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Difference between revisions of "Diogo Gomes de Figueyredo"

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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.
 
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.
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Revision as of 17:29, 30 March 2015

Diogo Gomes de Figueyredo
Born ca. 1600
Died 30 September 1685
Relative(s)
  • João Gomes Quaresma (father)
  • Diogo Gomes de Figueyredo (son)
Occupation
Patron Prince Theodoszio
Influences
Genres Fencing manual
Language Portugese
Notable work(s)
  • Oplosophia e Verdadeira Destreza das Armas (1628)
  • Memorial Da Prattica do Montante (1651)
Manuscript(s)

Dom Diogo Gomes de Figueyredo (d. 1685) was a 17th century 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.[1]

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.[1]

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 ("Philosophy and the True Skill of Arms", MS Vermelho.nº.91). This is a rapier text following the Carrancista tradition of la Verdadera Destreza. His second treatise, written in 1653, was 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.[1]

Figueyredo's activities after the war are unknown; ultimately, he died on 30 September 1685 and was buried in the convent at Trinidade.

Treatise

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.

Additional Resources

References

  1. 1.0 1.1 1.2 Myers, Eric, and Hick, Steve. Memorial of the Practice of the Montante. The Oakeshott Institute, 2009. Retrieved 24 November 2010.
  2. 2.0 2.1 This is the order of the original, but they are likely transposed, and should be revez and talho instead.