]
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| <p>Straight<ref>Or "right".</ref> posture.</p>
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| {{paget|page:KB.72.F.37|03v|png}}
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| [[File:KB.72.F.37 04r.png|400px|center]]
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| <p>The breaking of the posture.</p>
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| {{paget|page:KB.72.F.37|04r|png}}
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| [[File:KB.72.F.37 05v.png|400px|center]]
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| <p>Cut following from the breaking of the preceding posture.</p>
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| {{paget|page:KB.72.F.37|05v|png}}
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| [[File:KB.72.F.37 06r.png|400px|center]]
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| <p>Prevention of the preceding cut.</p>
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| {{paget|page:KB.72.F.37|06r|png}}
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| [[File:KB.72.F.37 07v.png|400px|center]]
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| <p>Outside Thrust.</p>
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| {{paget|page:KB.72.F.37|07v|png}}
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| [[File:KB.72.F.37 08r.png|400px|center]]
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| <p>The breaking of the preceding thrust.</p>
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| {{paget|page:KB.72.F.37|08r|png}}
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| [[File:KB.72.F.37 09r.png|400px|center]]
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| <p>Cut following the breaking of the outside thrust.</p>
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| {{paget|page:KB.72.F.37|09r|png}}
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| [[File:KB.72.F.37 10v.png|400px|center]]
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| <p>Displacement to the thrust before at the letter .G. from which displacement five changes follow.</p>
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| {{paget|page:KB.72.F.37|10v|png}}
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| [[File:KB.72.F.37 11r.png|400px|center]]
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| <p>Displacement with thrust in one time.</p>
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| {{paget|page:KB.72.F.37|11r|png}}
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|-
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| [[File:KB.72.F.37 12r.png|400px|center]]
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| <p>Displacement with thrust in one time.</p>
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| {{paget|page:KB.72.F.37|12r|png}}
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| [[File:KB.72.F.37 13v.png|400px|center]]
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| <p>First change sprouting from the displacement before at letter .K.</p>
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| {{paget|page:KB.72.F.37|13v|png}}
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| [[File:KB.72.F.37 14r.png|400px|center]]
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| <p>Counter-change.</p>
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| {{paget|page:KB.72.F.37|14r|png}}
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|-
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| [[File:KB.72.F.37 15v.png|400px|center]]
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| <p>Second change.</p>
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| {{paget|page:KB.72.F.37|15v|png}}
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| [[File:KB.72.F.37 16r.png|400px|center]]
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| <p>Counter-change.</p>
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| {{paget|page:KB.72.F.37|16r|png}}
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|-
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| [[File:KB.72.F.37 17v.png|400px|center]]
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| <p>Third change.</p>
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| {{paget|page:KB.72.F.37|17v|png}}
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|-
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| [[File:KB.72.F.37 18r.png|400px|center]]
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| <p>Displacement with hand with a thrust in one time.</p>
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| {{paget|page:KB.72.F.37|18r|png}}
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|-
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| [[File:KB.72.F.37 19v.png|400px|center]]
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| <p>Fourth change with steps and cut sprouting from the posture at the letter .R.</p>
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| {{paget|page:KB.72.F.37|19v|png}}
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|-
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| [[File:KB.72.F.37 20r.png|400px|center]]
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| <p>Counter-cut, that you cut at the same time for the face or otherwise for the shins of the opponent.</p>
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| {{paget|page:KB.72.F.37|20r|png}}
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|-
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| [[File:KB.72.F.37 21r.png|400px|center]]
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| <p>Change with thrust stepping back at the cut at letter .T.</p>
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| {{paget|page:KB.72.F.37|21r|png}}
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|-
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| [[File:KB.72.F.37 22v.png|400px|center]]
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| <p>Fifth change.</p>
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| {{paget|page:KB.72.F.37|22v|png}}
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|-
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| [[File:KB.72.F.37 23r.png|400px|center]]
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| <p>Counter-change.</p>
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| {{paget|page:KB.72.F.37|23r|png}}
  
 
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Revision as of 22:19, 22 November 2025

Pieter Bailly
Born 1554
Antwerp
Died after 1608
Amsterdam (?)
Occupation
Nationality Dutch
Alma mater Universiteit Leiden
Influences Ludolph van Ceulen
Influenced Gérard Thibault d'Anvers
Genres Fencing manual
Language Dutch
Notable work(s) Cort Bevvijs' Van t'Rapier alleen
Manuscript(s) MS KB.72.F.37 (1602-1608)
First printed
english edition
Galas and Steenput, 2011

Pieter Bailly (1554-after 1608) was a 17th century Dutch artist and fencing master. Born in Antwerp, he settled in Leiden in 1577 and married a woman from Noordwijk; they would eventually have two daughters and two sons, including famed artist David Bailly (1584–1657).[1]

In 1578, he was appointed pedel (macebearer) at the Universiteit Leiden.[1] A scribe and draftsman by trade, he was eventually also hired as a writing master by the University in 1592;[1] he was successful as an artist, but his son would go on to eclipse him in fame.

In 1594, Bailly became a provost at the fencing school of Ludolph van Ceulen (1539-1610) at the University.[1] He swore a fencing master's oath on 22 September 1597, which among other things, prevented him from teaching fencing outside of van Ceulen's school. In 1598, he was dismissed from his position at the University under accusations of misconduct, but when he attempted to open his own fencing school to earn more income, van Ceulen filed a complaint with the Leiden council that he was violating his oath and the council shut his school down in 1602.[2]

In response, Bailly moved to Amsterdam that same year and received an appointment as city fencing master. In Amsterdam, he composed a short fencing treatise about the use of the rapier, Cort Bevvijs' Van t'Rapier alleen (KB.72.F.37), which doesn't follow standard Italic or Iberic teachings and may represent a local Dutch tradition.[3] It's likely that he executed both the calligraphy and the illustrations in the manuscript himself (though his son David could also have been involved).[1] The introduction indicates that the manuscript is volume 1 of a larger work, but it's unknown if he ever produced any further writings.

The date of his first wife's death is unknown, but Bailly married Cathelina De Witt in 1604. The final record of Bailly's life has him leaving Amsterdam in 1608 to spend a year in Germany, and the date and location of his death are unknown.[3]

Treatise

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. 1.0 1.1 1.2 1.3 1.4 Galas and Steepnut, p. 66.
  2. Galas and Steepnut, p. 68.
  3. 3.0 3.1 Galas and Steepnut, p. 69.
  4. Or "right".